+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

An early forerunner of the encyclopedia, De Proprietatibus Rerum dates from the 13th century and is often described as a bestiary although its focus encompasses theology and astrology as well as the natural sciences (as understood in 1240).

Royal Naval Air Service [RNAS] the forerunner of the Fleet Air Arm [FAA]

7th Aug 1917 ~

On 2nd Aug 1917 Squadron Commander Edwin Dunning [1892 - 1917] had become the first person to land an aircraft on a moving ship. Now, Five days later, he was killed making his second landing attempt of the day on Aug 7th when his plane crashed overboard, knocking him unconscious and he drowned in the cockpit. Various reasons are recorded for the crash, including, wheel or engine or wind problems or possibly a combination of these.

# HMS Furious was a modified Courageous-class cruiser launched on 15th Aug 1916 and scrapped in 1948. She only had a full-length flight deck from the early 1920s.

# The Sopwith Pup was a single seater biplane fighter with a top speed of 110mph.

One of the world's favorite TV Detective Shows come to life as Dolls for all to enjoy. Here's the classy stars of the hit comedy mystery adventure Remington Steele. The handsomely dashing Pierce Brosnan as Mr. Steele (James Bond 007) and the elegantly smart Stephanie Zimbalist as Laura Holt both created by Artist Laurie Everton.

Remington Steele is an American television series co-created by Robert Butler and Michael Gleason. The series, starring Stephanie Zimbalist and Pierce Brosnan, was produced by MTM Enterprises and first broadcast on the NBC network from 1982 to 1987. The series blended the genres of romantic comedy, drama, and detective procedural. Remington Steele is best known for launching the career of Pierce Brosnan and for serving as a forerunner of the similar series Moonlighting.

Remington Steele's premise is that Laura Holt, a licensed private detective played by Stephanie Zimbalist, opened a detective agency under her own name but found that potential clients refused to hire a woman, however qualified. To solve the problem, Laura invents a fictitious male superior whom she names Remington Steele. Through a series of events that unfold in the first episode, License to Steele Pierce Brosnan's character, a former thief and con man whose real name is never revealed, assumes the identity of Remington Steele. Behind the scenes, Laura remains firmly in charge.

Any history of American television in the 1980s will conclude that TV drama underwent a significant evolution in both content and styles of storytelling.[ Remington Steele is best known for launching the career of Pierce Brosnan and for serving as a forerunner of the similar, edgier series Moonlighting, and was also an influential part of television history in its own right. Recent evaluations, in the wake of the series' full release on DVD, conclude that Steele was solidly crafted, well-acted and groundbreaking in its own way. Other recent evaluations have also noted that series has aged better than some other series of its time, perhaps due to the timelessness of its central theme.

Steele was a unique hybrid of romantic comedy, drama, and detective procedural that paid homage to Hollywood movies of the 1930s and 1940s, drawing particularly from screwball comedy in the romantic storyline, while often referencing film noir in the mystery storylines. It subverted 1970s detective show conventions by telling its stories from the point of view of an independent, professional woman. At a time when hour-long series were serious and half-hour series were humorous, Steele incorporated multiple styles of comedy into the standard detective format. It pioneered the slowly evolving will they or won't they" relationship arc that is now common to television drama of all genres. Furthermore, Steele’s unusual premise allowed it to explore themes of personal identity and role-playing in strikingly complex ways. As critic Jaime Weinman concludes, Remington Steele is a great hybrid of detective story and romance because it treats romance as similar to detective work: it's about finding out what the other person is hiding.

Many female fans see Laura Holt as a hero and a role model. In an interview recorded in 2005 for a DVD special feature, Remington Steele co-creator Michael Gleason and star Stephanie Zimbalist discuss the large number of women who have approached them over the years to express their appreciation for the character of Laura Holt. Speaking of the women she meets, Zimbalist said They are extraordinary women…. They are interesting. They do interesting things. They are smart. They're independent. They're sort of, what my character was – and I meet them all the time. Also in 2005, Robin Rauzi published an article in the Los Angeles Times saying that Laura Holt was her hero. In a subsequent interview Rauzi elaborated, saying that Laura "was one of the only examples of an unmarried modern career woman on TV that I could identify with at that time" and that Laura "didn’t seem that far away from who I was and who I could be." Rauzi concludes, "I’ve decided to stop being embarrassed to say Remington Steele changed my life. It did and for the better."

Glenn Gordon Caron, creator of Moonlighting, was a writer and producer of Remington Steele during its first ten episodes and left the series to pursue other opportunities. In addition to Caron, many other successful television writers worked on Steele early in their career, later becoming producers and showrunners on other series, including Lee David Zlotoff (MacGyver), Jeff Melvoin (Northern Exposure, Alias), Brad Kern (Charmed, Lois & Clark) John Wirth (Picket Fences, Nash Bridges) and the team of Kerry Lenhart and John J. Sakmar. In a DVD special feature included on the Season 3 compilation, several of these Remington Steele writers credit Michael Gleason as a mentor, with Kerry Lenhart saying that Gleason taught him that television "writing could be a worthwhile and noble endeavor." In the same feature, Kern states that Gleason challenged them to do something that had not been done before and Melvoin says that Gleason "remains the biggest influence in my professional life." Melvoin and Wirth have edited a guide to writing for prime time episodic television for the Writer's Guild of America - west in an effort to continue Gleason's tradition of mentoring young writers.

Remington Steele’s initial premise was conceived in 1969 by long-time television director Robert Butler as a series featuring a solo female private investigator. Butler pitched the idea to Grant Tinker before he was head of MTM, but Tinker felt the series was ahead of its time. In January 1980, following the success of several sitcoms featuring working women, including the groundbreaking Mary Tyler Moore Show, Butler and Tinker, now head of MTM, revived the concept. MTM Vice President of Programming Stu Erwin felt Butler's concept was only "half a show" and suggested that Butler work with veteran writer Michael Gleason to expand the premise. Imagining Holt’s fictional boss, Gleason proposed to Butler, Wouldn’t it be great if he showed up and made her crazy? In 1981, Gleason, Butler, Erwin and Tinker pitched the series to NBC, and were initially rejected by executives who didn't "get" the premise. Shortly thereafter, Tinker left MTM to become chairman of NBC, then the number three network, and subsequently a pilot was ordered.

Stephanie Zimbalist, an established actress with roles in several television movies, was approached for the role of Laura Holt. She first turned the series down, not wishing to be tied down to one show, but had a late night change of heart. Pierce Brosnan auditioned for the role of Remington Steele, but was initially refused by NBC executives who were concerned that Brosnan was a relative unknown in America. MTM's Stu Erwin stood firm in a face to face meeting with NBC executive Brandon Tartikoff and Tartikoff relented.

Originally, NBC asked for pilot that imagined the series six months into its run, with the characters already working together in the detective agency. This pilot was produced in February and March 1982, and was eventually aired with revisions as Tempered Steele. NBC had some concerns about audience confusion over this episode, but ultimately agreed to schedule the series for the 1982-83 season. NBC also asked for a premise pilot which told the story of how Laura Holt met the man who became Remington Steele. This second pilot, License to Steele, became the first episode aired in the series.

Although part of the show's appeal was the sexual tension between the main characters, in real life the production was dogged for years by rumors that its two leads did not get along. Brosnan and Zimbalist have admitted some level of personal conflict in press interviews during and since, attributing some of it to the stress of long working hours, while also maintaining that it did not impact their ability to work together. Whatever discord there may have been at the time of production, Brosnan and Zimbalist speak fondly of one another in more recent interviews, and are occasionally in touch. In an interview included on the DVD release of Season 1, Brosnan says they did get along and trusted one another professionally. Brosnan also praises Zimbalist's acting on his official web site, saying that he would work with her again on the right project. Zimbalist returned the compliment in a 2011 interview with the New Jersey Star-Ledger, saying Pierce Brosnan is a very sweet man.

Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America.

"Jerry Uelsmann is said to be one of the few select group of artists who can be said to have altered the very language of their discipline. Through the use of composite print, this brilliant technician has invented a unique poetic universe that has extended the definition of what is photographic." [1]

Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career.[2]

Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work.

Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography.

Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[3]

His photographs can be seen in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

en.wikipedia.org/wiki/Jerry_Uelsmann

Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a Fellow of the Royal Photographic Society of Great Britain, a founding member of the Society of Photographic Education and a former trustee of the Friends of Photography. Uelsmann's work as been exhibited in more than 100 individual shows in the United States and abroad over the past forty years. His photographs are in the permanent collections of many museums world wild, including the Metropolitan Museum of Art and the Museum of Modern Art in New York , the Chicago Art Institute, the Samuel P. Harn Museum in Gainesville, the International Museum of Photography and the George Eastman House, the Victoria and Albert Museum in London, the Bibliptheque National in Paris, the National Museum of American Art in Washington, the Moderna Museet in Stockholm, the National Gallery of Canada, the National Gallery of Australia, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center of Creative Photography at the University of Arizona, the Tokyo Metropolitan Museum of Photography, the National Museum of Modern Art in Kyoto, and the Museum of Photography in Seoul, Korea.

www.peterfetterman.com/artists/jerry-uelsmann/

s/n 1039GT

250 bhp at 7,000 rpm, 2,953 cc SOHC alloy block-and-head V-12 engine, triple Weber carburettors, four-speed manual gearbox, independent front suspension with A-arms and coil springs, live rear axle with semi-elliptic leaf springs, and four-wheel hydraulic drum brakes. Wheelbase: 2,600 mm

• One of the most desirable competition-bred Ferraris extant

• Alloy coachwork and V-12 power

• Desirable covered headlamps; one of 36 “single-louver” examples

• Ferrari Classiche-certified and matching numbers

• Restoration by marque specialists in Italy

The Ferrari 250 GT Berlinetta not only has breathtaking looks, it remains arguably the greatest and most important Ferrari road/racing car ever built. Its forerunner was the 250 MM, so-named after the famous Mille Miglia race, which hard-charging Italian hillclimb champion Giovanni Bracco won for Ferrari in 1952. That achievement, plus Ferrari’s first World Driver’s Championship win with Alberto Ascari driving the Type 500 and the company’s first collaboration with Pinin Farina (the 212 Inter cabriolet) combined to make the year 1952 a particularly significant one in the marque’s history.

THE 250 GT LWB BERLINETTA

The last 250 MMs had been built by 1954, and work began on what would become the 250 GT Berlinetta Tour de France. A new strengthened 2,600-mm tubular chassis was equipped with a modern wishbone/coil-spring suspension and the Colombo Tipo 112 “short-block” V-12 engine. Subsequently, this engine was developed further and re-designated Tipo 128B, C and D. Three more 250 GTs similar to the 250 MM followed the prototype Pinin Farina-bodied Berlinetta, 0369 GT, between April and July 1955.

That October, another car was shown at the Paris Salon and was the first design with many side louvers set within the rear sail-panels. Pinin Farina made two more prototypes, one of which was owned by the Marquis de Portago from Spain. At Nassau in December 1955, he scored the first victory for the car, a record that would reach epic proportions by the end of the decade. The Le Mans tragedy of 1955, where Peter Levegh’s Mercedes flew into a crowd of spectators, killing 80 and injuring another 200, prompted the creation of a new Gran Turismo category with an engine capacity of 3.0 litres, which would play directly into Ferrari’s hands in 1956.

Not to be outdone by Pinin Farina, Scaglietti appeared at the 1956 Geneva Motor Show with their own 250 GT prototype, which became known as the limited production, Series I, “14-louvre” 250 GT Berlinetta. The first production car was built in November 1956, and production was now the responsibility of Scaglietti in Modena.

There were five series of 250 GT Berlinettas in all. From mid-1957, the Series II cars were introduced, with three louvers and covered headlights. Just 15 were produced. Series III numbered 36 cars; these retained the covered headlights but had just a single vent louver. In 1959, eight single-louver cars were built with open headlights, a new Italian requirement. Zagato also made five superlight cars.

The real start of the 250 GT Berlinetta’s competition career began in 1956, and the car went on to win more races than either of its legendary successors, the 250 GT SWB and the GTO. Olivier Gendebien won the GT class in the Tour of Sicily at the beginning of 1956, but that year’s Tour de France was 250 GT Berlinetta’s most important race and propelled the car into the annals of motorsport history.

The Tour de France took five or six days and covered almost 5,000 gruelling kilometres around France, sometimes venturing into Italy, Belgium or Germany. The race consisted of up to six circuit races, two hillclimbs and a sprint. In 1956, in de Portago’s first attempt, with Edmund Nelson as co-driver in his Ferrari, he took the victory with Stirling Moss in a Mercedes 300SL second and Gendebien third in the first Pinin Farina ex-works development car, 0357 GT. With this win, ‘Fon’ de Portago earned the Ferrari 250 GT Berlinetta its enduring sobriquet, the Tour de France. In the hands of Olivier Gendebien, the 250 GT Tour de France was victorious for the next three straight years in the race whose name the car had now unofficially taken, and the car and its enviable competition record remain the stuff of legends today.

CHASSIS 1039 GT

The example offered here, 1039 GT, was supplied new via US Ferrari Importer Luigi Chinetti Motors of Greenwich, Connecticut to its first owner Hastings Harcourt of Santa Barbara, California on 26 November, 1958. Mr. Harcourt was the heir and owner of Harcourt Brace, the well known book publisher. Of particular note, 1039 GT is one of the 39 competition 250 GT LWB Berlinettas originally produced by Ferrari with all-alloy bodywork, the single vent and the desirable covered-headlamp configuration.

1039 GT remained in America for most of its life, and during this phase, it changed hands amongst a number of American collectors, as documented by Ferrari historian Marcel Massini. Early in its life in the United States, Ford units replaced the original engine and gearbox. The original 250 series V-12 engine was later reunited with the TdF, as confirmed by the Ferrari Classiche certification. In 1974, Charles W. Betz and Fred Peters of Orange, California acquired 1039 GT and re-united the TdF with its original Ferrari 250 series V-12 engine and gearbox.

The rare Ferrari remained in America for many years thereafter and was successfully campaigned a number of times at the world-famous Monterey Historic Automobile Races in Laguna Seca during the 1980s. In the early 1990s, 1039 GT was sold to Switzerland, and there, it joined an important Swiss-based private automobile collection. The prominent owner used the car sparingly in Switzerland and abroad, when it was driven on the Tour Auto in 1997 and in 1999. He retained 1039 GT for many years, and in 2005, it was certified by the Ferrari Classiche program, which confirms that the car retains its engine and all of its main components the way it was built by the factory, and therefore, it is indeed a true matching-numbers example.

The car was restored in Italy by some of the finest recognised Ferrari specialists in the Modena area, the birthplace of Ferrari. The engine was entrusted to Diena, who performed a full rebuild, Bacchelli & Villa handled the coachwork, and the interior was entrusted to the respected Selleria Luppi. Upon completion of the restoration, the car was tested and featured in Octane in January 2006, marking a thoroughly enjoyable and particularly satisfying drive for the magazine’s testers.

From Switzerland, the car was sold to its next and current English owner in late 2005, who is himself a fastidious collector. Upon acquisition of the car, he enrolled and was accepted to participate in that year’s edition of the Mille Miglia. Demanding perfection of all of the cars within his collection, the current owner recently commissioned UK-based Ferrari specialists GTO Engineering to perform a full, no-expense-spared service on 1039 GT at a cost of over GBP 10,000. Any mechanical part that was at all worn was changed, and as offered now, the 1039 GT runs beautifully and stands ready to be enjoyed. Of course, with its legendary pedigree, it will surely be welcomed at most any event the new owner chooses to enter.

RM Auctions has recently inspected the car, and we can confirm that 1039 GT presents very well. Some of the world’s premier Ferrari experts carried out its restoration, and it still shows today. The bodywork is straight, and the doors display proper fit. The paintwork is near-perfect, and the correctly trimmed tan leather upholstery presents beautifully, a true mark of Luppi’s workmanship, with the crackle-finished dash giving 1039 GT a true competition feel when you slip behind the wheel. The outside fuel filler, covered headlamps and single louver give the car an undeniable competition-bred presence, and as offered today, 1039 GT is correct in every way—a fact confirmed not only by marque specialists but also by the all-important Ferrari Classiche certification binder that accompanies it. Truly rare, purposefully beautiful and capable of performance that remains very impressive even today, this 250 GT Tour de France Berlinetta is steeped in Ferrari’s rich competition legacy and very capably represents one of the most highly coveted Ferrari models ever built.

[Text from RM Auctions]

www.rmauctions.com/lots/lot.cfm?lot_id=851162

This Lego miniland-scale Ferrari 250 GT LWB Berlinetta 'Tour de France' (1958 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.

This particular vehicle was auctioned by the RM Auction house on Wednesday, October 26, 2012, where it sold for 2,240,000 British Pounds (US$3.342,080).

+++ 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 Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.

The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.

The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)

Height: 8 ft 1 1/2 in (2.48 m)

Wing area: 150 sq ft (13.9 m2)

Empty weight: 2,848 lb (1,292 kg)

Loaded weight: 5,400 lb (2,448 kg)

Powerplant:

2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each

Performance:

Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)

Never exceed speed: 518 mph (450 knots, 834 km/h)

Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)

Stall speed: 69 mph (60 knots, 111 km/hr)

Endurance: 2.5 hr

Service ceiling: 30,000 ft (9,145 m)

Rate of climb: 1,900 ft/min (9.7 m/s)

Armament:

2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)

2x optional wing tip tanks

The kit and its assembly:

The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!

The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).

A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.

The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:

- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane

- The tail booms and fins come from a Revell Focke Wulf Flitzer

- The stabilizer was created from two Hobby Boss He 162 tail elements

- Propellers come from a vintage, box scale Revell Convair Tradewind

- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’

- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts

- The main wheels are bigger, from a Matchbox Folland Gnat

Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.

The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.

Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...

Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?

Painting and markings:

I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.

The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.

The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.

An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)

Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

+++ 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 Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.

The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.

The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)

Height: 8 ft 1 1/2 in (2.48 m)

Wing area: 150 sq ft (13.9 m2)

Empty weight: 2,848 lb (1,292 kg)

Loaded weight: 5,400 lb (2,448 kg)

Powerplant:

2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each

Performance:

Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)

Never exceed speed: 518 mph (450 knots, 834 km/h)

Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)

Stall speed: 69 mph (60 knots, 111 km/hr)

Endurance: 2.5 hr

Service ceiling: 30,000 ft (9,145 m)

Rate of climb: 1,900 ft/min (9.7 m/s)

Armament:

2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)

2x optional wing tip tanks

The kit and its assembly:

The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!

The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).

A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.

The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:

- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane

- The tail booms and fins come from a Revell Focke Wulf Flitzer

- The stabilizer was created from two Hobby Boss He 162 tail elements

- Propellers come from a vintage, box scale Revell Convair Tradewind

- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’

- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts

- The main wheels are bigger, from a Matchbox Folland Gnat

Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.

The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.

Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...

Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?

Painting and markings:

I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.

The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.

The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.

An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)

Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!

Goliath was a German car brand started in 1928 and which was part of the Borgward group. Goliath was based in Bremen and specialized in three-wheeler cars and trucks and medium-sized cars.

The company Goliath-Werke Borgward & Co. was created by Carl F. W. Borgward and Wilhelm Tecklenburg in 1928. The first models were three-wheelers trucks derived from the Blitzkarren previously built by Borgward. The first passenger car was the Goliath Pionier in 1931, which still had three wheels and a one-cylinder engine. Until 1934, 4000 of these small cars where produced in various types of body. The Pionier was considered as a forerunner of the Hansa models 400 and 500.

These were front-wheel-drive two-door sedans.

Goliath GP700 (1950–1957) — two-cylinder, inline, two-stroke, water-cooled, transverse engine (anticipating the Mini and many recent cars). In 1952 introduced Bosch direct fuel injection, around the same time as the Gutbrod Superior 600; they were the first two cars to use this technology.

Goliath GP900 (1955–1957) — two-cylinder, inline two-stroke, water-cooled, transverse engine, Bosch direct fuel injection.

Goliath 1100 (1957–1958) — four-cylinder opposed four-stroke water-cooled engine

Light trucks

Goliath GD750 three-wheeler (1949–1955)

Goliath Dreirad (1955–1961)

Goliath GV800 (1951–1953)

Goliath Empress (1953–1961)

(Wikipedia)

- - -

Zusammen mit seinem Partner, dem Kaufmann Wilhelm Tecklenborg, gründete Carl F. W. Borgward 1928 die Firma Goliath-Werke Borgward & Co.. Aufgrund eines Gesetzes von 1928 durften Kraftfahrzeuge mit weniger als vier Rädern und einem Hubraum von weniger als 350 Kubikzentimetern ohne Führerschein gefahren werden und waren steuerfrei.

Bis 1934 wurden ca. 4000 dieser Kleinstwagen in verschiedenen Karosserievarianten verkauft. Der Pionier gilt als Vorläufer der heckgetriebenen Hansa-Modelle 400 und 500.

1944 hatten amerikanische Bomber das Werk zerstört. Doch schon wenige Monate nach Kriegsende begann der Wiederaufbau, um zunächst Handwagen und Fahrradanhänger zu bauen.

Im September 1949 wurde die Goliath-Werk G.m.b.H. als eigenständige Firma der Borgward-Gruppe gegründet.

1949 brachte Goliath den Dreirad-Transporter GD 750 (750 kg Nutzlast) auf den Markt, der mit einem Preis von zunächst 3425,00 DM bei kleinen Gewerbetreibenden großen Anklang fand und schnell zu einem Verkaufserfolg wurde. 1950 kam die Limousine Goliath GP 700 heraus.

Ab 1958 wurden die Goliath-PKW-Modelle unter dem Namen Hansa 1100 verkauft, um von dem Zweitakt- und Dreiradimage wegzukommen.

(Wikipedia)

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

829

Forerunner of Smiths Instruments ??

a british magazine advert - 1913c

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

The Halifax Gibbet was the forerunner of the guillotine. In fact, the guillotine was inspired by the Halifax Gibbet with the former working on the same principal as the latter. The principal of the guillotine – a sharp-bladed instrument being held above and then dropped some distance from a condemned person’s neck – was first used in Medieval England. It is believed that this method of execution was first used in Halifax – hence its name – in the C13th. A law known as the Gibbet Law gave the Lord of the Manor for Halifax the power to condemn someone to death by the Halifax Gibbet if they were found guilty of stealing something that was worth more than 13p. The first recorded use of the Halifax Gibbet was in 1286 when John of Dalton was executed – though no records survive to explain what he was guilty of.

The Halifax Gibbet was a wooden structure that was 15 feet high with an axe shaped blade at the top. This was held up by a rope. Once the condemned prisoner had been securely fastened, the executioner would cut the rope. In theory, the weight of the blade and the speed at which it fell would decapitate the condemned. The Halifax Gibbet was used on markets days. This would ensure many people were in the town to witness the execution and the hope was that the fearsome sight of the Gibbet would act as a deterrent to those who might have considered a life of crime. If a condemned prisoner escaped on the day of his/her execution and crossed outside of the town’s boundary, he/she was safe as long as the condemned never returned to Halifax. John Lacey, in the reign of James I, did escape on the day of his execution. He returned to the town in 1623, a full seven years after the year he should have been executed. Lacey was recognised, arrested and executed on the Gibbet. The Halifax Gibbet was last used in 1650. The first recorded use of what was known as the guillotine was in 1789.

www.historylearningsite.co.uk/halifax_gibbet.htm

One of the world's favorite TV Detective Shows come to life as Dolls for all to enjoy. Here's the classy stars of the hit comedy mystery adventure Remington Steele. The handsomely dashing Pierce Brosnan as Mr. Steele (James Bond 007) and the elegantly smart Stephanie Zimbalist as Laura Holt both created by Artist Laurie Everton.

Remington Steele is an American television series co-created by Robert Butler and Michael Gleason. The series, starring Stephanie Zimbalist and Pierce Brosnan, was produced by MTM Enterprises and first broadcast on the NBC network from 1982 to 1987. The series blended the genres of romantic comedy, drama, and detective procedural. Remington Steele is best known for launching the career of Pierce Brosnan and for serving as a forerunner of the similar series Moonlighting.

Remington Steele's premise is that Laura Holt, a licensed private detective played by Stephanie Zimbalist, opened a detective agency under her own name but found that potential clients refused to hire a woman, however qualified. To solve the problem, Laura invents a fictitious male superior whom she names Remington Steele. Through a series of events that unfold in the first episode, License to Steele Pierce Brosnan's character, a former thief and con man whose real name is never revealed, assumes the identity of Remington Steele. Behind the scenes, Laura remains firmly in charge.

Any history of American television in the 1980s will conclude that TV drama underwent a significant evolution in both content and styles of storytelling.[ Remington Steele is best known for launching the career of Pierce Brosnan and for serving as a forerunner of the similar, edgier series Moonlighting, and was also an influential part of television history in its own right. Recent evaluations, in the wake of the series' full release on DVD, conclude that Steele was solidly crafted, well-acted and groundbreaking in its own way. Other recent evaluations have also noted that series has aged better than some other series of its time, perhaps due to the timelessness of its central theme.

Steele was a unique hybrid of romantic comedy, drama, and detective procedural that paid homage to Hollywood movies of the 1930s and 1940s, drawing particularly from screwball comedy in the romantic storyline, while often referencing film noir in the mystery storylines. It subverted 1970s detective show conventions by telling its stories from the point of view of an independent, professional woman. At a time when hour-long series were serious and half-hour series were humorous, Steele incorporated multiple styles of comedy into the standard detective format. It pioneered the slowly evolving will they or won't they" relationship arc that is now common to television drama of all genres. Furthermore, Steele’s unusual premise allowed it to explore themes of personal identity and role-playing in strikingly complex ways. As critic Jaime Weinman concludes, Remington Steele is a great hybrid of detective story and romance because it treats romance as similar to detective work: it's about finding out what the other person is hiding.

Many female fans see Laura Holt as a hero and a role model. In an interview recorded in 2005 for a DVD special feature, Remington Steele co-creator Michael Gleason and star Stephanie Zimbalist discuss the large number of women who have approached them over the years to express their appreciation for the character of Laura Holt. Speaking of the women she meets, Zimbalist said They are extraordinary women…. They are interesting. They do interesting things. They are smart. They're independent. They're sort of, what my character was – and I meet them all the time. Also in 2005, Robin Rauzi published an article in the Los Angeles Times saying that Laura Holt was her hero. In a subsequent interview Rauzi elaborated, saying that Laura "was one of the only examples of an unmarried modern career woman on TV that I could identify with at that time" and that Laura "didn’t seem that far away from who I was and who I could be." Rauzi concludes, "I’ve decided to stop being embarrassed to say Remington Steele changed my life. It did and for the better."

Glenn Gordon Caron, creator of Moonlighting, was a writer and producer of Remington Steele during its first ten episodes and left the series to pursue other opportunities. In addition to Caron, many other successful television writers worked on Steele early in their career, later becoming producers and showrunners on other series, including Lee David Zlotoff (MacGyver), Jeff Melvoin (Northern Exposure, Alias), Brad Kern (Charmed, Lois & Clark) John Wirth (Picket Fences, Nash Bridges) and the team of Kerry Lenhart and John J. Sakmar. In a DVD special feature included on the Season 3 compilation, several of these Remington Steele writers credit Michael Gleason as a mentor, with Kerry Lenhart saying that Gleason taught him that television "writing could be a worthwhile and noble endeavor." In the same feature, Kern states that Gleason challenged them to do something that had not been done before and Melvoin says that Gleason "remains the biggest influence in my professional life." Melvoin and Wirth have edited a guide to writing for prime time episodic television for the Writer's Guild of America - west in an effort to continue Gleason's tradition of mentoring young writers.

Remington Steele’s initial premise was conceived in 1969 by long-time television director Robert Butler as a series featuring a solo female private investigator. Butler pitched the idea to Grant Tinker before he was head of MTM, but Tinker felt the series was ahead of its time. In January 1980, following the success of several sitcoms featuring working women, including the groundbreaking Mary Tyler Moore Show, Butler and Tinker, now head of MTM, revived the concept. MTM Vice President of Programming Stu Erwin felt Butler's concept was only "half a show" and suggested that Butler work with veteran writer Michael Gleason to expand the premise. Imagining Holt’s fictional boss, Gleason proposed to Butler, Wouldn’t it be great if he showed up and made her crazy? In 1981, Gleason, Butler, Erwin and Tinker pitched the series to NBC, and were initially rejected by executives who didn't "get" the premise. Shortly thereafter, Tinker left MTM to become chairman of NBC, then the number three network, and subsequently a pilot was ordered.

Stephanie Zimbalist, an established actress with roles in several television movies, was approached for the role of Laura Holt. She first turned the series down, not wishing to be tied down to one show, but had a late night change of heart. Pierce Brosnan auditioned for the role of Remington Steele, but was initially refused by NBC executives who were concerned that Brosnan was a relative unknown in America. MTM's Stu Erwin stood firm in a face to face meeting with NBC executive Brandon Tartikoff and Tartikoff relented.

Originally, NBC asked for pilot that imagined the series six months into its run, with the characters already working together in the detective agency. This pilot was produced in February and March 1982, and was eventually aired with revisions as Tempered Steele. NBC had some concerns about audience confusion over this episode, but ultimately agreed to schedule the series for the 1982-83 season. NBC also asked for a premise pilot which told the story of how Laura Holt met the man who became Remington Steele. This second pilot, License to Steele, became the first episode aired in the series.

Although part of the show's appeal was the sexual tension between the main characters, in real life the production was dogged for years by rumors that its two leads did not get along. Brosnan and Zimbalist have admitted some level of personal conflict in press interviews during and since, attributing some of it to the stress of long working hours, while also maintaining that it did not impact their ability to work together. Whatever discord there may have been at the time of production, Brosnan and Zimbalist speak fondly of one another in more recent interviews, and are occasionally in touch. In an interview included on the DVD release of Season 1, Brosnan says they did get along and trusted one another professionally. Brosnan also praises Zimbalist's acting on his official web site, saying that he would work with her again on the right project. Zimbalist returned the compliment in a 2011 interview with the New Jersey Star-Ledger, saying Pierce Brosnan is a very sweet man.

The series was cancelled at the end of the 1985–86 television season, although it still had a 28% share of the audience in its time slot. According to Michael Gleason, Brandon Tartikoff's decision to give an early pick-up to the Stephen J. Cannell series Hunter left no room on the NBC schedule for Remington Steele. Two months after the cancellation, NBC executive Warren Littlefield reversed the decision, responding to an outpouring of support from fans and a sharp upswing in the show's ratings during the summer of 1986.

The cancellation and reversal impacted film roles for both Brosnan and Zimbalist. Albert R. "Cubby" Broccoli offered Brosnan the part of James Bond for the film The Living Daylights. Following NBC's reversal, Broccoli stated he did not want Bond to be identified with a current TV series, and instead gave the role to Timothy Dalton. Brosnan finally became 007 in 1995, making his debut in the film GoldenEye. Zimbalist accepted the role of Officer Anne Lewis in the science-fiction movie RoboCop and was forced to pull out of that production.

NBC reversed the cancellation, but did not slot a full twenty-two episode season into their schedule. The final abbreviated season consisted of six hours of made-for-TV films broadcast in early 1987, including installments filmed on location in Mexico, London, and Ireland. Jack Scalia joined the cast as a rival for Laura's affections. The circumstances surrounding Steele's birth as well as the identity of Steele's father are revealed in the final episode. The final scene of the series implied that Steele and Laura were about to consummate their relationship.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

+++ 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 Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.

The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.

The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)

Height: 8 ft 1 1/2 in (2.48 m)

Wing area: 150 sq ft (13.9 m2)

Empty weight: 2,848 lb (1,292 kg)

Loaded weight: 5,400 lb (2,448 kg)

Powerplant:

2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each

Performance:

Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)

Never exceed speed: 518 mph (450 knots, 834 km/h)

Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)

Stall speed: 69 mph (60 knots, 111 km/hr)

Endurance: 2.5 hr

Service ceiling: 30,000 ft (9,145 m)

Rate of climb: 1,900 ft/min (9.7 m/s)

Armament:

2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)

2x optional wing tip tanks

The kit and its assembly:

The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!

The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).

A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.

The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:

- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane

- The tail booms and fins come from a Revell Focke Wulf Flitzer

- The stabilizer was created from two Hobby Boss He 162 tail elements

- Propellers come from a vintage, box scale Revell Convair Tradewind

- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’

- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts

- The main wheels are bigger, from a Matchbox Folland Gnat

Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.

The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.

Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...

Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?

Painting and markings:

I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.

The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.

The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.

An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)

Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!

Sacher cake

180 years is the Sachertorte old. It belongs so inextricably to Vienna as St. Stephen's Cathedral and the Vienna Boys' Choir. The chocolate cake with apricot jam and chocolate icing is probably the most famous cake in the world and in Austria a national institution. The secret of its pleasant taste lies in the simplicity of its composition and the perfect proportions of its ingredients. The original recipe by the Hotel Sacher is kept like a state secret. Currently, every year are produced around 300,000 original Sacher cakes by the Hotel Sacher. And because this is partly performed by hand, for this 21 pastry chefs and 25 packers are required. According to Adam Riese, representing about 40 pies per day and confectioner. The consumption of apricot jam alone lies by 70 tons per year.

The history of the Sacher Torte began in 1832 when Prince Metternich for the wedding of a friend of his, a painter, ordered his court kitchen to create a special dessert for his celebrity guests. "But that he did not bring shame on me, tonight!" the prince is supposed to have said to his head cook. Because this one but became ill (some sources say that he had shirked his responsibility), the last person in charge remained the 16-year-old pastry apprentice Franz Sacher (1816-1907).

So Franz Sacher invented the forerunner of future Sachertorte. Both the prince and his guests were wowed by the result. As trained cook, Franz Sacher after a few years of professional experience made himself independent and worked for the time being in Bratislava and then for a time on Danube ships between Vienna and Budapest. In 1848, he returned to Vienna and opened here a deli. Soon the chocolate cake of Franz Sacher became a bestseller.

Really famous became the Sachertorte only by Sacher's son Eduard Sacher (1843-1892) who during his training at the kuk Court Sugar Bakery Demel completed the indivual preparation of the pie in the form as we known it today. The Sachertorte was initially offered as an Original Sacher-Torte at Demel and later also in the by Eduard Sacher in the year 1876 founded Hotel. Decisive for the success of the hotel was Anna Sacher (1859-1930), the widow of Eduard Sacher, an energetic woman who not only smoked cigars but also knew how to inspire Vienna's "High Society" for herself and her hotel.

After the death of Anna Sacher and the bankruptcy of the hotel in 1934, the latter was sold and Eduard's son bearer of the same forename remained only the recipe of the Original Sacher-Torte, which he transferred to the Patisserie Demel.

Sachertorte

1938 saw the first disagreement with the new owners of the hotel who introduced the street sale of Sacher-Torte and had registered the designation of "Original Sacher-Torte" as a trademark. Thereupon, flared up between the pastry shop Demel and the Hotel Sacher a dispute over the right to the name.

In the decades ongoing lawsuits, also the authenticity of the individual preparation was a central point, namely the question whether the mandatory layer of apricot jam only should be spread under the chocolate icing (standpoint of Patisserie Demel) or if there had to be a second one in the middle of the cake (point of view of Hotel Sacher), and whether margarine should be mixed.

The famous journalist and writer Friedrich Torberg, who was a regular guest both in Demel as well at the Hotel Sacher, testified in court that the Sachertorte during the lifetime of Anna Sacher certainly not had a jam layer in the middle.

The legal wrangling extended through all instances. In 1963, finally, an agreement was reached out of court, as the Supreme Court Solomon-like differentiated between "real" and "original-cake": The Sacher Torte of Hotel Sacher from then on is allowed to display a round seal with the label "Original Sacher-Torte" while Demel a triangular seal "Eduard-Sacher-Torte" shows. Both Sacher cakes differ mainly by their jam layers. The Hotel Sacher-variant has two jam layers below the chocolate coating and in the center of the pie while the Demel version has only a jam layer below the chocolate coating.

Preparation

But Viennese people can be very rebellious when the authority wants to dictate them something. They have taken sides and vote with their feet by going to "Demel". Their Sacher-Torte is already referred to as the "real Sacher-Torte" in the vernacular.

The individual preparation of the "Original Sacher-Torte" is held by Hotel Sacher strictly under wraps. All the hotel's pastry chefs have signed that they do not pass on the recipe and are also not entitled to use it further on if they were to leave the company once. They assume liability. The products which are used to prepare the cake are created exclusively for the Hotel Sacher. The secret of the Sachertorte is not so much stuck in the ingredients but in the chocolate glaze, consisting of three special types of chocolate which are produced by various manufacturers especially for the Hotel Sacher, the exact mixing ratio being known only by Sacher-confectioners.

The fact that this recipe for success has found imitators, was to be expected. Everywhere in the world, is a chocolate cake that has been coated with one or more layers of apricot jam and covered with chocolate, called "Sachertorte". In Austria, but the lawmakers are more accurate. The term "Original Sacher-Torte" is a registered trademark that may be used exclusively by the Vienna Hotel Sacher. The term "Sachertorte" alone, but has now become a generic term which may be used for products which are produced according to the laid down in the Austrian Food Codex specifications.

Sachertorte

180 Jahre ist die Sachertorte alt. Sie gehört so untrennbar zu Wien wie der Stephansdom und die Wiener Sängerknaben. Die Schokoladentorte mit Marillenmarmelade und Schokoladenglasur ist vermutlich die berühm-tes-te Torte der Welt und in Österreich eine nationale Institution. Das Ge-heimnis ihres Wohlgeschmacks liegt in der Einfachheit ihrer Komposition und den perfekten Verhältnissen ihrer Zu-ta-ten. Das Originalrezept wird vom Hotel Sacher streng geheim gehalten. Zurzeit werden vom Hotel Sacher jedes Jahr etwa 300.000 Original-Sachertorten hergestellt. Und weil dies teilweise in Handarbeit ge-schieht, werden dafür 21 Konditoren und 25 Verpacker benötigt. Laut Adam Riese entspricht dies etwa 40 Torten pro Tag und Konditor. Allein der Verbrauch an Marillenmarmelade liegt bei 70 Tonnen pro Jahr.

Die Geschichte der Sachertorte begann im Jahr 1832, als Fürst Metternich zur Hochzeit eines befreundeten Malers seine Hofküche beauftragte, für seine prominenten Gäste ein besonderes Dessert zu erschaffen. "Dass er mir aber keine Schand’ macht, heut Abend!" soll der Fürst zu seinem Chefkoch gesagt haben. Weil dieser aber krank wurde (manche Quellen behaupten, er habe sich vor der Verantwortung gedrückt), blieb die Aufgabe am 16-jährigen Kon-ditorlehrling Franz Sacher (1816–1907) hängen.

Foto von David Monniaux (GNU-Lizenz für freie Dokumentation)

So erfand Franz Sacher die Vorläuferin der zukünftigen Sachertorte. Sowohl der Fürst als auch seine Gäste waren vom Ergebnis hingerissen. Als aus-ge-lern-ter Koch machte sich Franz Sacher nach einigen Jahren Berufserfahrung selb-ständig und arbeitete zu-nächst in Pressburg und dann eine Zeit lang auf Do-nau-schiffen zwischen Wien und Budapest. 1848 kehrte er zurück nach Wien und eröffnete hier einen Feinkostladen. Bald wurde die Schokoladetorte des Franz Sacher ein Verkaufsschlager.

Wirklich bekannt wurde die Sachertorte erst durch Sachers Sohn Eduard Sacher (1843–1892), der während seiner Ausbildung beim k.u.k. Hof-zu-cker-bäcker Demel die Rezeptur der Torte in ihrer heute bekannten Form vollendete. Die Sachertorte wurde zunächst als Original Sacher-Torte beim Demel und erst später auch im von Eduard 1876 gegründeten Hotel Sacher angeboten. Entscheidend für den Erfolg des Hotels war Anna Sacher (1859-1930), die Witwe von Eduard Sacher, eine energische Frau, die nicht nur Zigarre rauchte, sondern auch Wiens "High Society" für sich und ihr Hotel zu begeistern wusste.

Nach dem Tod von Anna Sacher und dem Kon-kurs des Hotels im Jahr 1934, wurde letzteres verkauft und Eduards gleich-na-mi-gem Sohn blieb nur noch das Rezept der Original Sacher-Torte, das er der Konditorei Demel übertrug.

Sachertorte

Auf den Pfeil in der Mitte klicken

1938 kam es zu ersten Meinungsverschiedenheiten mit den neuen Besitzern des Hotels, die den Straßenverkauf der Sacher-Torte einführten und die Be-zeich-nung "Original Sacher-Torte" als Markenzeichen eintragen ließen. Da-rauf-hin entbrannte zwischen der Konditorei Demel und dem Hotel Sacher ein Streit um das Recht auf diesen Namen.

In den jahrzehntelang anhaltenden Prozessen ging es auch um die Echtheit der Rezeptur, nämlich darum, ob die obligatorische Schicht Marillen-Mar-me-la-de nur unter die Schokoladenglasur (Standpunkt der Konditorei Demel) ge-hö-re, oder ob es eine zweite in der Mitte der Torte (Standpunkt des Hotel Sa-cher) geben müsse, und ob Margarine beigemischt werden dürfe.

Der berühmte Journalist und Schriftsteller Friedrich Torberg, der sowohl im Demel als auch im Hotel Sacher Stammgast war, bezeugte vor Gericht, dass zu Anna Sachers Lebzeiten die Sacher-Tor-te keinesfalls eine Marme-la-den-schicht in der Mitter gehabt habe.

Die gerichtlichen Auseinandersetzungen erstreckten sich durch alle Instanzen. 1963 einigte man sich schließlich außergerichtlich, als das oberste Gericht sa-lo-monisch zwischen "echter" und "Original"-Torte differenzierte: Die Sa-cher-tor-te vom Hotel Sacher [] darf von da an ein rundes Siegel mit der Auf-schrift "Original Sacher-Torte" führen, während der Demel [] ein dreieckiges Siegel mit der Aufschrift "Eduard-Sa-cher-Torte" führt. Die beiden Sachertorten unterscheiden sich vor allem durch ihre Marmeladenschichten. Die Hotel-Sa-cher-Variante weist zwei Mar-me-la-den-schich-ten auf, unterhalb der Kuvertüre und in der Mitte der Torte, während die Demel-Version nur eine Marme-la-den-schicht unterhalb der Kuvertüre aufweist.

Zubereitung

Auf den Pfeil in der Mitte klicken

Aber die Wiener können sehr widerspenstig sein, wenn die Obrigkeit ihnen etwas vorschreiben will. Sie haben Partei ergriffen und stimmen mit den Fü-ßen ab, indem sie zum "Demel" gehen. Deren Sacher-Torte wird im Volks-mund längst als die "Echte Sacher-Torte" bezeichnet.

Die Rezeptur der "Original Sacher-Torte" wird vom Hotel Sacher streng unter Verschluss gehalten. Alle Konditoren des Hotels haben unterschrieben, dass sie das Rezept nicht weitergeben und auch nicht weiter verwenden dürfen, falls sie den Betrieb einmal verlassen sollten. Sie haften dafür. Die Produkte, die zur Herstellung der Torte verwendet werden, werden exklusiv für das Hotel Sacher erstellt. Das Geheimnis der Sachertorte soll nicht so sehr in den Zutaten stecken, sondern in der Schokoladenglasur, die aus drei besonderen Schokoladensorten bestehen, die von unterschiedlichen Herstellern extra für das Hotel Sacher produziert werden, wobei das genaue Mischverhältnis nur den Sacher-Konditoren bekannt ist.

Dass dieses Erfolgsrezept Nachahmer gefunden hat, war zu erwarten. Überall auf der Welt wird eine Schokoladetorte, die in einer oder mehre-ren Schichten mit Marillen-Mar-me-la-de bestrichen und mit Schoko-la-de über-zo-gen worden ist, "Sachertorte" genannt. In Österreich nimmt es der Gesetz-ge-ber aber ge-nau-er. Die Bezeichnung "Ori-gi-nal Sacher-Torte" ist ein ge-schütztes Marken-zei-chen, das ausschließlich vom Wiener Hotel Sacher ver-wen-det werden darf. Der Begriff "Sachertorte" allein, ist ber mittlerweile ein Gattungsbegriff ge-worden, der für Produkte verwendet werden darf, die nach den im Öster-rei-chi-schen Lebensmittelkodex festgehaltenen Angaben hergestellt werden.

www.mein-oesterreich.info/essen-und-trinken/sachertorte.htm

“The only motive that a sane man can have for entering Civic public life is a desire to render a real service, and that means constant work and great anxiety.” So said Frederick J. Conboy to city council in January of 1945, at the conclusion of four consecutive one-year terms as mayor of Toronto. Conboy’s time in office marked the apex of a long public-service career with roots in public-health dentistry.

Conboy graduated from the Royal College of Dental Surgeons‘ School of Dentistry (the forerunner of the University of Toronto’s Faculty of Dentistry) in 1904, and soon established a practice at the northeast corner of Bloor and Westmoreland. Conboy’s instructors included several established dentists who advocated for increased awareness of dental health and public-health education. Paediatric dental health was a particularly celebrated cause; for several decades, activists such as Dr. John G.C. Adams had been calling for the regular inspection of the teeth of local schoolchildren. In A History of Dentistry in Canada, D.W. Gullett writes that “year after year, dental organizations submitted resolutions or briefs to governments, pointing out the existing oral health of Canadian children and emphasizing the need for action.”

In 1909, Conboy won a seat as a school trustee. While also attending to other education business, one of Conboy’s earliest campaigns was for the Board of Education to recognize dentists’ certificates of illness with respect to absent teachers, arguing that a dentist’s certificate should count as much as a physician’s. It was during his time as a trustee that the school board introduced dental inspections; The Journal of the Ontario Dental Association later wrote that Conboy’s advocacy was “largely instrumental” in getting this service implemented. In addition to his dental interests, Conboy soon proved himself a skilled leader and administrator, and in January of 1912 he was elected chairman of the Board of Education, reportedly the youngest person to date to hold this position.

20150425Tely1925Jan29

Following his time as a school trustee, Conboy lectured at the School of Dentistry, and was soon an active member with many professional organizations and committees. During the First World War, he began contributing to the journal Oral Health, in part by editing “Pro Bono Publico,” a regular column that proclaimed to feature “dental information in a form suitable for publication in the public press.” Many of his contributions to Oral Health focussed on paediatric dentistry, and the role he believed that government had in ensuring universal access to dental care.

(Right: Frederick Conboy has been named Drector of Dental Services. The Evening Telegram, January 29, 1925.)

In 1923, Conboy served a term as president of the Ontario Dental Association, after which he assumed the role of the organization’s secretary-treasurer. Among other contributions to the ODA, he initiated and edited a monthly publication called The Booster, which later changed its name to The Journal of the Ontario Dental Association, and, subsequently, Ontario Dentist.

While serving as the Ontario Dental Association’s president, Conboy invited Dr. Forbes Godfrey, newly installed as Ontario’s first-ever Minister of Health, to speak at the ODA’s annual convention. Godfrey spoke of the need to promote oral health and vowed to establish a dental division within his portfolio. This promise came to fruition in 1925, when Godfrey named Conboy as Ontario’s director of dental services. The purpose of this new position, as stated by the Globe, was to apply “the modern science of preventive dentistry to the needs of the public generally, and to children of school age particularly.” Over the next 10 years, Conboy used this role to advance public dental health education throughout Ontario using a variety of methods.

An editorial in the following year’s Public Health Journal identified some of Conboy’s first projects as dental director, and praised his ability to get support from outside groups: “Life insurance companies have distributed pamphlets by thousands. Various clubs and welfare organizations have taken an interest….Advertisers and the press have cooperated in a most friendly way, and last, but not least, the dentists of the province have given a full measure of cooperation.”

In 1926, Conboy established October 20 as “Dental Health Day.” In addition to free dental clinics offered in Toronto, events reported in the Star included “radio talks, addresses to service clubs, and window displays,” as well as a “public dental health concert.” The Province also prepared an educational film that was distributed to Ontario movie theatres.

Group photo of members of the Ontario Dental Association, May 20, 1930. From left to right: Dr. T.F. Campbell of Galt; Dr. A.W. Ellis of Toronto; Dr. F.L. Henry of Oshawa; and Frederick L. Conboy of Toronto. City of Toronto Archives, Fonds 1266, Item 20334.

In 1928, Conboy introduced a dental booth at the Canadian National Exhibition, where visitors could receive free dental X-rays that were forwarded to their personal dentists back home. Following the initial success of the booth, it was expanded in subsequent years to include longer hours and free full-dental examinations. Describing the CNE booth in 1929, the Globe reported that Dr. Conboy and his staff were particular proud to discover “two sets of teeth almost perfect” in one day, the Globe adding, “Proudly the dentists pointed out the minute perfections as The Globe representative was permitted a view of the novelty.”

In an effort to encourage continuing education amongst professional dentists, Conboy helped organize a joint convention of the Ontario, Canadian, and British dental associations held in Toronto in 1932. The event—which also featured dentists from Australia and New Zealand—was held at the Royal York Hotel, and represented the first international dental convention for the entire British Empire. In addition to the requisite social activities and lectures, part of the Royal York was transformed into a tiered operating theatre where dentists could observe demonstrations of experts at work. The Evening Telegram described the setup thus:

“Dentists to right of them, dentists to left, back and front of them, dentists climbing all but inside them. This was the fate of the stalwarts who, acting as ‘mannequins’ for surgeons, submitted to operations in droves in the surgery of the Royal York….The hostelry’s $100,000 operating room was a hive of bustling excitement. Arranged in tiers up to the ceiling, was a ‘gallery’ of dentist-spectators, and down in the pit of the anaesthetic-laden chamber, man after man submitted, with smiles on their faces, to their teeth being probed and ground, pulled and twisted, hammered and jerked.”

Coverage of the 1932 joint dental convention. Conboy is in the group photo on the left, front row, far right. The Globe, August 9, 1932.

Conboy’s other activities as dental director were various. In December 1925, he announced a plan to help establish dental clinics in industrial factories, telling the Globe it was “poor policy for a manufacturer to install expensive machinery and neglect the importance of maintaining the efficiency of the machinist.” In 1933, the Star announced that Conboy planned to look at rugby in Ontario, and conduct a survey “to discover how many perfectly good teeth have been left behind by high school players, as well as the university and interprovincial league players.” His advocacy work included urging professional dentists to donate their time for the poor who could not afford their services. “Good health is the right of every boy and girl in the Province, and we must see to it that everything is done to ensure it,” he asserted in a speech reported by the Globe, the reporter adding that “smugly complacent dentists who are content to serve only those who can pay, ignoring unfortunate sufferers who are not in [the] favoured class, were censured by [Conboy].”

After serving as the Ontario dental director, Conboy turned his eye to municipal politics, and landed a seat on city council in 1935. Prior to the 1950s, Toronto held municipal elections on an annual basis; Conboy was reelected to Council the following year, after which he ran for and won a seat on Toronto’s elected executive committee, the Board of Control.

Conboy quickly proved a skilled and popular member of both city council and the board of control, gaining a reputation as a politician who got things done and worked well with his fellow officials. In addition to public-health advocacy, Conboy was noted for his support of the development of the Island airport and for his efforts in slum clearance.

Frederick Conboy at City Hall with visiting U.S. politician Wendell Willkie. City of Toronto Archives, Fonds 1244, Item 8109.

When incumbent Ralph Day announced he would not seek reelection in 1941, Conboy declared himself a candidate for mayor, promising improved financial administration and dedication to the war effort. All three major Toronto newspapers endorsed Conboy over fellow board of control member Douglas McNish, and Conboy was duly elected with more than 62 percent of the cast vote.

The Second World War dominated municipal issues during Conboy’s time in the mayor’s office. Conboy headed a delegation that helped secure the Sunnybrook Farm property as the site for a much-needed veterans’ hospital. The war years also saw a rise in venereal disease in Toronto, prompting Conboy to request $10,000 from city council to help contain its spread. Conboy, perhaps helped by being the son of a market gardener, also dedicated himself to the war effort by growing a victory garden that the Telegram described as “the envy of neighbours for blocks around him.”

Conboy’s other actions as mayor included efforts to improve public safety, resulting in increased street lighting and changes to the existing traffic laws. Reflecting on his time in his office, newspapers also noted his capable response to the 1944 snowstorm, and his work to improve the quality of housing in the city, all while managing to lower the City’s debt.

Frederick Conboy showing City Hall to stage and screen actress Anna Neagle. City of Toronto Archives, Fonds 1257, Series 1057, Item 3886.

After running unopposed for mayor in 1942 and 1943, and defeating the Co-operative Commonwealth Federation–affiliated Lewis Duncan in 1944, Conboy sought a fifth term in office, challenged by board of control member Robert Hood Saunders. Conboy and Saunders reportedly worked well together in municipal politics, and the Toronto press agreed that both were very similar candidates with good civic records. The Telegram renewed its endorsement of Conboy, but both the Star and the Globe and Mail, while praising Conboy’s work in office and admitting that Saunders and Conboy were very much alike and equally qualified for the post, opted to throw their support behind Saunders.

“The Globe and Mail believes that Dr. Conboy, after holding the office of chief magistrate for four years, might well concede the right of someone else to occupy this honourable—and exacting—post, and considers that Mr. Saunders merits the promotion,” ran one editorial. The Toronto Star went further: “Men who enter Toronto’s public life should be able to look forward to promotion if their abilities and services warrant it. If the path to promotion is blocked by the man ‘at the head of the line’ staying on and on and on and on—and still another ‘on,’ a fifth, if Conboy has his way—those who legitimately seek to move up are blocked. They shouldn’t be. The mayoralty should not be regarded as any man’s private perquisite, if equally good or better men are ready to succeed him.” Although the Telegram rejected these arguments, the public apparently agreed that a change was needed, and Saunders assumed the mayoralty in 1945.

Composite of Mayor Conboy and the Board of Control in 1944, including Robert Hood Saunders. City of Toronto Archives, Fonds 200, Series 372, Subseries 41, Item 500.

Conboy remained active as a dental advocate following his electoral defeat, and soon announced plans to become an insurance broker. He re-entered the political arena in 1948, standing as the Progressive Conservative candidate for Bracondale in the provincial election. Although George Drew’s Conservatives retained their majority government, Conboy was defeated by CCF candidate Harry Walters.

In declining health for several months after he was struck by a car, Frederick Conboy was admitted to Wellesley Hospital, where he died on March 29, 1949. Toronto newspapers praised his outstanding years of public service, both to the city and to the profession of dentistry. The Toronto Star wrote that he “took a warm, practical interest in the growing generation. He worked to improve housing conditions. He concerned himself with nearly every aspect of good citizenship….This country needs more citizens of the Conboy type who will not begrudge time and effort in rendering service to the people in the realm of the municipal government.”

The dental community was similarly full of praise for all that Conboy had done over his career. The Journal of the Ontario Dental Association, a publication he had himself established, wrote that “he was proud of his profession and never lost an opportunity to extol it. He often said that Dentistry had been awfully good to him and he could never do enough in return. Through his efforts to advance the cause of Dental Public Health and the credit he brought to Dentistry through the high public offices he held, he well discharged the obligation that he felt he owed his profession.”

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

Rzym za Nerona (1865)

Sąsiedzi

Sceny sejmowe. Grodno 1793 (1873)

Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana

Serce i ręka (1875)

Sfinks (1847)

Sieroce dole

Skrypt Fleminga

Sprawa kryminalna

Stara baśń (An Ancient Tale)

Stańczykowa kronika od roku 1503 do 1508 (1841)

Stara Panna

Staropolska miłość

Starosta warszawski: obrazy historyczne z XVIII wieku

Starościna Bełska: opowiadanie historyczne 1770–1774

Stary sługa

Sto Diabłów

Syn marnotrawny (1879)

Szalona (1880)

Szaławiła

Szpieg (1864)

Śniehotowie

Tomko Prawdzic

Trapezologion

Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go

Tułacze (1868)

U babuni

Ulana (1842)

W baśń oblekły się dzieje

W pocie czoła. Z dziennika dorobkiewicza (1884)

W starym piecu

Warszawa 1794 (1873)

Wielki nieznajomy

Wielki świat małego miasteczka

Wilczek i wilczkowa

Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września

Wspomnienia Wołynia, Polesia i Litwy

Z chłopa król

Z siedmioletniej wojny (1875)

Z życia awanturnika

Zadora

Zaklęta księżniczka

Zemsta Czokołdowa

Złote jabłko

Złoty Jasieńko

Zygmuntowskie czasy. Powieść z roku 1572 (1846)

Zygzaki

Żacy krakowscy w roku 1549 (Kraków Students in 1549)

Żeliga

Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)

Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski

Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)

Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)

Adama Polanowskiego dworzanina króla Jegomości Jana III notatki

Bajbuza: czasy Zygmunta III

Banita: czasy Stefana Batorego

Biały książę: czasy Ludwika Węgierskiego

Boleszczyce: powieść z czasów Bolesława Szczodrego

Boży gniew: czasy Jana Kazimierza

Bracia Zmartwychwstańcy: powieść z czasów Chrobrego

Dwie królowe

Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku

Infantka

Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta

Jelita: powieść herbowa z r. 1331

Kraków za Łokietka: powieść historyczna

Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego

Król Piast: (Michał książę Wiśniowiecki)

Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego

Lubonie: powieść z X wieku

Masław

Matka królów: czasy Jagiełłowe

Na królewskim dworze: czasy Władysława IV

Pogrobek: powieść z czasów przemysławowskich

Saskie ostatki: August III

Semko: czasy bezkrólewia po Ludwiku

Jagiełło i Jadwiga

Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego

Stara baśń (An Ancient Tale, 1876)

Strzemieńczyk: czasy Władysława Warneńczyka

Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego

Waligóra: powieść historyczna z czasów Leszka Białego

Za Sasów

An early forerunner of the encyclopedia, De Proprietatibus Rerum dates from the 13th century and is often described as a bestiary although its focus encompasses theology and astrology as well as the natural sciences (as understood in 1240).

“The only motive that a sane man can have for entering Civic public life is a desire to render a real service, and that means constant work and great anxiety.” So said Frederick J. Conboy to city council in January of 1945, at the conclusion of four consecutive one-year terms as mayor of Toronto. Conboy’s time in office marked the apex of a long public-service career with roots in public-health dentistry.

Conboy graduated from the Royal College of Dental Surgeons‘ School of Dentistry (the forerunner of the University of Toronto’s Faculty of Dentistry) in 1904, and soon established a practice at the northeast corner of Bloor and Westmoreland. Conboy’s instructors included several established dentists who advocated for increased awareness of dental health and public-health education. Paediatric dental health was a particularly celebrated cause; for several decades, activists such as Dr. John G.C. Adams had been calling for the regular inspection of the teeth of local schoolchildren. In A History of Dentistry in Canada, D.W. Gullett writes that “year after year, dental organizations submitted resolutions or briefs to governments, pointing out the existing oral health of Canadian children and emphasizing the need for action.”

In 1909, Conboy won a seat as a school trustee. While also attending to other education business, one of Conboy’s earliest campaigns was for the Board of Education to recognize dentists’ certificates of illness with respect to absent teachers, arguing that a dentist’s certificate should count as much as a physician’s. It was during his time as a trustee that the school board introduced dental inspections; The Journal of the Ontario Dental Association later wrote that Conboy’s advocacy was “largely instrumental” in getting this service implemented. In addition to his dental interests, Conboy soon proved himself a skilled leader and administrator, and in January of 1912 he was elected chairman of the Board of Education, reportedly the youngest person to date to hold this position.

20150425Tely1925Jan29

Following his time as a school trustee, Conboy lectured at the School of Dentistry, and was soon an active member with many professional organizations and committees. During the First World War, he began contributing to the journal Oral Health, in part by editing “Pro Bono Publico,” a regular column that proclaimed to feature “dental information in a form suitable for publication in the public press.” Many of his contributions to Oral Health focussed on paediatric dentistry, and the role he believed that government had in ensuring universal access to dental care.

(Right: Frederick Conboy has been named Drector of Dental Services. The Evening Telegram, January 29, 1925.)

In 1923, Conboy served a term as president of the Ontario Dental Association, after which he assumed the role of the organization’s secretary-treasurer. Among other contributions to the ODA, he initiated and edited a monthly publication called The Booster, which later changed its name to The Journal of the Ontario Dental Association, and, subsequently, Ontario Dentist.

While serving as the Ontario Dental Association’s president, Conboy invited Dr. Forbes Godfrey, newly installed as Ontario’s first-ever Minister of Health, to speak at the ODA’s annual convention. Godfrey spoke of the need to promote oral health and vowed to establish a dental division within his portfolio. This promise came to fruition in 1925, when Godfrey named Conboy as Ontario’s director of dental services. The purpose of this new position, as stated by the Globe, was to apply “the modern science of preventive dentistry to the needs of the public generally, and to children of school age particularly.” Over the next 10 years, Conboy used this role to advance public dental health education throughout Ontario using a variety of methods.

An editorial in the following year’s Public Health Journal identified some of Conboy’s first projects as dental director, and praised his ability to get support from outside groups: “Life insurance companies have distributed pamphlets by thousands. Various clubs and welfare organizations have taken an interest….Advertisers and the press have cooperated in a most friendly way, and last, but not least, the dentists of the province have given a full measure of cooperation.”

In 1926, Conboy established October 20 as “Dental Health Day.” In addition to free dental clinics offered in Toronto, events reported in the Star included “radio talks, addresses to service clubs, and window displays,” as well as a “public dental health concert.” The Province also prepared an educational film that was distributed to Ontario movie theatres.

Group photo of members of the Ontario Dental Association, May 20, 1930. From left to right: Dr. T.F. Campbell of Galt; Dr. A.W. Ellis of Toronto; Dr. F.L. Henry of Oshawa; and Frederick L. Conboy of Toronto. City of Toronto Archives, Fonds 1266, Item 20334.

In 1928, Conboy introduced a dental booth at the Canadian National Exhibition, where visitors could receive free dental X-rays that were forwarded to their personal dentists back home. Following the initial success of the booth, it was expanded in subsequent years to include longer hours and free full-dental examinations. Describing the CNE booth in 1929, the Globe reported that Dr. Conboy and his staff were particular proud to discover “two sets of teeth almost perfect” in one day, the Globe adding, “Proudly the dentists pointed out the minute perfections as The Globe representative was permitted a view of the novelty.”

In an effort to encourage continuing education amongst professional dentists, Conboy helped organize a joint convention of the Ontario, Canadian, and British dental associations held in Toronto in 1932. The event—which also featured dentists from Australia and New Zealand—was held at the Royal York Hotel, and represented the first international dental convention for the entire British Empire. In addition to the requisite social activities and lectures, part of the Royal York was transformed into a tiered operating theatre where dentists could observe demonstrations of experts at work. The Evening Telegram described the setup thus:

“Dentists to right of them, dentists to left, back and front of them, dentists climbing all but inside them. This was the fate of the stalwarts who, acting as ‘mannequins’ for surgeons, submitted to operations in droves in the surgery of the Royal York….The hostelry’s $100,000 operating room was a hive of bustling excitement. Arranged in tiers up to the ceiling, was a ‘gallery’ of dentist-spectators, and down in the pit of the anaesthetic-laden chamber, man after man submitted, with smiles on their faces, to their teeth being probed and ground, pulled and twisted, hammered and jerked.”

Coverage of the 1932 joint dental convention. Conboy is in the group photo on the left, front row, far right. The Globe, August 9, 1932.

Conboy’s other activities as dental director were various. In December 1925, he announced a plan to help establish dental clinics in industrial factories, telling the Globe it was “poor policy for a manufacturer to install expensive machinery and neglect the importance of maintaining the efficiency of the machinist.” In 1933, the Star announced that Conboy planned to look at rugby in Ontario, and conduct a survey “to discover how many perfectly good teeth have been left behind by high school players, as well as the university and interprovincial league players.” His advocacy work included urging professional dentists to donate their time for the poor who could not afford their services. “Good health is the right of every boy and girl in the Province, and we must see to it that everything is done to ensure it,” he asserted in a speech reported by the Globe, the reporter adding that “smugly complacent dentists who are content to serve only those who can pay, ignoring unfortunate sufferers who are not in [the] favoured class, were censured by [Conboy].”

After serving as the Ontario dental director, Conboy turned his eye to municipal politics, and landed a seat on city council in 1935. Prior to the 1950s, Toronto held municipal elections on an annual basis; Conboy was reelected to Council the following year, after which he ran for and won a seat on Toronto’s elected executive committee, the Board of Control.

Conboy quickly proved a skilled and popular member of both city council and the board of control, gaining a reputation as a politician who got things done and worked well with his fellow officials. In addition to public-health advocacy, Conboy was noted for his support of the development of the Island airport and for his efforts in slum clearance.

Frederick Conboy at City Hall with visiting U.S. politician Wendell Willkie. City of Toronto Archives, Fonds 1244, Item 8109.

When incumbent Ralph Day announced he would not seek reelection in 1941, Conboy declared himself a candidate for mayor, promising improved financial administration and dedication to the war effort. All three major Toronto newspapers endorsed Conboy over fellow board of control member Douglas McNish, and Conboy was duly elected with more than 62 percent of the cast vote.

The Second World War dominated municipal issues during Conboy’s time in the mayor’s office. Conboy headed a delegation that helped secure the Sunnybrook Farm property as the site for a much-needed veterans’ hospital. The war years also saw a rise in venereal disease in Toronto, prompting Conboy to request $10,000 from city council to help contain its spread. Conboy, perhaps helped by being the son of a market gardener, also dedicated himself to the war effort by growing a victory garden that the Telegram described as “the envy of neighbours for blocks around him.”

Conboy’s other actions as mayor included efforts to improve public safety, resulting in increased street lighting and changes to the existing traffic laws. Reflecting on his time in his office, newspapers also noted his capable response to the 1944 snowstorm, and his work to improve the quality of housing in the city, all while managing to lower the City’s debt.

Frederick Conboy showing City Hall to stage and screen actress Anna Neagle. City of Toronto Archives, Fonds 1257, Series 1057, Item 3886.

After running unopposed for mayor in 1942 and 1943, and defeating the Co-operative Commonwealth Federation–affiliated Lewis Duncan in 1944, Conboy sought a fifth term in office, challenged by board of control member Robert Hood Saunders. Conboy and Saunders reportedly worked well together in municipal politics, and the Toronto press agreed that both were very similar candidates with good civic records. The Telegram renewed its endorsement of Conboy, but both the Star and the Globe and Mail, while praising Conboy’s work in office and admitting that Saunders and Conboy were very much alike and equally qualified for the post, opted to throw their support behind Saunders.

“The Globe and Mail believes that Dr. Conboy, after holding the office of chief magistrate for four years, might well concede the right of someone else to occupy this honourable—and exacting—post, and considers that Mr. Saunders merits the promotion,” ran one editorial. The Toronto Star went further: “Men who enter Toronto’s public life should be able to look forward to promotion if their abilities and services warrant it. If the path to promotion is blocked by the man ‘at the head of the line’ staying on and on and on and on—and still another ‘on,’ a fifth, if Conboy has his way—those who legitimately seek to move up are blocked. They shouldn’t be. The mayoralty should not be regarded as any man’s private perquisite, if equally good or better men are ready to succeed him.” Although the Telegram rejected these arguments, the public apparently agreed that a change was needed, and Saunders assumed the mayoralty in 1945.

Composite of Mayor Conboy and the Board of Control in 1944, including Robert Hood Saunders. City of Toronto Archives, Fonds 200, Series 372, Subseries 41, Item 500.

Conboy remained active as a dental advocate following his electoral defeat, and soon announced plans to become an insurance broker. He re-entered the political arena in 1948, standing as the Progressive Conservative candidate for Bracondale in the provincial election. Although George Drew’s Conservatives retained their majority government, Conboy was defeated by CCF candidate Harry Walters.

In declining health for several months after he was struck by a car, Frederick Conboy was admitted to Wellesley Hospital, where he died on March 29, 1949. Toronto newspapers praised his outstanding years of public service, both to the city and to the profession of dentistry. The Toronto Star wrote that he “took a warm, practical interest in the growing generation. He worked to improve housing conditions. He concerned himself with nearly every aspect of good citizenship….This country needs more citizens of the Conboy type who will not begrudge time and effort in rendering service to the people in the realm of the municipal government.”

The dental community was similarly full of praise for all that Conboy had done over his career. The Journal of the Ontario Dental Association, a publication he had himself established, wrote that “he was proud of his profession and never lost an opportunity to extol it. He often said that Dentistry had been awfully good to him and he could never do enough in return. Through his efforts to advance the cause of Dental Public Health and the credit he brought to Dentistry through the high public offices he held, he well discharged the obligation that he felt he owed his profession.”

FILE MAGAZINE VOL 4 NO 1 (SUMMER 1978) alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine – published from 1972 to 1989.

FILE magazine Summer-1978 General Idea

General Idea: FILE megazine, vol 4, issue 1, summer 1978 (the “1984: A Year in Pictures” issue), edition of 3,000 copies.

FILE MAGAZINE VOL 4 NO 1 (SUMMER 1978). Toronto: General Idea, 1978

35 X 27.5cm, 64pp plus pictorial wrappers. A single number from General Idea's art periodical where the trio published conceptual, mail and intermedia art including the GI's own work - often with a homoerotic element. This number has GI's "General Idea flees the burning pavilion in 1984" and several articles on Miss General idea 1984. One slight crease on the back cover and front lower-right corner and spine wear and, as ever, browned internal newsprint pages else VG+. Scarce.

1978

FILE Megazine ("1984: A Year in Pictures," Vol. 4, #1, summer 1978)

Book Description

Publication Date: 1978

Publisher:General Idea, Toronto

Book Condition: VG+

35 X 27.5cm, 64pp plus pictorial wrappers

GENERAL IDEA 1969-1994

An alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine --published from 1972 to 1989--

Felix Partz, Jorge Zontal and AA Bronson of General Idea lived and worked together for 25 years. Partz and Zontal died in 1994. AA Bronson continues to work under his own name

The General Idea Archive is now on deposit at the National Gallery of Canada. You can access the finding aid here:

national.gallery.ca/english/library/biblio/ngc112.html

In 1974, General Idea founded Art Metropole, an organization devoted to collecting, publishing and distributing artists' books, multiples, audio and video.

Read about FILE Megazine in Artforum here:

www.aabronson.com/art/gi.org/artforum.htm

General Idea, Fluxus, Mail Art, Ray Johnson and the importance of Art Magazines as the forerunners of Social Networking:

The first issues of FILE, the publication launched in April 1972 by the Toronto-based group General Idea (comprising artists AA Bronson, Felix Partz, and Jorge Zontal), leave a different, less sober impression than previous magazine-based Conceptual art projects. Lifting its name and logo from the most famous (and popular) postwar US glossy, Life, FILE clearly anticipated a strategy that today is an everyday youth-cultural ploy: namely, logo-busting, an ironic game with the powerful markers of consumer culture, a small act of semiotic subversion whereby one borrows power from the public side of capital--and momentarily uses it against itself.

For the better part of a century artists have been using the format of the periodical to create and disseminate their work. Yves Klein’s Leap Into the Void, another iconic work, was published in the artist’s broadsheet publication Dimanche, which was sold at Parisian newsstands in 1960. Artists' magazines were integral to numerous important movements, such as Conceptual Art, Mail Art, Performance Art, Intermedia, Concrete Poetry, Neo-Dadaism and Fluxus.

The name Fluxus was originally coined by George Maciunas for the title of a magazine of experimental notation that he had hoped to produce.

For the uninitiated, a simple distinction suffices: the “artist periodical” is a primary source and an “art magazine” is a secondary one. That is to say, whereas an art magazine features reproductions and documentation of artwork as illustrations, the artist periodical is an alternative site for the realization of art works rather than their review.

Like their cousins, artists’ books and multiples, artists’ periodicals were intended to be easily distributable, affordable and accessible. And now – much like artists’ books and multiples – they can be difficult to track down and often costly. Complete sets of FILE megazine can sell for upwards of $5,000. Depending on the issue, a single copy of Aspen magazine might sell for the same price. Putting together complete collections piecemeal is the artworld equivalent of collecting a complete set of baseball cards. Critical discourse, too, has been hard to come by; apart from a few key articles, very little has been published on the subject of artists’ magazines.

Publications by General Idea:

THIS IS A LIST OF PUBLICATIONS DESIGNED AND EDITED BY GENERAL IDEA

(Note: FILE Megazine was published by Art Official Inc. in varying edition sizes ranging from 1,500 to 3,500 copies)

A Side note about A.A. Bronson: He wrote …

Mail art was expanding exponentially as ….

When it went on sale in 1972, the Alfasud rewrote the small-car rulebook to become the forerunner of the 1980s ‘hot hatch’. Given that Alfa Romeo had no experience of small, front-driven cars, the sheer dynamic excellence of the flat-four-powered ‘Sud came as a pleasant shock to critics and commentators, who greeted it with rapturous acclaim. Developed by Austrian engineer Rudolf Hruska, who had previously worked at Porsche and Volkswagen, the Alfasud was noted for its powerful boxer engine, low centre of gravity, aerodynamic profile, and best-in-class handling. The innovative styling by the legendary Giorgetto Giugiaro of ItalDesign was much-copied and much loved – with sales of more than 1m in 12 years, the 'Sud would become the best-selling model in Alfa’s rich history.

“The only motive that a sane man can have for entering Civic public life is a desire to render a real service, and that means constant work and great anxiety.” So said Frederick J. Conboy to city council in January of 1945, at the conclusion of four consecutive one-year terms as mayor of Toronto. Conboy’s time in office marked the apex of a long public-service career with roots in public-health dentistry.

Conboy graduated from the Royal College of Dental Surgeons‘ School of Dentistry (the forerunner of the University of Toronto’s Faculty of Dentistry) in 1904, and soon established a practice at the northeast corner of Bloor and Westmoreland. Conboy’s instructors included several established dentists who advocated for increased awareness of dental health and public-health education. Paediatric dental health was a particularly celebrated cause; for several decades, activists such as Dr. John G.C. Adams had been calling for the regular inspection of the teeth of local schoolchildren. In A History of Dentistry in Canada, D.W. Gullett writes that “year after year, dental organizations submitted resolutions or briefs to governments, pointing out the existing oral health of Canadian children and emphasizing the need for action.”

In 1909, Conboy won a seat as a school trustee. While also attending to other education business, one of Conboy’s earliest campaigns was for the Board of Education to recognize dentists’ certificates of illness with respect to absent teachers, arguing that a dentist’s certificate should count as much as a physician’s. It was during his time as a trustee that the school board introduced dental inspections; The Journal of the Ontario Dental Association later wrote that Conboy’s advocacy was “largely instrumental” in getting this service implemented. In addition to his dental interests, Conboy soon proved himself a skilled leader and administrator, and in January of 1912 he was elected chairman of the Board of Education, reportedly the youngest person to date to hold this position.

20150425Tely1925Jan29

Following his time as a school trustee, Conboy lectured at the School of Dentistry, and was soon an active member with many professional organizations and committees. During the First World War, he began contributing to the journal Oral Health, in part by editing “Pro Bono Publico,” a regular column that proclaimed to feature “dental information in a form suitable for publication in the public press.” Many of his contributions to Oral Health focussed on paediatric dentistry, and the role he believed that government had in ensuring universal access to dental care.

(Right: Frederick Conboy has been named Drector of Dental Services. The Evening Telegram, January 29, 1925.)

In 1923, Conboy served a term as president of the Ontario Dental Association, after which he assumed the role of the organization’s secretary-treasurer. Among other contributions to the ODA, he initiated and edited a monthly publication called The Booster, which later changed its name to The Journal of the Ontario Dental Association, and, subsequently, Ontario Dentist.

While serving as the Ontario Dental Association’s president, Conboy invited Dr. Forbes Godfrey, newly installed as Ontario’s first-ever Minister of Health, to speak at the ODA’s annual convention. Godfrey spoke of the need to promote oral health and vowed to establish a dental division within his portfolio. This promise came to fruition in 1925, when Godfrey named Conboy as Ontario’s director of dental services. The purpose of this new position, as stated by the Globe, was to apply “the modern science of preventive dentistry to the needs of the public generally, and to children of school age particularly.” Over the next 10 years, Conboy used this role to advance public dental health education throughout Ontario using a variety of methods.

An editorial in the following year’s Public Health Journal identified some of Conboy’s first projects as dental director, and praised his ability to get support from outside groups: “Life insurance companies have distributed pamphlets by thousands. Various clubs and welfare organizations have taken an interest….Advertisers and the press have cooperated in a most friendly way, and last, but not least, the dentists of the province have given a full measure of cooperation.”

In 1926, Conboy established October 20 as “Dental Health Day.” In addition to free dental clinics offered in Toronto, events reported in the Star included “radio talks, addresses to service clubs, and window displays,” as well as a “public dental health concert.” The Province also prepared an educational film that was distributed to Ontario movie theatres.

Group photo of members of the Ontario Dental Association, May 20, 1930. From left to right: Dr. T.F. Campbell of Galt; Dr. A.W. Ellis of Toronto; Dr. F.L. Henry of Oshawa; and Frederick L. Conboy of Toronto. City of Toronto Archives, Fonds 1266, Item 20334.

In 1928, Conboy introduced a dental booth at the Canadian National Exhibition, where visitors could receive free dental X-rays that were forwarded to their personal dentists back home. Following the initial success of the booth, it was expanded in subsequent years to include longer hours and free full-dental examinations. Describing the CNE booth in 1929, the Globe reported that Dr. Conboy and his staff were particular proud to discover “two sets of teeth almost perfect” in one day, the Globe adding, “Proudly the dentists pointed out the minute perfections as The Globe representative was permitted a view of the novelty.”

In an effort to encourage continuing education amongst professional dentists, Conboy helped organize a joint convention of the Ontario, Canadian, and British dental associations held in Toronto in 1932. The event—which also featured dentists from Australia and New Zealand—was held at the Royal York Hotel, and represented the first international dental convention for the entire British Empire. In addition to the requisite social activities and lectures, part of the Royal York was transformed into a tiered operating theatre where dentists could observe demonstrations of experts at work. The Evening Telegram described the setup thus:

“Dentists to right of them, dentists to left, back and front of them, dentists climbing all but inside them. This was the fate of the stalwarts who, acting as ‘mannequins’ for surgeons, submitted to operations in droves in the surgery of the Royal York….The hostelry’s $100,000 operating room was a hive of bustling excitement. Arranged in tiers up to the ceiling, was a ‘gallery’ of dentist-spectators, and down in the pit of the anaesthetic-laden chamber, man after man submitted, with smiles on their faces, to their teeth being probed and ground, pulled and twisted, hammered and jerked.”

Coverage of the 1932 joint dental convention. Conboy is in the group photo on the left, front row, far right. The Globe, August 9, 1932.

Conboy’s other activities as dental director were various. In December 1925, he announced a plan to help establish dental clinics in industrial factories, telling the Globe it was “poor policy for a manufacturer to install expensive machinery and neglect the importance of maintaining the efficiency of the machinist.” In 1933, the Star announced that Conboy planned to look at rugby in Ontario, and conduct a survey “to discover how many perfectly good teeth have been left behind by high school players, as well as the university and interprovincial league players.” His advocacy work included urging professional dentists to donate their time for the poor who could not afford their services. “Good health is the right of every boy and girl in the Province, and we must see to it that everything is done to ensure it,” he asserted in a speech reported by the Globe, the reporter adding that “smugly complacent dentists who are content to serve only those who can pay, ignoring unfortunate sufferers who are not in [the] favoured class, were censured by [Conboy].”

After serving as the Ontario dental director, Conboy turned his eye to municipal politics, and landed a seat on city council in 1935. Prior to the 1950s, Toronto held municipal elections on an annual basis; Conboy was reelected to Council the following year, after which he ran for and won a seat on Toronto’s elected executive committee, the Board of Control.

Conboy quickly proved a skilled and popular member of both city council and the board of control, gaining a reputation as a politician who got things done and worked well with his fellow officials. In addition to public-health advocacy, Conboy was noted for his support of the development of the Island airport and for his efforts in slum clearance.

Frederick Conboy at City Hall with visiting U.S. politician Wendell Willkie. City of Toronto Archives, Fonds 1244, Item 8109.

When incumbent Ralph Day announced he would not seek reelection in 1941, Conboy declared himself a candidate for mayor, promising improved financial administration and dedication to the war effort. All three major Toronto newspapers endorsed Conboy over fellow board of control member Douglas McNish, and Conboy was duly elected with more than 62 percent of the cast vote.

The Second World War dominated municipal issues during Conboy’s time in the mayor’s office. Conboy headed a delegation that helped secure the Sunnybrook Farm property as the site for a much-needed veterans’ hospital. The war years also saw a rise in venereal disease in Toronto, prompting Conboy to request $10,000 from city council to help contain its spread. Conboy, perhaps helped by being the son of a market gardener, also dedicated himself to the war effort by growing a victory garden that the Telegram described as “the envy of neighbours for blocks around him.”

Conboy’s other actions as mayor included efforts to improve public safety, resulting in increased street lighting and changes to the existing traffic laws. Reflecting on his time in his office, newspapers also noted his capable response to the 1944 snowstorm, and his work to improve the quality of housing in the city, all while managing to lower the City’s debt.

Frederick Conboy showing City Hall to stage and screen actress Anna Neagle. City of Toronto Archives, Fonds 1257, Series 1057, Item 3886.

After running unopposed for mayor in 1942 and 1943, and defeating the Co-operative Commonwealth Federation–affiliated Lewis Duncan in 1944, Conboy sought a fifth term in office, challenged by board of control member Robert Hood Saunders. Conboy and Saunders reportedly worked well together in municipal politics, and the Toronto press agreed that both were very similar candidates with good civic records. The Telegram renewed its endorsement of Conboy, but both the Star and the Globe and Mail, while praising Conboy’s work in office and admitting that Saunders and Conboy were very much alike and equally qualified for the post, opted to throw their support behind Saunders.

“The Globe and Mail believes that Dr. Conboy, after holding the office of chief magistrate for four years, might well concede the right of someone else to occupy this honourable—and exacting—post, and considers that Mr. Saunders merits the promotion,” ran one editorial. The Toronto Star went further: “Men who enter Toronto’s public life should be able to look forward to promotion if their abilities and services warrant it. If the path to promotion is blocked by the man ‘at the head of the line’ staying on and on and on and on—and still another ‘on,’ a fifth, if Conboy has his way—those who legitimately seek to move up are blocked. They shouldn’t be. The mayoralty should not be regarded as any man’s private perquisite, if equally good or better men are ready to succeed him.” Although the Telegram rejected these arguments, the public apparently agreed that a change was needed, and Saunders assumed the mayoralty in 1945.

Composite of Mayor Conboy and the Board of Control in 1944, including Robert Hood Saunders. City of Toronto Archives, Fonds 200, Series 372, Subseries 41, Item 500.

Conboy remained active as a dental advocate following his electoral defeat, and soon announced plans to become an insurance broker. He re-entered the political arena in 1948, standing as the Progressive Conservative candidate for Bracondale in the provincial election. Although George Drew’s Conservatives retained their majority government, Conboy was defeated by CCF candidate Harry Walters.

In declining health for several months after he was struck by a car, Frederick Conboy was admitted to Wellesley Hospital, where he died on March 29, 1949. Toronto newspapers praised his outstanding years of public service, both to the city and to the profession of dentistry. The Toronto Star wrote that he “took a warm, practical interest in the growing generation. He worked to improve housing conditions. He concerned himself with nearly every aspect of good citizenship….This country needs more citizens of the Conboy type who will not begrudge time and effort in rendering service to the people in the realm of the municipal government.”

The dental community was similarly full of praise for all that Conboy had done over his career. The Journal of the Ontario Dental Association, a publication he had himself established, wrote that “he was proud of his profession and never lost an opportunity to extol it. He often said that Dentistry had been awfully good to him and he could never do enough in return. Through his efforts to advance the cause of Dental Public Health and the credit he brought to Dentistry through the high public offices he held, he well discharged the obligation that he felt he owed his profession.”

Designed by Sir Robert Smirke for Jack Fuller in 1810, the Brightling Observatory was completed in 1818. It is located on the Brightling-Burwash road, at latitude 50 57 44 and in longitude 0 22 42E, and is now a private residence.

The Observatory was equipped with expensive equipment including a Camera Obscura. During the 19th century, room Camera Obscuras became very popular across Europe. Originating from the Latin meaning " dark room " the Camera Obscura is considered the forerunner of the modern portable camera. Through a tiny hole in one wall, replaced in later models by a lens, an image was projected onto the opposite wall. Artists used different types of Camera Obscura to trace accurate images from nature and incorporate these images into their drawings and paintings. With this in mind, one wonders if frequent visitor to Rose Hill, J M W Turner may have made use of the Camera Obscura while there.

Fuller was not the only Georgian Squire to construct an Observatory that incorporated a residence. The Armagh Observatory, Ireland, perhaps the best preserved example. It was designed by Francis Johnston and completed in 1791. More typically western European observatories of the day were towers erected basically to raise the observer to a better vantage point.

In the autumn of 1964 John Vetterlein was engaged by Commander Hugh Malleson (Royal Navy retired), then owner of the observatory, to assess its viability. The following is an abstract from a mongraph written by Vetterlein and published by Spring Ast LIX, Springfield, Rousay, Orkney, 2001.

The observatory was close to the highest piece of ground (620 feet OD marked by an obelisk) for many miles and was ideally suited (or was in the days of its inception, Eastbourne now posing a light pollution hazard) for astronomical work. I found the dome (approximately 8 feet in diameter) had been surmounted by a Negretti and Zambra cup anemometer, the control panel being read in the main room of the house on the ground floor. The narrow shutters were hinged but immovable, as was the dome itself, the large iron wheels on which it stood having seized.

We undertook to remove the shutters and to replace them with a single lateral sliding stainless steel shutter. In addition we agreed to free the wheels and to conduct experiments to see if it might be possible to attach a motor drive for rotating the dome.

Freeing the dome for rotation was not such a great problem but, owing to the nature of the wheels and the track, rotation by hand proved a strenuous exercise. This was partly solved by fitting a low geared 1/3 h.p. electric motor acting by pressure and friction on the inner rim of the base of the dome. The speed of rotation was necessarily slow.

Installation of a Cassegrain type telescope of 8.5 inches (22 cm) aperture was proposed. However, the aperture of the original dome was deemed too narrow for effective use.for a telescope of this aperture to function effectively. Vetterlein was commissioned to design a new dome which was constructed at R N Irving.

This comprised a mild steel frame clad with stove enamelled duralumin sheeting. (It is to be noted that the anemometer was retained. This necessarily obstructed access to the zenith as well as posing some problems for the shutters.) The dome rotated by means of ballraced wheels mounted on a circular track and driven by a small electric motor. The dome could be locked against rotation from the wind. There was also provision to prevent the dome from lifting. The Dall-Cassegrain telescope was completed towards the end of 1966.

Suffice to say the instrument was something of a prototype (the forerunner to the now familiar Schmidt-Cassegrain). Dall was a highly competent optical draftsman and the system, once adjusted, gave good results. I was fortunate in that Jupiter was close to opposition (20 January). I noted that powers of 180x gave excellent image quality, but that there was considerable vibration from the observatory floor. This was especially so whenever anybody mounted the stairs. This weakness proved the limiting factor where the telescope was concerned. Long exposure photography was difficult since one had scarcely to move one's body

throughout the exposure!

I had to conclude from this that the dome itself would have had limited use in Fuller's time, presumably more as a "lookout" housing a small refractor, possibly. The larger instruments would have been used at ground level. I was unable to find any information as to the specification for the transit instrument. The equatorial telescope mounting was by Ron Irving. There were some problems with the manual slow motion drives but the electric drive, once it had been fitted with a frequency stabilizer, proved satisfactory for most work. Hugh Malleson used the telescope mostly for interest. His photographs of the Moon were of a high standard.

© 2001 Annette Lloyd Thomas

Turbo windmill, or Jet Wind Mill [JWM] / JWM is nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula, which makes it possible to harvest the high winds too.

Windsurfing, forerunner on turbo windmill, same formula, stabilitiy: Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively safe ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.

It is therefore that these two new inventions fall under: the environmental revolution.

We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.

If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.

In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.

Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.

So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.

The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

Rzym za Nerona (1865)

Sąsiedzi

Sceny sejmowe. Grodno 1793 (1873)

Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana

Serce i ręka (1875)

Sfinks (1847)

Sieroce dole

Skrypt Fleminga

Sprawa kryminalna

Stara baśń (An Ancient Tale)

Stańczykowa kronika od roku 1503 do 1508 (1841)

Stara Panna

Staropolska miłość

Starosta warszawski: obrazy historyczne z XVIII wieku

Starościna Bełska: opowiadanie historyczne 1770–1774

Stary sługa

Sto Diabłów

Syn marnotrawny (1879)

Szalona (1880)

Szaławiła

Szpieg (1864)

Śniehotowie

Tomko Prawdzic

Trapezologion

Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go

Tułacze (1868)

U babuni

Ulana (1842)

W baśń oblekły się dzieje

W pocie czoła. Z dziennika dorobkiewicza (1884)

W starym piecu

Warszawa 1794 (1873)

Wielki nieznajomy

Wielki świat małego miasteczka

Wilczek i wilczkowa

Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września

Wspomnienia Wołynia, Polesia i Litwy

Z chłopa król

Z siedmioletniej wojny (1875)

Z życia awanturnika

Zadora

Zaklęta księżniczka

Zemsta Czokołdowa

Złote jabłko

Złoty Jasieńko

Zygmuntowskie czasy. Powieść z roku 1572 (1846)

Zygzaki

Żacy krakowscy w roku 1549 (Kraków Students in 1549)

Żeliga

Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)

Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski

Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)

Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)

Adama Polanowskiego dworzanina króla Jegomości Jana III notatki

Bajbuza: czasy Zygmunta III

Banita: czasy Stefana Batorego

Biały książę: czasy Ludwika Węgierskiego

Boleszczyce: powieść z czasów Bolesława Szczodrego

Boży gniew: czasy Jana Kazimierza

Bracia Zmartwychwstańcy: powieść z czasów Chrobrego

Dwie królowe

Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku

Infantka

Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta

Jelita: powieść herbowa z r. 1331

Kraków za Łokietka: powieść historyczna

Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego

Król Piast: (Michał książę Wiśniowiecki)

Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego

Lubonie: powieść z X wieku

Masław

Matka królów: czasy Jagiełłowe

Na królewskim dworze: czasy Władysława IV

Pogrobek: powieść z czasów przemysławowskich

Saskie ostatki: August III

Semko: czasy bezkrólewia po Ludwiku

Jagiełło i Jadwiga

Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego

Stara baśń (An Ancient Tale, 1876)

Strzemieńczyk: czasy Władysława Warneńczyka

Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego

Waligóra: powieść historyczna z czasów Leszka Białego

Za Sasów

ANAGLYPH, conversion of original Realist format stereo transparency in my collection. The following is written on the slide: " Seton Rochwite designer of the Stereo Realist camera with his handmade forerunners of the Realist. Photographic Society of America Convention, Denver. by Glen Thrush 44-54"

This image views in 3D when wearing RED/CYAN 3D glasses.

ANAGLYPH, Conversion of Realist Slide of Actor and Stereo Realist enthusiast Harold Lloyd also by Glen Thrush: www.flickr.com/photos/depthandtime/4498599934/

Also by Glen Thrush: www.flickr.com/photos/depthandtime/4500859253/in/set-7215...

Also by Glen Thrush: www.flickr.com/photos/depthandtime/4500763951/in/set-7215...

20 января 2019, Собор Предтечи и Крестителя Господня Иоанна / 20 January 2019, Synaxis of the Holy Glorious Prophet, Forerunner, and Baptist John

Info on the ICA Favorit (forerunner of the Zeiss Ikon Favorit) from a German 1913 catalogue - thanks to Manfred Mornhinweg who provided me with this copy.

After ICA merged with ZEISS IKON in 1927, the type numbers of the cameras changed a little. From the different catalogues I made up the following:

ICA Favorit:

nr. 265 for 9 x 12

nr. 335 for 10 x 15

nr. 425 for 13 x 18

ICA Favorit Tropen:

nr. 266 for 9 x 12

ZEISS IKON Favorit:

nr. 265/7 for 9 x 12

nr. 265/9 for 10 x 15

nr. 265/11 for 13 x 18

ZEISS IKON Favorit Tropen:

nr. 266/7 for 9 x 12

Please note that there are ICA cameras with Zeiss type numbers around. Probably these were made during the year of the merger and shortly thereafter.

Also note that the Favorit Tropen is a different camera than the famous Tropica - they had of course different type numbers.

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

Rzym za Nerona (1865)

Sąsiedzi

Sceny sejmowe. Grodno 1793 (1873)

Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana

Serce i ręka (1875)

Sfinks (1847)

Sieroce dole

Skrypt Fleminga

Sprawa kryminalna

Stara baśń (An Ancient Tale)

Stańczykowa kronika od roku 1503 do 1508 (1841)

Stara Panna

Staropolska miłość

Starosta warszawski: obrazy historyczne z XVIII wieku

Starościna Bełska: opowiadanie historyczne 1770–1774

Stary sługa

Sto Diabłów

Syn marnotrawny (1879)

Szalona (1880)

Szaławiła

Szpieg (1864)

Śniehotowie

Tomko Prawdzic

Trapezologion

Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go

Tułacze (1868)

U babuni

Ulana (1842)

W baśń oblekły się dzieje

W pocie czoła. Z dziennika dorobkiewicza (1884)

W starym piecu

Warszawa 1794 (1873)

Wielki nieznajomy

Wielki świat małego miasteczka

Wilczek i wilczkowa

Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września

Wspomnienia Wołynia, Polesia i Litwy

Z chłopa król

Z siedmioletniej wojny (1875)

Z życia awanturnika

Zadora

Zaklęta księżniczka

Zemsta Czokołdowa

Złote jabłko

Złoty Jasieńko

Zygmuntowskie czasy. Powieść z roku 1572 (1846)

Zygzaki

Żacy krakowscy w roku 1549 (Kraków Students in 1549)

Żeliga

Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)

Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski

Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)

Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)

Adama Polanowskiego dworzanina króla Jegomości Jana III notatki

Bajbuza: czasy Zygmunta III

Banita: czasy Stefana Batorego

Biały książę: czasy Ludwika Węgierskiego

Boleszczyce: powieść z czasów Bolesława Szczodrego

Boży gniew: czasy Jana Kazimierza

Bracia Zmartwychwstańcy: powieść z czasów Chrobrego

Dwie królowe

Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku

Infantka

Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta

Jelita: powieść herbowa z r. 1331

Kraków za Łokietka: powieść historyczna

Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego

Król Piast: (Michał książę Wiśniowiecki)

Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego

Lubonie: powieść z X wieku

Masław

Matka królów: czasy Jagiełłowe

Na królewskim dworze: czasy Władysława IV

Pogrobek: powieść z czasów przemysławowskich

Saskie ostatki: August III

Semko: czasy bezkrólewia po Ludwiku

Jagiełło i Jadwiga

Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego

Stara baśń (An Ancient Tale, 1876)

Strzemieńczyk: czasy Władysława Warneńczyka

Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego

Waligóra: powieść historyczna z czasów Leszka Białego

Za Sasów

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

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Giving a fitting to Mr Ravana at Home..

From Wikipedia, the free encyclopedia

Rāvaṇa ( IPA: [ˈrɑːʋəɳə], Sanskrit: रावण, Tamil:ராவணன், was a king of ancient Lanka and the primary antagonist in the Ramayana. In the classic text, Ravana kidnaps Rama's wife Sita, to claim vengeance on Rama and his brother Lakshmana for having cut off the nose of his sister Surpanakha.[1]

This depiction is, however, open to other interpretations. Ravana is described as a devout follower of Shiva, a great scholar, a capable ruler and a maestro of the Veena. He has his apologists and staunch devotees within the Hindu traditions, some of whom believe that his description as a ten-headed person (Daśagrīva) is a reference to him possessing a very thorough knowledge over the 4 Vedas and 6 Upanishads, which made him as powerful as 10 scholars. An alternative interpretation[by whom?] is that he is guided by and does not have control over the five senses and five bodily instruments of action[citation needed]. His counterpart, Rama, on the contrary, is always in full control of these ten. However, there is mention in Atharvaveda of demonic Brahmans called Dasagva (ten-headed) and Navagva (nine-headed). These early beings may be the actual forerunners of the later character in the Ramayana[original research?].

Ravana also authored Ravana Samhita, a powerful book on the Hindu astrology. Ravana possessed a thorough knowledge of Ayurveda and political science. He is said to have possessed the nectar of immortality, which was stored under his navel, thanks to a celestial boon by Brahma.[2] According to some theories, he was a historical emperor who reigned over Sri Lanka roughly between 1800-1600 BC.[3]

The name 'Ravana' is obtained from the root 'ru' and connected to the expression 'rāvayati iti rāvaṇaḥ' ('one who makes god love by his compassion actions.')[4] The name Ravana obtains from the root 'Ra' signifies the sun and 'vaṇa' signifies generation according to a nationalist Sinhala scholar, Arisen.[5] Ravana had many other popular names such as Dasis Ravana, Ravan, Raavan, Ravula, Lankeshwar, Ravanaeshwaran all signifying the qualities of life. Ravana was a cross of Brahmin and Daitya thus attaining a status of Brahma-Rakshasa.

Variations of the name include the following:

Assamese: ৰাৱণ(Rāvan)

Odiya: ରାବଣ (Rāvaṇa)

Bengali: রাবণ(Rabon)

Burmese: ရာဝဏ, [jàwəna̰]

Indonesian: Rahwana, Rahwono

Javanese: Rahwana, Rahwono or Dasamuka (from Sanskrit Daśamukha or 'ten faced')

Kannada:ರಾವಣ, Rāvaṇa

Khmer: Rabana or Rab, Krong Reap

Lao: Raphanasuan

Malay (Malaysian): Rawana or Wana

Malayalam: രാവണന്‍ (Rāvaṇan)

Maranao: Lawana

Marathi: रावण (Rāvaṇ)

Sinhalese: රාවණා (Rāvaṇa)

Tamil: இராவணன் (Rāvaṇan)

Thai: ทศกัณฐ์, Thosakan (from Daśakanṭha or 'ten necked')

Telugu: రావణాసురుడు(Rāvaṇasurdu)

Yuan: Rahbanasun

Sinhala: රාවනා(Ravana)

Ravana was born to a great sage Vishrava (or Vesamuni), and his wife, the daitya princess Kaikesi. He was born in the Sandilya gotra, as his grandfather, the sage Pulastya, was one of the ten Prajapatis or mind-born sons of Brahma and one of the Saptarishi (Seven Great Sages Rishi) in the first Manvantara. Kaikesi's father, Sumali (or Sumalaya), king of the Daityas, wished her to marry the most powerful being in the mortal world, so as to produce an exceptional heir. He rejected the kings of the world, as they were less powerful than him. Kaikesi searched among the sages and finally chose Vishrava, the father of Kubera. Ravana was thus partly Brahmin and partly Daitya.

Even though he was partly Brahmin and partly Rakshas, Rama praised Ravan as Mahabrahmin. Rama had to do Ashwamedha yagna as penance for killing a Brahmin (Brahmahatyadosha).

His brothers were Vibhishana, Kumbhakarna and Ahiravana. Through his mother, he was related to the daityas Maricha and Subahu. Kaikesi also gave birth to a daughter, Meenakshi ("girl with fish like eyes"), although later she was dubbed the infamous Shoorpanakha "winnow-like nails".

Father Vishrava noted that while Ravana was aggressive and arrogant, he was also an exemplary scholar. Under Vishrava's tutelage, Ravana mastered the Vedas, the holy books, and also the arts and ways of Kshatriyas (warriors). Ravana was also an excellent veena player and the sign of his flag had a picture of veena on it.[citation needed] Sumali, his mother's father, worked hard in secret to ensure that Ravana retained the ethics of the Daityas.

The Ramayana tells that Ravana had close connections with region of the Yadus, which included Gujarat, parts of Maharashtra and Rajasthan up to Mathura south of Delhi. Ravana is believed to be related to Lavanasura, also regarded as a Rakshasa, of Madhupura (Mathura) in the region of the Surasenas, who was conquered & killed by Shatrughna, youngest brother of Rama.

After worshipping a Shiva Linga on the banks of the Narmada, in the more central Yadu region, Ravana was captured and held under the control of King Kartavirya Arjuna, one of the greatest Yadu kings. It is very clear from the references in the Ramayana that Ravana was no commoner among the Humans or Asuras, a great chanter of the Sama Veda.

Following his initial training, Ravana performed an intense penance (or tapasya) to Brahma (the Creator God), lasting several years. During his penance, Ravana chopped off his head 10 times as a sacrifice to appease brahma. Each time he sliced his head off a new head arose, thus enabling him to continue his penance. At last, Brahama, pleased with his austerity, appeared after his 10th decapitation and offered him a boon. Ravana asked for immortality, which Brahma refused to give, but gave him the celestial nectar of immortality. The nectar of immortality, stored under his navel, dictated that he could not be vanquished for as long as it lasted.

Ravana also asked for absolute invulnerability from and supremacy over gods, heavenly spirits, other rakshas, serpents, and wild beasts. Contemptuous of mortal men, he did not ask for protection from these. Brahma granted him these boons in addition to his 10 severed heads and great strength by way of knowledge of divine weapons and magic. Thus ravana known as 'Dasamukha' (Dasa = ten, mukha =face). According to the serials made on the Ravana, in his childhood he was the first person who prohibited the cow slaughtering.

Ravana was known for his virility and his aggressive conquests of women. Ravana had several wives, foremost of whom was Mandodari - daughter of Mayasura and an apsara named Hema.

Mandodari was renowned for her wisdom and grace as well as beauty and chastity. She is known as "Ayonija" where "Yoni" means "Mother's Womb" & "Ja" means "Janma" - incarnation, a divine term, normally we say "Life/Birth" of a person . Hence "Ayonija" means "A" before "Yonija" means who didn't take birth from a normal mother. so cannot say about her "Mother" as Hema. and she had a great boon that until she leaves her life as per her "Karma", she will remain as "Sumnagali". That is why, though when Ravana was hit by "Rama's" powerful arrow, Ravana didn't lose his life. the "Jyothi" at Mandodari's "Puja Mandir" has to become "Unchastic" and when that happened, Ravana fell down. and Ravana Kashtam, the term which people use today, has happened when Ravana fell down i.e., when his body was burnt, the "Moksha" didn't happen till Mandodari was on earth with life. and thus, she can be called as "Sumangali", which satisfies her boon. Ravana did not have any special in women. The first was the encounter with the sage-woman Vedavati. Vedavati had been performing penance with the intention of winning Lord Vishnu as her husband. Ravana met her at her hermitage, her beauty enhanced by the austerities she had performed. He proposes to her and is rejected. Ravana mocks her austerities and her devotion to Vishnu; finding himself firmly rejected at every turn, he tries to molest Vedavati, pulling her hair. This greatly incensed her, and she forthwith cut off her hair, and said she would enter into the fire before his eyes, adding, "Since I have been insulted in the forest by thee who art wicked-hearted, I shall be born again for thy destruction." So she entered the blazing fire, and celestial flowers fell all around. It was she who was born again as Sita, and was the moving cause of Ravana's death, though Rama was the agent.

Vedavati is said to have been reborn as Sita, causing Ravana's death and winning Vishnu (as Rama) as her husband.

As reincarnation of Vishnu's dwaarpaal

In the Bhagavata Purana, Ravana and his brother, Kumbhakarna were said to be reincarnations of Jaya and Vijaya, gatekeepers at Vaikuntha, the abode of Vishnu and were cursed to be born in Earth for their insolence.

These gatekeepers refused entry to the Sanatha Kumara monks, who, because of their powers and austerity appeared as young children. For their insolence, the monks cursed them to be expelled from Vaikuntha and to be born on Earth.

God Vishnu agreed that they should be punished. They were given two choices, that they could be born about 7 times as normal mortals and devotees of Vishnu, or 3 times as powerful and strong people, but as enemies of Vishnu, for which they chose the second one. Ravana and his brother Kumbhakarna were born to fulfill the curse on the second birth as enemies of Vishnu in the Treta Yuga. The curse of first birth was fulfilled by Hiranyakashipu and his brother Hiranyaksha in Satya Yuga when they were both vanquished by earlier avatars (incarnations) of Vishnu and the curse of third birth was fulfilled by Dantavakra and Shishupala in the Dwapar Yuga when they were both vanquished by Lord Krishna.

Tattva interpretation

Ravana has ten heads. These are indicative of ten indriyas (sensory and material faculties). Ravana is an indicative of every person who defies death (demon), who goes around in this world only for sensory pleasures. Ravana lives in south (of India) - direction of death, indicating that some day this body is bound to die. Ravana wishes to procure Sita avoiding Rama. Everything in this world is a combination of the Truth (The only Brahman or Consciousness) and what it looks and feels like, to us (Maya). One who tries to see or procure things in this world, only based on his indriyas will have a life of Ravana.

Deisis Christ Theotokos John the Forerunner

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