♫ écoutez Tannhäuser... Richard Wagner-The Pilgrim's chorus.

Une heure plus tôt je quittais le parking de l’accrobranche à la Bâtie... Mes pas poussés par un vent frisquet qui poussant des nuages, en les plaquant, contre les contreforts de Grand Veymont . Je gravissais le sentier sous le ravin de Peyre Rouge en direction du Pas des Bachassons, via le le ravin des serres et du Maupas.

Je suis à 1900 mètres d'altitude, la température a chutée drastiquement... Mes pensée sont à mon itinéraire, mais d'autres viennent perturbées mon esprit... Plus métaphysiques que poétiques... Les nuages m'environnent maintenant il est temps de trouver refuge pour un casse croûte, je passe sous Montaveilla pour rejoindre la cabane du berger.

La montagne se marie avec le ciel encombré de nuage et de brume, ainsi apparaît la face ouest du mont Aiguille tel un géant de pierre, près à engloutir le paysage... Et me reviennent ces mots...

"Les croyances comme la peur ou l'amour... sont des forces à comprendre comme nous comprenons la théorie de la relativité, et le principe d'incertitude. Les phénomènes qui déterminent les sens de nos vies. Hier ma vie ne connaissait qu’un chemin. Aujourd'hui elle en emprunte un autre. Hier, je n'aurais jamais cru pouvoir faire ce que je fais aujourd'hui. Ces forces qui régulièrement refont le temps et l'espace, peuvent forger et altérer ce que nous pensons être, elles débutent avant notre naissance et se poursuivent jusqu'à notre mort. Nos vie, nos choix... sont pareilles à des trajectoires quantiques que nous comprenons instant par instant et chaque point d'intersection, chaque rencontre, suggère potentiellement une nouvelle direction. "

C'est par le pas de La Selle que je dévale vers le Rocher de la Piche et mon point de départ... rien n'a changé... tout à changé...

An hour earlier I was leaving the parking lot of the ropes to the Built ... My not driven by a chilly wind pushing the clouds, pinning them against the foothills of Grand Veymont. I climbed the path under the ravine towards the Red Peyre No of Bachassons via the ravine greenhouses and Maupas.

"The beliefs like fear or love ... are forces to understand as we understand the theory of relativity and the uncertainty principle. The phenomena that determine the direction of our lives. Yesterday my life knew only one way. today it borrows another. Yesterday, I never thought to do what I do today. These forces regularly redo the time and space, can forge and alter what we think, they begin before birth and continue until death. our lives, our choices ... are like quantum trajectories we understand and moment by moment every intersection, every meeting, potentially suggests a new direction. "

It is by no La Selle I hurtles towards the Rock of Piche and my starting point ... nothing has changed ... everything changed ...

Yor's default outfit set, using Megumins default wig,

A Satyress that roamed primordial Spherus Magna, Corpri rises once more. She wields the Lantern of Anima, capable of collecting the souls of those slain by her will. These souls can then be used by her to forge undead creatures from the very elements, twisted to suit whatever purpose she desires.

Though she wields more than the souls of the undead, as she is highly skilled in illusion magic.

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

So yeah, this moc is finally finished. I had not originally intended for her to be a necromancer, but I recently watched the second season of Netflix's Castlevania, and was instantly inspired by the series Devil Forgemasters. Had I had more time, I likely would have built more creations for her, but alas I had to get her and others shipped out.

Fun Fact: I made sure there wasn't a single noticeable Blue pin or Red axle. I tried my hardest to keep to only black and white.

'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -

'UNLEASHED EVENTS' - MAY 11th 2025

Yor's "Spy killer sweater" outfit photo set.

'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -

'UNLEASHED EVENTS' - MAY 11th 2025

Faversham /ˈfævərʃəm/ is a market town and civil parish in the Swale district of Kent, England. The town is 48 miles from London and 10 miles from Canterbury and lies next to the Swale, a strip of sea separating mainland Kent from the Isle of Sheppey in the Thames Estuary. It is close to the A2, which follows an ancient British trackway which was used by the Romans and the Anglo-Saxons, and known as Watling Street. The Faversham name is of Latinvia Old English origin, meaning "the metal-worker's village".

There has been a settlement at Faversham since pre-Roman times, next to the ancient sea port on Faversham Creek, and archaeological evidence has shown a Roman theatre was based in the town. It was inhabited by the Saxons and mentioned in the Domesday bookas Favreshant. The town was favoured by King Stephen who established Faversham Abbey, which survived until the Dissolution of the Monasteries in 1538. Subsequently, the town became an important seaport and established itself as a centre for brewing, and the Shepherd Neame Brewery, founded in 1698, remains a significant major employer.

The town was also the centre of the explosives industry between the 17th and early 20th century, before a decline following an explosion in 1916 which killed over 100 workers. This coincided with a revival of the shipping industry in the town. Faversham has a number of landmarks, with several historic churches including St Mary of Charity, Faversham Parish Church, the Maison Dieu and Faversham Recreation Ground. Faversham Market has been established for over 900 years and is still based in the town centre. There are good road and rail links, including a Southeastern service to the High Speed 1 line at Ebbsfleet International and London.

History

Faversham was established as a settlement before the Roman conquest. The Romans established several towns in Kent including Faversham, with traffic through the Saxon Shore ports of Reculver, Richborough, Doverand Lympne converging on Canterbury before heading up Watling Street to London. The town was less than 10 miles from Canterbury, and consequently Faversham had become established on this road network by 50 AD following the initial conquest by Claudius in 43 AD. Numerous remains of Roman buildings have been discovered in and around Faversham, including under St Mary of Charity Church where coins and urns were discovered during reconstruction of the western tower in 1794. In 2013, the remains of a 2,000-year-old Roman theatre, able to accommodate some 12,000 people, were discovered at a hillside near the town. The cockpit-style outdoor auditorium, the first of its kind found in Britain, was a style the Romans used elsewhere in their empire on the Continent.

There is archaeological evidence to suggest that Faversham was a summer capital for the Saxon kings of Kent. It was held in royaldemesne in 811, and is further cited in a charter granted by Coenwulf, the King of Mercia. Coenwulf described the town as the King's little town of Fefresham, while it was recorded in the Domesday Book as Favreshant. The name has been documented as meaning "the metal-worker's village", which may derive from the Old English fæfere, which in turn comes from the Latin "faber" meaning "craftsman" or "forger". The town had established itself as a seaport by the Middle Ages, and became part of the Confederation of the Cinque Ports in the 13th century, providing a vessel to Dover. The Gough Map of Britain, printed in 1360, shows the Swale as an important shipping channel for trade.

The manor was recorded as Terra Regis, meaning it was part of the ancient royal estates. King Stephen gave it to his chief lieutenant, William of Ypres, but soon made him swap it with Lillechurch (now Higham) so that the manor of Faversham could form part of the endowment of Faversham Abbey. Stephen established the abbey in 1148, and is buried there with his consort Matilda of Boulogne, and his son, Eustace, the Earl of Boulogne. Stephen favoured the town because of the abbey, and so it was historically important during his reign. King John tried to give the church to Simon of Wells in 1201, but it was owned by the monks of St Augustine's Abbeyat Canterbury, who appealed to Rome and denied the request. Abbey Street was constructed around this time in order to provide an appropriate approach to the abbey from the town. It still houses timber framed buildings and has been described as "the finest medieval street in southeast England".

Sir Thomas Culpeper was granted Faversham Abbey by Henry VIII during the Dissolution of the Monasteries in 1538. Most of the abbey was demolished, and the remains of Stephen were rumoured to have been thrown into Faversham Creek. An excavation of the abbey in 1964 uncovered the empty graves. The entrance gates survived the demolition and lasted until the mid-18th century, but otherwise only a small section of outer wall survived. The abbey's masonry was taken to Calais to reinforce defence of the town, then in British possession, against the French army. In 1539, the ground upon which the abbey had stood, along with nearby land, passed to Sir Thomas Cheney, Lord Warden of the Cinque Ports.

Among the few surviving buildings of Faversham Abbey are the two barns at Abbey Farm. Minor Barn was built around 1425; Major Barn, the larger of the two, dates from 1476. Next to the barns is the Abbey Farmhouse, part of which dates from the 14th century. The Abbey Guest house, on the east side of the Abbey's Outer Gateway, has survived as Arden's House. This house, now a private residence in Abbey Street, was the location of the murder of Thomas Arden in 1551. The Faversham Almshouses were founded and endowed by Thomas Manfield in 1614, with additional houses being built by Henry Wright in 1823.

Due to the poor quality of roads in the middle ages, travel by sea was an important transport corridor. Richard Tylman (or Tillman), mayor in 1581, expanded the port at Faversham, building two wharfs. He became a key figure in exporting corn, wheat and malt to London from the town.

Several notable people in the middle ages had origins in Faversham. Haymo of Faversham was born in Faversham and later moved to Paris to join the Franciscans, becoming the "Aristotelian of Aristotelians".[27] Simon of Faversham was born in the town around the middle of the 13th century and later became Chancellor of the University of Oxford in 1304. The notorious pirate Jack Ward is believed to have been born in Faversham around 1553. John Wilson, lutenist and teacher was born in Faversham in 1595 who was the principal composer for the King's Men and a professor of music at Oxford. There is now a plaque at the site of the house in Abbey Street where he was born.

A gunpowder plant had been established around 1573 in Faversham. The town had a stream which could be dammed at intervals to provide power for watermills. It became known as the Home Works in the 18th century and was nationalised in 1759. By the 19th century, the site stretched for around a mile along the waterfront. A second explosive works was established at Oare to the northwest of town in the late 17th century, with the Marsh Works following in 1786. Towards the end of the 19th century, two new factories were built alongside the Swale to manage production of TNT and cordite. Faversham developed six explosive factories, and from 1874 to 1919, the town was the centre of the explosives industry in the UK.

The first production of guncotton took place in the Marsh Works in 1847. Due to a lack of experience with production methods, an explosion took place soon after work started, with several fatalities. On Sunday 2 April 1916, an explosion occurred at one of the Swale factories in Uplees after sparks from a chimney ignited the works containing around 150 tonnes of high explosives. The incident killed over 100 people, which led to decline of the explosives industry in the town. Later accounts suggested that had the incident not happened on a Sunday, there would have been many more casualties.

All three gunpowder factories closed in 1934 due to the impending threat of World War II. Production was moved to Ardeer in Ayrshire, Scotland, and the munition industry around Faversham is now extinct. The town is now a harbour and market community; old sail-powered Thames barges are repaired, rebuilt and moored along the creekside.

Kent is the centre of hop-growing in England, being centred on nearby Canterbury and Faversham has been the home of several breweries. The Shepherd Neame Brewery was officially founded in 1698, though brewing activities in Faversham pre-date this. The brewery claims to be the oldest in Britain and continues to be family-owned. The Rigden brewery was founded in the early 18th century by Edward Rigden. It subsequently merged with the Canterbury based George Beer in 1922 to become George Beer & Rigden before being purchased by the Maidstone based Fremlins. Whitbread bought out Fremlins in 1967, and closed the Faversham brewery in 1990. The site is now a Tesco superstore. Shepherd Neame remains a significant regional brewer despite a decline in consumption of traditional bitter beer, producing around 230,000 barrels a year. It now also makes India Pale Ale under licence.

A shipyard was established in Faversham by James Pollock & Sons (Shipbuilders) in 1916 at the request of Lord Fisher, the First Lord of The Admiralty, for manufacturing barges for landing craft. Faversham already had a tradition of shipbuilding, and it soon became a major contributor to markets throughout the world, producing vessels such as the Molliette and the Violette, both constructed of concrete. Over 1200 ships were built and launched from Faversham between 1916 and 1969.

Faversham Market is still held in the town centre. It is now the oldest street market in Kent, dating back over 900 years. Monthly markets are also held in Preston Street and Court Street.

Having been an important thoroughfare since the 12th century, Abbey Street went into decline around the start of the 20th. Some buildings on the street adjoining Quay Lane were demolished in 1892 and much of the entire street was intended for demolition as recently as the 1950s, until intervention from the Society for the Protection of Ancient Buildings. Local people began a determined fight to restore and preserve the area. Faversham has a highly active archaeological society and a series of community archaeologyprojects are run every year. In 2009, evidence of the town's medieval tannery was unearthed in back gardens of one street, and evidence from the Saxon period was uncovered during the Hunt the Saxons project between 2005 and 2007.

en.m.wikipedia.org/wiki/Faversham

'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -

'UNLEASHED EVENTS' - MAY 11th 2025

Albion Falls has so many delightful features. Captured this one while visiting with Flickr friends Light Forger and Joe Branco.

Based on the soviet Yak-38 Forger, the VL-800 Fireline is an advanced version, equipped with a more powerful engine, long range anti-ship and anti-aircraft missiles.

Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/

__________________________________________

Outlining a Theory of General Creativity . .

. . on a 'Pataphysical projectory

Entropy ≥ Memory ● Creativity ²

__________________________________________

Study of the day :

Il y a donc, là, une crise que j’appelle écosophique, pour élargir la notion de pollution environnementale, non seulement aux dimensions matérielles de la pollution, mais aussi aux dimensions de la pollution sociale, de la pollution mass-médiatique et de la pollution mentale. C’est pour intégrer toutes ces dimensions écologiques que j’ai formé, que j’ai forgé, ce terme d’écosophie. Il y a le problème d’une réinvention de la vie sous tous ses aspects. Sous ses aspects matériels. Sous ses aspects sociaux et sous ses aspects incorporels. Il y a toute une problématique de l’écologie du virtuel à forger.

So there is, there, a crisis which I call ecosophic, to expand the concept of environmental pollution, not only to the material dimensions of pollution, but also to the social dimensions of pollution, of the massmediatical and mental pollution. This is to integrate all these ecological dimensions that I formed this term : ecosophy. There is the problem of a reinvention of life in all its aspects. In its material aspects. In its social aspects and in its intangible aspects. There is a whole problematics of the ecology of the virtual that have to be founded.

( Félix Guattari - An interview on greek TV 1992 )

__________________________________________

| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |

Faversham /ˈfævərʃəm/ is a market town and civil parish in the Swale district of Kent, England. The town is 48 miles from London and 10 miles from Canterbury and lies next to the Swale, a strip of sea separating mainland Kent from the Isle of Sheppey in the Thames Estuary. It is close to the A2, which follows an ancient British trackway which was used by the Romans and the Anglo-Saxons, and known as Watling Street. The Faversham name is of Latinvia Old English origin, meaning "the metal-worker's village".

There has been a settlement at Faversham since pre-Roman times, next to the ancient sea port on Faversham Creek, and archaeological evidence has shown a Roman theatre was based in the town. It was inhabited by the Saxons and mentioned in the Domesday bookas Favreshant. The town was favoured by King Stephen who established Faversham Abbey, which survived until the Dissolution of the Monasteries in 1538. Subsequently, the town became an important seaport and established itself as a centre for brewing, and the Shepherd Neame Brewery, founded in 1698, remains a significant major employer.

The town was also the centre of the explosives industry between the 17th and early 20th century, before a decline following an explosion in 1916 which killed over 100 workers. This coincided with a revival of the shipping industry in the town. Faversham has a number of landmarks, with several historic churches including St Mary of Charity, Faversham Parish Church, the Maison Dieu and Faversham Recreation Ground. Faversham Market has been established for over 900 years and is still based in the town centre. There are good road and rail links, including a Southeastern service to the High Speed 1 line at Ebbsfleet International and London.

History

Faversham was established as a settlement before the Roman conquest. The Romans established several towns in Kent including Faversham, with traffic through the Saxon Shore ports of Reculver, Richborough, Doverand Lympne converging on Canterbury before heading up Watling Street to London. The town was less than 10 miles from Canterbury, and consequently Faversham had become established on this road network by 50 AD following the initial conquest by Claudius in 43 AD. Numerous remains of Roman buildings have been discovered in and around Faversham, including under St Mary of Charity Church where coins and urns were discovered during reconstruction of the western tower in 1794. In 2013, the remains of a 2,000-year-old Roman theatre, able to accommodate some 12,000 people, were discovered at a hillside near the town. The cockpit-style outdoor auditorium, the first of its kind found in Britain, was a style the Romans used elsewhere in their empire on the Continent.

There is archaeological evidence to suggest that Faversham was a summer capital for the Saxon kings of Kent. It was held in royaldemesne in 811, and is further cited in a charter granted by Coenwulf, the King of Mercia. Coenwulf described the town as the King's little town of Fefresham, while it was recorded in the Domesday Book as Favreshant. The name has been documented as meaning "the metal-worker's village", which may derive from the Old English fæfere, which in turn comes from the Latin "faber" meaning "craftsman" or "forger". The town had established itself as a seaport by the Middle Ages, and became part of the Confederation of the Cinque Ports in the 13th century, providing a vessel to Dover. The Gough Map of Britain, printed in 1360, shows the Swale as an important shipping channel for trade.

The manor was recorded as Terra Regis, meaning it was part of the ancient royal estates. King Stephen gave it to his chief lieutenant, William of Ypres, but soon made him swap it with Lillechurch (now Higham) so that the manor of Faversham could form part of the endowment of Faversham Abbey. Stephen established the abbey in 1148, and is buried there with his consort Matilda of Boulogne, and his son, Eustace, the Earl of Boulogne. Stephen favoured the town because of the abbey, and so it was historically important during his reign. King John tried to give the church to Simon of Wells in 1201, but it was owned by the monks of St Augustine's Abbeyat Canterbury, who appealed to Rome and denied the request. Abbey Street was constructed around this time in order to provide an appropriate approach to the abbey from the town. It still houses timber framed buildings and has been described as "the finest medieval street in southeast England".

Sir Thomas Culpeper was granted Faversham Abbey by Henry VIII during the Dissolution of the Monasteries in 1538. Most of the abbey was demolished, and the remains of Stephen were rumoured to have been thrown into Faversham Creek. An excavation of the abbey in 1964 uncovered the empty graves. The entrance gates survived the demolition and lasted until the mid-18th century, but otherwise only a small section of outer wall survived. The abbey's masonry was taken to Calais to reinforce defence of the town, then in British possession, against the French army. In 1539, the ground upon which the abbey had stood, along with nearby land, passed to Sir Thomas Cheney, Lord Warden of the Cinque Ports.

Among the few surviving buildings of Faversham Abbey are the two barns at Abbey Farm. Minor Barn was built around 1425; Major Barn, the larger of the two, dates from 1476. Next to the barns is the Abbey Farmhouse, part of which dates from the 14th century. The Abbey Guest house, on the east side of the Abbey's Outer Gateway, has survived as Arden's House. This house, now a private residence in Abbey Street, was the location of the murder of Thomas Arden in 1551. The Faversham Almshouses were founded and endowed by Thomas Manfield in 1614, with additional houses being built by Henry Wright in 1823.

Due to the poor quality of roads in the middle ages, travel by sea was an important transport corridor. Richard Tylman (or Tillman), mayor in 1581, expanded the port at Faversham, building two wharfs. He became a key figure in exporting corn, wheat and malt to London from the town.

Several notable people in the middle ages had origins in Faversham. Haymo of Faversham was born in Faversham and later moved to Paris to join the Franciscans, becoming the "Aristotelian of Aristotelians".[27] Simon of Faversham was born in the town around the middle of the 13th century and later became Chancellor of the University of Oxford in 1304. The notorious pirate Jack Ward is believed to have been born in Faversham around 1553. John Wilson, lutenist and teacher was born in Faversham in 1595 who was the principal composer for the King's Men and a professor of music at Oxford. There is now a plaque at the site of the house in Abbey Street where he was born.

A gunpowder plant had been established around 1573 in Faversham. The town had a stream which could be dammed at intervals to provide power for watermills. It became known as the Home Works in the 18th century and was nationalised in 1759. By the 19th century, the site stretched for around a mile along the waterfront. A second explosive works was established at Oare to the northwest of town in the late 17th century, with the Marsh Works following in 1786. Towards the end of the 19th century, two new factories were built alongside the Swale to manage production of TNT and cordite. Faversham developed six explosive factories, and from 1874 to 1919, the town was the centre of the explosives industry in the UK.

The first production of guncotton took place in the Marsh Works in 1847. Due to a lack of experience with production methods, an explosion took place soon after work started, with several fatalities. On Sunday 2 April 1916, an explosion occurred at one of the Swale factories in Uplees after sparks from a chimney ignited the works containing around 150 tonnes of high explosives. The incident killed over 100 people, which led to decline of the explosives industry in the town. Later accounts suggested that had the incident not happened on a Sunday, there would have been many more casualties.

All three gunpowder factories closed in 1934 due to the impending threat of World War II. Production was moved to Ardeer in Ayrshire, Scotland, and the munition industry around Faversham is now extinct. The town is now a harbour and market community; old sail-powered Thames barges are repaired, rebuilt and moored along the creekside.

Kent is the centre of hop-growing in England, being centred on nearby Canterbury and Faversham has been the home of several breweries. The Shepherd Neame Brewery was officially founded in 1698, though brewing activities in Faversham pre-date this. The brewery claims to be the oldest in Britain and continues to be family-owned. The Rigden brewery was founded in the early 18th century by Edward Rigden. It subsequently merged with the Canterbury based George Beer in 1922 to become George Beer & Rigden before being purchased by the Maidstone based Fremlins. Whitbread bought out Fremlins in 1967, and closed the Faversham brewery in 1990. The site is now a Tesco superstore. Shepherd Neame remains a significant regional brewer despite a decline in consumption of traditional bitter beer, producing around 230,000 barrels a year. It now also makes India Pale Ale under licence.

A shipyard was established in Faversham by James Pollock & Sons (Shipbuilders) in 1916 at the request of Lord Fisher, the First Lord of The Admiralty, for manufacturing barges for landing craft. Faversham already had a tradition of shipbuilding, and it soon became a major contributor to markets throughout the world, producing vessels such as the Molliette and the Violette, both constructed of concrete. Over 1200 ships were built and launched from Faversham between 1916 and 1969.

Faversham Market is still held in the town centre. It is now the oldest street market in Kent, dating back over 900 years. Monthly markets are also held in Preston Street and Court Street.

Having been an important thoroughfare since the 12th century, Abbey Street went into decline around the start of the 20th. Some buildings on the street adjoining Quay Lane were demolished in 1892 and much of the entire street was intended for demolition as recently as the 1950s, until intervention from the Society for the Protection of Ancient Buildings. Local people began a determined fight to restore and preserve the area. Faversham has a highly active archaeological society and a series of community archaeologyprojects are run every year. In 2009, evidence of the town's medieval tannery was unearthed in back gardens of one street, and evidence from the Saxon period was uncovered during the Hunt the Saxons project between 2005 and 2007.

en.m.wikipedia.org/wiki/Faversham

Spy X Family

| Yor Forger and Loid Forger

CN: Paris & Luna

asdgraphy / momento.R

Yor Forger - Spy X Family

To view more of my images, of Dedham, please click "here"!

Dedham is a village within the borough of Colchester in northeast Essex, England, situated on the River Stour and on the border of Essex and Suffolk. The nearest town to Dedham is the small market town of Manningtree. It is frequently rated as containing some of England's most beautiful Lowland landscape, most particularly the Water Meadows of the River Stour, which passes along the northern boundary of the village forming the boundary between the counties of Essex and Suffolk. Dedham has a central nuclear settlement around the Church and the junction of Mill Lane and the High Street. Connected to Dedham are the hamlets of The Heath and Lamb Corner. The village forms a key part of the Dedham Vale. A group of early dissenters left Dedham to found the township of Dedham in the Massachusetts Bay Colony in 1635. Under the leadership of John Rogers, a preacher banned from his work in England, they established a settlement on the western edge of the colony first established in 1628, now a suburb of the city of Boston. Despite some early setbacks this township eventually proved very successful and a number of prominent US families can trace their ancestry from these early arrivals from East Anglia - see note below on William Tecumseh Sherman. Dedham is at the heart of 'Constable Country' - the area of England where John Constable lived and painted. Constable attended the town's Grammar School (now the 'Old Grammar School' and 'Well House'), and he would walk to school each morning alongside the River Stour from his family's home in East Bergholt. Many of Constable's paintings feature Dedham, including Dedham Mill, which his father owned, and Dedham Parish Church, whose massive Caen stone and flint tower is a focal point of the surrounding Dedham Vale. In 1937, Cedric Morris and Arthur Lett-Haines founded the East Anglian School of Painting and Drawing at Dedham. When, however, this burnt down, they moved to Hadleigh, Suffolk. Of longer influence in Dedham was the horse painter Sir Alfred Munnings, who became President of the Royal Academy. His house in Dedham, Castle House, now contains a gallery of his work, and his studio. Tom Keating, the art restorer and famous art forger, was a Dedham resident until his death in 1984. He is buried in the churchyard of Dedham Parish Church. Dedham Parish Church - St. Mary the Virgin, Dedham; the present building dates from the late 15th century, and was the last medieval 'wool church' to be completed, albeit in a more economical style that was originally intended. The Ascension by John Constable is on permanent display in the church. A viewing platform on top of the tower (open to the public from Easter to Harvest) gives excellent views of the lower part of the Stour valley.

Sherman's Hall, a Grade I listed, Georgian-fronted townhouse used as a school until 1873 and now belonging to the National Trust. Formerly a rich wool town and market town, Dedham is now still a flourishing commercial village, housing a post office, butcher, Co-op, grocer, delicatessen, art shop and various other shops. Agriculture is also important with mainly arable land, but also cattle grazing on the water meadows and some sheep on Grove Hill. There is an industrial estate near the A12, the main road which passes through the west of the village. A business centre and nursing home have recently opened.

From Wikipedia, the free encyclopedia

Anya and Bond Forger from Spy x Family... (and Director Chimera)

Photographer: Florent Joannès

Model: Chan

2022

c/n 7977864060699, l/n 10-10.

NATO codename:- Forger-A

On display at the Vadim Zadorozhny Technical Museum, Arkhangelskoye, Moscow Oblast, Russia.

26th August 2017

Anya and Bond Forger from Spy x Family... (and Director Chimera)

'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -

'UNLEASHED EVENTS' - MAY 11th 2025

The green flying boat beside it is a Be-6 'MADGE'.

'YOR FORGER - SPY X FAMILY' - 'COSPLAY BY GRACIE' - 'MAGNA SCIENCE MUSEUM COSPLAY EVENT' -

'UNLEASHED EVENTS' - MAY 11th 2025

Belgian postcard by International Lotto Club, Monte-Carlo.

American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).

George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalised at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten, Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose to travel to Europe instead. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in 'Jew Suss' as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful 'Everybody's Shakespeare'. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in 'Romeo and Juliet'. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.

In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became the executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to the radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”

Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.

Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after the early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.

Orson Welles left Hollywood for Europe. In Italy, he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.

In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong, he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris, he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia, he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.

In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an ageing film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973), a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared in his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.

Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Mons Meg est une bombarde médiévale (XVe siècle) de la collection des Royal Armouries prêtée à Historic Scotland. Elle symbolise le passé militaire glorieux de l'Écosse. Cet impressionnant canon de siège de 6 tonnes, de calibre 20 pouces (510 mm) est capable de tirer des boulets de pierre pesant 330 livres (150 kgs) jusqu'à 2 miles de distance (3,2 kms). A l’origine le canon était peint avec du plomb rouge pour l’empêcher de rouiller. Il fallait cent hommes pour le transporter. Avec l'énorme "canon des Dardanelles" en bronze coulé de 17 tonnes fabriquée en 1464 pour le sultan turc Mohamet II (exposé à présent dans la cour de la Tour de Londres), ces bombardes sont parmi les plus gros canons jamais construits. L'auteur anglais Dudley Pope cite le Mons Meg mais également le Dulle Griet de Gand comme exemples des plus gros canons construits au Moyen Age, et dit des deux qu'ils "ont probablement été fabriqués en "Flandre" (région qui deviendra plus tard la Belgique et que les Français appelaient "Pays-Bas"). Le "Dulle Griet mesurait plus de 5 m de long pesait 12.5 tonnes avec un calibre à la bouche d'environ 90 cm. Il était peint en rouge sang lui valant le surnom de « grand démon rouge ». Le nom flamand Griet et le nom anglais Meg sont tous deux des diminutifs du nom de Margaret (ou Margriet), équivalents du français Marguerite. Mons Meg a été construit par Jehan Cambier, fabricant d'artillerie du duc de Bourgogne Philippe le Bonet il a été testé avec succès à Mons dans le comté de Hainaut dans l'actuelle Belgique, en juin 1449. Le duc n'en prendra livraison qu'en 1453. Le duc a offert la bombarde au roi d'Écosse James II en 1457 dont il avait aidé à négocier le mariage en signe de son soutien.

Le canon est fabriqué selon la méthode qui consistait à forger ensemble des barres de fer droites autour d'un mandrin, et de les consolider ensuite avec des cercles de fer, dilatés par chauffe et brusquement refroidis à l'eau pour provoquer un rétrécissement, à la manière des barriques. La manière dont ces canons sont fabriqués ainsi que les variations de qualité de la poudre noire dont les ingrédients étaient souvent transportés séparément et mélangés sur place, en faisait des armes très peu fiables. Les explosions n'étaient pas rares, et on peut dire que ces bombardes étaient plus dangereuses pour leurs servants que pour ceux sur qui on tirait. L'effet psychologique de la flamme et du tonnerre au départ du coup étaient plus impressionnant que le gros boulet de pierre. Il faut également imaginer la somme d'efforts et d'énergie nécessaires au déplacement de ces énormes pièces, ainsi que la difficulté de leur mise en batterie. Une fois en place, ces bombardes ne pouvaient plus être déplacées, et tout réglage de visée était exclu. Elles ne pouvaient tirer qu'une dizaine de coups par jour au maximum en raison de l’énorme chaleur générée par la charge de poudre, et si leurs gros boulets de pierre parvenaient à ouvrir des brèches dans des murailles pas trop épaisses, ils étaient pratiquement sans effet contre l'infanterie et la cavalerie, qui pouvait les voir arriver de loin et les éviter assez aisément.

La bombarde a été employée dans les sièges jusqu'au milieu du XVIe siècle. Probablement pour la première fois en 1460 au château de Roxburgh près de la frontière avec l'Angleterre. Au cours de cette bataille, le roi Jacques II d'Écosse a été mortellement blessé lorsqu'un autre canon de siège géant a explosé. En 1489, elle a été emmenée à 80 km (50 miles) à l'ouest du château de Dumbarton (puis le château de Norham), pour aider à maîtriser le comte de Lennox. Le poids énorme de Mons Meg la rendait très difficile à déplacer. Sa vitesse moyenne n'était que de 14 kms (9 miles) par jour. Elle termina ses jours de combat dans la marine du roi Jacques V, prenant sa retraite vers 1540. Elle ne fut tiré ensuite que lors d'occasions cérémonielles : en 1558 pour célébrer le mariage de Mary Queen of Scots avec le dauphin français, puis de nouveau en 1681, en guise de salut d'anniversaire pour le futur roi Jacques VII. Malheureusement le baril éclata rendant le Mons Meg inutilisable (les cerceaux fracturés sont encore visibles). En 1754, Mons Meg fut emmenée à la Tour de Londres, où il y resta 75 ans. Il est ramené au château en 1829. La cavalerie et l’infanterie l’escortent de Leith Docks à Castle Rock. Mons Meg a depuis été restauré et est maintenant exposé dans le château. Il reste très populaire aujourd’hui auprès des touristes, qui ne résistent pas à mettre la tête dans l'énorme canon…

Mons Meg is a medieval (15th century) bombard from the collection of the Royal Armories on loan to Historic Scotland. It symbolizes Scotland's glorious military past. This impressive 6-ton, 20-inch (510 mm) caliber siege gun is capable of firing stone balls weighing 330 pounds (150 kg) up to 2 miles away (3.2 km). Originally the barrel was painted with red lead to prevent it from rusting. It took a hundred men to transport it. Together with the massive 17-tonne cast bronze 'Dardanelle Cannon' made in 1464 for the Turkish Sultan Mohammet II (now on display in the courtyard of the Tower of London), these bombards are among the largest cannons ever built. The English author Dudley Pope cites the Mons Meg but also the Dulle Griet of Ghent as examples of the largest guns built in the Middle Ages, and says of both that they "were probably made in 'Flanders' (a region which later became Belgium and which the French called "Pays-Bas"). The "Dulle Griet was more than 5 m long, weighed 12.5 tons with a caliber at the muzzle of about 90 cm. He was painted blood red, earning him the nickname "great red demon". The Flemish name Griet and the English name Meg are both diminutives of the name Margaret (or Margriet), equivalents of the French Marguerite. Mons Meg was built by Jehan Cambier, artillery maker for the Duke of Burgundy Philippe le Bonet it was successfully tested in Mons in the county of Hainaut in present-day Belgium, in June 1449. The duke never took delivery of it than in 1453. The Duke gifted the bombard to King James II of Scotland in 1457 whose marriage he had helped negotiate as a sign of his support.

The barrel is made by the method of forging straight iron bars together around a mandrel, and then consolidating them with iron hoops, expanded by heating and suddenly cooled with water to cause shrinkage, to the way of the barrels. The way in which these guns are made as well as the variations in quality of black powder whose ingredients were often transported separately and mixed on site, made them very unreliable weapons. Explosions were not uncommon, and it can be said that these bombards were more dangerous for their servants than for those who were fired at. The psychological effect of the flame and the thunder at the start of the blow were more impressive than the large stone ball. One must also imagine the amount of effort and energy required to move these huge pieces, as well as the difficulty of putting them in battery. Once in place, these bombards could no longer be moved, and any aiming adjustment was excluded. They could only fire about ten shots a day at the most because of the enormous heat generated by the powder charge, and if their big stone balls managed to open breaches in walls not too thick, they were practically without effect against infantry and cavalry, which could see them coming from afar and avoid them quite easily.

The bombard was used in sieges until the middle of the 16th century. Probably first seen in 1460 at Roxburgh Castle near the border with England. During this battle, King James II of Scotland was mortally wounded when another giant siege cannon exploded. In 1489, she was taken 80 km (50 miles) west of Dumbarton Castle (then Norham Castle), to help subdue the Earl of Lennox. Mons Meg's enormous weight made her very difficult to move. Its average speed was only 14 kms (9 miles) per day. She ended her days of combat in the navy of King James V, retiring around 1540. She was only fired afterwards on ceremonial occasions: in 1558 to celebrate the marriage of Mary Queen of Scots to the French Dauphin, then to again in 1681, as a birthday greeting for the future King James VII. Unfortunately the barrel burst rendering the Mons Meg unusable (the fractured hoops are still visible). In 1754, Mons Meg was taken to the Tower of London, where he remained for 75 years. He was brought back to the castle in 1829. Cavalry and infantry escorted him from Leith Docks to Castle Rock. Mons Meg has since been restored and is now on display in the castle. It remains very popular today with tourists, who can't resist putting their heads in the huge cannon...

Yugoslavian postcard by Sedma Sila. Photo: IOM, Beograd. Orson Welles in Citizen Kane (Orson Welles, 1941). Caption: Orson Vels.

American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).

George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.

In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”

Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals, but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically, and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.

Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons, and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut, and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.

Orson Welles left Hollywood for Europe. In Italy he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.

In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box-office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.

In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973) , a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared on his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.

Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

These Patterns spark some kind if satisfaction feel everybtime I look at them. Most of the times when I observer Patterns in the environment I always forger to bring a film camera. But once I had got it and the results turned out to be very 😌 satisfying.

.

No doubt a tripod makes a hell lot of difference when shooting a film. Sharpness and less motion blur = more details. Absolutely love this tip.

.

Camera: Nikkromat Ftn

Film Stock: Ilford HP5 ( pushed 1 stop )

Han van Meegeren (Deventer, October 10, 1889 - Amsterdam, December 30, 1947) was a Dutch painter and is considered to be one of the most ingenious art forgers of the 20th century. When art critics decried his work as tired and derivative, van Meegeren felt that they had destroyed his career. Thereupon, he decided to prove his talent to the critics by forging paintings of some of the world's most famous artists, including Frans Hals, Pieter de Hooch, Gerard ter Borch and Johannes Vermeer. He so well replicated the styles and colours of the artists that the best art critics and experts of the time regarded his paintings as genuine and sometimes exquisite. His most successful forgery was Supper at Emmaus, created in 1937 while living in the south of France. This painting was hailed by some of the world’s foremost art experts as the finest Vermeer they had ever seen.

[Rijksmuseum - Oil on canvas, 58.5 x 57 cm]

gandalfsgallery.blogspot.co.uk/2012/10/han-van-meegeren-w...

Character - Yor Forger

From - SpyXFamily

Cosplayer - @saimasmileslike (Instagram)

Event - MCM London October 2022

Photographer: Ibrahim D Photography (Facebook)

IbrahimD_Photography (Instagram)

282 Feet below sea level, Bad Water is one of the most visited areas in Death Valley. The parking area was upgraded in the fall of 2003 to cope with the increasing number of visitors to the site.

This is one of the salt ponds that can be easily accessed by a raised walkway. The walkway allows access within inches of the pond.

Farnborough 1992

Peter Goss is the last hand forger of surgical instruments in the UK

Kelham Island Museum

アーニャ、大須におでけけしたら招き猫になった♪

@Osu area, Naka ward, Nagoya city, Aichi pref., Japan.（愛知県名古屋市中区大須地区）

Mons Meg est une bombarde médiévale (XVe siècle) de la collection des Royal Armouries prêtée à Historic Scotland. Elle symbolise le passé militaire glorieux de l'Écosse. Cet impressionnant canon de siège de 6 tonnes, de calibre 20 pouces (510 mm) est capable de tirer des boulets de pierre pesant 330 livres (150 kgs) jusqu'à 2 miles de distance (3,2 kms). A l’origine le canon était peint avec du plomb rouge pour l’empêcher de rouiller. Il fallait cent hommes pour le transporter. Avec l'énorme "canon des Dardanelles" en bronze coulé de 17 tonnes fabriquée en 1464 pour le sultan turc Mohamet II (exposé à présent dans la cour de la Tour de Londres), ces bombardes sont parmi les plus gros canons jamais construits. L'auteur anglais Dudley Pope cite le Mons Meg mais également le Dulle Griet de Gand comme exemples des plus gros canons construits au Moyen Age, et dit des deux qu'ils "ont probablement été fabriqués en "Flandre" (région qui deviendra plus tard la Belgique et que les Français appelaient "Pays-Bas"). Le "Dulle Griet mesurait plus de 5 m de long pesait 12.5 tonnes avec un calibre à la bouche d'environ 90 cm. Il était peint en rouge sang lui valant le surnom de « grand démon rouge ». Le nom flamand Griet et le nom anglais Meg sont tous deux des diminutifs du nom de Margaret (ou Margriet), équivalents du français Marguerite. Mons Meg a été construit par Jehan Cambier, fabricant d'artillerie du duc de Bourgogne Philippe le Bonet il a été testé avec succès à Mons dans le comté de Hainaut dans l'actuelle Belgique, en juin 1449. Le duc n'en prendra livraison qu'en 1453. Le duc a offert la bombarde au roi d'Écosse James II en 1457 dont il avait aidé à négocier le mariage en signe de son soutien.

Le canon est fabriqué selon la méthode qui consistait à forger ensemble des barres de fer droites autour d'un mandrin, et de les consolider ensuite avec des cercles de fer, dilatés par chauffe et brusquement refroidis à l'eau pour provoquer un rétrécissement, à la manière des barriques. La manière dont ces canons sont fabriqués ainsi que les variations de qualité de la poudre noire dont les ingrédients étaient souvent transportés séparément et mélangés sur place, en faisait des armes très peu fiables. Les explosions n'étaient pas rares, et on peut dire que ces bombardes étaient plus dangereuses pour leurs servants que pour ceux sur qui on tirait. L'effet psychologique de la flamme et du tonnerre au départ du coup étaient plus impressionnant que le gros boulet de pierre. Il faut également imaginer la somme d'efforts et d'énergie nécessaires au déplacement de ces énormes pièces, ainsi que la difficulté de leur mise en batterie. Une fois en place, ces bombardes ne pouvaient plus être déplacées, et tout réglage de visée était exclu. Elles ne pouvaient tirer qu'une dizaine de coups par jour au maximum en raison de l’énorme chaleur générée par la charge de poudre, et si leurs gros boulets de pierre parvenaient à ouvrir des brèches dans des murailles pas trop épaisses, ils étaient pratiquement sans effet contre l'infanterie et la cavalerie, qui pouvait les voir arriver de loin et les éviter assez aisément.

La bombarde a été employée dans les sièges jusqu'au milieu du XVIe siècle. Probablement pour la première fois en 1460 au château de Roxburgh près de la frontière avec l'Angleterre. Au cours de cette bataille, le roi Jacques II d'Écosse a été mortellement blessé lorsqu'un autre canon de siège géant a explosé. En 1489, elle a été emmenée à 80 km (50 miles) à l'ouest du château de Dumbarton (puis le château de Norham), pour aider à maîtriser le comte de Lennox. Le poids énorme de Mons Meg la rendait très difficile à déplacer. Sa vitesse moyenne n'était que de 14 kms (9 miles) par jour. Elle termina ses jours de combat dans la marine du roi Jacques V, prenant sa retraite vers 1540. Elle ne fut tiré ensuite que lors d'occasions cérémonielles : en 1558 pour célébrer le mariage de Mary Queen of Scots avec le dauphin français, puis de nouveau en 1681, en guise de salut d'anniversaire pour le futur roi Jacques VII. Malheureusement le baril éclata rendant le Mons Meg inutilisable (les cerceaux fracturés sont encore visibles). En 1754, Mons Meg fut emmenée à la Tour de Londres, où il y resta 75 ans. Il est ramené au château en 1829. La cavalerie et l’infanterie l’escortent de Leith Docks à Castle Rock. Mons Meg a depuis été restauré et est maintenant exposé dans le château. Il reste très populaire aujourd’hui auprès des touristes, qui ne résistent pas à mettre la tête dans l'énorme canon…

Mons Meg is a medieval (15th century) bombard from the collection of the Royal Armories on loan to Historic Scotland. It symbolizes Scotland's glorious military past. This impressive 6-ton, 20-inch (510 mm) caliber siege gun is capable of firing stone balls weighing 330 pounds (150 kg) up to 2 miles away (3.2 km). Originally the barrel was painted with red lead to prevent it from rusting. It took a hundred men to transport it. Together with the massive 17-tonne cast bronze 'Dardanelle Cannon' made in 1464 for the Turkish Sultan Mohammet II (now on display in the courtyard of the Tower of London), these bombards are among the largest cannons ever built. The English author Dudley Pope cites the Mons Meg but also the Dulle Griet of Ghent as examples of the largest guns built in the Middle Ages, and says of both that they "were probably made in 'Flanders' (a region which later became Belgium and which the French called "Pays-Bas"). The "Dulle Griet was more than 5 m long, weighed 12.5 tons with a caliber at the muzzle of about 90 cm. He was painted blood red, earning him the nickname "great red demon". The Flemish name Griet and the English name Meg are both diminutives of the name Margaret (or Margriet), equivalents of the French Marguerite. Mons Meg was built by Jehan Cambier, artillery maker for the Duke of Burgundy Philippe le Bonet it was successfully tested in Mons in the county of Hainaut in present-day Belgium, in June 1449. The duke never took delivery of it than in 1453. The Duke gifted the bombard to King James II of Scotland in 1457 whose marriage he had helped negotiate as a sign of his support.

The barrel is made by the method of forging straight iron bars together around a mandrel, and then consolidating them with iron hoops, expanded by heating and suddenly cooled with water to cause shrinkage, to the way of the barrels. The way in which these guns are made as well as the variations in quality of black powder whose ingredients were often transported separately and mixed on site, made them very unreliable weapons. Explosions were not uncommon, and it can be said that these bombards were more dangerous for their servants than for those who were fired at. The psychological effect of the flame and the thunder at the start of the blow were more impressive than the large stone ball. One must also imagine the amount of effort and energy required to move these huge pieces, as well as the difficulty of putting them in battery. Once in place, these bombards could no longer be moved, and any aiming adjustment was excluded. They could only fire about ten shots a day at the most because of the enormous heat generated by the powder charge, and if their big stone balls managed to open breaches in walls not too thick, they were practically without effect against infantry and cavalry, which could see them coming from afar and avoid them quite easily.

The bombard was used in sieges until the middle of the 16th century. Probably first seen in 1460 at Roxburgh Castle near the border with England. During this battle, King James II of Scotland was mortally wounded when another giant siege cannon exploded. In 1489, she was taken 80 km (50 miles) west of Dumbarton Castle (then Norham Castle), to help subdue the Earl of Lennox. Mons Meg's enormous weight made her very difficult to move. Its average speed was only 14 kms (9 miles) per day. She ended her days of combat in the navy of King James V, retiring around 1540. She was only fired afterwards on ceremonial occasions: in 1558 to celebrate the marriage of Mary Queen of Scots to the French Dauphin, then to again in 1681, as a birthday greeting for the future King James VII. Unfortunately the barrel burst rendering the Mons Meg unusable (the fractured hoops are still visible). In 1754, Mons Meg was taken to the Tower of London, where he remained for 75 years. He was brought back to the castle in 1829. Cavalry and infantry escorted him from Leith Docks to Castle Rock. Mons Meg has since been restored and is now on display in the castle. It remains very popular today with tourists, who can't resist putting their heads in the huge cannon...

+++ 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 Yakovlev Yak-38 (Russian: Яковлева Як-38; NATO reporting name: "Forger") was the Soviet Naval Aviation's first and only operational VTOL strike fighter aircraft, in addition to being its first operational carrier-based fixed-wing aircraft. It was developed specifically for and served almost exclusively on the Kiev-class aircraft carriers.

Officially, all Ukrainian Yak-138 were scrapped until 1994, even though rumor has it that one or two airframes had been sold behind the scenes to China. In Russia only five specimen had survived, and since the spares situation was doubtful none could be kept in flying condition. One Yak-138 was eventually handed over to the Ulyanovsk Aircraft Museum, while the rest was either mothballed or scrapped, too. Unfortunately, the sole museum exhibit was lost in 1995 in a fire accident.

General characteristics:

Crew: One

Length (incl. pitot): 15.84 m (51 ft 10 1/2 in)

Wingspan: 8,17 m (26 ft 9 in)

Height: 4.19 m (14 ft 3 in)

Wing area: 24.18 m² (260.27 ft²)

Empty weight: 7,385 kg (16,281 lb)

Max. takeoff weight: 11,300 kg (28,700 lb)

Powerplant:

1x Kuznetsov NK-32L-2 turbofan engine, rated at 137 kN (31,000 lbf)

Performance:

Maximum speed: 1,176 km/h (730 mph; 635 knots) at sea level

Combat radius: 230 mi (200 nmi, 370 km) lo-lo-lo with 4,400 lb (2,000 kg) payload

Ferry range: 2,129 mi (1,850 nmi, 3,425 km)

Endurance: 1 hr 30 min (combat air patrol – 115 mi (185 km) from base)

Service ceiling: 51,200 ft (15,600 m)

Time to climb to 40,000 ft (12,200 m): 2 min 23 s

Armament:

1x GSh-23L 23mm machine cannon with 250 RPG under the fuselage

5 hardpoints with a total external capacity of

- 3.000 kg (6,600 lb) for C/STOL operations and

- 2.000 kg (4.400 lb) in VTOL mode

Provisions to carry combinations of various types of unguided rockets (up to 240 mm), anti-ship

or air-to-surface Kh-23 (AS-7 Kerry) missiles (together with a Delta N guidance pod), R-60,

R-60M (AA-8 Aphid) or R-73 (AA-11 Archer) air-to-air missiles; tactical nuclear bombs, general

purpose bombs of up to 500 kg (1.100 lb) caliber, or incendiary ZB-500 napalm tanks or up to

three PTB-800 drop tanks under the fuselage and the inner pair of wing pylons

The kit and its assembly:

Sixth contribution to the “Soviet” Group Build at whatifmodelers.com in early 2017, on pretty short notice since the GB had been coming to its end. This totally fictional aircraft was inspired CG illustrations that had been roaming the WWW for some time: a hybrid between a Yak-38 (mostly the tail section), mated with an AV-8B Harrier II (cockpit, wings, landing gear). This did not look bad at all, yet a bit weird, with lift engines added in front of the fin. Certainly not conformal with a good CG balance – but I liked the idea of a single-engine Forger. And actually, OKB Yakovlev had been considering this.

So, the basic idea was a Harrier/Yak-38 kitbash. But the more I thought about the concept, the more additional donor parts came into play. One major addition was the nose section from a MiG-27 – with its slanted nose it would offer the pilot an excellent field of view, and the aircraft would, as a front line attack plane like the Harrier, not carry a radar, so the Flogger’s nose shape was perfect.

Therefore, initial ingredients for the Yak-138 were:

- Rear fuselage, wings and tail from a Tsukuda Hobby/Kangnam/Revell Yak-38

- Mid-fuselage with air intakes and front vectoring nozzles from a Matchbox Sea Harrier

- Cockpit from an Academy MiG-27

Work started with the MiG-27 cockpit, which was more or less taken OOB (except for side consoles in the cockpit and different seat), and the Yak-38 the tail section, built in parallel. To my surprise the Forger fuselage was easier to combine with the Harrier than expected, even though the position of the right cuts took multiple measurements until I came up with a proper solution. Since the Harrier is overall shorter than the Yak-38, the latter’s fuselage had to be shortened. I retained the tail cone, the Forger’s vectoring nozzles and the landing gear wells – and a 2cm plug was taken out between them. Instead of the Harrier’s tandem landing gear arrangement with outriggers under the outer wings, this one was to receive a conventional landing gear for optional C/STOL operations with a higher ordnance load, so that the Yak-38 parts were a welcome basis. Once the fuselage’s underside was more or less complete, the upper rest of the Yak-38 fuselage could be cut to size and integrated into the lower half and the Harrier parts.

After the rear end was settled, the MiG-27 cockpit could be mounted to the front end, which was slightly shortened by 2-3mm (since the Flogger’s is markedly longer than the short Harrier nose). In order to change the overall look of the aircraft, I eventually dropped the Harrier intakes and decided to use the Flogger’s boxy air intakes instead. These are considerably smaller than the gaping Harrier holes, and blending the conflicting shapes into each other for a more or less consistent look took several PSR turns. But it worked, better than expected, and it changes the aircraft’s look effectively, so that almost anything Harrier-esque was gone.

Once the fuselage was completed, I realized that I could not use the Yak-38 wings anymore. They are already pretty small, but with the more voluminous Harrier and Flogger parts added to the aircraft, they’d just be too small!

What to do...? I checked the donor bank and – in order to add even more individual flavor – used a pair of double delta wings from a PM Model Su-15! But only the core of them was left after considerable modifications: The inner delta wing sections were cut off, as well as the tip sections and parts of the trailing edge (for a planform similar to the Yak-38’s wings). On the underside, the landing gear openings were filled up and wing tips from the Yak-38, with puffer jet nozzles, transplanted. The inner leading edges had to be re-sculpted, too. The Su-15 wing fences were kept - a welcome, very Soviet design detail.

A lot of work, but I think it paid out because of the individual shape and look of these “new” wings?

As a consequence of the new, bigger wings, the little Yak-38 stabilizers could not be used anymore, either. In order to keep the square wing shape, I used modified stabilizers from an Intech F-16C/D – their trailing edges were clipped, but the bigger span retained. Together with the characteristic OOB Yak-38 fin they work well, and all of the aerodynamic surfaces IMHO blend well into the overall design of the aircraft.

After the hull was complete, work on smaller things could start. Under the fuselage, a GSh-23-2 pod from a MiG-21 was added, as well as pylons from the Tsukuda Yak-38 under the wings and a donor part from the scrap box in ventral position.

The landing gear is a mix, too: the main struts come from the Yak-38, the balloon wheels from the Matchbox Harrier. The front landing gear comes from the Academy MiG-27, including the wheels with mudguards. It was just mounted in a fashion that it now retracts forward.

The Harrier vectoring nozzles were modified, too, the exhaust “grills” replaced by square, simple ducts, scratched from styrene profile and putty. Care was taken that the nozzles would remain moveable in the fuselage flanks – for later hover pictures. The Yak-38’s nozzles were retained, but since they can OOB only be mounted in a single, fixed position, I added a simple pin to each nozzle, together with two holes in the hull, so that positions can now be switched between hover and level flight.

All around the hull, finally some small details like pitots, blade antennae and air scoops were finally added, and the ordnance consists of a pair of unguided 57mm rocket pods and a pair of Kh-23 (AS-7 Kerry) guided missiles – the latter come from the Yak-38 kit, but they are very crude and their tail sections were modified in order to come (slightly) closer to reality.

Painting and markings:

As an aircraft of the Soviet Frontal Aviation in the late Eighties, I settled upon a typical, disruptive four-tone camouflage with blue undersides. Very conventional, but with an exotic VTOL model I thought that a subtle look would be appropriate – and also separate it from the Naval Yak-38 cousin.

Design benchmark is the scheme on a contemporary MiG-21bis from a Soviert Frontal Aviation unit, chosen because of the disruptive pattern. The tones are guesstimates, though, based on various similar aircraft in more or less weathered condition. I settled for:

- Humbrol 195 (Dark Satin Green)

- Humbrol 78 (RAF Interior Green)

- Modelmaster 2005 (Burnt Umber)

- Humbrol 119 (Light Earth)

- Humbrol 115 (Russian Blue) for the undersides

The cockpit was painted in Russian Cockpit Green, opf course. The landing gear and their respective wells in a mix of Aluminum and Khaki Drab (Humbrol 56 & 26), and the wheel discs became bright green (Humbrol 131). Several di-electric panels and antennae were painted in Humbrol 106 (RAF Ocean Grey).

The kit received a thin black ink wash, in order to emphasize the panel lines, and panel post-shading with subtly lighter tones of the basic colors. National markings, codes and emblems come from several aftermarket sheets, mostly from High Decal Line and Begemot.

After some soot stains (grinded graphite) had been added, the kit was sealed with matt acrlyic varnish (Italeri) and the ordnace added.

Messy work, but I am surprised how consistent and normal the resulting aircraft appears? From certain angles, my Yak-138 creation reminds a good deal of the stillborn Hawker P.1154 (no similarity intended, though), the SEPECAT Jaguar or rather exotic Soko J-22 Orao/IAR-93 Vultur fighter bomber. IMHO, there’s also some A-4 Skyhawk style to it, esp. in planview? Anyway, there’s still some good Yak-38 heritage recognizable, and the tactical Frontal Aviation paint scheme suits the aircraft well - looks like a serious mud mover.

47/365

Security hologram on the new Bank of England £5 note. If you look closely on a note this hologram runs from top to bottom. This is gonna be a bugger for the forgers!!

So many different colour combinations to be had out of this. Gonna have another go but will need a brand new note as this one was a little creased.

Mons Meg est une bombarde médiévale (XVe siècle) de la collection des Royal Armouries prêtée à Historic Scotland. Elle symbolise le passé militaire glorieux de l'Écosse. Cet impressionnant canon de siège de 6 tonnes, de calibre 20 pouces (510 mm) est capable de tirer des boulets de pierre pesant 330 livres (150 kgs) jusqu'à 2 miles de distance (3,2 kms). A l’origine le canon était peint avec du plomb rouge pour l’empêcher de rouiller. Il fallait cent hommes pour le transporter. Avec l'énorme "canon des Dardanelles" en bronze coulé de 17 tonnes fabriquée en 1464 pour le sultan turc Mohamet II (exposé à présent dans la cour de la Tour de Londres), ces bombardes sont parmi les plus gros canons jamais construits. L'auteur anglais Dudley Pope cite le Mons Meg mais également le Dulle Griet de Gand comme exemples des plus gros canons construits au Moyen Age, et dit des deux qu'ils "ont probablement été fabriqués en "Flandre" (région qui deviendra plus tard la Belgique et que les Français appelaient "Pays-Bas"). Le "Dulle Griet mesurait plus de 5 m de long pesait 12.5 tonnes avec un calibre à la bouche d'environ 90 cm. Il était peint en rouge sang lui valant le surnom de « grand démon rouge ». Le nom flamand Griet et le nom anglais Meg sont tous deux des diminutifs du nom de Margaret (ou Margriet), équivalents du français Marguerite. Mons Meg a été construit par Jehan Cambier, fabricant d'artillerie du duc de Bourgogne Philippe le Bonet il a été testé avec succès à Mons dans le comté de Hainaut dans l'actuelle Belgique, en juin 1449. Le duc n'en prendra livraison qu'en 1453. Le duc a offert la bombarde au roi d'Écosse James II en 1457 dont il avait aidé à négocier le mariage en signe de son soutien.

Le canon est fabriqué selon la méthode qui consistait à forger ensemble des barres de fer droites autour d'un mandrin, et de les consolider ensuite avec des cercles de fer, dilatés par chauffe et brusquement refroidis à l'eau pour provoquer un rétrécissement, à la manière des barriques. La manière dont ces canons sont fabriqués ainsi que les variations de qualité de la poudre noire dont les ingrédients étaient souvent transportés séparément et mélangés sur place, en faisait des armes très peu fiables. Les explosions n'étaient pas rares, et on peut dire que ces bombardes étaient plus dangereuses pour leurs servants que pour ceux sur qui on tirait. L'effet psychologique de la flamme et du tonnerre au départ du coup étaient plus impressionnant que le gros boulet de pierre. Il faut également imaginer la somme d'efforts et d'énergie nécessaires au déplacement de ces énormes pièces, ainsi que la difficulté de leur mise en batterie. Une fois en place, ces bombardes ne pouvaient plus être déplacées, et tout réglage de visée était exclu. Elles ne pouvaient tirer qu'une dizaine de coups par jour au maximum en raison de l’énorme chaleur générée par la charge de poudre, et si leurs gros boulets de pierre parvenaient à ouvrir des brèches dans des murailles pas trop épaisses, ils étaient pratiquement sans effet contre l'infanterie et la cavalerie, qui pouvait les voir arriver de loin et les éviter assez aisément.

La bombarde a été employée dans les sièges jusqu'au milieu du XVIe siècle. Probablement pour la première fois en 1460 au château de Roxburgh près de la frontière avec l'Angleterre. Au cours de cette bataille, le roi Jacques II d'Écosse a été mortellement blessé lorsqu'un autre canon de siège géant a explosé. En 1489, elle a été emmenée à 80 km (50 miles) à l'ouest du château de Dumbarton (puis le château de Norham), pour aider à maîtriser le comte de Lennox. Le poids énorme de Mons Meg la rendait très difficile à déplacer. Sa vitesse moyenne n'était que de 14 kms (9 miles) par jour. Elle termina ses jours de combat dans la marine du roi Jacques V, prenant sa retraite vers 1540. Elle ne fut tiré ensuite que lors d'occasions cérémonielles : en 1558 pour célébrer le mariage de Mary Queen of Scots avec le dauphin français, puis de nouveau en 1681, en guise de salut d'anniversaire pour le futur roi Jacques VII. Malheureusement le baril éclata rendant le Mons Meg inutilisable (les cerceaux fracturés sont encore visibles). En 1754, Mons Meg fut emmenée à la Tour de Londres, où il y resta 75 ans. Il est ramené au château en 1829. La cavalerie et l’infanterie l’escortent de Leith Docks à Castle Rock. Mons Meg a depuis été restauré et est maintenant exposé dans le château. Il reste très populaire aujourd’hui auprès des touristes, qui ne résistent pas à mettre la tête dans l'énorme canon…

Mons Meg is a medieval (15th century) bombard from the collection of the Royal Armories on loan to Historic Scotland. It symbolizes Scotland's glorious military past. This impressive 6-ton, 20-inch (510 mm) caliber siege gun is capable of firing stone balls weighing 330 pounds (150 kg) up to 2 miles away (3.2 km). Originally the barrel was painted with red lead to prevent it from rusting. It took a hundred men to transport it. Together with the massive 17-tonne cast bronze 'Dardanelle Cannon' made in 1464 for the Turkish Sultan Mohammet II (now on display in the courtyard of the Tower of London), these bombards are among the largest cannons ever built. The English author Dudley Pope cites the Mons Meg but also the Dulle Griet of Ghent as examples of the largest guns built in the Middle Ages, and says of both that they "were probably made in 'Flanders' (a region which later became Belgium and which the French called "Pays-Bas"). The "Dulle Griet was more than 5 m long, weighed 12.5 tons with a caliber at the muzzle of about 90 cm. He was painted blood red, earning him the nickname "great red demon". The Flemish name Griet and the English name Meg are both diminutives of the name Margaret (or Margriet), equivalents of the French Marguerite. Mons Meg was built by Jehan Cambier, artillery maker for the Duke of Burgundy Philippe le Bonet it was successfully tested in Mons in the county of Hainaut in present-day Belgium, in June 1449. The duke never took delivery of it than in 1453. The Duke gifted the bombard to King James II of Scotland in 1457 whose marriage he had helped negotiate as a sign of his support.

The barrel is made by the method of forging straight iron bars together around a mandrel, and then consolidating them with iron hoops, expanded by heating and suddenly cooled with water to cause shrinkage, to the way of the barrels. The way in which these guns are made as well as the variations in quality of black powder whose ingredients were often transported separately and mixed on site, made them very unreliable weapons. Explosions were not uncommon, and it can be said that these bombards were more dangerous for their servants than for those who were fired at. The psychological effect of the flame and the thunder at the start of the blow were more impressive than the large stone ball. One must also imagine the amount of effort and energy required to move these huge pieces, as well as the difficulty of putting them in battery. Once in place, these bombards could no longer be moved, and any aiming adjustment was excluded. They could only fire about ten shots a day at the most because of the enormous heat generated by the powder charge, and if their big stone balls managed to open breaches in walls not too thick, they were practically without effect against infantry and cavalry, which could see them coming from afar and avoid them quite easily.

The bombard was used in sieges until the middle of the 16th century. Probably first seen in 1460 at Roxburgh Castle near the border with England. During this battle, King James II of Scotland was mortally wounded when another giant siege cannon exploded. In 1489, she was taken 80 km (50 miles) west of Dumbarton Castle (then Norham Castle), to help subdue the Earl of Lennox. Mons Meg's enormous weight made her very difficult to move. Its average speed was only 14 kms (9 miles) per day. She ended her days of combat in the navy of King James V, retiring around 1540. She was only fired afterwards on ceremonial occasions: in 1558 to celebrate the marriage of Mary Queen of Scots to the French Dauphin, then to again in 1681, as a birthday greeting for the future King James VII. Unfortunately the barrel burst rendering the Mons Meg unusable (the fractured hoops are still visible). In 1754, Mons Meg was taken to the Tower of London, where he remained for 75 years. He was brought back to the castle in 1829. Cavalry and infantry escorted him from Leith Docks to Castle Rock. Mons Meg has since been restored and is now on display in the castle. It remains very popular today with tourists, who can't resist putting their heads in the huge cannon...

Canon EOS R6 with Canon RF85mm f2

Surf Beach - Torquay, Melbourne, Australia

This beautiful image has been captured at Surf Beach (Torquay, Australia) by Art Studio Maja's photographer Fatima Suljagic (+61 3 9741 7056). Do not forger to order calendars 2015 and holidays greeting cards from Art Studio Maja (Melbourne, Australia).

This image is one of my absolutely favourite photos taken by Nikon D90, the image was taken raw and post processed using the photoshop camera raw for nikon files.