Nice little Hoverfly feeding on Lavender in my back garden. A dull day so increased ISO and got the tripod out.

Essen

 

Due to the increase in Essen's population due to the Industrial Revolution, the Essen Minster, which the two inner-city Catholic communities shared as a parish church since the monastery was abolished, had become too small. Therefore, a new building had to be built for the southern inner city community because it had lost its St. Gertrudis church due to the Reformation.

 

The new, originally three-aisled hall church was built between 1872 and 1877 according to plans by August Rincklake near the former one. Its style was based on early Gothic models and is under the patronage of Saint Gertrude of Nivelles. Destroyed in the Second World War, the church was rebuilt with major changes in 1955 by the Essen architect Emil Jung. The church tower is now 59 meters high. Before World War II it measured 75 meters.

________________________________________________

 

Essen is the ninth largest city in Germany and the second largest in the Ruhr region with a population of 585,000. Essen was founded around 845 and received its town charter and seal in 1244, when city walls were erected. At the end of the 16th century, many coal mines and the weapon industry began to flourish.

 

Essen's history has been closely intertwined with the Krupp family from the 16th century. In 1811, Friedrich Krupp founded Germany's first cast-steel factory in Essen and laid the cornerstone for what was to be the largest enterprise in Europe for a couple of decades. The weapon factories in Essen became so important that a sign facing the main railway station welcomed visitors Hitler and Mussolini to the "Armory of the Reich" (German: Waffenschmiede des Reiches) in 1937. The Krupp Works also were the main reason for the large population growth beginning in the mid-19th century.

________________________________________________

 

After visiting the Ruhr area three years ago, I did a revisit, since there was still so much to see. In less than six days I visited six cities, two museums, and I did some extensive car spotting by bicycle. I have hundreds of car spots to share and took photos of the historic or interesting buildings.

 

The Ruhr area ('Ruhrgebiet') is named after the river that borders it to the south and is the largest urban area in Germany with over five million people. It is mostly known as a densely-populated industrial area. By 1850 there were almost 300 coal mines in operation in the Ruhr area. The coal was exported or processed in coking ovens into coke, used in blast furnaces, producing iron and steel. Because of the industrial significance, it had been a target from the start of the war, yet "the organized defences and the large amount of industrial pollutants produced a semi-permanent smog or industrial haze that hampered accurate bombing". During World War II, the industry and cities in the Ruhr area were heavily bombed. The combination of the lack of historic city centres, which were burned to ashes, (air) pollution, and urban decay has given the area and the cities a bad reputation.

 

Source: Wikipedia

... geriatric chillin with a big smile and a good cigar. Along with the good cigar, a little sunlight is required and diversion away from any other responsibility other than the act of chillin itself.

 

....female homosapiens chillin is done much the same as male homo sapiens chillin, but without the cigar. Chocolate may be substituted.

 

... in both the male and female the big smile is invisible to the causal observer. Age and gravity tend to pull the fleshy tissue, which itself increases with age, downward along the skeleton, which is gradually shrinking also. Usually the individual homo sapiens is well aware of the big smile.

 

Dictionary:

 

homo sapiens

 

Main Entry: Ho·mo sa·pi·ens

Pronunciation: \ˌhō-(ˌ)mō-ˈsā-pē-ˌenz, -ənz, especially British -ˈsa-pē-ənz\

Function: noun

Etymology: New Latin, species name, from Homo, genus name + sapiens, specific epithet, from Latin, wise, intelligent — more at homo, sapient

Date: 1802

 

: humankind

 

Urban Dictionary:

 

Chillin

 

To be in a state of prolonged satisfactory boredom. A positive phase of being, not regarded as being bored but not in the process of doing anything worth elaborating upon.

1- Hey man wutz goin on.

 

2- Nuthin juz " Chillin ".

 

Another anomaly differing the male from the female homo sapiens is the concentration aspect of chillin. The male will usually concentrate on one specific thought ... usually sex. The female homo sapiens will in most cases be absorbing the sunshine, eating the chocolate, listening to a radio, every few seconds turning slightly and watching the TV and after each bite of the chocolate will put the bar down and do a few stitches on something she is sewing for a daughter, son, granddaughter, grandson, niece, nephew or for an older relative.

 

Here's the link to Jill and Jason's original Brooklyn photograph ...

 

www.flickr.com/photos/jillandjason/4238175950/?addedcomme...

Ponta Negra is an upscale neighborhood in the Brazilian city of Manaus, Amazonas state capital. It is located in the city's West Zone. According to the census of the Brazilian Institute of Geography and Statistics (IBGE), its population was 5007 inhabitants in 2010.

 

Although considered prime area, the increasing number of rennet cheese sellers boardwalk Ponta Negra have done to decrease the HDI in the region. The Movement Queijinho Vendors (MVQ), led by PT Laish Rebolledo Alencar, argues that the working class should also have the right to access view of the Rio Negro. Social conflicts between the residents of the luxury buildings and the representatives of the MVQ have grown and do not know what will be in the neighborhood of tomorrow.

 

History: - where today is located the neighborhood of Ponta Negra, but it is known that the region, around 1650, was inhabited by indigenous tribes. According to data historian, writer and plastic artist Moacir de Andrade, a mission was founded by Jesuits in Tarumã area, with the existence of Arawak Indians and Alófila, but no one knows for sure if there is a connection to the Ponta Negra.

 

"One way downhill having two inlet ends of which are lined with weeds." So Mario Ypiranga Monteiro designated the Ponta Negra beach which dominates the landscape of the neighborhood. No one knows for sure the year of the emergence of what would become the postcard of the city. However, it is known that in the golden period of the rubber, the region served as a supplier of raw materials for the buildings, so that was called Areal, precisely because it has a lot of sand in place. Ponta Negra, also left large amounts of coal and stones. On site there was a large property where it was grown cashews which the large trees became known as Cajual.

 

For a long time, the only way to access the beach of Ponta Negra was through boats, given their isolation from other neighborhoods of Manaus. In the first government of Gilberto Mestrinho from 1959 to 1963, which opened the access road to the site, but still get to the beach was an adventure, because the road was mud and did not offer security to passersby and not to vehicle drivers. The beach was establishing itself as a meeting point of the Amazonian society, where families were headed on weekends and holidays, especially in the warmer months of August, September and October. However, the Ponta Negra modernization process begins even with the road duplication in the early 1970s, and the construction of residential sets, such as Jardim Europa, which for many years remained the most distant residential area of ​​the center City.

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Ponta Negra é um bairro nobre do município brasileiro de Manaus, capital do estado do Amazonas. Localiza-se na Zona Oeste da cidade. De acordo com o censo do Instituto Brasileiro de Geografia e Estatística (IBGE), sua população era de 5 007 habitantes em 2010.From: pt.wikipedia.org/wiki/Ponta_Negra_(Manaus)

 

Apesar de ser considerada área nobre, o crescente número de vendedores de queijo coalho do calçadão da Ponta Negra têm feito decrescer o IDH da região. O Movimento dos Vendedores de Queijinho (MVQ), liderado pela petista Laís Rebouças Alencar, argumenta que a classe trabalhadora também deve ter direito ao acesso à vista do Rio Negro. Os conflitos sociais entre os moradores dos prédios de luxo e o representantes do MVQ têm crescido e não se sabe o que será do bairro no dia de amanhã.

 

História:- Onde hoje está localizado o bairro da Ponta Negra, mas se sabe que a região, por volta de 1650, era habitada por tribos indígenas. Conforme dados do historiador, escritor e artista plástico Moacir de Andrade, uma missão foi fundada por Jesuítas na área do Tarumã, com a existência de índios Aruaque e Alófila, mas não se sabe ao certo se existe uma ligação com a Ponta Negra.

 

"Uma via em declive tendo duas pontas da enseada que são orladas de mato." Assim Mario Ypiranga Monteiro designou a praia da Ponta Negra que domina a paisagem do bairro. Não se sabe ao certo o ano do surgimento do que viria a ser o cartão postal da cidade. No entanto, sabe-se que no período áureo da borracha, a região servia como fornecedora de matéria-prima para as construções, tanto que se chamava Areal, justamente por ser ter muita areia no local. Da Ponta Negra, também saíam grandes quantidades de carvão e pedras. No local também havia uma grande propriedade onde era cultivado caju, que pelo grande porte das árvores ficou conhecida como Cajual.

 

Por muito tempo, a única forma de acesso à praia da Ponta Negra era através de barcos, dada seu isolamento dos outros bairros de Manaus. Somente no primeiro governo de Gilberto Mestrinho, de 1959 a 1963, é que foi aberta a via de acesso ao local, mas mesmo assim, chegar até a praia era uma aventura, pois a estrada era de barro e não oferecia segurança aos transeuntes e nem aos condutores de veículos. A praia foi se firmando como um ponto de reunião da sociedade amazonense, para onde as famílias se dirigiam nos fins de semana e feriados, principalmente nos meses mais quentes de agosto, setembro e outubro. No entanto, o processo de modernização da Ponta Negra começa mesmo com a duplicação da estrada, no início da década de 1970, e a construção de conjuntos residênciais, como o Jardim Europa, que por muitos anos permaneceu como a área residencial mais distante do Centro da Cidade. From: pt.wikipedia.org/wiki/Ponta_Negra_(Manaus)

 

The number of sick leave days taken by employees has significantly increased in the past two years. The causes are controversial.

 

Frankfurt, Fechenheim, cemetery

Where sin increased, grace increased all the more, so that, just as sin reigned in death, so also grace might reign through righteousness to bring eternal life through Jesus Christ our Lord.

 

Romans 5:20-21

Exercise Amitie, which is French for friendship exercise, is a multinational training exercise designed to increase interoperability, enhance mutual capabilities and support a sustained presence in the region. During Amitie, elements from the 15th MEU participated in a three-day mounted patrol, land and water obstacle courses, aviation-related evolutions and joint planning. The training was led by the French 5th Marine Regiment and included elements from the 15th Marine Expeditionary Unit, French Foreign Legion, U.S. Army, U.S. Air Force and Djiboutian military. The 15th MEU is deployed as part of the Peleliu Amphibious Ready Group as a U.S. Central Command theater reserve force, providing support for maritime security operations and theater security cooperation efforts in the U.S. 5th Fleet area of responsibility.

 

Photo by Cpl. John Robbart III

dvidshub.net/r/8ap54w

 

www.facebook.com/15thMarineExpeditionaryUnit

 

twitter.com/15thMEUOfficial

Rep. Cheeseman and Safe Futures CEO Katherine Verano advocated for increased funding for domestic violence prevention at a press conference in New London on Friday Morning, August 21st.

Dr Increase Mathews constructed his one-story stone house in 1805, and in 1884 family members added the two upper stories. It was donated to the Pioneer and Historical Society in 1970. It is found in the Putnam Historic District which is on the National Register of Historic Places #75001511.

Growing and the leaves are increasing. I cut the peak of the stem and am rooting in the water again.

Coronavirus has significantly increased my need to wash clothes. Work trousers, skirts and dresses worn over undershirts are now being worn only once before going in the wash to eliminate any chance of cross contamination from one school to another. Increased walking and running to manage my mental health mean I am going through exercise gear like there's no tomorrow. I've done five loads of washing in the last three days. There's only two of us in this house and one of us has only has to climb the stairs to go to work and lives in lounge pants. I am tired of folding laundry and I am damn tired of no longer being able to avoid the ironing pile.

 

We’re Here: Damn, I'm Tired!

Security Increased Around In New York City On Election Day

 

Counterterrorism police patrol near Trump Tower on Election Day on November 8, 2016 in New York City. Throughout the country, millions of Americans are casting their votes today for either Hillary Clinton or Donald Trump to become the 45th president of the United States.

 

Source: Spencer Platt

"Jump in rates doesn't deter homebuyers, as mortgage applications increase 4% - CNBC" t.co/R8UCOYWkff (via Twitter twitter.com/downpaymentaz/status/824225918847696896)

+++ DISCLAIMER +++

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

  

Some background:

In the first years of the war, the Wehrmacht had only little interest in developing self-propelled anti-aircraft guns, but as the Allies developed air superiority and dedicated attack aircraft threatened the ground troops from above, the need for more mobile and better-armed self-propelled anti-aircraft guns increased. As a stopgap solution the Wehrmacht initially adapted a variety of wheeled, half-track and tracked vehicles to serve as mobile forward air defense positions. Their tasks were to protect armor and infantry units in the field, as well as to protect temporary forward area positions such as mobile headquarters and logistic points.

 

These vehicles were only lightly armored, if at all, and rather mobilized the anti-aircraft weapons. As Allied fighter bombers and other ground attack aircraft moved from machine gun armament and bombing to air-to-ground rockets and large-caliber cannons, the air defense positions were even more vulnerable. The answer was to adapt a tank chassis with a specialized turret that would protect the gun crews while they fired upon approaching Allied aircraft. Furthermore, the vehicle would have the same mobility as the battle tanks it protected.

 

Initial German AA-tank designs were the ‘Möbelwagen’ and the ‘Wirbelwind’, both conversions of refurbished Panzer IV combat tank chassis with open platforms or turrets with four 20mm cannon. Alternatively, a single 37mm AA gun was mounted, too – but all these vehicles were just a compromise and suffered from light armor, a high silhouette and lack of crew protection.

 

Further developments of more sophisticated anti-aircraft tank designs started in late 1943 and led into different directions. One development line was the ‘Kugelblitz’, another Panzer IV variant, but this time the ball-shaped turret, armed with very effective 30 mm MK 103 cannon, was fully integrated into the hull, resulting in a low silhouette and a protected crew. However, the ‘Kugelblitz’ only featured two of these guns and the tilting turret was very cramped and complicated. Venting and ammunition feed problems led to serious delays and a prolonged development stage.

The ‘Coelian’ family of bigger turrets with various weapon options for the Panzer V (the ‘Panther’) was another direction, especially as a response against the armored Il-2 attack aircraft at the Eastern front and against flying targets at medium altitude. Targets at high altitude, esp. Allied bombers, were to be countered with the very effective 8.8 cm Flak, and there were also several attempts to mount this weapon onto a fully armored hull.

 

The primary weapon for a new low/medium altitude anti-aircraft tank was to become the heavy automatic 55 mm MK 214. Like the 30 mm MK 103 it was a former aircraft weapon, belt-fed and adapted to continuous ground use. However, in early 1944, teething troubles with the ‘Kugelblitz’ suggested that a completely enclosed turret with one or (even better) two of these new weapons, mounted on a ‘Panther’ or the new E-50/75 tank chassis, would need considerable development time. Operational vehicles were not expected to enter service before mid-1945. In order to fill this operational gap, a more effective solution than the Panzer IV AA conversions, with more range and firepower than anything else currently in service, was direly needed.

 

This situation led to yet another hasty stopgap solution, the so-called ‘Ostwind II’ weapon system, which consisted primarily of a new turret, mated with a standard medium battle tank chassis. It was developed in a hurry in the course of 1944 and already introduced towards the end of the same year. The ‘Ostwind II’ was a compromise in the worst sense: even though it used two 37 mm FlaK 43 guns in a new twin mount and offered better firepower than any former German AA tank, it also retained many weaknesses from its predecessors: an open turret with only light armor and a high silhouette. But due to the lack of time and resources, the ‘Ostwind II’ was the best thing that could be realized on short notice, and with the perspective of more effective solutions within one year’s time it was rushed into production.

 

The ‘Ostwind II’ system was an open, roughly diamond-shaped, octagonal turret, very similar in design to the Panzer IV-based ‘Wirbelwind’ and ‘Ostwind’ (which was re-designated ‘Ostwind I’). As a novelty, in order to relieve the crew from work overload, traverse and elevation of the turret was hydraulic, allowing a full elevation (-4° to +90° was possible) in just over four seconds and a full 360° traverse in 15 seconds. This had become necessary because the new turret was bigger and heaver, both the weapons and their crews required more space, so that the Ostwind II complex could not be mounted onto the Panzer IV chassis anymore and movement by hand was just a fallback option.

In order to provide the ‘Ostwind II’ with a sufficiently large chassis, it was based on the SdKfz. 171 Panzer V medium battle tank, the ‘Panther’, exploiting its bigger turret ring, armor level and performance. The Panther chassis had, by late 1944, become available for conversions in considerable numbers through damaged and/or recovered combat tanks, and updated details like new turrets or simplified road wheels were gradually introduced into production and during refurbishments. Mounting the ‘Ostwind II’ turret on the Panzer VI (Tiger) battle tank chassis had been theoretically possible, too, but it never happened, because the Tiger lacked agility and its protection level and fuel consumption were considered impractical for an SPAAG that would typically protect battle tank groups.

 

The ‘Ostwind II’ turret was built around a motorized mount for the automatic 3.7 cm FlaK 43 twin guns. These proven weapons were very effective against aircraft flying at altitudes up to 4,200 m, but they also had devastating effect against ground targets. The FlaK 43’s armor penetration was considerable when using dedicated ammunition: at 100 m distance it could penetrate 36 mm of a 60°-sloped armor, and at 800 m distance correspondingly 24 mm. The FlaK 43’s theoretical maximum rate of fire was 250 shots/minute, but it was practically kept at ~120 rpm in order to save ammunition and prevent wear of the barrels. The resulting weight of fire was 76.8 kg (169 lb) per minute, but this was only theoretical, too, because the FlaK 43 could only be fed manually by 6-round clips – effectively, only single shots or short bursts could be fired, but a trained crew could maintain fire through using alternating gun use. A more practical belt feed was at the time of the Ostwind II's creation not available yet, even though such a mechanism was already under development for the fully enclosed Coelian turret, which could also take the FlaK 43 twin guns, but the armament was separated from the turret crew.

 

The new vehicle received the official designation ‘Sd.Kfz. 171/2 Flakpanzer V’, even though ‘Ostwind II’ was more common. When production actually began and how many were built is unclear. The conversion of Panther hulls could have started in late-1944 or early-1945, with sources disagreeing. The exact number of produced vehicles is difficult to determine, either. Beside the prototype, the number of produced vehicles goes from as little as 6 to over 40. The first completed Ostwind II SPAAGs were exclusively delivered to Eastern front units and reached them in spring 1945, where they were immediately thrown into action.

All Flakpanzer vehicles at that time were allocated to special anti-aircraft tank platoons (so-called Panzer Flak Züge). These were used primarily to equip Panzer Divisions, and in some cases given to special units. By the end of March 1945, there were plans to create mixed platoons equipped with the Ostwinds and other Flakpanzers. Depending on the source, they were either to be used in combination with six Kugelblitz, six Ostwinds and four Wirbelwinds or with eight Ostwinds and three Sd.Kfz. 7/1 half-tracks. Due to the war late stage and the low number of anti-aircraft tanks of all types built, this reorganization was never truly implemented, so that most vehicles were simply directly attached to combat units, primarily to the commanding staff.

 

The Ostwind II armament proved to be very effective, but the open turret (nicknamed ‘Keksdose’ = cookie tin) left the crews vulnerable. The crew conditions esp. during wintertime were abominable, and since aiming had to rely on vision the system's efficacy was limited, esp. against low-flying targets. The situation was slightly improved when the new mobile ‘Medusa’ and ‘Basilisk’ surveillance and target acquisition systems were introduced. These combined radar and powerful visual systems and guided the FlaK crews towards incoming potential targets, what markedly improved the FlaKs' first shot hit probability. However, the radar systems rarely functioned properly, the coordination of multiple SPAAGs in the heat of a low-level air attack was a challenging task, and - to make matters worse - the new mobile radar systems were even more rare than the new SPAAGs themselves.

 

All Ostwind II tanks were built from recovered ‘Panther’ battle tanks of various versions. The new Panther-based SPAAGs gradually replaced most of the outdated Panzer IV AA variants as well as the Ostwind I. Their production immediately stopped in the course of 1945 when the more sophisticated 'Coelian' family of anti-aircraft tanks with fully enclosed turrets became available. This system was based on Panzer V hulls, too, and it was soon followed by the first E-50 SPAAGs with the new, powerful twin-55 mm gun.

  

Specifications:

Crew: Six (commander, gunner, 2× loader, driver, radio-operator/hull machine gunner)

Weight: 43.8 tonnes (43.1 long tons; 48.3 short tons)

Length (hull only): 6.87 m (22 ft 6 in)

Width: 3.42 m (11 ft 3 in)

Height: 3.53 m (11 ft 6 3/4 in)

Suspension: Double torsion bar, interleaved road wheels

Fuel capacity: 720 litres (160 imp gal; 190 US gal)

 

Armor:

15–80 mm (0.6 – 3.15 in)

 

Performance:

Maximum road speed: 46 km/h (29 mph)

Operational range: 250 km (160 mi)

Power/weight: 15.39 PS (11.5 kW)/tonne (13.77 hp/ton)

 

Engine:

Maybach HL230 P30 V-12 petrol engine with 700 PS (690 hp, 515 kW)

ZF AK 7-200 gear; 7 forward 1 reverse

 

Armament:

2× 37 mm (1.46 in) FlaK 43 cannon in twin mount with 1.200 rounds

1× 7.92 mm MG 34 machine gun in the front glacis plate with 2.500 rounds

  

The kit and its assembly:

This was a spontaneous build, more or less the recycling of leftover parts from a 1:72 Revell Ostwind tank on a Panzer III chassis that I had actually bought primarily for the chassis (it became a fictional Aufklärungspanzer III). When I looked at the leftover turret, I wondered about a beefed-up/bigger version with two 37 mm guns. Such an 'Ostwind II' was actually on the German drawing boards, but never realized - but what-if modelling can certainly change that. However, such a heavy weapon would have to be mounted on a bigger/heavier chassis, so the natural choice became the Panzer V, the Panther medium battle tank. This way, my ‘Ostwind II’ interpretation was born.

The hull for this fictional AA tank is a Hasegawa ‘Panther Ausf. G’ kit, which stems from 1973 and clearly shows its age, at least from today’s point of view. While everything fits well, the details are rather simple, if not crude (e. g. the gratings on the engine deck or the cupola on the turret). However, only the lower hull and the original wheels were used since I wanted to portray a revamped former standard battle tank.

 

The turret was a more complicated affair. It had to be completely re-constructed, to accept the enlarged twin gun and to fit onto the Panther hull. The first step was the assembly of the twin gun mount, using parts from the original Ostwind kit and additional parts from a second one. In order to save space and not to make thing uber-complicated I added the second weapon to the right side of the original gun and changed some accessories.

This, together with the distance between the barrels, gave the benchmark for the turret's reconstruction. Since the weapon had not become longer, I decided to keep things as simple as possible and just widen the open turret - I simply took the OOB Ostwind hexagonal turret (which consists of an upper and lower half), cut it up vertically and glued them onto the Panther turret's OOB base, shifting the sides just as far to the outside that the twin gun barrels would fit between them - a distance of ~0.4 inch (1 cm). At the rear the gap was simply closed with styrene sheet, while the front used shield parts from the Revell Ostwind kit that come from a ground mount for the FlaK 43. Two parts from this shield were glued together and inserted into the front gap. While this is certainly not as elegant as e. g. the Wirbelwind turret, I think that this solution was easier to integrate.

Massive PSR was necessary to blend the turret walls with the Panther turret base, and as a late modification the opening for the sight had to be moved, too. To the left of the weapons, I also added a raised protective shield for the commander.

Inside of the turret, details from the Ostwind kit(s), e. g. crew seats and ammunition clips, were recycled, too.

  

Painting and markings:

Since the Ostwind II would be based on a repaired/modified former Panzer V medium battle tank, I settled upon a relatively simple livery. The kit received a uniform finish in Dunkelgelb (RAL 7028), with a network of greenish-grey thin stripes added on top, to break up the tank's outlines and reminiscent of the British ‘Malta’ scheme, but less elaborate. The model and its parts were initially primed with matt sand brown from the rattle can (more reddish than RAL 7028) and then received an overall treatment with thinned RAL 7028 from Modelmaster, for an uneven, dirty and worn look. The stripes were created with thinned Tamiya XF-65 (Field Grey).

 

Once dry, the whole surface received a dark brown wash, details were emphasized with dry-brushing in light grey and beige. Decals were puzzled together from various German tank sheets, and the kit finally sealed with matt acrylic varnish.

 

The black vinyl tracks were also painted/weathered, with a wet-in-wet mix of black, grey, iron and red brown (all acrylics). Once mounted into place, mud and dust were simulated around the running gear and the lower hull with a greyish-brown mix of artist mineral pigments.

  

A bit of recycling and less exotic than one would expect, but it’s still a whiffy tank model that fits well into the historic gap between the realized Panzer IV AA tanks and the unrealized E-50/75 projects. Quite subtle! Creating the enlarged turret was the biggest challenge, even, even more so because it was/is an open structure and the interior can be readily seen. But the new/bigger gun fits well into it, and it even remained movable!

 

The outstanding feature of this solid Victorian church, built by John Oldrid Scott in 1871, is the series of windows by the firm of Morris and Co. The east window of the north aisle represents some early saints including Alban and Aidan, while that in the west end shows six angels. Nearby is an early representation of Kentish saints, whose popularity was increasing in the middle of the nineteenth century, including Augustine, Ethelbert and Bertha. The east window is by the same firm, but dates from after the death of Burne-Jones and is not so finely executed. The oak reredos was added by Charles Oldrid Scott in 1925, who also worked on the altar rails and low chancel screen. In the churchyard there is a good monument made of Coade artificial stone in 1807.

 

www.kentchurches.info/church.asp?p=Speldhurst

 

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

 

SPELDHURST

IS the last parish remaining undescribed in this lath. It lies the next adjoining parish south eastward from Penshurst, and was sometimes written, in antient records, Speleberste, but in the Tex t u Rossensis, Speldburst.

 

THE PARISH of Speldhurst is about three miles across each way; the north-west part, in which the church stands, and Hallborough, is within the hundred of Somerden, as is the hamlet of Groombridge, three miles from the church, at the southern boundary of it, where a branch of the river Medway separates this county from Sussex, throughout all which the soil remains a stiff clay; the remaining part of this parish is in the hundred of Warchlingstone, which stretches across a narrow district, by Mitchell's and Tophill farms, and towards the parish of Ashurst, which it includes, thus entirely separates that part of the hundred of Somerden in which the hamlet of Groombridge lies, and surrounds three sides of it, from the other in which the church stands. The soil in the eastern part of this parish changes to an uninterrupted scene of losty hills, with deep vallies intersecting, the soils are a stiff loam and a barren sand, which covers a continued bed of rock stone, several of which appear above it, of large size and dimensions, greatly abounding with iron ore, which renders the springs of it more or less chalybeate; at the south east boundary of the parish is the noted resort of Tunbridge-wells, (of which a further account will be given hereafter) situated thirty-five miles from London, and five from Tunbridge town; here the high road branches off to the right, by Rust-hall, and the hamlets of Bishopsdown and Rust-hall common, on by Groombridge, across the branch of the Medway into Sussex.

 

The large and populous hamlet or village of TUNBRIDGE-WELLS is situated at the south-east boundary of this parish; part of it only is in Speldhurst, another part in the parish of Tunbridge, and the remainder in that of Fant, in the county of Suffex. It consists of four smaller districts, named from the hills on which they stand, Mount Ephraim, Mount Pleasant, and Mount Sion; the other is called The Wells, from their being within it, which altogether form a considerable town; but the last is the centre of business and pleasure, for there, besides the Wells themselves, are the market, public parades, assembly rooms, taverns, shops, &c. Near the Wells is the chapel, which stands remarkably in the three parishes above mentioned—the pulpit in Speldhurst, the altar in Tunbridge, and the vestry in Fant, and the stream, which parted the two counties of Kent and Suffex, formerly ran underneath it, but is now turned to a further distance from it. The right of patronage is claimed by the rector of Speldhurst, though he has never yet possessed the chapel or presented to it; the value of it is about two hundred pounds per annum, which sum is raised by voluntary subscription; divine service is performed in it every day in summer, and three times a week in winter. Adjoining to it is a charity school, for upwards of fifty poor boys and girls, which is supported by a contribution, collected at the chapel doors, two or three times a year.

 

The trade of Tunbridge-wells is similar to that of Spa, in Germany, and consists chiefly in a variety of toys, made of wood, commonly called Tunbridge ware, which employs a great number of hands. The wood principally used for this purpose is beech and sycamore, with yew and holly inlaid, and beautifully polished. To the market of this place is brought, in great plenty, from the South downs, in Sussex, the little bird, called the wheatear, which, from its delicacy, is usually called the English ortolan. It is not bigger in size than a lark; it is almost a lump of fat, and of a very delicious taste; it is in season only in the midst of summer, when the heat of the weather, and the fatness of it, prevents its being sent to London, which otherwise would, in all likelihood, monopolize every one of them. On the other or Suffex side of the Medway, above a mile from the Wells, are the rocks, which consist of a great number of rude eminences, adjoining to each other, several of which are seventy feet in height; in several places there are cliffs and chasms which lead quite through the midst of them, by narrow gloomy passages, which strike the beholder with astonishment.

 

THESE MEDICINAL WATERS, commonly called TUNBRIDGE-WELLS, lie so near to the county of Suffex that part of them are within it, for which reason they were for some time called Fant-wells, as being within that parish. (fn. 1) Their efficacy is reported to have been accidentally found out by Dudley lord North, in the beginning of the reign of king James I. Whilst he resided at Eridge-house for his health, lord Abergavenny's seat, in this neighbourhood, and that he was entirely cured of the lingering consumptive disorder he laboured under by the use of them.

 

The springs, which were then discovered, seem to have been seven in number, two of the principal of which were some time afterwards, by lord Abergavenny's care, inclosed, and were afterwards much resorted to by many of the middling and lower sort, whose ill health had real occasion for the use of them. In which state they continued till queen Henrietta Maria, wife of king Charles I. having been sent hither by her physicians, in the year 1630, for the reestablishment of her health, soon brought these waters into fashion, and occasioned a great resort to them from that time. In compliment to her doctor, Lewis Rowzee, in his treatise on them, calls these springs the Queen's-wells; but this name lasted but a small time, and they were soon afterwards universally known by that of Tunbridge-wells, which names they acquired from the company usually residing at Tunbridge town, when they came into these parts for the benefit of drinking the waters.

 

¶The town of Tunbridge being five miles distant from the wells, occasioned some few houses to be built in the hamlets of Southborough and Rusthall, for the accommodation of the company resorting hither, and this place now becoming fashionable, was visited by numbers for the sake of pleasure and dissipation, as well as for the cure of their infirmities; and soon after the Restoration every kind of building, for public amusements, was erected at the two hamlets above mentioned, lodgings and other buildings were built at and near the wells, the springs themselves were secured, and other conveniencies added to them. In 1664, the queen came here by the advice of her physicians, in hopes of reinstating her health, which was greatly impaired by a dangerous fever, and her success, in being perfectly cured by these waters, greatly raised the reputation of them, and the company increasing yearly, it induced the inhabitants to make every accommodation for them adjoining to the Wells, so that both Rusthall and Southborough became ruinous and deserted by all but their native inhabitants. The duke of York, with his duchess, and the two princesses their daughters, visited Tunbridge-wells in the year 1670, which brought much more company than usual to them, and raised their reputation still higher; and the annual increase continuing, it induced the lord of the manor to think of improving this humour of visiting the wells to his own profit as well as the better accommodation of the company. To effect which, he entered into an agreement with his tenants, and hired of them the herbage of the waste of the manor for the term of fifty years, at the yearly rent of ten shillings to each tenant, and then erected shops and houses on and near the walks and springs, in every convenient spot for that purpose; by which means Tunbridge wells became a populous and flourishing village, well inhabited, for whose convenience, and the company resorting thither, a chapel was likewise built, in 1684, by subscription, on some ground given by the lady viscountess Purbeck, which was, about twelve years afterwards, enlarged by an additional subscription, amounting together to near twenty-three hundred pounds.

  

About the year 1726, the building lease, which had been granted by the lord of the manor of Rusthall, in which this hamlet is situated, expiring, the tenants of the manor claimed a share in the buildings, as a compensation for the loss of the herbage, which was covered by his houses. This occasioned a long and very expensive law suit between them, which was at last determined in favour of the tenants, who were adjudged to have a right to a third part of the buildings then erected on the estate, in lieu of their right to the herbage; upon which all the shops and houses, which had been built on the manor waste, were divided into three lots, of which the tenants were to draw one, and the other two were to remain to the lord of the manor; the lot which the tenants drew was the middle one, which included the assembly room on the public walk, which has since turned out much the most advantageous of the three. After which long articles of agreement, in 1739, were entered into between Maurice Conyers, esq. then lord of the manor of Rusthall, and the above mentioned tenants of it, in which, among many other matters, he agreed to permit the public walks and wells, and divers other premises there, to be made use of for the public benefit of the nobility and gentry resorting thereto, and several regulations were made in them concerning the walks, wells, and wastes of the manor, and for the restraining buildings on the waste, between the lord and his tenants, according to a plan therein specified; all which were confirmed and established by an act of parliament, passed in 1740. Since which several of the royal family have honoured these wells with their presence, and numbers of the nobility and persons of rank and fashion yearly resortto them, so that this place is now in a most flourishing state, having great numbers of good houses built for lodgings, and every other necessary accommodation for the company. Its customs are settled; the employment of the dippers regulated; (fn. 2) its pleasures regulated; its markets well and plentifully supplied, at a reasonable rate, with sowl, fish, meat, every other kind of food, and every convenience added that can contribute to give health and pleasure.

 

The whole neighbourhood of Tunbridge-wells abounds with springs of mineral water, but as the properties of all are nearly the same, only those two, which at the first discovery of them were adjudged the best, are held in any particular estimation. These two wells are enclosed with a handsome triangular stone wall; over the springs are placed two convenient basons of Portland stone, with perforations at the bottom; one of them being given by queen Anne, and the other by the lord of the manor; through which they receive the water, which at the spring is extremely clear and bright. Its taste is steely, but not disagreeable; it has hardly any smell, though sometimes, in a dense air, its ferruginous exhalations are very distinguishable. In point of heat it is invariably temperate, the spring lying so deep in the earth, that neither the heat of summer, nor the cold of winter, affects it. When this water is first taken up in a large glass, its particles continue at rest till it is warmed to nearly the heat of the atmosphere, then a few airy globules begin to separate themselves, and adhere to the sides of the glass, and in a few hours a light copper coloured scum begins to float on the surface, after which an ochreous sediment settles at the bottom. Long continued rains sometimes give the water a milky appearance, but do not otherwise sensibly affect it. From the experiments of different physicians, it appears that the component parts of this water are, steely particles, marine salts, an oily matter, an ochreous substance, simple water, and a volatile vitriolic spirit, too subtile for any chemical analysis. In weight it is, in seven ounces and a quarter, four grains lighter than the German Spa (to which it is preferable on that account) and ten grains lighter than common water; with syrup of violets this water gives a deep green, as vitriols do. (fn. 3) It requires five drops of oleum sulphuris, or elixir of vitriol, to a quart of water, to preserve its virtues to a distance from the spring.

 

This water is said to be an impregnation of rain in some of the neighbouring eminences, which abound in iron mineral, where it is further enriched with the marine salts and all the valuable ingredients, which constitute it a light and pure chalybeate, which instantly searches the most remote recesses of the human frame, warms and invigorates the relaxed constitution, restores the weakened fibres to their due tone and elasticity, removes those obstructions to which the minuter vessels of the body are liable, and is consequently adapted to most cold chronical disorders, lowness of spirits, weak digestions, and nervous complaints. Dr. Lodowick Rowzee, of Ashford, in this county, wrote a Treatise of the Nature and Virtues of these Waters, printed in 12mo. 1671; and Dr. Patrick Madan wrote a Philosophical and Medical Essay on them, in 1687, in quarto.

 

THE MANOR OF SPELDHURST, in the reign of king Edward III. was in the possession of Sir John de Pulteneye, lord of the neighbouring manor of Penshurst, a man of great account at that time, as has been already noticed before, who, in the 19th year of that reign, on his perfecting the foundation he had begun of a college in the parish of St. Lawrence, Canon-street, London, afterwards called the College of St. Laurence Poultney, settled the manor with the church of Speldshurst on it.

 

¶It remained part of the possessions of the college till its suppression in the reign of king Edward VI. when it was granted among other premises, by the description of the manor of Speldhurst and Harwarton (then demised to Sir William Waller, at the rent of 16s. 8d. per annum) of the clear yearly value of 13l. 14s. 1d. together with the patronage of the church appendant to the manor, parcel of the late college of St. Laurence, Poultney, London, to Henry Polsted. (fn. 4) How the manor of Speldhurst passed afterwards I have not found, only that after several intermediate owners, it came into the name of Goodhugh, and in the latter end of the reign of king George I. was possessed by Richard Goodhugh, esq. from which name it passed by a female heir, Sarah, in marriage to Mr. Rich. Round, whose son, Mr. Richard Round, of Stonepit, in Seale, died possessed of it, and the trustees of his insant children are now in the possession of it.

  

SPELDHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.

 

The church, which was dedicated to St. Mary, was a neat building, having a spire steeple at the west end of it, in which hung four bells.

 

On Thursday, October 22, 1791, a dreadful storm of thunder and lightning happened in these parts, which set fire to this church, a ball of fire being observed to enter the center of the shingled part of the spire, and instantly a thick smoke, followed by slames issued from it, and there being no help at hand, every thing contributed to its destruction. The high wind, the rain and hail having ceased, drove the flames from the steeple on the church, and in about four hours this beautiful structure was totally reduced to a heap of ruins, The bells were melted by the intense heat, the monuments in it, and every thing else which could become a prey to the fiery element were reduced to ashes; the stone walls only were left, but in so ruinous a condition as not to be fit for future use, and what is extraordinary, the font, though left entire, was turned upside down; the tombs and head stones near the church were considerably damaged. A brief was obtained towards the re-building of it, but the work, though the size of it has been greatly reduced, the new church, consisting but of one isle and a very small chancel, has gone on but slowly, and at this time is not near finished, and neither steeple nor bells are yet agreed upon, the brief not producing so much as was expected.

 

In the old church, before it was burnt down, there were the following monuments and inscriptions:— In the chancel, on the south wall, an antient and beautiful monument,. with the arms of Waller, with the augmentation and several quarterings, for Sir Walter Waller; a brass plate for John Waller, esq. obt. 1517. In the nave, were several brass plates for the same family, one of them for William Waller, esq. of Groombridge, obt. 1555. The porch was very curious, over which was an antique shield, cut in stone, being the arms of France, with a file of three flambeaux, for Charles, duke of Orleans, mentioned before. He built this porch, and was a good benefactor to the repairs of the church itself. (fn. 19)

 

By a fine levied in the 39th year of king Henry III. before Gilbert de Preston, and others justices itinerant, Walter de la Dene, the possessor of this advowson, granted it to the Walter Fitzwalter in tail general, to hold of him and his heirs for ever, at the yearly rent of one penny, and performing all other services due from thence to the capital lords of the fee.

 

¶Roger de Padlesworth was patron of the church of Speldhurst in the 48th year of the same reign, and he then released his right to certain rent and service due for lands granted to the chapel of Gromenebregge, situated within his manor of Speldhurst. In the reign of king Edward III. the manor and church of Speldhurst were part of the possessions of Sir John de Pulteneye, who, in the 19th year of that reign, on his perfecting the foundation and endowment of his college in the parish of St. Lawrence, in Canon-street, London, afterwards called the College of St. Lawrence Poultney, settled both manor and advowson on it. (fn. 20) Three years after which, anno 1347, Hamo, bishop of Rochester, at the instance and petition of Sir John de Pulteneye, by his instrument appropriated this church to that college for ever, reserving out of it nevertheless a fit portion to the perpetual vicar serving in it, to be presented to the bishop and his successors, by the master or guardian and the chaplains of the college, by which he might be supported decently, and be enabled to discharge the episcopal dues and other burthens incumbent on him; and he decreed, that they should take possession of this church immediately on the death or cession of Sir Thomas, then rector of it (whom he by no means intended to prejudice by this appropriation) without any further licence or authority obtained for that purpose, saving, nevertheless, and reserving to himself and his successors canonical obedience from the master or guardian and chaplains or their successors, on account of their holding this church as aforesaid, and the visitation of it, and other rights due to the church and the bishop of Rochester, and to the archdeacon of the place, either of custom or of right, and all other rights and customs in every thing whatsoever; and saving and reserving in the church a perpetual vicarage, which he then decreed should take effect at the death or resignation of the rector of it. And he willed, that a sit and competent portion should be assigned out of the fruits, rents and produce of it to such vicar to serve in it, who should first be presented by the master, &c. to be instituted and admitted by the bishop, or his successor, into it, before his admission, according as circumstances required, to the use of him and his successors for ever. And he willed and decreed, that the portion above-mentioned should for ever consist of the tithes of filva cedua, pannage, apples, and fruits of other trees, hay, herbage, flax, hemp, wool, milk, butter and cheese, lambs, calves, pigs, swans, pidgeons, fowlings, huntings, mills, fisheries, merchandizing, and in all other small tithes and dues of the church, oblations and obventions whatsoever belonging to the altarage, together with competent buildings situate on the soil of the church, to be assigned for the habitation of the vicar, and in which the visitors of the ordinary might be commodiously received. And he willed and decreed, that the vicar for the time being, (after the books and vestments belonging by custom to the rector to provide, should have been sufficiently provided by the master, &c.) should cause the books to be bound, and the vestments to be washed, repaired and amended, as often as need should be; and should find and provide, at his own expence, bread, wine, and processional tapers, and other lights necessary in the chancel, and the accustomed attendants in the church; and should keep and maintain in a proper state, at his own costs, the buildings allotted to his vicarage, after they should have been once sufficiently repaired, and assigned as an habitation for him and his successors, and should wholly pay all episcopal dues, and archidiaconal procurations, and should undergo and acknowledge all other extraordinary burthens, which should be incumbent or laid on him, according to the taxation of his portion, which, so far as related to them, he estimated and taxed at sixty shillings sterling; but that the master, &c. should undergo and acknowledge, at his and their own costs for ever, all other ordinaries and extraordinaries, according to the taxation of their portion, which he estimated at six marcs and an half. Lastly, that his cathedral church of Rochester might not be in any manner hurt, or prejudiced by this appropriation, he, in recompence of such loss, as it might happen to receive from it, either in the not receiving the profits of it whilst it should become vacant, or otherwise, reserved a certain annual pension of seven shillings sterling from this church to him and his successors, to be yearly paid at the feast of the Purification of the blessed Virgin Mary, by the master, &c. as soon as they should have obtained effectual and full possession of it, &c. (fn. 21)

 

www.british-history.ac.uk/survey-kent/vol3/pp275-300

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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

increased saturation, contrast, and other stuff

Designer: Zhang Yuqing (章育青)

1958, September

Increase production every month and have a bumper harvest every year

Yue yue zengchan, nian nian feng shou (月月增产, 年年丰收)

Call nr.: BG E40/20 (IISH collection)

 

More? See: chineseposters.net

 

As a means to increase access to food, the European Commission Humanitarian Aid department funded a Save The Children project that distributed assorted vegetable seeds including maize, tomato and mustard seeds to families as well as irrigation equipment.

As a result, Eluby’s family started growing crops in their nursery, in a nearby vegetable garden, and in an allocated space at a small scale irrigation scheme that sits adjacent to their home.

© Luzayo Nyirongo/Save The Children

Inflation is reflected by a new price increase of $1 USD on Pick-A-Brick cups at LBR and a $30 hike on the cases.... Needless to say, a bunch of meh pieces also joined the wall this month including a useless windscreen, the new assortment of wheels and tires, GEVO fuel tank pieces, and the actually good bley wings. I also saw Travis bricks but passed. Bottom line, for Sawgrass, this is the most colorful it's gotten.

Written on the verso: Helena M. Buckley, Amsterdam, Montgomery County, June Class of ‘87.

 

(The Albany State Normal School was created in 1844 as New York’s response to rapidly expanding common school education in the state in the 1840s and increasing dissatisfaction with the quality of teachers. The new Normal School's mission was to both train new and upgrade existing common school teachers. Throughout its nearly half-century life, the Normal School was a two-year institution whose curriculum revolved around the subjects taught in the common (or elementary) schools and emphasized the integration of subject matter and teaching methods. Some students came with only a common school education, others with teaching experience; some completed the program, more left to begin or continue teaching careers after a term or two. After the Civil War the student body became heavily female, reflecting the feminization of American common school education at the time.)

 

Helena Morton Buckley was born 23 December 1865 in Montgomery County, New York, the daughter of Benjamin Johnson Buckley (born 1836) and Elizabeth McQueen (1836-1911). On 18 September 1885, Helena was admitted to the junior first class of the Albany School. Upon leaving Albany School, she taught in Amsterdam from around 1889 to 1896. She then took a teaching post in Brooklyn, New York, where she would teach for around 35 years, retiring at age 70. Helena did not marry. She passed away in Pennsylvania on 28 April 1952.

 

Photographer Edwin Smith Sterry was born 25 April 1842 in Mystic, Connecticut, the son of David Sterry (1801-1856) and Orpha Smith (1812-1873). In 1850, Edwin was living with his parents and four siblings in Canaan, New York, where his father worked as a carpenter. Edwin was a clerk in Troy, New York during 1858-1859. By 1860, he was listed in Troy directories as an ambrotype artist at 98 Congress Street. Edwin was married on 24 March 1864 to Mary Elizabeth Scollay (1845-1914), and the couple had at least two children. He remained in Troy until at least 1879, but he also had a gallery in Lansingburgh, NY, during 1864-1868. By 1882, he had relocated to Albany, NY, at 520 & 522 Broadway. Sterry worked as a photographer in Albany until at least 1896. He passed away on 14 January 1900.

Giorgione (environ 1477-1510), actif à Venise

"Laura", 1506

La jeune dame, nomée selon le laurier (lauro), elle mettant en valeur, est - à l'exception de "La Vecchia» à Venise - le seule portrait d'une femme du peintre. La poitrine à moitié nue et le laurier ont conduit à différentes interprétations contradictoires: Peut-être qu'il s'agit de "Laura", la maîtresse du poète Pétrarque, et donc d'une sorte de concours de la peinture à la poésie. L'inscription datant du 16ème siècle sur le dos contient en plus du nom de l'artiste aussi la date 1506 et un «maître Giacomo" comme client.

 

Giorgione (um 1477-1510), tätig in Venedig

"Laura", 1506

Die nach dem sie hinterfangenden Lorbeer (lauro) benannte junge Dame ist - mit Ausnahme der "La Vecchia" in Venedig - das einzige weibliche Bildnis des Malers. Die halbentblößte Brust und der Lorbeer haben zu verschiedenen, einander widersprechenden Deutungen geführt: Vielleicht handelt es sich um "Laura", die Geliebte des Dichters Petrarca, und damit um eine Art Wettbewerb der Malerei mit der Poesie. Die aus dem 16. Jahrhundert datierende Inschrift auf der Rückseite enthält außer dem Künstlernamen auch das Datum 1506 und einen "Meister Giacomo" als Auftraggeber.

 

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

things fall apart.

BC is increasing the home owner grant threshold to $1.6 million, helping keep property taxes affordable for families and ensuring most home owners will continue to receive the full grant this year.

 

Learn more:

news.gov.bc.ca/releases/2017FIN0002-000039

If you are interested in photography life is getting complicated because the range of decisions to be made is increasing at an amazing rate.

 

This month has been amazing because so many new cameras have been launched and I am interested in many of them. I suspect that I will get the Fuji X-T3 but I would like to get the Fuji GFX-50R or the GFX-100S but I cannot really justify paying between Euro 6000 and Euro 13,000 to switch to medium format. The 50R body will cost about Euro 4,500 and the 100S will retail at about Euro 10,000 so it is definite that i will not be getting the 50R. The 50R with a suitable lens would cost about Euro 6,000 so the possibility of me getting one is not good.

 

Sony did not launch a new camera but they announced a 24mm GM lens but when I went to my local dealer for details I was asked if I was planning to trade-in my Zeiss Batis 25mm and then I realised I had nor used the Batis since I got the Sony A7RIII. Many were expecting Sony to announce the A7SIII but all indications are that it will not appear in the shops until sometime in 2019

 

As the Sony 24mm is expensive it does not make much sense for me to purchase one if I already have a prime 25mm Zeiss lens so I decided to take it out to Glasnevin Cemetery to see how good it is. I liked the results but chromatic aberration proved to be an issue but despite that I suspect that I will give the Sony 24mm GM a miss. At this stage I am considering three lenses for my Sony A7RIII and they are the 12-24mm G, the 16-35 GM and the Sigma 105mm. Note: Capture One corrected for chromatic aberration better than did Lightroom.

 

Ever since it was introduced I have used Adobe Lightroom and I am currently Using version 8 [yes 8 not 7] but recently someone mentioned to me that Capture One is better than Lightroom. I had a quick look today and the images imported by Capture One do appear to be better ... it will take me a few weeks to investigate this because switching would have a major impact on my workflow.

Shap is a linear village and civil parish located among fells and isolated dales in Eden district, Cumbria, England, in the historic county of Westmorland. The parish had a population of 1,221 in 2001, increasing slightly to 1,264 at the 2011 Census.

 

Location

 

The village lies along the A6 road and the West Coast Main Line, and is near to the M6 motorway. It is situated 10 miles (16 km) from Penrith and about 15 miles (24 km) from Kendal.

 

Shap is on the route of the Coast to Coast Walk.

 

Etymology

 

Early (12th and 13th century) forms such as Hep and Yheppe point to an Old Norse rendering Hjáp of an Old English original Hēap = "heap", (of stones), probably referring to an ancient stone circle, cairn, or to the Shap Stone Avenue just to the west of the village.

 

History

 

Although Shap is geographically a small village, it is legally a market town with a charter dating from the 17th century. The parish was, between 1905 and 1935, administered by an urban district council. At one time, the granite works (which are situated about a mile outside the village) was in itself a separate community, with its own Co-op store. Shap polished pink granite can be found in many buildings in the UK, including outside St Paul's Cathedral in London.

 

Shap today - St. Michael's Church

 

The village has three pubs, a small supermarket, a fish and chip shop, an antique book shop, a butcher's shop, a primary school, a newsagent's, a coffee shop, a ceramic art studio called Edge Ceramics, a fire station, a shoe shop (New Balance factory shop) an Anglican church and 3 B&B/ Hostels. There is also a small library, which is in the process of being relinquished from local council control and being adopted by the community as part of a budget cutting measure.

 

Major employers in the area are Hanson and Tata Steel.

 

Some of the scenes in the feature film Withnail and I were filmed around Shap. Sleddale Hall, the filming location for Uncle Monty's cottage Crow Crag, is located near Wet Sleddale Reservoir.

 

On 22 October 1999, a Hawk jet from RAF Leeming crashed into an empty barn in the village before disintegrating across the A6 and West Coast railway line, killing its two-man crew.

 

Shap Summit is located on the motorway at NY583120 and the railway at NY570110. Shap Fell used to be notorious for the difficult and dangerous stretch of A6 for drivers, and it includes a well-known section of the West Coast Main Line. It has a 1:75 gradient for trains heading north, and in the days of steam locomotives banking engines from Tebay were often used to assist trains. It has been popular with railway photographers and there have been many pictures published taken in the area, most notably at Scout Green which lies on the southern approach to the hill.

 

Shap Fell NY530088 is known for Shap granite, a pink rock rich in orthoclase, quartz and biotite; Shap Pink Quarry takes its name from this.

 

Shap Abbey NY547151 is nearby in the secluded valley of the river Lowther. Now impressive ruins dating from 1199, the Abbey was one of the last abbeys to be dissolved by Henry VIII in 1540.

 

Shap Wells has a mineral spa located in the grounds of the Shap Wells hotel which was used in World War II as a prisoner of war camp.

 

The benefits of floating are inseparable from the benefits of meditation. Floating can increase empathy through using guided meditation techniques proven to elicit that response.

Cultivating compassion can have a profound impact on how we deal with others. Forgiveness and compassion are...

 

floatcarlsbad.com/floating-increases-empath/

DB Schenker Rail (UK) Ltd's class 66 (JT42CWR) number 66092 in English, Welsh and Scottish Railway maroon livery with zigzag gold band, large number and EWS logo works 4M38 from Dollands Moor to Daventry International Rail Freight Terminal (DIRFT) on 8 October 2014.

 

At Jaguar Land Rover's Whitley plant, Coventry (15 miles from Crick, Daventry International Rail Freight Terminal (DIRFT)) car bodies are constructed using recycled aluminium sheet stamped panels. They claim that this enables them to increase crash safety and reduce weight of their new Range Rover, Range Rover Sport, Jaguar F-TYPE sportscar and Jaguar XJ saloon by approximately 40% (so improving fuel efficiency and lowering emissions). Jaguar Land Rover operate a closed loop vehicle recycling policy at the end of their vehicles life and in future aim to construct up to 75% of their entire vehicle from aluminium when feasible.

 

The Novelis company, spun off from Alcan in 2005, makes aluminium rolled products such as light-metal products for the automotive industry (automotive coil), as well as drinks cans, products for the construction sector and products for manufacturers of consumer electronic goods. Alunorf, the Novelis Deutschland GmbH aluminium rolling and casting facility at Neuss (near Düsseldorf), is the largest aluminium rolling and casting facility in the world, and is operated jointly by Novelis and Norsk Hydro supplied with recycled aluminium delivered from Ditton Foundry in the UK by train (6O16, returning as 6M14). The Ditton Foundry trains share the same International train ID number as 4M38 in France and so are assumed to work the same route. Previously 46455 was photographed by Mattias Catry at Merris on 23 March 2014). Dollands Moor to Nievenheim aluminium trains have also been photographed passing through Houplines (east of Armenières) working from Nievenheim to Dollands Moor on 12 March 2014. Dennis Vansummeren also photographed 46455 between Wespelaar and the village of Tildonk Belgium, working from Dollands Moor to Nievenheim on 26 April 2014.

 

The automotive coil produced by AluNorf at Neuss, Germany is thought to be taken to Umschlag Container Terminal GmbH by lorry and loaded into 18 Stobart Rail branded containers mounted on 9 French FIA and IFA twin intermodal flat wagons numbered 33 87 4908s. The route to Daventry International Rail Freight Terminal (DIRFT) then involvs 5 different rail companies (International train ID 46455 and 46452) (RheinCargo GmbH & Co KG railway company, DB Schenker Rail (formerly Railion), Corridor Operations Belgium Rail (COBRA), B-Cargo and finally to DB Schenker Rail UK through the Channel Tunnel to Daventry) where Eddie Stobart lorries are thought to take it the last 15 miles to Jaguar Land Rover's Whitley plant. For a map of the route to and from Germany click here.

 

According to Jamie Siers numbers of the 9 intermodal twin flat wagons being hauled with Stobart Rail containers mounted on them were 338749086959, 338749087114, 338749085050, 338749087338, 338749086751, 338749084293, 338749086629, 338749085076 and 338749084806.

 

66092 (works number 968702-092) was built by General Motors Electro-Motive Division, London, Ontario, Canada in 1999 and unloaded from the Heavy Lift Ship MV "Stellamare" at Newport Docks on 14 April 1999.

 

According to Realtime Trains the route and timings were;

Dollands Moor Sidings ......................1421..........1420............1E

Ashford International .........................1433 1/2..1438.............4L

Maidstone East [MDE] 1......................1501.........1500 1/2.....RT

Otford Junction[XOT].........................1524 1/2..1521 3/4.....2E

Swanley [SAY] 1....................................1535 1/2..1533 1/4.....2E

St Mary Cray Junction........................1540 1/2..1537 1/2.....2E

Bickley Junction[XLY].........................1541 1/2...1538...........3E

Bromley South [BMS]..........................1545.........1540 1/2.....4E

Shortlands [SRT]...................................1547.........1542...........4E

Shortlands Junction............................1547 1/2..1542 1/2.....4E

Bellingham [BGM]................................1550........1547 1/4.....2E

Nunhead [NHD] 1.................................1553 1/2..1555 1/4.......1L

Peckham Rye [PMR] 3.........................1555 1/2..1557 1/2.....2L

Crofton Road Junction.......................1556 1/2..1600............3L

Denmark Hill [DMK] 1..........................1558........1600 1/2.....2L

Voltaire Road Junction ......................1602........1605............3L

Latchmere Junction............................1612.........1610 3/4......1E

Imperial Wharf [IMW] 2.......................1615.........1612 1/2......2E

West Brompton [WBP] 4.....................1617..........1614 1/4......2E

Kensington Olympia ..........................1620........1615 1/4......4E

Shepherds Bush [SPB] 2....................1621 1/2...1616 3/4.....4E

North Pole Signal Vc813....................1624 1/2..1618 3/4.....5E

North Pole Junction............................1625........1618............7E

Mitre Bridge Junction.........................1628........1620 3/4....7E

Willesden West Londn Junction......1629 1/2..1622 1/4.....7E

Wembley Central [WMB] 5................1642.........1721 1/4....39L

Wembley Central [WMB] 5................1726.........1721.............5E

Harrow & Wealdstone [HRW] 5........1732.........1727 1/2......4E

Bushey [BSH] 5.....................................1737.........1733 1/2......3E

Watford Junction [WFJ] 8..................1738 1/2...1735 1/4.....3E

Kings Langley [KGL] 3.........................1743.........1738 3/4.....4E

Apsley [APS] 3......................................1746.........1741.............4E

Hemel Hempstead [HML] 3...............1747 1/2...1743 1/4......4E

Bourne End Junction(Herts) [XOE]...1749.........1745 1/4.....3E

Berkhamsted [BKM] 3.........................1752.........1749 1/2.....2E

Tring [TRI] 3...........................................1756.........1755............RT

Cheddington [CED] 3..........................1800........1800 1/4.....RT

Ledburn Junction[XOD] S..................1802........1803.............1L

Leighton Buzzard [LBZ] 3..................1804........1806 1/4.....2L

Bletchley [BLY] 3..................................1811...........1811 3/4......RT

Denbigh Hall South Junction............1812 1/2...1812 1/2......RT

Denbigh Hall North Junction............1814..........1813 3/4.....RT

Milton Keynes Central [MKC] 3.........1816..........1815 1/4......RT

Wolverton [WOL] 3..............................1818 1/2...1817 1/2......RT

Hanslope Junction[XHN]...................1822........1821............RT

Northampton [NMP] 2.........................1833.........1830 3/4....2E

Long Buckby [LBK]..............................1915 1/2...2001 1/4...45L

Daventry South Junction...................1921 1/2...2010 1/2...49L

 

Bangkok (English pronunciation: /ˈbæŋkɒk/) is the capital and most populous city of Thailand. It is known in Thai as Krung Thep Maha Nakhon (กรุงเทพมหานคร, pronounced [krūŋ tʰêːp mahǎː nákʰɔ̄ːn] or simply Krung Thep. The city occupies 1,568.7 square kilometres (605.7 sq mi) in the Chao Phraya River delta in Central Thailand, and has a population of over 8 million, or 12.6 percent of the country's population. Over 14 million people (22.2 percent) live within the surrounding Bangkok Metropolitan Region, making Bangkok an extreme primate city, significantly dwarfing Thailand's other urban centres in terms of importance.

 

Bangkok traces its roots to a small trading post during the Ayutthaya Kingdom in the 15th century, which eventually grew and became the site of two capital cities: Thonburi in 1768 and Rattanakosin in 1782. Bangkok was at the heart of the modernization of Siam - later renamed Thailand - during the late 19th century, as the country faced pressures from the West. The city was at the centre of Thailand's political struggles throughout the 20th century, as the country abolished absolute monarchy, adopted constitutional rule and underwent numerous coups and several uprisings. The city grew rapidly during the 1960s through the 1980s and now exerts a significant impact on Thailand's politics, economy, education, media and modern society.

 

The Asian investment boom in the 1980s and 1990s led many multinational corporations to locate their regional headquarters in Bangkok. The city is now a major regional force in finance and business. It is an international hub for transport and health care, and has emerged as a regional centre for the arts, fashion and entertainment. The city is well known for its vibrant street life and cultural landmarks, as well as its notorious red-light districts. The historic Grand Palace and Buddhist temples including Wat Arun and Wat Pho stand in contrast with other tourist attractions such as the nightlife scenes of Khaosan Road and Patpong. Bangkok is among the world's top tourist destinations. It is named the most visited city in MasterCard's Global Destination Cities Index, and was named "World's Best City" for four consecutive years by Travel + Leisure magazine.

 

Bangkok's rapid growth amidst little urban planning and regulation has resulted in a haphazard cityscape and inadequate infrastructure systems. Limited roads, despite an extensive expressway network, together with substantial private car usage, have led to chronic and crippling traffic congestion, which caused severe air pollution in the 1990s. The city has since turned to public transport in an attempt to solve this major problem. Five rapid transit lines are now in operation, with more systems under construction or planned by the national government and the Bangkok Metropolitan Administration.

 

HISTORY

The history of Bangkok dates at least back to the early 15th century, when it was a village on the west bank of the Chao Phraya River, under the rule of Ayutthaya. Because of its strategic location near the mouth of the river, the town gradually increased in importance. Bangkok initially served as a customs outpost with forts on both sides of the river, and became the site of a siege in 1688 in which the French were expelled from Siam. After the fall of Ayutthaya to the Burmese Empire in 1767, the newly declared King Taksin established his capital at the town, which became the base of the Thonburi Kingdom. In 1782, King Phutthayotfa Chulalok (Rama I) succeeded Taksin, moved the capital to the eastern bank's Rattanakosin Island, thus founding the Rattanakosin Kingdom. The City Pillar was erected on 21 April, which is regarded as the date of foundation of the present city.

 

Bangkok's economy gradually expanded through busy international trade, first with China, then with Western merchants returning in the early-to-mid 19th century. As the capital, Bangkok was the centre of Siam's modernization as it faced pressure from Western powers in the late 19th century. The reigns of Kings Mongkut (Rama IV, 1851–68) and Chulalongkorn (Rama V, 1868–1910) saw the introduction of the steam engine, printing press, rail transport and utilities infrastructure in the city, as well as formal education and healthcare. Bangkok became the centre stage for power struggles between the military and political elite as the country abolished absolute monarchy in 1932. It was subject to Japanese occupation and Allied bombing during World War II, but rapidly grew in the post-war period as a result of United States developmental aid and government-sponsored investment. Bangkok's role as an American military R&R destination boosted its tourism industry as well as firmly establishing it as a sex tourism destination. Disproportionate urban development led to increasing income inequalities and unprecedented migration from rural areas into Bangkok; its population surged from 1.8 to 3 million in the 1960s. Following the United States' withdrawal from Vietnam in 1973, Japanese businesses took over as leaders in investment, and the expansion of export-oriented manufacturing led to growth of the financial market in Bangkok. Rapid growth of the city continued through the 1980s and early 1990s, until it was stalled by the 1997 Asian financial crisis. By then, many public and social issues had emerged, among them the strain on infrastructure reflected in the city's notorious traffic jams. Bangkok's role as the nation's political stage continues to be seen in strings of popular protests, from the student uprisings in 1973 and 1976, anti-military demonstrations in 1992, and successive anti-government demonstrations by the "Yellow Shirt", "Red Shirt" and "Light blue Shirt" movements from 2008 onwards.

 

Administration of the city was first formalized by King Chulalongkorn in 1906, with the establishment of Monthon Krung Thep Phra Maha Nakhon (มณฑลกรุงเทพพระมหานคร) as a national subdivision. In 1915 the monthon was split into several provinces, the administrative boundaries of which have since further changed. The city in its current form was created in 1972 with the formation of the Bangkok Metropolitan Administration (BMA), following the merger of Phra Nakhon Province on the eastern bank of the Chao Phraya and Thonburi Province on the west during the previous year.

 

NAME

The etymology of the name Bangkok (บางกอก, pronounced in Thai as [bāːŋ kɔ̀ːk] is not absolutely clear. Bang is a Thai word meaning "a village situated on a stream", and the name might have been derived from Bang Ko (บางเกาะ), ko meaning "island", a reference to the area's landscape which was carved by rivers and canals. Another theory suggests that it is shortened from Bang Makok (บางมะกอก), makok being the name of Elaeocarpus hygrophilus, a plant bearing olive-like fruit.[a] This is supported by the fact that Wat Arun, a historic temple in the area, used to be named Wat Makok. Officially, however, the town was known as Thonburi Si Mahasamut (ธนบุรีศรีมหาสมุทร, from Pali and Sanskrit, literally "city of treasures gracing the ocean") or Thonburi, according to Ayutthaya chronicles. Bangkok was likely a colloquial name, albeit one widely adopted by foreign visitors, whose continued use of the name finally resulted in it being officially adopted with the creation of the Bangkok Metropolitan Administration.

 

When King Rama I established his new capital on the river's eastern bank, the city inherited Ayutthaya's ceremonial name, of which there were many variants, including Krung Thep Thawarawadi Si Ayutthaya (กรุงเทพทวารวดีศรีอยุธยา) and Krung Thep Maha Nakhon Si Ayutthaya (กรุงเทพมหานครศรีอยุธยา). Edmund Roberts, visiting the city as envoy of the United States in 1833, noted that the city, since becoming capital, was known as Sia-Yut'hia, and this is the name used in international treaties of the period. Today, the city is known in Thai as Krung Thep Maha Nakhon (กรุงเทพมหานคร) or simply as Krung Thep (กรุงเทพฯ). Its full ceremonial name, which came into use during the reign of King Mongkut, reads as follows:

 

Krungthepmahanakhon Amonrattanakosin Mahintharayutthaya Mahadilokphop Noppharatratchathaniburirom Udomratchaniwetmahasathan Amonphimanawatansathit Sakkathattiyawitsanukamprasit

กรุงเทพมหานคร อมรรัตนโกสินทร์ มหินทรายุธยา มหาดิลกภพ นพรัตนราชธานีบูรีรมย์ อุดมราชนิเวศน์มหาสถาน อมรพิมานอวตารสถิต สักกะทัตติยวิษณุกรรมประสิทธิ์

 

The name, composed of Pali and Sanskrit root words, translates as:

 

City of angels, great city of immortals, magnificent city of the nine gems, seat of the king, city of royal palaces, home of gods incarnate, erected by Vishvakarman at Indra's behest.

 

The name is listed in Guinness World Records as the world's longest place name, at 168 letters. Thai school children are taught the full name, although few can explain its meaning as many of the words are archaic, and known to few. Most Thais who recall the full name do so because of its use in a popular song, "Krung Thep Maha Nakhon" (1989) by Asanee–Wasan and will often recount it by singing it, much as an English speaker might sing the alphabet song to recite the alphabet. The entirety of the lyrics is just the name of the city repeated over and over.

 

GOVERNMENT

The city of Bangkok is locally governed by the Bangkok Metropolitan Administration (BMA). Although its boundaries are at the provincial (changwat) level, unlike the other 76 provinces Bangkok is a special administrative area whose governor is directly elected to serve a four-year term. The governor, together with four appointed deputies, form the executive body, who implement policies through the BMA civil service headed by the Permanent Secretary for the BMA. In separate elections, each district elects one or more city councillors, who form the Bangkok Metropolitan Council. The council is the BMA's legislative body, and has power over municipal ordinances and the city's budget. However, after the coup of 2014 all local elections have been cancelled and the council has been appointed by government on September 15 2014. The current Bangkok Governor is Police General Aswin Kwanmuang, who was appointed by the military government on October 26 following the suspension of the last elected governor M.R. Sukhumbhand Paribatra.

 

Bangkok is subdivided into fifty districts (khet, equivalent to amphoe in the other provinces), which are further subdivided into 169 subdistricts (khwaeng, equivalent to tambon). Each district is managed by a district director appointed by the governor. District councils, elected to four-year terms, serve as advisory bodies to their respective district directors.

 

The BMA is divided into sixteen departments, each overseeing different aspects of the administration's responsibilities. Most of these responsibilities concern the city's infrastructure, and include city planning, building control, transportation, drainage, waste management and city beautification, as well as education, medical and rescue services. Many of these services are provided jointly with other agencies. The BMA has the authority to implement local ordinances, although civil law enforcement falls under the jurisdiction of the Metropolitan Police Bureau.

 

The seal of the city shows Hindu god Indra riding in the clouds on Airavata, a divine white elephant known in Thai as Erawan. In his hand Indra holds his weapon, the vajra.[19] The seal is based on a painting done by Prince Naris. The tree symbol of Bangkok is Ficus benjamina. The official city slogan, adopted in 2012, reads:

 

As built by deities, the administrative center, dazzling palaces and temples, the capital of Thailand

กรุงเทพฯ ดุจเทพสร้าง เมืองศูนย์กลางการปกครอง วัดวังงามเรืองรอง เมืองหลวงของประเทศไทย

 

As the capital of Thailand, Bangkok is the seat of all branches of the national government. The Government House, Parliament House and Supreme, Administrative and Constitutional Courts are all located within the city. Bangkok is the site of the Grand Palace and Chitralada Villa, respectively the official and de facto residence of the king. Most government ministries also have headquarters and offices in the capital.

 

GEOGRAPHY

The Bangkok city proper covers an area of 1,568.737 square kilometres, ranking 69th among the other 76 provinces of Thailand. Of this, about 700 square kilometres form the built-up urban area. It is ranked 73rd in the world in terms of land area by City Mayors. The city's urban sprawl reaches into parts of the six other provinces it borders, namely, in clockwise order from northwest: Nonthaburi, Pathum Thani, Chachoengsao, Samut Prakan, Samut Sakhon and Nakhon Pathom. With the exception of Chachoengsao, these provinces, together with Bangkok, form the greater Bangkok Metropolitan Region.

 

PARKS AND GREEN ZONES

Bangkok has several parks, although these amount to a per-capita total park area of only 1.82 square metres in the city proper. Total green space for the entire city is moderate, at 11.8 square metres per person; however, in the more densely built-up areas of the city these numbers are as low as 1.73 and 0.72 square metres per person. More recent numbers claim that there is only 3.3 m2 of green space per person, compared to an average of 39 m2 in other cities across Asia. Bangkokians thus have 10 times less green space than is standard in the region's urban areas. Green belt areas include about 700 square kilometres of rice paddies and orchards in the eastern and western edges of the city proper, although their primary purpose is to serve as flood detention basins rather than to limit urban expansion. Bang Kachao, a 20-square-kilometre conservation area in an oxbow of the Chao Phraya, lies just across the southern riverbank districts, in Samut Prakan Province. A master development plan has been proposed to increase total park area to 4 square metres per person.

 

Bangkok's largest parks include the centrally located Lumphini Park near the Si Lom – Sathon business district with an area of 57.6 hectares, the 80-hectare Suanluang Rama IX in the east of the city, and the Chatuchak–Queen Sirikit–Wachirabenchathat park complex in northern Bangkok, which has a combined area of 92 hectares.

 

DEMOGRAPHY

The city of Bangkok has a population of 8,280,925 according to the 2010 census, or 12.6 percent of the national population. However, there are only 5,692,284 registered residents, belonging to 2,672,423 households. A large number of Bangkok's daytime population commutes from surrounding provinces in the Bangkok Metropolitan Region, the total population of which is 14,565,547. Bangkok is a cosmopolitan city; the census showed that it is home to 81,570 Japanese and 55,893 Chinese nationals, as well as 117,071 expatriates from other Asian countries, 48,341 from Europe, 23,418 from the Americas, 5,289 from Australia and 3,022 from Africa. Immigrants from neighbouring countries include 303,595 Burmese, 63,438 Cambodians and 18,126 Lao.

 

Although it has been Thailand's largest population centre since its establishment as capital city in 1782, Bangkok grew only slightly throughout the 18th and early 19th centuries. British diplomat John Crawfurd, visiting in 1822, estimated its population at no more than 50,000. As a result of Western medicine brought by missionaries as well as increased immigration from both within Siam and overseas, Bangkok's population gradually increased as the city modernized in the late 19th century. This growth became even more pronounced in the 1930s, following the discovery of antibiotics. Although family planning and birth control was introduced in the 1960s, the lowered birth rate was more than offset by increased migration from the provinces as economic expansion accelerated. Only in the 1990s have Bangkok's population growth rates decreased, following the national rate. Thailand had long since become highly centralized around the capital. In 1980, Bangkok's population was fifty-one times that of Hat Yai and Songkhla, the second-largest urban centre, making it the world's most prominent primate city.

 

The majority of Bangkok's population are of Thai ethnicity,[d] although details on the city's ethnic make-up are unavailable, as the national census does not document race.[e] Bangkok's cultural pluralism dates back to the early days of its foundation; several ethnic communities were formed by immigrants and forced settlers including the Khmer, Northern Thai, Lao, Vietnamese, Tavoyan, Mon and Malay. Most prominent were the Chinese, who played major roles in the city's trade and became the majority of Bangkok's population - estimates include up to three-fourths in 1828 and almost half in the 1950s. However, Chinese immigration was restricted from the 1930s and effectively ceased after the Chinese Revolution in 1949. Their prominence subsequently declined as most of younger generations of Thai Chinese have integrated and adopted a Thai identity. Bangkok is still nevertheless home to a large Chinese community, with the greatest concentration in Yaowarat, Bangkok's Chinatown. The majority (91 percent) of the city's population is Buddhist. Other religions include Islam (4.7%), Christianity (2.0%), Hinduism (0.5%), Sikhism (0.1%) and Confucianism (0.1%).

 

Apart from Yaowarat, Bangkok also has several other distinct ethnic neighbourhoods. The Indian community is centred in Phahurat, where the Gurdwara Siri Guru Singh Sabha, founded in 1933, is located. Ban Khrua on Saen Saep Canal is home to descendants of the Cham who settled in the late 18th century. Although the Portuguese who settled during the Thonburi period have ceased to exist as a distinct community, their past is reflected in Santa Kruz Church, on the west bank of the river. Likewise, the Assumption Cathedral on Charoen Krung Road is among many European-style buildings in the Old Farang Quarter, where European diplomats and merchants lived during the late 19th to early 20th centuries. Nearby, the Haroon Mosque is the centre of a Muslim community. Newer expatriate communities exist along Sukhumvit Road, including the Japanese community near Soi Phrom Phong and Soi Thong Lo, and the Arab and North African neighbourhood along Soi Nana. Sukhumvit Plaza, a mall on Soi Sukhumvit 12, is popularly known as Korea Town.

 

ECONOMY

Bangkok is the economic centre of Thailand, and the heart of the country's investment and development. In 2010, the city had an economic output of 3.142 trillion baht (98.34 billion US dollars), contributing 29.1 percent of the gross domestic product (GDP). This amounted to a per-capita GDP value of ฿456,911 ($14,301), almost three times the national average of ฿160,556 ($5,025). The Bangkok Metropolitan Region had a combined output of ฿4.773tn ($149.39bn), or 44.2 percent of GDP. Bangkok's economy ranks as the sixth among Asian cities in terms of per-capita GDP, after Singapore, Hong Kong, Tokyo, Osaka–Kobe and Seoul.

 

Wholesale and retail trade is the largest sector in the city's economy, contributing 24.0 percent of Bangkok's gross provincial product. It is followed by manufacturing (14.3%); real estate, renting and business activities (12.4%); transport and communications (11.6%); and financial intermediation (11.1%). Bangkok alone accounts for 48.4 percent of Thailand's service sector, which in turn constitutes 49.0 percent of GDP. When the Bangkok Metropolitan Region is considered, manufacturing is the most significant contributor at 28.2 percent of the gross regional product, reflecting the density of industry in the Bangkok's neighbouring provinces. The automotive industry based around Greater Bangkok is the largest production hub in Southeast Asia. Tourism is also a significant contributor to Bangkok's economy, generating ฿427.5bn ($13.38bn) in revenue in 2010.

 

The Stock Exchange of Thailand (SET) is located on Ratchadaphisek Road in inner Bangkok. The SET, together with the Market for Alternative Investment (mai) has 648 listed companies as of the end of 2011, with a combined market capitalization of 8.485 trillion baht ($267.64bn). Due to the large amount of foreign representation, Thailand has for several years been a mainstay of the Southeast Asian economy and a centre of Asian business. The Globalization and World Cities Research Network ranks Bangkok as an "Alpha−" world city, and it is ranked 59th in Z/Yen's Global Financial Centres Index 11.

 

Bangkok is home to the headquarters of all of Thailand's major commercial banks and financial institutions, as well as the country's largest companies. A large number of multinational corporations base their regional headquarters in Bangkok due to the lower cost of the workforce and firm operations relative to other major Asian business centres. Seventeen Thai companies are listed on the Forbes 2000, all of which are based in the capital, including PTT, the only Fortune Global 500 company in Thailand.

 

Income inequality is a major issue in Bangkok, especially between relatively unskilled lower-income immigrants from rural provinces and neighbouring countries, and middle-class professionals and business elites. Although absolute poverty rates are low - only 0.64 percent of Bangkok's registered residents were living under the poverty line in 2010, compared to a national average of 7.75 - economic disparity is still substantial. The city has a Gini coefficient of 0.48, indicating a high level of inequality.

 

CULTURE

The culture of Bangkok reflects its position as Thailand's centre of wealth and modernisation. The city has long been the portal of entry of Western concepts and material goods, which have been adopted and blended with Thai values to various degrees by its residents. This is most evident in the lifestyles of the expanding middle class. Conspicuous consumption serves as a display of economic and social status, and shopping centres are popular weekend hangouts. Ownership of electronics and consumer products such as mobile phones is ubiquitous. This has been accompanied by a degree of secularism, as religion's role in everyday life has rather diminished. Although such trends have spread to other urban centres, and, to a degree, the countryside, Bangkok remains at the forefront of social change.

 

A distinct feature of Bangkok is the ubiquity of street vendors selling goods ranging from food items to clothing and accessories. It has been estimated that the city may have over 100,000 hawkers. While the BMA has authorised the practice in 287 sites, the majority of activity in another 407 sites takes place illegally. Although they take up pavement space and block pedestrian traffic, many of the city's residents depend on these vendors for their meals, and the BMA's efforts to curb their numbers have largely been unsuccessful.

 

In 2015, however, the BMA, with support from the National Council for Peace and Order (Thailand's ruling military junta), began cracking down on street vendors in a bid to reclaim public space. Many famous market neighbourhoods were affected, including Khlong Thom, Saphan Lek, and the flower market at Pak Khlong Talat. Nearly 15,000 vendors were evicted from 39 public areas in 2016. While some applauded the efforts to focus on pedestrian rights, others have expressed concern that gentrification would lead to the loss of the city's character and adverse changes to people's way of life.

 

FESTIVALS AND EVENTS

The residents of Bangkok celebrate many of Thailand's annual festivals. During Songkran on 13–15 April, traditional rituals as well as water fights take place throughout the city. Loi Krathong, usually in November, is accompanied by the Golden Mount Fair. New Year celebrations take place at many venues, the most prominent being the plaza in front of CentralWorld. Observances related to the royal family are held primarily in Bangkok. Wreaths are laid at King Chulalongkorn's equestrian statue in the Royal Plaza on 23 October, which is King Chulalongkorn Memorial Day. The present king's and queen's birthdays, respectively on 5 December and 12 August, are marked as Thailand's national Father's Day and national Mother's Day. These national holidays are celebrated by royal audiences on the day's eve, in which the king or queen gives a speech, and public gatherings on the day of the observance. The king's birthday is also marked by the Royal Guards' parade.

 

Sanam Luang is the site of the Thai Kite, Sport and Music Festival, usually held in March, and the Royal Ploughing Ceremony which takes place in May. The Red Cross Fair at the beginning of April is held at Suan Amporn and the Royal Plaza, and features numerous booths offering goods, games and exhibits. The Chinese New Year (January–February) and Vegetarian Festival (September–October) are celebrated widely by the Chinese community, especially in Yaowarat.

 

TRANSPORT

Although Bangkok's canals historically served as a major mode of transport, they have long since been surpassed in importance by land traffic. Charoen Krung Road, the first to be built by Western techniques, was completed in 1864. Since then, the road network has vastly expanded to accommodate the sprawling city. A complex elevated expressway network helps bring traffic into and out of the city centre, but Bangkok's rapid growth has put a large strain on infrastructure, and traffic jams have plagued the city since the 1990s. Although rail transport was introduced in 1893 and electric trams served the city from 1894 to 1968, it was only in 1999 that Bangkok's first rapid transit system began operation. Older public transport systems include an extensive bus network and boat services which still operate on the Chao Phraya and two canals. Taxis appear in the form of cars, motorcycles, and "tuk-tuk" auto rickshaws.

 

Bangkok is connected to the rest of the country through the national highway and rail networks, as well as by domestic flights to and from the city's two international airports. Its centuries-old maritime transport of goods is still conducted through Khlong Toei Port.

 

The BMA is largely responsible for overseeing the construction and maintenance of the road network and transport systems through its Public Works Department and Traffic and Transportation Department. However, many separate government agencies are also in charge of the individual systems, and much of transport-related policy planning and funding is contributed to by the national government.

 

ROADS

Road-based transport is the primary mode of travel in Bangkok. Due to the city's organic development, its streets do not follow an organized grid structure. Forty-eight major roads link the different areas of the city, branching into smaller streets and lanes (soi) which serve local neighbourhoods. Eleven bridges over the Chao Phraya link the two sides of the city, while several expressway and motorway routes bring traffic into and out of the city centre and link with nearby provinces.

 

Bangkok's rapid growth in the 1980s resulted in sharp increases in vehicle ownership and traffic demand, which have since continued - in 2006 there were 3,943,211 in-use vehicles in Bangkok, of which 37.6 percent were private cars and 32.9 percent were motorcycles. These increases, in the face of limited carrying capacity, caused severe traffic congestion evident by the early 1990s. The extent of the problem is such that the Thai Traffic Police has a unit of officers trained in basic midwifery in order to assist deliveries which do not reach hospital in time. While Bangkok's limited road surface area (8 percent, compared to 20–30 percent in most Western cities) is often cited as a major cause of its traffic jams, other factors, including high vehicle ownership rate relative to income level, inadequate public transport systems, and lack of transportation demand management, also play a role. Efforts to alleviate the problem have included the construction of intersection bypasses and an extensive system of elevated highways, as well as the creation of several new rapid transit systems. The city's overall traffic conditions, however, remain bad.

 

Traffic has been the main source of air pollution in Bangkok, which reached serious levels in the 1990s. However, efforts to improve air quality by improving fuel quality and enforcing emission standards, among others, have been largely successful. Atmospheric particulate matter levels dropped from 81 micrograms per cubic metre in 1997 to 43 in 2007.

 

Although the BMA has created thirty signed bicycle routes along several roads totalling 230 kilometres, cycling is still largely impractical, especially in the city centre. Most of these bicycle lanes share the pavement with pedestrians. Poor surface maintenance, encroachment by hawkers and street vendors, and a hostile environment for cyclists and pedestrians, make cycling and walking unpopular methods of getting around in Bangkok.

 

BUSES AND TAXIS

Bangkok has an extensive bus network providing local transit services within the Greater Bangkok area. The Bangkok Mass Transit Authority (BMTA) operates a monopoly on bus services, with substantial concessions granted to private operators. Buses, minibus vans, and song thaeo operate on a total of 470 routes throughout the region. A separate bus rapid transit system owned by the BMA has been in operation since 2010. Known simply as the BRT, the system currently consists of a single line running from the business district at Sathon to Ratchaphruek on the western side of the city. The Transport Co., Ltd. is the BMTA's long-distance counterpart, with services to all provinces operating out of Bangkok.

 

Taxis are ubiquitous in Bangkok, and are a popular form of transport. As of August 2012, there are 106,050 cars, 58,276 motorcycles and 8,996 tuk-tuk motorized tricycles cumulatively registered for use as taxis. Meters have been required for car taxis since 1992, while tuk-tuk fares are usually negotiated. Motorcycle taxis operate from regulated ranks, with either fixed or negotiable fares, and are usually employed for relatively short journeys.

 

Despite their popularity, taxis have gained a bad reputation for often refusing passengers when the requested route is not to the driver's convenience. Motorcycle taxis were previously unregulated, and subject to extortion by organized crime gangs. Since 2003, registration has been required for motorcycle taxi ranks, and drivers now wear distinctive numbered vests designating their district of registration and where they are allowed to accept passengers.

 

RAIL SYSTEMS

Bangkok is the location of Hua Lamphong Railway Station, the main terminus of the national rail network operated by the State Railway of Thailand (SRT). In addition to long-distance services, the SRT also operates a few daily commuter trains running from and to the outskirts of the city during the rush hour.

 

Bangkok is currently served by three rapid transit systems: the BTS Skytrain, the underground MRT and the elevated Airport Rail Link. Although proposals for the development of rapid transit in Bangkok had been made since 1975, it was only in 1999 that the BTS finally began operation.

 

The BTS consists of two lines, Sukhumvit and Silom, with thirty stations along 30.95 kilometres. The MRT opened for use in July 2004, and currently consists of two line, the Blue Line and Purple Line. The Airport Rail Link, opened in August 2010, connects the city centre to Suvarnabhumi Airport to the east. Its eight stations span a distance of 28 kilometres.

 

Although initial passenger numbers were low and their service area remains limited to the inner city, these systems have become indispensable to many commuters. The BTS reported an average of 600,000 daily trips in 2012, while the MRT had 240,000 passenger trips per day.

 

As of 2016, construction work is ongoing to extend BTS and MRT, as well as several additional transit lines, including the Light Red grade-separated commuter rail line. The entire Mass Rapid Transit Master Plan in Bangkok Metropolitan Region consists of eight main lines and four feeder lines totalling 508 kilometres to be completed by 2029. In addition to rapid transit and heavy rail lines, there have been proposals for several monorail systems.

 

WATER TRANSPORT

Although much diminished from its past prominence, water-based transport still plays an important role in Bangkok and the immediate upstream and downstream provinces. Several water buses serve commuters daily. The Chao Phraya Express Boat serves thirty-four stops along the river, carrying an average of 35,586 passengers per day in 2010, while the smaller Khlong Saen Saep boat service serves twenty-seven stops on Saen Saep Canal with 57,557 daily passengers. Long-tail boats operate on fifteen regular routes on the Chao Phraya, and passenger ferries at thirty-two river crossings served an average of 136,927 daily passengers in 2010.

 

Bangkok Port, popularly known by its location as Khlong Toei Port, was Thailand's main international port from its opening in 1947 until it was superseded by the deep-sea Laem Chabang Port in 1991. It is primarily a cargo port, though its inland location limits access to ships of 12,000 deadweight tonnes or less. The port handled 11,936,855 tonnes of cargo in the first eight months of the 2010 fiscal year, about 22 percent the total of the country's international ports.

 

AIRPORTS

Bangkok is one of Asia's busiest air transport hubs. Two commercial airports serve the city, the older Don Mueang International Airport and the new Bangkok International Airport, commonly known as Suvarnabhumi. Suvarnabhumi, which replaced Don Mueang as Bangkok's main airport at its opening in 2006, served 52,808,013 passengers in 2015, making it the world's 20th busiest airport by passenger volume. This amount of traffic is already over its designed capacity of 45 million passengers. Don Mueang reopened for domestic flights in 2007, and resumed international services focusing on low-cost carriers in October 2012. Suvarnabhumi is undergoing expansion to increase its capacity to 60 million, which is expected to be completed by 2016.

 

HEALTH AND EDUCATION

EDUCATION

Bangkok has long been the centre of modern education in Thailand. The first schools in the country were established here in the later 19th century, and there are now 1,351 schools in the city. The city is home to the country's five oldest universities, Chulalongkorn, Thammasat, Kasetsart, Mahidol and Silpakorn, founded between 1917 and 1943. The city has since continued its dominance, especially in higher education; the majority of the country's universities, both public and private, are located in Bangkok or the Metropolitan Region. Chulalongkorn and Mahidol are the only Thai universities to appear in the top 500 of the QS World University Rankings. King Mongkut's University of Technology Thonburi, also located in Bangkok, is the only Thai university in the top 400 of the 2012–13 Times Higher Education World University Rankings.

 

Over the past few decades the general trend of pursuing a university degree has prompted the founding of new universities to meet the needs of Thai students. Bangkok became not only a place where immigrants and provincial Thais go for job opportunities, but also for a chance to receive a university degree. Ramkhamhaeng University emerged in 1971 as Thailand's first open university; it now has the highest enrolment in the country. The demand for higher education has led to the founding of many other universities and colleges, both public and private. While many universities have been established in major provinces, the Greater Bangkok region remains home to the greater majority of institutions, and the city's tertiary education scene remains over-populated with non-Bangkokians. The situation is not limited to higher education, either. In the 1960s, 60 to 70 percent of 10- to 19-year-olds who were in school had migrated to Bangkok for secondary education. This was due to both a lack of secondary schools in the provinces and perceived higher standards of education in the capital. Although this discrepancy has since largely abated, tens of thousands of students still compete for places in Bangkok's leading schools. Education has long been a prime factor in the centralization of Bangkok and will play a vital role in the government's efforts to decentralize the country.

 

HEALTHCARE

Much of Thailand's medical resources are disproportionately concentrated in the capital. In 2000, Bangkok had 39.6 percent of the country's doctors and a physician-to-population ratio of 1:794, compared to a median of 1:5,667 among all provinces. The city is home to 42 public hospitals, five of which are university hospitals, as well as 98 private hospitals and 4,063 registered clinics. The BMA operates nine public hospitals through its Medical Service Department, and its Health Department provides primary care through sixty-eight community health centres. Thailand's universal healthcare system is implemented through public hospitals and health centres as well as participating private providers.

 

Research-oriented medical school affiliates such as Siriraj, King Chulalongkorn Memorial and Ramathibodi Hospitals are among the largest in the country, and act as tertiary care centres, receiving referrals from distant parts of the country. Lately, especially in the private sector, there has been much growth in medical tourism, with hospitals such as Bumrungrad and Bangkok Hospital, among others, providing services specifically catering to foreigners. An estimated 200,000 medical tourists visited Thailand in 2011, making Bangkok the most popular global destination for medical tourism.

 

CRIME AND SAFETY

Bangkok has a relatively moderate crime rate when compared to urban counterparts around the world.[119] Traffic accidents are a major hazard, while natural disasters are rare. Intermittent episodes of political unrest and occasional terrorist attacks have resulted in losses of life.

 

Although the crime threat in Bangkok is relatively low, non-confrontational crimes of opportunity such as pick-pocketing, purse-snatching, and credit card fraud occur with frequency. Bangkok's growth since the 1960s has been followed by increasing crime rates partly driven by urbanisation, migration, unemployment and poverty. By the late 1980s, Bangkok's crime rates were about four times that of the rest of the country. The police have long been preoccupied with street crimes ranging from housebreaking to assault and murder. The 1990s saw the emergence of vehicle theft and organized crime, particularly by foreign gangs. Drug trafficking, especially that of ya ba methamphetamine pills, is also chronic.

 

According to police statistics, the most common complaint received by the Metropolitan Police Bureau in 2010 was housebreaking, with 12,347 cases. This was followed by 5,504 cases of motorcycle thefts, 3,694 cases of assault and 2,836 cases of embezzlement. Serious offences included 183 murders, 81 gang robberies, 265 robberies, 1 kidnapping and 9 arson cases. Offences against the state were by far more common, and included 54,068 drug-related cases, 17,239 cases involving prostitution and 8,634 related to gambling. The Thailand Crime Victim Survey conducted by the Office of Justice Affairs of the Ministry of Justice found that 2.7 percent of surveyed households reported a member being victim of a crime in 2007. Of these, 96.1 percent were crimes against property, 2.6 percent were crimes against life and body, and 1.4 percent were information-related crimes.

 

Political demonstrations and protests are common in Bangkok. While most events since 1992 had been peaceful, the series of protests alternately staged by the Yellow Shirts and Red Shirts since 2006 have often turned violent. Red Shirt demonstrations during March–May 2010 ended in a crackdown in which 92 were killed, including armed and unarmed protesters, security forces, civilians and journalists. Terrorist incidents have also occurred in Bangkok, most notably the 2015 Bangkok bombing at the Erawan shrine, and also a series of bombings on the 2006–07 New Year's Eve.

 

WIKIPEDIA

Due to the increasing hostilities between the countries of Geo and Volsci, the government has decided to begin a general mobilization of some of its troops.

•

This is the 21st Mechanized Infantry Division on their way to being deployed to border city of New Brick City, as deterrent to a possible armed conflict.

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Instead of showing you a simple picture of my current Modern Army, I wanted to make it a big more elaborate. So my Army consists of 1 Cheiftain MBT, 1 FV432, 2 Land Rover Snatch, 1 Land Rover Wolf, 1 MWMIK Jackal, 1 FV102 Striker, 2 General Utility Trucks, 1 Rapier Missile Launcher, and 1 V-150 Commando. Most vehicles are form Brickmania.

•

I plan to increase it substantially to include a couple more Chieftains and to expand on the CVRT collection by a lot! And I also might changed the trucks in the future. (Which are based on the Armorbrick GAZ-66 truck!

 

Let me know what you guys think!

Long after the effects of Aurum's collision with Arcadia, the inhabitants of the mining facility slowly started to pour out onto the new world. Peace, however, was not in their immediate future.

As such, the Ijad Enclave within Aurum ordered the militarization of all available construction frames. One such frame was a Chub, brought on the asteroid from their previous star system. It was modified initially for aquatic exploration and salvage after the crash, giving it a hydrodynamic aesthetic that breaks away from traditional Chub standards. It was modified a second time with Ijad technology into a fearsome amphibious assault frame. Utilizing a rare crystalline structure that was the main export of Aurum, the frame's durability to withstand undersea pressure as well as combat was increased twofold.

This frame is armed with a flechette rifle and a hammer/spear made of the same diamond-hard crystal. Though small in number, these frames are given to squad commanders who have received top marks in frame piloting.

- Increases circulation.

- Improves elasticity and stimulates collagen production.

- reducing fine lines and wrinkles.

- Releases muscle tension in the face.

- Stimulates the lymphatic system2.

- Temporarily lifts skin.

+++ DISCLAIMER +++

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

  

Some background:

Due to increasing tensions in Europe which led to World War 2, AVRO Aircraft started developing combat aircraft, and as a subsidiary of Hawker, they had access to the Hurricane plans. At the time that the Hurricane was developed, RAF Fighter Command consisted of just 13 squadrons, each equipped with either the Hawker Fury, Hawker Demon, or the Bristol Bulldog – all of them biplanes with fixed-pitch wooden propellers and non-retractable undercarriages. After the Hurricane's first flight, Avro started working on a more refined and lighter aircraft, resulting in a similar if not higher top speed and improved maneuverability.

 

The result was Avro’s project 675, also known as the "Swallow". The aircraft’s profile resembled the Hawker Hurricane, but appeared more squatted and streamlined, almost like a race version. Compared with the Hurricane, overall dimensions were reduced and the structure lightened wherever possible. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. The main landing gear was retractable and had a wide track. The tail wheel was semi-retractable on the prototype, but it was later replaced by a simpler, fixed tail wheel on production models.

 

The Swallow made its first flight on 30th December 1937 and the Royal Air Force was so impressed by its performance against the Hurricane that they ordered production to start immediately, after a few minor tweaks to certain parts of the aircraft had been made.

 

On 25 July 1939, the RAF accepted their first delivery of Avro Swallow Mk. Is. The first machines were allocated to No.1 Squadron, at the time based in France, where they were used in parallel to the Hurricanes for evaluation. These early machines were powered by a 1.030 hp (770 kW) Rolls-Royce Merlin Mk II liquid-cooled V-12, driving a wooden two-bladed, fixed-pitch propeller. The light aircraft achieved an impressive top speed of 347 mph (301 kn, 558 km/h) in level flight – the bigger and heavier Hurricane achieved only 314 mph (506 km/h) with a similar engine. Like the Hurricane, the Swallow was armed with eight unsynchronized 0.303 in (7.7 mm) Browning machine guns in the outer wings, outside of the propeller disc.

 

In spring 1940, Avro upgraded the serial production Swallow Mk.I's to Mk.IA standard: the original wooden propeller was replaced by a de Havilland or Rotol constant speed metal propeller with three blades, which considerably improved field performance. Many aircraft were retrofitted with this update in the field workshops until summer 1940.

 

In parallel, production switched to the Swallow Mk. II: This new version, which reached the front line units in July 1940, received an uprated engine, the improved Rolls-Royce Merlin III, which could deliver up to 1,310 hp (977 kW) with 100 octane fuel and +12 psi boost. With the standard 87 Octane fuel, engine performance did not improve much beyond the Merlin II's figures, though.

 

A more streamlined radiator bath was fitted, too, and altogether these measures boosted top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement, and the contemporary Hurricane II achieved only 340 mph (547 km/h).

 

Despite this improvement, though, several fundamental weak points of the Swallow remained unsolved: its limited range could not be boosted beyond 300 miles (500 km) and the light machine gun armament remained unchanged, because the Swallow’s thin wings hardly offered more space for heavier weapons or useful external stores like drop tanks.

 

Despite these shortcomings, the pilots loved their agile fighter, which was described as an updated Hawker Fury biplane fighter and less of a direct competitor to the Hurricane. After War had been declared, the crews flew the early Mk.I well against the more experienced Luftwaffe fighters, and many of these aircraft were updated to Mk. IA standard.

 

Since the type was not operated in large numbers, Swallow aces were few. One of them was Flight Lieutenant Killian Murphy, an Irish Volunteer and Pilot of JX-M of RAF No. 1 Squadron. He scored two of his total 24 kills in a Mk. I, and 8 more in a Mk. II from August 1940 on. The initial scores were a Bf 109E and a Ju87, both shot down during the evacuation of Dunkirk. Most of his later victories were scored during the defense of London, before the squadron was completely re-equipped in early 1941 with Hurricane Mk. IIs and later Typhoons, rather focusing on ground attack and interdiction missions on Continental Europe.

 

Some work was done to improve the Swallow, but with limited success. For instance, in early 1941 a Swallow Mk. II was modified to carry a pair of 20mm Hispano cannons instead of the inner pair of machine guns. Due to the thin wings, this option necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums, but the additional firepower was welcomed and led to the Swallow Mk. III, which was introduced in August 1941. It was the final production variant, still powered by the Rolls-Royce Merlin III from the swallow Mk. II. Beyond the armament changes, the wing tips were clipped in order to improve roll characteristics at low and medium altitude. Otherwise the Mk. III was virtually identical to the earlier Mk. II.

 

Another Mk. II was experimentally converted with a lowered spine and a framed bubble canopy (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential.

 

Since the Supermarine Spitfire had in the meantime proven its worth and promised a much bigger development potential, production of the Avro Swallow already ceased in late 1942 after 435 aircraft had been built. Around the same time, the Swallow was quickly phased out from front-line service, too.

 

Several machines were retained as trainers, messenger aircraft or instructional airframes. 20 late production Mk. IIs were sold to the Irish Air Corps, and a further 50 aircraft were sent to Canada as advanced fighter trainers, where they served until the end of the hostilities in 1945.

  

General characteristics:

Crew: 1

Length: 8.57 m (28 ft 1 in)

Wingspan: 10.85 m (35 ft 7 in)

Height: 2.60 m (8 ft 6 in)

Wing area: 17.00 m² (183 ft²)

Empty weight: 1,690 kg (3,726 lb)

Gross weight: 2,200 kg (4,850 lb)

 

Powerplant:

1× Rolls-Royce Merlin III liquid-cooled V-12, rated at 1,310 hp (977 kW) at 9,000 ft (2,700 m)

 

Performance:

Maximum speed: 371 mph (597 km/h) at 20,000 ft (6,096 m)

Range: 320 miles (515 km)

Service ceiling: 36,000 ft (10,970 m)

Rate of climb: 2,780 ft/min (14.1 m/s)

Wing loading: 29.8 lb/ft² (121.9 kg/m²)

Power/mass: 0.15 hp/lb (0.25 kW/kg)

 

Armament:

8× 0.303” (7,7mm) Browning machine guns with 350 RPG in the outer wings

  

The kit and its assembly:

Another entry to the Battle of Britain Group Build at whatifmodelers.com, and this time a collaboration. This fictional machine – or better: the model – is based on a 2D profile conceived by fellow forum member nighthunter: an Avia B.135, outfitted with a Merlin engine, a ventral radiator in the style of a Hawker Hurricane, and carrying RAF markings.

 

Since I had a spare B.35 sans engine left over from the recent Fokker D.XXIII conversion, I used the opportunity to take the virtual design to the hardware stage!

 

The basis is a vintage KP Models kit of the early B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so. Details are good, you get a mix of engraved and raised surface details, but fit is mediocre and there is lots of flash. But, with some effort, things can be mended.

 

Many donation parts for the Swallow, including the engine, propeller, landing gear and radiator, come from an AZ Models Spitfire Mk. I/II/V, from a recently bought Joy Pack which comes with three of these kits without decals.

 

New landing gear wells had to be drilled into the massive lower wing halves. Since the original Swallow profile did not indicate the landing gear design, I went for an inward-retracting solution, using parts from an early Spitfire. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide… The Merlin fitted very well onto the B.35 fuselage, and, inside of the cockpit, I added a tank behind the seat in order to fill the OOB void there.

 

Another internal change I made is the installation of my trademark propeller adapter: a styrene tube inside of the fuselage that holds a long metal axis with the propeller, so that it can spin freely.

  

Painting and markings:

Very conservative, but IMHO a good match for this fictional fighter: Standard RAF colors in Dark Green/Dark Earth (both enamels from the Modelmaster Authentic line), nothing fancy, and I had the profile as benchmark for what I wanted to achieve. Since the plane is placed historically in August 1940, Sky was about to be introduced, but only gradually and sometimes with “different” tones. Therefore, I painted the underside with Humbrol 23, Duck Egg Blue, and also added roundels under the wings.

 

The code letters should have been Medium Sea Grey, but the profile showed white letters – so I stuck with that, and AFAIK there had been exceptions to the rule. The code letters came from an Xtradecal RAF white letter sheet. Roundels and fin flash come from various sources, including a Matchbox Brewster Buffalo and a Trumpeter P-40C. The serial number was improvised, too.

 

As personal markings I painted a green shamrock under the cockpit on port side, while a list of air combat scores came under the starboard cockpit side (in style with the original profile). A green ring on the spinner was added, too, inspired by the real world No. 1 Squadron’s JX-B, flown by Arthur Clowes. His machine carried a bee nose art and a yellow spinner ring: for every victory, the bee would receive a new stripe, and he achieved eight during his career.

 

Some light weathering and panel shading was done, as well as some light soot stains around the exhausts and the gun ports on the wings. Finally, everything sealed under a coat of matt acrylic varnish (Revell), which unfortunately turned white in some seams! :-/

  

The Avro Swallow looked already promising in nighthunter's profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire.

A quick build, but a conversion that has to be kept in mind, because the result looks so convincing! Seeing the completed aircraft, I am amazed how good this thing looks overall, with its elegant, oval wings and the sleek fuselage lines. Nice one! :D

A young protester holds a hand-made placard which reads "Boycott Israeli apartheid. We're supporting a revolution - we don't have time for pretty posters"

 

"Protest for Palestine" at Israeli embassy as violence increases in East Jerusalem: London 17/10/2015

 

Following weeks of escalating violence in Israel since the provocative invasion by armed Israeli jews and soldiers into the Al Aqsa mosque in Jerusalem - a tactic used several times in the past by the right-wing Likud party around election time guaranteed to inflame tensions and spark violence - which has since resulted in many violent, tragic deaths and tit-for-tat revenge attacks, a large crowd of London-based pro-Palestinian campaigners protested outside the Israeli embassy calling for the Israeli government to stop their provocation

 

All photos © Pete Riches

Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.

 

Media buyers and publications can access this story on Demotix. Standard industry rates apply.

 

Hi-Res, un-watermarked versions of these files are available on application solely at my discretion

If you want to use any image found in my Flickr Photostream, please Email me directly.

 

about.me/peteriches

Following increased funding from Wokingham Borough Council, Woodley circular routes 19a and 19c were reintroduced on Monday 3rd September after a year's absence, replacing route 12. At the same time Reading Buses also brought back the 19b, replacing a short-lived extension of rote 22 to Lower Earley.

 

The routes are now known collectively as "little oranges" to mirror the main 13 and 14 routes between Reading and Woodley. 25-seat ADL Enviro200s 131-133 have been repainted from white into two-tone orange and 132 is seen at Reading Station on a route 19b journey during the evening peak of Friday 19th October. The trio have been joined by longer Enviro200 654, which was repainted in preference to 134 as certain journeys require extra capacity at school start and finish times.

Mixed-use is a style of urban development, urban planning and/or a zoning type that blends residential, commercial, cultural, institutional, or entertainment uses into one space, where those functions are to some degree physically and functionally integrated, and that provides pedestrian connections.[1][2][3] Mixed-use development may be applied to a single building, a block or neighborhood, or in zoning policy across an entire city or other political unit. These projects may be completed by a private developer, (quasi-) governmental agency, or a combination thereof. A mixed-use development may be new construction, reuse of an existing building or brownfield site, or a combination. Traditionally, human settlements have developed in mixed-use patterns. However, with industrialization as well as the invention of the skyscraper, governmental zoning regulations were introduced to separate different functions, such as manufacturing, from residential areas. Public health concerns and the protection of property values stood as the motivation behind this separation.[4] The practice of zoning for single-family residential use was instigated to safeguard communities from negative externalities; including air, noise, and light pollution; associated with heavier industrial practices.[4] In the United States, the heyday of separate-use zoning was after World War II, but since the 1990s, mixed-use zoning has once again become desirable as it works to combat urban sprawl and increase economic vitality.[4][5]

 

In most of Europe, government policy has encouraged the continuation of the city center's role as a main location for business, retail, restaurant, and entertainment activity, unlike in the United States where zoning actively discouraged such mixed use for many decades. As a result, much of Europe's central cities are mixed use "by default" and the term "mixed-use" is much more relevant regarding new areas of the city, when an effort is made to mix residential and commercial activities – such as in Amsterdam's Eastern Docklands – rather than separate them.[6][7]

 

Expanded use of mixed-use zoning and mixed-use developments may be found in a variety of contexts, such as the following (multiple such contexts might apply to one particular project or situation):[8]

 

as part of smart growth planning strategies

in traditional urban neighborhoods, as part of urban renewal and/or infill, i.e. upgrading the buildings and public spaces and amenities of the neighborhood to provide more and/or better housing and a better quality of life - examples include Barracks Row in Washington, D.C. and East Liberty, Pittsburgh

in traditional suburbs, adding one or more mixed-use developments to provide a new or more prominent "downtown" for the community - examples include new projects in downtown Bethesda, Maryland, an inner suburb of Washington, D.C., and the Excelsior & Grand complex in St. Louis Park, Minnesota, an inner suburb of Minneapolis

greenfield developments, i.e. new construction on previously undeveloped land, particularly at the edge of metropolitan areas and in their exurbs, often as part of creating a relatively denser center for the community – an edge city, or part of one, zoned for mixed use, in the 2010s often labeled "urban villages". Examples include Avalon in Alpharetta, Georgia and Halcyon in Forsyth County, Georgia, at the edge of the Atlanta metropolitan area

the repurposing of shopping malls and intensification of development around them, particularly as many shopping malls' retail sales, and ability to rent space to retailers, decrease as part of the 2010s retail apocalypse

Any of the above contexts may also include parallel contexts such as:

 

Transit-oriented development - for example in Los Angeles and San Diego where the cities made across-the-board zoning law changes permitting denser development within a certain distance of certain types of transit stations, with the primary aim of increasing the amount and affordability of housing[9]

Older cities such as Chicago and San Francisco have historic preservation policies that sometimes offer more flexibility for older buildings to be used for purposes other than what they were originally zoned for, with the aim of preserving historic architecture[10]

 

Benefits[edit]

Economic

 

Mixed-use developments are home to significant employment and housing opportunities.[11] Many of these projects are already located in established downtown districts, meaning that development of public transit systems is incentivized in these regions.[12] By taking undervalued and underutilized land, often former heavy industrial, developers can repurpose it to increase land and property values.[11] These projects also increase housing variety, density, and oftentimes affordability through their focus on multifamily, rather than single-family housing compounds.[13]

 

Social

 

This development pattern is centered around the idea of “live, work, play,” transforming buildings and neighborhoods into multi-use entities. Efficiency, productivity, and quality of life are also increased with regards to workplaces holding a plethora of amenities.[12] Examples include gyms, restaurants, bars, and shopping. Mixed-use neighborhoods promote community and socialization through their bringing together of employees, visitors, and residents.[12] A distinctive character and sense-of-place is created by transforming single use districts that may run for eight hours a day (Ex. Commercial office spaces running 9am - 5pm) into communities that can run eighteen hours a day through the addition of cafes, restaurants, bars, and nightclubs.[13] Safety of neighborhoods is in turn increased as people stay out on the streets for longer hours.

 

Environmental

 

Mixed-use neighborhoods and buildings have a strong ability to adapt to changing social and economic environments. When the COVID-19 pandemic hit, New York retail businesses located on long, commercially-oriented blocks suffered severely as they were no longer attracting an audience of passersby. By combining multiple functions into one building or development, mixed-use districts can build resiliency through their ability to attract and maintain visitors. Pedestrian and bike-friendly infrastructure is also fostered in these districts due to their increased density and reduced distances between housing, workplaces, retail businesses, and other amenities and destinations.[4] Mixed-use projects promote health and wellness, as these developments often provide better access (whether it be by foot, bicycle, or transit) to farmer's markets and grocery stores.[13]

 

Drawbacks[edit]

Equity

 

Due to the neoliberalist nature of large scale real estate developments, mega-mixed-use projects often fall short on meeting equity and affordability goals. High-end residential, upscale retail, and Class A office spaces appealing to high-profile tenants are often prioritized due to their speculative potential.[11] These projects are made to be attractive to businesses and individuals with significant capital.

 

Financing

 

Mixed-use buildings can be risky given that there are multiple tenants residing in one development.[12] Mega-mixed-use projects, like Hudson Yards, are also extremely expensive. This development has cost the City of New York over 2.2 billion dollars.[14] Critics argue that taxpayer dollars could better serve the general public if spent elsewhere.[14] Additionally, mixed-use developments, as a catalyst for economic growth, may not serve their intended purpose if they simply shift economic activity, rather than create it. A study done by JLL found that “90 percent of Hudson Yards’ new office tenants relocated from Midtown."[14]

 

Aesthetics

 

Mixed-use projects may be seen as disjointed from the surrounding environment. Preserving local character, histories, and charm conflicts with building designs that represent economic growth and modernity.[11] Mixed-use projects are often at the center of this conflict.

 

en.wikipedia.org/wiki/Mixed-use_development

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

+++ DISCLAIMER +++

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

  

Some background:

The J, K and N class was a class of destroyers of the Royal Navy, launched in 1938 in three flotillas or groups and with names beginning with "J", "K" and "N", respectively. Their design was intended as a smaller follow-on from the preceding Tribal class and incorporated one radical new idea that was a departure from all previous Royal Navy destroyer designs: the adoption of a two-boiler room layout. This reduced hull length and allowed for a single funnel, both reducing the profile and increasing the arcs of fire of the light anti-aircraft (AA) weapons. However, this also increased vulnerability, as there were now two adjacent large compartments with the resultant risk of a single well-placed hit flooding both and resulting in a total loss of boiler power. This illustrates somewhat the Admiralty's attitude to the expendable nature of destroyers, but destroyers were lightly armored and fast vessels, anyway, meant to survive by avoiding being hit at all. From this perspective, the odds of a single hit striking just the right spot to disable both boiler rooms simultaneously were considered remote enough to be worth risking in exchange for the benefits given by a two-room layout.

 

A significant advancement in construction techniques was developed by naval architect Albert Percy Cole. Instead of going for transverse frame sections which were unnecessarily strong, but held together by weak longitudinals, Cole opted for extra strong longitudinals and weaker transverse frames. Another advancement was changes to the bow design, which was modified from that of the preceding Tribal-class design: the clipper bow was replaced by a straight stem with increased sheer. This change was not a success and these ships were very wet forwards. This shortcoming was rectified from the later S class onward by returning to the earlier form.

 

Despite the vulnerability of the boiler layout, the design was to prove compact, strong and very successful, forming the basis of all Royal Navy destroyer construction from the O class up to the last of the C class of 1943–1945.

The armament was based on that of the Tribals, but replaced one twin QF 4.7 in (120 mm) Mark XII (L/45) gun on mounting CP Mk.XIX with an additional bank of torpedo tubes. These mountings were capable of 40° elevation and 340° of training. Curiously, 'X' mounting was positioned such that the blind 20° arc was across the stern, rather than the more logical forward position where fire was obscured by the bridge and masts anyway. This meant that they were unable to fire dead astern. With the tubes now 'pentad', a heavy load of 10 Mk.IX torpedoes could be carried. AA armament remained the same, consisting of a quadruple QF 2 pdr gun Mark VIII on a Mk.VII mounting and a pair of quadruple 0.5 in Vickers machine guns. Armament was further improved by replacing the quadruple machine guns with more effective 20 mm Oerlikons. These ships, when completed, had a comparatively heavy close-range AA armament. Fire control arrangements also differed from the Tribals, and the dedicated high-angle (H/A) rangefinder director was not fitted. Instead only a 12 ft (3.7 m) rangefinder was carried behind the nominally dual-purpose Director Control Tower (DCT). In the event, the rangefinder was heavily modified to allow it to control the main armament for AA fire and was known as the "3 man modified rangefinder". These ships used the Fuze Keeping Clock HA Fire Control Computer.

 

In 1940 and 1941, to improve the anti-aircraft capabilities, all ships had their aft torpedo tubes removed and replaced with a single 4 inch gun QF Mark V on a HA Mark III mounting. The relatively ineffective multiple 0.5-inch (12.7 mm) machine guns were replaced with a single 20 mm Oerlikon, with a further pair added abreast the searchlight platform amidships. The high-speed destroyer mine sweeps were replaced with a rack and two throwers for 45 depth charges and a Type 286 Radar air warning was added at the masthead alongside Type 285 fire control on the H/A rangefinder-director.

 

HMS Karachi was a late K-class build. She was laid down in August 1936 at Hebburn and built by the Hawthorn Leslie & Company and completed in January 1939. In June 1940, after AA improvements, Karachi was assigned to “Force H” at Gibraltar, and took part in Operation “Catapult”, the attack on French ships at Mers-el-Kébir. Later she was transferred to the Mediterranean Fleet at Alexandria and saw action at the Battle of Cape Matapan on 27–29 March 1941 as well as in the bombardment of Tripoli harbor on 21 April 1941. In May 1941, she operated off Crete.

 

On 19 December 1941, Karachi was seriously damaged by limpet mines placed by Italian frogmen of Decima Flottiglia MAS, who entered Alexandria harbor riding two-man "human torpedoes" ("maiali"). However, the mine attached to Karachi was not properly in contact with her hull, so the damage was not severe. Despite having a heavy trim forward, her decks were above water, and she remained clear of the harbor bottom. Although nearly immobilized she was able, although only for a few days, to give the impression of full battle readiness, at least until she could be repaired.

Karachi was repaired in Durban, South Africa, and this stay was used to make further changes to the armaments. As on other K-class ships, the single 4 in AA gun was removed again and the second quintuple launcher for torpedoes returned. The AA armament was beefed up, too: 20 mm Oerlikons were added to the bridge in two single mounts and an armored quadruple, powered mount was replaced the former 0.5 in machine guns. A fully enclosed station with three 1½ in “pom pom” guns was placed on an enlarged station amidships between the torpedo mounts. Furthermore, Karachi‘s stern cabin was enlarged to accommodate a bigger crew and reinstated high-speed mine sweeping equipment. A Type 291 Radar replaced the Type 286.

 

Post-refit trials were carried out in July 1942, and Karachi took part in exercises with the Eastern Fleet the following month. At the end of August, Karachi took part in Operation “Touchstone”, an exercise to test East Africa's defences against a seaborne invasion and to conduct a dress rehearsal for Operation “Ironclad”, the invasion of French Madagascar. She remained in African waters until the end of the year and returned to Devonport for another refit in January 1943.

 

Karachi returned to the Mediterranean in 1943, supporting the landings in Sicily (Operation “Husky” in July) and at Salerno (Operation “Avalanche” in September). In 1944, she was sent to the Far East again to join the Eastern Fleet. There she took part in raids against Japanese bases in Indonesia.

On 8 August 1944, she was severely damaged in an accident with the floating drydock at Trincomalee, Ceylon. The drydock was being raised with Karachi in it by pumping water from ballast tanks. The tanks were emptied in the wrong sequence for Karachi's weight distribution, which was exacerbated by her full munitions load. As a result, the drydock was over-stressed at its ends, broke its back and sank. Karachi crashed to the drydock’s floor and had its hull dented and breached, even though not fatally. However, both screw shafts were damaged and one of Karachi's screws was jammed as well as her rudder. Luckily, Karachi had remained in steam and was able to avoid worse damage or sinking, but the ship was so damaged that Karachi was deemed unsuitable for further service or repairs and had to be decommissioned in October 1944. She was stripped off of any useable equipment and remained moored at Trincomalee for the rest of the war, but was wrecked on site in late 1945.

  

General characteristics:

Displacement: 1,690 long tons (1,720 t) (standard)

2,330 long tons (2,370 t) (deep load)

Length: 356 ft 6 in (108.7 m) overall

Beam: 35 ft 9 in (10.9 m)

Draught: 12 ft 6 in (3.8 m) (deep)

Draft: 17.5 ft (5.3 m)

Complement: 218

 

Propulsion:

2× Admiralty 3-drum boilers with geared steam turbines, developing 44,000 shp (33,000 kW)

 

Performance:

Top speed: 36 knots (67 km/h; 41 mph)

Range: 5,500 nmi (10,200 km; 6,300 mi) at 15 knots (28 km/h; 17 mph)

 

Armament:

3× turrets with a pair of 4.7-inch (120 mm) Mk XII guns each

1× triple 1½-inch “pom pom” anti-aircraft machine cannon

1× quadruple 20 mm Oerlikon anti-aircraft machine cannon

2× 20 mm Oerlikon anti-aircraft machine cannon

2× quintuple 21-inch (533 mm) torpedo tubes

1× rack astern with 20 depth charges

  

The kit and its assembly:

Another small ship build, and this time I did not change much about the model itself because I wanted quick results. The basis is Matchbox’s HMS Kelly destroyer, re-boxed by Revell, and it was basically built OOB.

The kit offers optional parts for a standard ship around 1941, with the normal rear cabin and the 4in AA gun that temporarily replaced the rear torpedo unit. And there is an alternative, longer cabin for HMS Kelly, since this specific ship was a destroyer flotilla leader under Lord Mountbatten with a bigger staff crew than the standard K-class destroyers.

 

Since this would be a what-if ship, anyway, I decided to use the latter option, together with both torpedo units and some other differing details. I also used the optional mince clearing equipment on the now shortened stern deck – it’s quite cramped now. Personal additions are some replaced AA guns and I added a small superstructure and a second, short mast behind the torpedo launcher section.

I also tried to add some rigging with heated plastic sprue, since anything else IMHO appeared too clumsy for the small 1:700 scale. While it’s not perfect, I think that this already improves the model’s look a lot. I just do not dare to experiment with PE railings, which would certainly help even more.

  

Painting and markings:

The model’s paint scheme was made up, using various Royal Navy ships of the time for inspiration, including in specific HMS Echo and HMS Abercrombie. Despite the more or less official Admiralty Disruptive schemes, there were many experiments and improvisations, e. g. through the unavailability of suitable paints in quantities, and maintenance also created some variations from the standard.

I wanted a rather greenish scheme, and I devised a pattern that concentrated dark colors towards the stern. This not only visually shortens the ship, it also creates the impression of a smaller/further away ship, and the dark rear end helped navigation in tight formations at sea in poor visibility, so that a following ship could better keep up.

 

The intended paints are 507c (Pale Grey), MS4a (Grey, a.k.a. Home Fleet Grey), MS3 (Slate Green) and G45 (Light Olive), plus a few white highlights like the mast and funnel tops, a fake bow wave on the flanks (the stern wave is grey) and areas around the bridge.

The deck was painted in 507a (Dark Grey, a.k.a. Battleship Grey), only with the bow area left in a greyish, weathered wood shade. However, since I did not have trustworthy color references at hand I had to improvise, and I chose Humbrol 196 (Light Grey, RAL 7035), 129 (Light Gull Grey, FS 36440) and 86 (Light Olive, a dull interpretation of RAL 6003) plus a mix of Revell 360, 86 and 129 for the MS3. The decks and other horizontal surfaces became Humbrol 27 (Sea Grey), the bow 167 (Hemp). Just some areas above the bridge were painted with Humbrol 9, simulating Corticene coating.

 

The model received a light black ink wash, with the hope that the tiny portholes (around 100...!) would become more visible, but that did not work. So, I decided to paint them out manually with a fine black felt tip pen... A tedious task, but I think that it improves the model’s look. A similar, wider pen was also used for the very narrow black waterline - camouflaged ships were supposed to be left without this marking, as it would compromise the blurring effects above the waterline, but I wanted at least a minor demarcation line. Further weathering was done with sepia ink on the wooden deck area and simple red brown water color for the rust all over the hull.

The pennant numbers were created with single 3mm letters in black and white from TL Modellbau, and finally the kit was sealed with a coat of matt acrylic varnish from the rattle can, before the rigging was added.

  

Well, I will probably never become a friend of small scale ships, but the many camouflage schemes and concepts open a wide field of experimentation and whiffing. Experiments with Mountbatton Pink and an Alexandria-type-camouflaged ship are serious candidates. I also see a learn curve, because this one went together much more easily than the recent HMS Flexible, a comparable Matchbox kit.

Furthermore, the paint scheme turned - in the beauty pics - out to be quite effective, despite being made up from real-world references. Especially in the side profile view the "shortening effect" and the almost submarine-esque silhouette against a hazy/bright background is quite apparent and effective and creates an illusion of a fast ship further away than it actually would be.

Increased receptors increases addiction risk. You can raise your own pain tolerance, study suggests t.co/WCemkvP49e via @TIMEHealth

Digital ID: 482056

 

Source: Photographs of General Motors and Chrysler car and truck models, 1902 - 1938. / 1902-1938. Cadillac - Chrysler - De Soto - Dodge - La Salle - Plymouth. Photographs - Specifications. (more info)

 

Repository: The New York Public Library. Science, Industry and Business Library. General Collection Division.

 

See more information about this image and others at NYPL Digital Gallery.

Persistent URL: digitalgallery.nypl.org/nypldigital/id?482056

 

Rights Info: No known copyright restrictions; may be subject to third party rights (for more information, click here)

The Green Revolution brought us drastic increases in food productivity. Yet critics of industrial farming argue that it destroys biodiversity as well as harming environmental and human health. So can sustainable farming methods actually produce the yields necessary for our growing populations? Doesn’t agribusiness have a crucial role to play too, as it makes substantial efforts to improve productivity while tackling sustainability?

 

Moderator:

Astrid S. Tuminez, Regional Director, Legal and Corporate Affairs (Southeast Asia), Microsoft and Adjunct Professor, Lee Kuan Yew School of Public Policy, National University of Singapore

 

Speakers:

Anne Roulin, Global R&D Sustainability Manager, Nestlé

Silvia Taurozzi, Global Advisor and former Senior Vice President & Senior Platform Head Proteins & Other Tropicals of Louis Dreyfus Commodities (LDC); Member of the Jury of the Cartier Women’s Initiative Awards

 

Sir Peter Fahy chats to shoppers.

 

Shoppers in Oldham town centre will be seeing an increased police presence over the forthcoming months as police launch their winter operation to keep locals safe.

 

As the dark nights draw in, it is important that the public take measures to keep themselves and their valuables safe so that they can enjoy the winter festivities.

 

The operation runs from 26 October until the end of December, where officers in both uniform and plain clothes will be patrolling car parks, shops and other busy areas. They will also be tackling shoplifters who take advantage of these busy periods.

 

Chief Constable of Greater Manchester Police Sir Peter Fahy spent time in Oldham last week. He went on patrol with officers in plain-clothes to see the work they are doing in the run-up to Christmas.

He also spoke to shoppers about keeping safe during the winter months.

 

Special Constables will also be providing a high police presence in the town centre and will be on hand to provide advice on personal safety.

 

Sergeant Trevor Harrison from GMPs Oldham Division said: “We forecast a higher footfall in the town centre during this period, as local people spend more time and money here in the lead up to Christmas. We are working with Oldham Council to try to combat this sort of criminal activity to ensure that the town is a safe and pleasant place to be.

 

“Unfortunately the influx of shoppers attracts criminals, which means that crimes such as pick pocketing tens to increase. Officers will also be challenging beggars in the area and will be on hand to tackle on street drinking in order to reduce antisocial behaviour.

 

Sara Hewitt, Town Centre Manager at Oldham Council added: “The Town Centre Business Partnership is working with the Town Centre Neighbourhood Policing Team to create a safe and enjoyable Town Centre for visitors. We have a packed programme of free events plus free parking offers for visitors this Christmas.

 

“The Partnership is also pro-actively tackling crime that affects businesses. A Shop Watch scheme has been launched to sit alongside the successful Pub Watch scheme. Businesses are sharing intelligence on known and suspected offenders and are agreeing to collectively ban problem individuals from their premises.”

Shoppers can use the following tips to help avoid becoming a victim of crime this winter:

 

• Don’t carry larger amounts of cash than necessary

 

• Be aware of who is around you especially when in a crowd

 

• Ensure that handbags are fastened at all times and are worn across the body rather than over the shoulder

 

• Keep wallets in an inside zipped or buttoned pocket where possible

 

• Spread your valuables around, don’t keep them all in one place

 

• Wheelchair users should keep their possessions beside you rather than in the back

 

• Don’t leave valuables on display in your vehicle

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

If you have information on suspected criminals in your area call police on 101 or contact Crimestoppers anonymously on 0800 555 111

For non-emergency calls or to report a crime call police on 101, or for more information visit gmp.police.uk

 

Alternatively, call Crimestoppers anonymously on 0800 555 111. Crimestoppers is an independent charity that will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

Use 999 only in emergencies where there is a threat to life or property or a crime in progress.

Some background:

The G.91Y was an increased-performance version of the Fiat G.91 funded by the Italian government. Based on the G.91T two-seat trainer variant, the single Bristol Orpheus turbojet engine of this aircraft was replaced by two afterburning General Electric J85 turbojets which increased thrust by 60% over the single-engined variant. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats.

 

The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being licence-manufactured in Italy.

 

Flight testing of three pre-production aircraft was successful, with one aircraft reaching a maximum speed of Mach 0.98. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly.

 

An initial order of 55 aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered. In fact, the development of the new G.91Y was quite long, and the first order was for about 20 pre-series examples that followed the two prototypes. The first pre-series 'Yankee' (the nickname of the new aircraft) flew in July 1968.

 

AMI (Italian Air Force) placed orders for two batches, 35 fighters followed by another 20, later cut to ten. The last one was delivered around mid 1976, so the total was two prototypes, 20 pre-series and 45 series aircraft. No export success followed. These aircraft served with 101° Gruppo/8° Stormo (Cervia-S.Giorgio) from 1970, and later, from 1974, they served with the 13° Gruppo/32° Stormo (Brindisi).

 

Those 'Gruppi' (Italian equivalent of British 'squadrons', usually equipped with 18 aircraft) lasted until the early '90s, as the only ones equipped with the 'Yankee', using them as attack/recce machines, both over ground and sea, until the AMX replaced them. All in all, Italy operated 65 Fiat G.91Ys until 1994.

  

General characteristics:

Crew: one

Length: 11.67 m (38 ft 3.5 in)

Wingspan: 9.01 m (29 ft 6.5 in)

Height: 4.43 m (14 ft 6.3 in)

Wing area: 18.13 m² (195.149 ft²)

Empty weight: 3,900 kg (8,598 lb)

Loaded weight: 7,800 kg (17,196 lb)

Max. takeoff weight: 8,700 kg (19,180 lb)

Powerplant:

2 × General Electric J85-GE-13A turbojets, 18.15 kN (4,080 lbf) each

 

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph. (Mach 0.95 at 10,000 m (33,000 ft)

Range: 3,400 km (ferry range with droptanks) (2,110 mls)

Service ceiling: 12,500 m (41,000 ft)

Rate of climb: 86.36 m/s (17,000 ft/min)

Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)

Thrust/weight: 0.47 at maximum loading

 

Armament:

2× 30 mm (1.18 in) DEFA cannons

4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)

  

The kit and its assembly:

A real world model, and IMHO one of the nicest special paint schemes I've come across because it's so simple. For its 70th anniversary in 1987, the Italian Air Force's 13° Gruppo turned one of its 32° Stormo G.91Y fighter bombers (as far as I could tell it's 32-13, confirmed by a small code number on the frontal landing gear cover) into a fill-fledged shark, taking the squadron's markings (a classic shark mouth on the aircraft's nose) literally to full scale.

 

But instead of adding lots of glitter and colors, the scheme remained very simple - a black shark on a white background, with minimal markings and stencils. I've already built this aircraft many years ago when I saw it in a print magazine in 1988 or so (remember - there was no internet at that time!), but I had the plan to re-create it on the basis of more and better photo footage.

 

Said and done, I dug a Matchbox G.91Y out of the pile and started. The kit is pretty simple, and in this case the fit of the fuselage halves was questionable, calling for massive PSR along the seams. In some areas the kit is really primitive, so I made some minor cosmetic mods:

 

The cockpit "tub" with an integrated seat is a clumsy joke and was replaced by a cockpit floor with side consoles from a Revell G.91. The seat comes from a Matchbox Gnat trainer and was pimped with ejection handles made from thin wire.

 

The kit's landing gear is rather simple, too, but I took it OOB since noone would later look into the wells.

 

The jet exhausts were drilled open (OOB these are just blank covers, only 0.5 mm deep!) and inside some afterburners were simulated.

 

The molded guns were cut away, to be later replaced with free-standing hollow steel needles. In order to add some more exterior detail I also scratched the thin protector frames around the nozzles with thin wire.

 

Finally, the drop tanks were replaced by F-86 alternatives with end plate fins, which were typically carried by Italian G.91s, including the anniversary G.91Y (as confirmed by photo footage).

  

Painting and markings:

I must admit that the paint scheme is, to a certain degree, the result of a guessing game, because any shots I found are profiles views, even in flight! Some details, like the black fins on the wings and the stabilizers could be deduced from the material at hand, but I have no idea how the wings' undersides look like. I think that they remained all-white, just like the aircraft's belly - at least that's what the information I have suggest.

 

And even though the two-tone paint scheme is rather simple it's still challenging - esp. because I do not use an airbrush. As a consequence, I had to improvise with the means at hand, which meant a basic coat of acrylic white (actually an off-white Volkswagen car color called "Grauweiss") from the rattle can with the shark added on top of that with matt black (in this case from Modelmaster). This is not the smartest way to create the scheme, but I wanted to avoid tedious multi-layers of uneven, brushed white. Horror... :-(

 

Anyway, the white basic layer ended up thicker than I expected (the paint turned out to be a bit pastous due to age), but the black shark would cover many problem zones, anyway. Painting was done free-handedly, the only masking was used on the canopy during the white base spraying.

 

The finish was not perfect, but I did not want a "uniform" aircraft, anyway, since most of the aircraft's pictures show it in a used state and not as a pristine museum piece. After a black ink wash (in order to emphasize surface details) the final blemisches were covered under some post-shading and dry-brushing with various shades of black, very dark grey and white that would add some more structure to the hull.

 

The few markings of this aircraft were taken from the OOB sheet. Since I was not able to find pictures that show it from above or below. I guesstimated the warning stencils on the wings.

 

The drop tanks became all-white and the "70 anni" slogan on the outer flanks was created with single, black 3mm letters from TL Modellbau.

 

Finally the kit was sealed with rather matt varnish, a mix of matt and semi-gloss Italeri acyrlic varnish in a 4:1 ratio. Apparently, 32-13 had been painted in a rather dull finish, despite carrying an anniversary scheme.

  

Well, I am not 100% happy with the result, I had hoped for a better, sharper finish. But it's an improvement when compared to my first attempt to build this machine 30 years ago, and I still find this simple anniversary to be very stylish and elegant, since it goes so well with the G.91Y's lines.

 

With the increasing efficiency of Soviet air defenses, the USAF's Strategic Air Command began looking at high-speed, supersonic bombers capable of dashing into Soviet airspace, dropping nuclear bombs, and dashing back out. The then-current fleet of B-47 and B-52 bombers were subsonic and were thought to be unable to survive the Soviet air defense network.

 

The XB-70 Valkyrie was North American's successful proposal for the new supersonic bomber, and it was a technological marvel. Six engines and an advanced wing design propelled the Valkyrie to speeds over Mach 3, allowing it to easily evade any Soviet fighter interceptor. Though the test program with the two XB-70 prototypes was successful, the development of surface-to-air missiles by the Soviet Union capable of hitting high-altitude aircraft, increasing costs, and the development of far cheaper and reliable ICBMs by the US ended the XB-70's story before it could even begin. Though a failure operationally, the Valkyrie contributed much to the knowledge of supersonic aircraft.

 

After a fatal midair collision that destroyed the second XB-70 prototype in 1966, the first prototype, 62-0001, was flown to the National Museum of the USAF at Wright-Patterson AFB, Ohio, in 1969. Dad and I got to see it in 1977 on our way to Germany. I remember it being my favorite airplane of the whole trip, because of its unique looks and sheer size! Since then, it has been moved inside, to better preserve it.

+++ DISCLAIMER +++

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

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

The comet looked tiny, but the magnitude looked increasing day by day. It was at 1.305 AU from Earth and 0.84 AU from Sun on November 29, 2016.

 

The comet will pass very close to Earth, about 0.083 AU on February 11, 2016, though full moon is in the sky then and the diameter of the nucleus is estimated between 0.5-1.5km, really tiny.

 

45P Close-approach data in JPL Small-Body Database:

ssd.jpl.nasa.gov/sbdb.cgi?sstr=45P;cad=1#cad

  

equipment: FSQ-106ED, F3 Reducer 0.6x, and EOS 5Dmk3-sp4, modified by Seo-san on EM-200 Temma 2 Jr, autoguided with Fujinon 1:2.8/75mm, Pentax X2 Extender, SX Lodestar X2 on hot shoe of the DSLR

 

exposure:

10 times x 4 minutes at ISO 1,600 and f/3.0 on November 27

The first exposure started at 06:01:08 November 27, 2016.

 

11 times x 4 minutes at ISO 1,600 and f/3.0 on November 28

The first exposure started at 06:00:18 November 28, 2016.

 

4 times x 4 minutes at ISO 1,600 and f/3.0 on November 29

The first exposre started at 06:31:29 November 29, 2016.

 

The base frame was taken on November 28, 2016. The exposure was one second at ISO 1,600 and f/3.0. The bright Venus was also drifting fast. Clouds were obstructive on November 27, 2016.

 

Location: 11,000 feet above sea level near MLO, Mauna Loa Observatory on the shoulder of Mauna Loa in the Big Island, Hawaii

 

Hanuman is a Hindu god and an ardent devotee of Rama. He is a central character in the Indian epic Ramayana and its various versions. He also finds mentions in several other texts, including Mahabharata, the various Puranas and some Jain texts. A vanara, Hanuman participated in Rama's war against the demon king Ravana. Several texts also present him as an incarnation of Lord Shiva. He is the son of Kesari, and is also described as the son of Vayu, who according to several stories, played a role in his birth. Several sects including Arya Samaj believe that Hanuman was a human and not vanara.

 

ETYMOLOGY & OTHER NAMES

The Sanskrit texts mention several legends about how Sri Hanuman got his name. One legend is that Indra, the king of the deities, struck Sri Hanuman's jaw during his childhood (see below). The child received his name from the Sanskrit words Hanu ("jaw") and -man (or -mant, "prominent" or "disfigured"). The name thus means "one with prominent or disfigured jaw". Another theory says the name derives from the Sanskrit words Han ("killed" or "destroyed") and maana (pride); the name implies "one whose pride was destroyed". Some Jain texts mention that Sri Hanuman spent his childhood on an island called Hanuruha, which is the origin of his name.

 

According to one theory, the name "Hanuman" derives from the proto-Dravidian word for male monkey (ana-mandi), which was later Sanskritized to "Hanuman" (see historical development below). Linguistic variations of "Hanuman" include Hanumat, Anuman (Tamil), Anoman (Indonesian), Andoman (Malay) and Hunlaman (Lao).

 

Hanuman came to be regarded as an avatar (incarnation) of Shiva by the 10th century CE (this development possibly started as early as in the 8th century CE). Hanuman is mentioned as an avatar of Shiva or Rudra in the Sanskrit texts like Mahabhagvata Purana, Skanda Purana, Brhaddharma Purana and Mahanataka among others. This development might have been a result of the Shavite attempts to insert their ishta devata (cherished deity) in the Vaishnavite texts, which were gaining popularity. The 17th century Oriya work Rasavinoda by Divakrsnadasa goes on to mention that the three gods – Brahma, Vishnu and Shiva – combined take to the form of Hanuman.

 

Hanuman became more important in the medieval period, and came to be portrayed as the ideal devotee (bhakta) of Rama. His characterization as a lifelong brahmachari (celibate) was another important development during this period. The belief that Hanuman's celibacy is the source of his strength became popular among the wrestlers in India. The celibacy or brahmacharya aspect of Hanuman is not mentioned in the original Ramayana.

 

BIRTH & CHILDHOOD

Hanuman was born to the vanaras. His mother Anjana was an apsara who was born on earth due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana. Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought. Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.

 

Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result. Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.

 

Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.

 

BIRTH PLACE

Multiple places in India are claimed as the birthplace of Hanuman.

 

According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka. This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anegundi taluk (near Hampi) in Bellary district of Karnataka.

Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman. The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Gufa (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.

The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.

According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.

 

CHILDHOOD

As a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[18] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name. Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.

 

Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.

 

On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.

 

Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.

 

ADVANTURES IN RAMAYANA

The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.

 

MEETING WITH RAMA

Hanuman meets Rama during the Rama's 14-year exile. With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.

 

Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.

 

When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.

 

In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain, touches it briefly, and presses on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasi, he reaches Lanka.

 

FINDING SITA

Hanuman reaches Lanka through flight and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. In order to give Sita faith, Hanuman gives her a ring that Rama wanted Hanuman to give her. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.

 

Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.

 

SHAPESHIFTING

In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.

 

Also he enlarges & immediately afterwards contracts his body to out-wit Surasa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.

 

He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.

 

MOUNTAIN LIFTING

When Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman. Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.

 

Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.

 

Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.

 

PATALA INCIDENT

In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana and Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) - the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.

 

The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings. Hanuman enters Patala.

 

Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.

 

To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.

 

HONOURS

Shortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.

 

When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.

 

HANUMAN RAMAYANA

After the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.

 

When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.

 

Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.

 

AFTER RAMAYANA WAR

After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.

 

MAHABHARATA

Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole(Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.

 

During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot. The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Krishna smiled and placed his divine discus beneath the bridge,and this time hanuman could no longer break it.Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.

 

According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.

 

OTHER TEXTS

Apart from Ramayana and Mahabharata, Hanuman is mentioned in several other texts. Some of these stories add to his adventures mentioned in the earlier epics, while others tell alternative stories of his life.

 

Paumacariya (also known as Pauma Chariu or Padmacharit), the Jain version of Ramayana written by Vimalasuri, mentions Hanuman as a Vidyadhara (a supernatural being), who is the son of Pavangati and Anjana Sundari. Anjana gives birth to Hanuman in a forest cave, after being banished by her in-laws. Her maternal uncle rescues her from the forest; while boarding his vimana, Anjana accidentally drops her baby on a rock. However, the baby remains uninjured while the rock is shattered. The baby is raised in Hanuruha, his great uncle's island kingdom, from which Hanuman gets his name. In this version, Hanuman is not celibate. He marries princess Anangakusuma, the daughter of Kharadushana and Ravana's sister Chandranakha. Ravana also presents Hanuman one of his nieces as a second wife. After becoming an ally of Sugriva, Hanuman acquires a hundred more wives. Hanuman is originally enraged at Rama for murdering his father-in-law Kharadushana. However, he becomes a supporter of Rama after meeting him and learning about Sita's kidnapping by Ravana. He goes to Lanka on Rama's behalf, but is unable to convince Ravana to surrender. Ultimately, he joins Rama in the war against Ravana and performs several heroic deeds. After the victory and subsequent celebrations, both Rama and Hanuman take Jaineshwari Diksha and become Jain Munis and achieve salvation. Later Jain texts such as Uttarapurana (9th century CE) by Gunabhadra and Anjana-Pavananjaya (12th century CE) tells the same story.

 

The Brahma Purana mentions that the vanaras built several Shiva lingams in Kishkindha. After his return to Ayodhya, Rama asks Hanuman to destroy these lingams, as they are no longer required. However, when Hanuman is unable to uproot these lingams, Rama orders them to worshipped permanently. The Skanda Purana mentions a variant of this story, which happens in Rameswaram. The Narada Purana describes Hanuman as a master of vocal music, and as an embodiment of the combined power of Shiva and Vishnu.

 

Apart from the Puranas, the Agama Saunaka Samhitha, and Agastya Sara Samhitha explains certain stories which are not mentioned in other Hindu texts along with the worship rituals of Hanuman. Recently a simple English Translation of some of stories are released as a book named Tales Of Hanuman: Tales from the eternal life of Hanuman

 

The 16th-century Indian poet Tulsidas wrote Hanuman Chalisa, a devotional song dedicated to Hanuman. He claimed to have visions where he met face to face with Hanuman. Based on these meetings, he wrote Ramcharitmanas, an Awadhi language version of Ramayana. The Sankat Mochan Hanuman Temple (Varanasi) is said to be located on the spot where Tulsidas had these visions. The works of Tulsidas played an important role in increasing the popularity of Hanuman worship in North India.

 

Durga Chalisa mentions that Hanuman leads and welcomes the procession of the ferocious lion-riding Bhavani.

 

The non-Indian versions of Ramayana, such as the Thai Ramakien, mention that Hanuman had relationships with multiple women, including Svayamprabha, Benjakaya (Vibhisana's daughter), Suvannamaccha and even Ravana's wife Mandodari. According to these versions of the Ramayana, Macchanu is son of Hanuman borne by Suvannamaccha, daughter of Ravana. The Jain text Paumacariya also mentions that Hanuman married Lankasundari, the daughter of Lanka's chief defender Bajramukha. Another legend says that a demigod named Matsyaraja (also known as Makardhwaja or Matsyagarbha) claimed to be his son. Matsyaraja's birth is explained as follows: a fish (matsya) was impregnated by the drops of Hanuman's sweat, while he was bathing in the ocean.

 

PROPHECY & LEGACY

A number of religious leaders have claimed to have seen Hanuman over the course of the centuries, notably Madhvacharya (13th century CE), Tulsidas (16th century), Samarth Ramdas (17th century), Raghavendra Swami (17th century) and Swami Ramdas (20th century).

 

Swaminarayan, founder of the Hindu Swaminarayan sects, holds that other than worship of God through the Narayana Kavacha, Hanuman is the only deity who may be worshiped in the event of trouble by evil spirits.

 

Others have also asserted his presence wherever the Ramayana is read.

 

“Bow down to Hanumān, who is the slayer of demons, and who is present with head bowed and eyes full of flowing tears wherever the fame of Rāma is sung.”

 

This can be found in other texts such as the Vinaya Patrika by Tulsidas and the Mahabharta, and in other texts with only slight variation in language. During the readings of the Ramayana (Ramayanpath), a special puja and space (asan) are reserved for Hanuman.

 

TEMPLES

Hanuman is worshipped by villagers as a boundary guardian, by Shaiva ascetics as a Yogi, and by wrestlers for his strength. There are numerous temples for Hanuman, and his images are usually installed at all temples where images of avatars of Vishnu are installed. Hanuman temples are believed to keep the area and surroundings free of rakshasas (demons) and other evil beings. Hanuman idols are found on mountain roads because it is believed that he protects people from accidents.

 

Jakhu temple is a famous temple at Shimla, the capital of Himachal Pradesh. The word "Jakhu" is derived from "Yaku"/"Yaksha". The hill is the legendary abode of Yaksha, Kinners Nagas and Asuras. The temple was founded on a plain where, according to legend, Hanuman's sudden landing flattened a hill. A 33-metre statue of Hanuman has been erected at the top of the 2,591-metre tall Jakhu Hill, the highest point in Shimla.

 

According to the Ramayana, during the battle between Lord Rama and Ravana at Lanka, Lakshmana, brother of Lord Rama, was mortally wounded by an arrow. To save his life, Hanuman journeyed to the Himalayas to retrieve the Sanjeevani herb. En route, he encountered a meditating sage on Jakhu mountain; as he paused to inquire about the herb, Hanuman's landing on the mountain compressed the earth, changing the shape of the mountain to its present state. In his haste to depart, Hanuman is said to have left his friends behind, and they are said to continue to roam the area even today. A temple honoring Lord Hanuman was constructed by the Jakhu sage.

 

The oldest known independent Hanuman statue is the one at Khajuraho, which has an inscription dated Sam. 940 (AD 883) mentioning that it was erected by Gahil's son Gollak.

 

Sankat Mochan Shri Hanuman Mandir, located in the Punjab town of Phillaur is one of the popular temples of Hanuman. Sankat Mochan Hanuman Temple, Varanasi, believed to be built by Tulsidas, is second most popular temple in the city.

 

Namakkal Anjaneyar temple is located in the town of Namakkal, Tamil Nadu. There is an 18-feet idol of Sri Hanuman in the temple facing east, worshipping Sri Lakshmi Narasimha Swami (one of the avatar of god Vishnu) in this temple. Anjenayar idol is Swayambu, believed to be growing in height; thus, temple has no roof enclosing.

 

Sholinghur Sri Yoga Narasimha swami temple and Sri Yoga Anjaneyar temple, located in Sholinghur, a town which is about 30 km from Arakkonam of Vellore District.Sri yoga Anjaneyar temple located over small hill containing 480 steps from ground. Lord Anjaneyar with Sathurpujam (sathur=four, pujam=arms) Sri Sangu and Sri Chakaram 2 hands and Jabba Malai and Jaba Shankaram in other two respectively facing Sri yoga Narasimha swami and Yoga Amurthavalli Thayar present over hill (periya malai= big hill) with 1305 steps from ground. Sholinghur shetram one among 108 divya desams also one of most famous temple of our Lord Anjaneya.

 

Ragigudda Anjaneya temple is a Hanuman temple located in JP Nagar Bangalore. The temple is located on a hillock.

 

The Hanuman temple at Nerul, Navi Mumbai, Maharashtra, India is situated inside SIES complex. The Hanuman idol is 10 m tall and is installed on a pedestal of height 4 m, bringing the total height to 14 m. In the picture shown, Hanuman has silver coverings (Silver Kavasam). The 33 feet Hanuman idol is carved out of single granite stone. This is the tallest single granite stone Hanuman idol in India as per the temple.

 

Similarly, a 10 m idol of Sri Anjaneyar was entrenched in 1989 at Nanganallur in Chennai, India. The distinguishing factor of the idol is that it was molded out of a single rock.

 

An 26-m Karya Siddhi Hanuman statue was installed at Carapichaima in Trinidad and Tobago, by Avadhoota Dattapeetham's Pontiff Ganapathy Sachchidananda. It is the tallest in the Western hemisphere and second tallest in the world. One has also built a Karya Siddhi Hanuman Temple in Frisco, Texas in the U.S.

 

The tallest Hanuman statue is the Veera Abhaya Anjaneya Hanuman Swami, standing 135 feet tall at Yerravaram, 46 km from Rajahmundry in Andhra Pradesh, installed in 2003.

 

The image of Hanuman is said to have come alive and moved when installed at the Shri Hanuman Mandir, Sarangpur. The temple is noted for getting rid of evil spirits.

 

Suchindram temple is a pious place lying about 14 km from Kanyakumari, Tamil Nadu. The temple is famous for it 18 feet tall Hanuman idol. This idol is decorated fully with butter (Vennai kappu in Tamil) and Sandalwood paste (Chandana kappu in Tamil).

 

In Rajasthan,Hanuman Temples at Mehendipur Balaji in Dausa district (80 km from Jaipur) and Salasar dhaam in Churu district (160 km from Jaipur) attract a large number of devotees from all over India. [{Chandraloak Devpuri Balaji}] is located in Dugana 17 km from Laharpur district-sitapur,UttarPradesh

 

Bhaktha Anjaneyar is Temple is located in Vedasandur, Dindigul, Tamil Nadu.

 

Kaviyoor is a small village about 5–6 km from the town of Thiruvalla, Kerala The Kaviyoor Mahadevar Temple here is about 100 years old and the Hanuman temple inside the Shiva temple is considered as very auspicious by devotees. Hanuman idol consecrated here is made of Panchaloha and is depicting him telling the story of Ramayana to Sita in the Asoka Vana.

 

Yalagur, a small village about 30–35 km from the town of Bagalkot in Karnataka, also has a temple dedicated to Hanuman.

 

Sri Baktha Hanuman Temple, Ramboda.Sri Lanka. Ramboda is a place where Hanuman was searching for Sita Devi.

 

WORSHIP

Some of the prayers, songs, mantras, shlokas, devoted to Hanuman include Hanuman Chalisa, Bajranga Baan, Maruti Strotam, Anjaneya Dandakam , Vadvanal Strotam, Hanuman Sathhika, Hanuman Bahuk, Hanuman Dwadesha, Bhimrupi Strotam, Sundara Kanda, Maruti Gayatri Mantra, Hanumansahasranam stotra (Stotra of thousand names of Hanuman), Ek-mukhi Hanuman Raksha Kavacham, Pancha-mukhi Hanuman Raksha Kavacham and Sapta-mukhi Hanuman Raksha Kavacham.

 

"Ram Raksha Strotam", the Sanskrit Strota, a Shield of Rama has lines devoted to Hanuman, saying, whoever, reads this, will be protected by Hanuman.

 

PANCHAMUKHA SRI HANUMAN

Sri Hanuman assumed Panchamukha or five-faced form to kill Ahiravana, a powerful rakshasa black-magician and practitioner of the dark arts during the Ramayana war. Ahiravana, brother of Ravana, had taken Lord Rama and Lakshmana to netherworld as captive, and the only way to kill him was to extinguish five lamps burning in different directions, all at the same instant. Sri Hanuman assumed His Panchamukha form and accomplished the task, thus killing the rakshasa, and freeing Rama and Lakshmana.

 

This form of Sri Hanuman is very popular, and is also known as Panchamukha Anjaneya and Panchamukhi Anjaneya. (Anjaneya, which means "son of Anjana", is another name of Sri Hanuman). These faces show there is nothing in the world which does not come under any the influence of any of the five faces, symbolic of his all around security to all devotees. This also signifies vigilance and control over the five directions - north, south, east, west and the upward direction/zenith.

 

There are five ways of prayer, Naman, Smaran, Keerthanam, Yachanam and Arpanam. The five faces depict these five forms. Lord Sri Hanuman always used to Naman, Smaran and Keerthanam of Lord Sri Rama. He totally surrendered (Arpanam) to his Master Sri Rama. He also begged (yachanam) Sri Rama to bless him the undivided love.

 

The weapons are a parashu, a Khanda, a chakra, a dhaalam, a gada, a trishula, a kumbha, a Katar, a plate filled with blood and again a big Gada.

 

Chitrakoot in Central India is claimed to be the resting place of Sri Hanuman. The Hanuman Dhara Temple is situated on the peak of mountain where there is natural rock formation image of Shri Hanuman inside the cave and a natural stream of water falling on the tail. It is believed that after the coronation of Lord Rama, Sri Hanuman requested for a permanent place to settle in the Kingdom of Lord Rama, where his Injury of burns on his tails will be cured. Lord Rama, then with his arrow, spurred a stream of water on the tip of mountain and asked Sri Hanuman to rest there with water of the stream falling on his tail to cool down burning sensation in his tail. The access to the cave temple is through stairs starting from bottom of the mountain to its top. It takes roughly 30 to 40 minutes to reach the temple. Over time the temple has gained a new name, namely Hanuman Dhara.

 

Sri Panchamukha Anjaneya Swami was the main deity of Sri Raghavendra Swami. The place where he meditated on this five-faced form of Sri Hanuman is now known as Panchamukhi, wherein a temple for him has been built. There is also a shrine for Panchamukha Anjaneya Swami at Kumbakonam in Tamil Nadu, India. A 12 m tall monolithic green granite murti of Sri Panchamukha Hanuman has been installed in Thiruvallur, also in Tamil Nadu. This place was known as Rudravanam in olden times when many saints and seers had blessed this place with their presence. The Panchamukha Hanuman Ashram itself was established by a saint called Venkatesa Battar. A four foot image of Panchmukha Hanuman has been consecrated West of Lusaka, Zambia in Oye Kapi farm.

 

RELATION WITH SHANI

In Hinduism, Hanuman is one of the few deities not afflicted by Shani. Hanuman is the one of the deities in Hindu religion, over whom Shani could not cast his spell. Shani could not overcome Hanuman and as such people worship Hanuman to get rid of malefic effects of Shani.

 

In the Ramayana, Hanuman is said to have rescued Shani, from the clutches of Ravana.

 

In gratitude, Shani promised Hanuman that those who prayed him (Hanuman) would be rescued from the painful effects of Saturn, which in Hindu astrology, is said to produce malefic effects on one's life when one is afflicted "negatively" with Saturn.

 

Another version of the encounter between Lord Hanuman and Shani Bhagavan is that the latter once climbed on to Lord Hanuman's shoulder, implying that he (Hanuman) was coming under the effects of the influence of Shani. At this, Hanuman assumed a large size, and Shani was caught painfully between Hanuman's shoulders and the ceiling of the room they were in. As the pain was unbearable, Shani requested Hanuman to release him, promising that he (Shani) would moderate the malefic effects of his influence on a person praying to Hanuman. Hanuman released Shani thereafter.

 

In the verse with a thousand Names of Hanuman the Hanumansahasranam stotra, Shani is one of the Names of Hanuman. In some regions of India, Hanuman is also seen sporting an iron whip akin to Shani.

 

WIKIPEDIA