During ten seconds of weightlessness Brynle Barrett from the Laboratory of Photonics, Numerical Sciences and Nanosciences at the University of Bordeaux monitors an experiment to test the ‘weak equivalence principle’ – or why a feather in a vacuum falls as fast as a hammer.

 

To confirm that objects in free-fall behave universally, even at a microscopic level, a team of scientists used lasers to cool atoms to around –273°C. On Earth, atoms fall away from laser beams because of gravity. “In microgravity, atoms stay in the beams for much longer, so we get better data,” explains Brynle.

 

Parabolic flights are the only way to run such experiments on humans without leaving Earth’s atmosphere. Over the course of multiple roller-coaster flights at up to 45°, researchers find out more about the effects of gravity on experiments and improve equipment destined for space.

 

Credits: ESA

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

The principle here is that the load is spread equally among the beams. There are pegs keeping them in position, though it has been suggested that these are not necessary; they're only added because the public are allowed into the building.

. . . derived from Loccard's Principle of Exchange

 

The #FlickrFriday #ElementaryDearWatson challenge

  

Dr Edmond Loccard (1877-1966) taught us that whenever two surfaces connect, there is an exchange of material between them. It became the fundamental principle of forensic science from which fingerprint and later DNA examination became commonplace at crime scenes. It's elementary when put in Loccard's terms (and therein lies its value) but interestingly Sherlock never actually used the full phrase to Watson in the books. It was used in a film.

 

OK folks you may see here a reasonably uninteresting (look, I did my best!) photo of one of my walking boots. But if it were of interest to a crime scene examiner working on a criminal case, it could be an evidential goldmine.

 

First, let's look at the obvious. It would leave a footprint, perhaps linked to a burglary by prints left at entry and exit points, but also recoverable from hard surfaces inside and also, with the miracle of static electricity, from carpet. "OK", a lawyer may say, "this item is mass produced. There must be thousands which would leave exactly the same print as that allegedly left by my client." Well, no. As shoes are used they become worn and damaged. Cuts occur to their soles, stones may become embedded in them, both providing patterns as unique as fingerprints. If a sufficiently detailed photo of, or 'lift' from, a print can be achieved, its results may be very persuasive. Also, its wear may indicate (from close examination by an expert) the owner's gait, perhaps linked to an injury or disability. However, while fingerprints remain pretty much the same throughout our lifetimes, wear patterns on soles of shoes change with use, and embedded objects may depart, so if footwear is not recovered until some time after the event, an expert witness may temper their evidence with unhelpful words such as 'probably', although even that, evidentially speaking, would be good start. But conversely a very good match could infer a recent link to a crime scene.

 

Now look at the (ahem) material on the sole. It contains carpet fibres, fur from pets, mud, food particles, grit, all of which could be linked to a home, vehicle, workplace, shop etc if the gravity of the case demanded such detailed examination. And it is likely that at least some such material could be retrieved from the footprint too. Every contact leaves a trace. That unhelpful word 'probably' may become ever more probable and therefore more helpful.

 

Microscopic investigation could retrieve material such as pollen grains which could be linked to particular venues and perhaps provide a temporal link too. A surfeit of pollen is unlikely to occur in winter for example.

 

Every contact leaves a trace. The investigating officer may be very interested in the footwells of any vehicle with which the boot might be associated. If the same material is found both on the shoe and footwell, a connection may be inferred. The same would apply if the suspect's route to and from the crime scene were suspected. Perhaps someone looking a bit like them features on CCTV. Maybe they walked through a patch of oil. That would certainly be recoverable. Finally DNA examination would prove a link between the shoe and its wearer with a probability of about one in a billion of a mistake being made.

 

". . . so m'lud, this boot is linked to the accused by his DNA being found on its laces and within. It is linked to the deceased's home by a footprint being retrieved from within it and matched to this boot with a high degree of certainty. To support that link some glass of the same type as that in that property's broken window was recovered from its sole, together with some carpet fibres which, although commonly used, do match those in the deceased's home. The deceased was found in a vehicle. This boot is linked to that vehicle through carpet fibres and pet fur being retrieved from its sole and matched with carpet fibres and pet fur found in the driver's footwell, which also matches material recovered from the accused's home." Does the Flickr jury find guilty or not guilty?

 

OK, that's Ian's crime investigators' course completed and you have passed. The photo was taken as shown using daylight (usually the scene examiner's preferred light source) with a bit of artistic over exposure and vignette added.

 

Now . . . I'm going to clean my shoes ... :-(

 

Finally took a motion blur photo of moving water with my iPhone. The iPhone's camera can't be directly set for a slow shutter speed in daylight, but there are apps that mimic a slow shutter speed by taking numerous short exposures and stacking them. The one I used is called Slow Shutter. It's simple, adjustable and easy to use. This was a 1-second handheld exposure, so everything else is a bit soft too, but I was just trying to see if it seemed to work well enough to be worth taking a tripod and bracket for the phone with me one of these days. Looks as if it does.

 

Next: More water, astrophotography, and less noisy night shots, with a tripod or Gorillapod.

The German Leopard tank has been the Nordic countries’ principle main battle tank since its first introduction in the 1970s, and continuing that tradition is the newest iteration in the series, the Leopard 2A8 – known as 2A8N or Strv. 130 in service with the NDC member states. Although still designated as a Leopard 2, little besides its outside appearance is similar to the original tank. Integrating the latest in tank armour and weaponry together with a 4th generation EuroPowerPack hybrid diesel-electric tank engine, the Leopard 2A8 is basically a brand new tank for the modern battlefield.

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

work in progress

LOS ANGELES, Calif. -- Principle photography on "The Twilight Saga: Eclipse," is underway in Vancouver, Summit Entertainment said in a statement released today.

 

There will be a few new faces in this third installment of the popular vampire franchise.

 

"Along with director David Slade, several new actors are joining the TWILIGHT family including Bryce Dallas Howard as Victoria, Xavier Samuel as Riley, Catalina Sandino Moreno as Maria, Jack Huston as Royce King, Julia Jones as Leah, BooBoo Stewart as Seth, and Jodelle Ferland as Bree," Summit confirmed.

 

For the Twihards, the favorite original gang will also be returning.

 

"Also continuing in the saga as The Cullen Family are Ashley Greene as Alice, Peter Facinelli as Carlisle, Elizabeth Reaser as Esme, Kellan Lutz as Emmett, Nikki Reed as Rosalie, and Jackson Rathbone as Jasper. Billy Burke also returns as Charlie Swan."

 

"Eclipse" will be released theatrically in North America on Wednesday, June 30, 2010.

 

'THE TWILIGHT SAGA': Full 'ECLIPSE' Cast List

 

Kristen Stewart as Bella Swan

Robert Pattinson as Edward Cullen

Taylor Lautner as Jacob Black

 

Cullen Family

Ashley Greene as Alice Cullen

Peter Facinelli as Dr. Carlisle

Elizabeth Reaser as Esme Cullen

Kellan Lutz as Emmett Cullen

Nikki Reed as Rosalie Hale

Jackson Rathbone as Jasper Hale

 

Wolf Pack

Chaske Spencer as Sam Uley

Bronson Pelletier as Jared

Alex Meraz as Paul

Kiowa Gordon as Embry Call

Tyson Houseman as Quil Ateara

 

Other Quileutes

Gil Birmingham as Billy Black

Tinsel Korey as Emily

 

Nomad Vampires

Bryce Dallas Howard as Victoria

 

Volturi

Cameron Bright as Alec

Charlie Bewley as Demetri

Daniel Cudmore as Felix

Dakota Fanning as Jane

 

Additional Returning Cast Members

Billy Burke as Charlie Swan

Sarah Clarke as Renee Dwyer

Anna Kendrick as Jessica

Michael Welch as Mike

Christian Serratos as Angela

Justin Chon as Eric

 

New Cast Members

Xavier Samuel as Riley

Catalina Sandino Moreno as Maria

Jack Huston as Royce King

Julia Jones as Leah Clearwater

BooBoo Stewart as Seth Clearwater

Jodelle Ferland as Bree

 

omg.yahoo.com/news/eclipse-filming-roars-to-life-in-vanco...

 

oh && yeah. i forgot to add Jodelle Ferland as vampire Bree.

 

do not copy anything from me.

no posers allowed!!!

pls. don't take any of my photos w/out my permission.

  

every views counts so, just keep on viewing.

you can leave notes too! btw. comments are highly appreciated.

 

vampirekisses* <333

 

Captured on a Leica M Bespoke 1-1 Workshop in London

 

LEICA M9-P • 160 ISO • 28mm f2.0 Summicron-M ASPH • Lightroom: 300 Movie

 

All rights reserved Copyright © 2011 BYBRETT

PRINCIPLE OF ATTRACTION IN COSMIC ORDER / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.

2014-01-04

These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).

 

"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."

 

Image licensed under Creative Commons by gordon (TK8316): www.flickr.com/photos/gordonator_sg/3227082487/

"If you want to know how much darkness is there around you , you must sharpen your eyes , peering at he faint lights in the distance" Italo Calvino

WEEK 22 – Principle Toyota of Hernando

 

Next question, then – if the dealership wasn’t open to the public yet, then how were we driving around their parking lot getting these pictures?! Well, for better or for worse, I guess they simply hadn’t thought about (or just actively decided against) roping or gating off the parking lot, leaving it completely open to anyone who may want to wander around and explore the place. So that’s exactly what was going on – not just on our part, though; indeed, while here and throughout the days leading up to their opening, I saw several people parked and walking on foot around the lot, eyeing the new Toyotas and the property in general. We don’t regularly get huge new buildings in Hernando, so this was an exciting development among locals, I’m willing to bet :P

 

Principle Toyota of Hernando // 2887 McIngvale Road S, Hernando, MS 38632

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

From the Jamaica Plain Historical Society.

"Jackson Square - Origin of the Name"

By Richard Heath

 

STONY BROOK divided Roxbury into east and west for over 250 years. During that time the principle highway between the business and civic district of Dudley Square and the village center of Jamaica Plain was Centre Street. Since at least 1662 Centre St crossed Stony Brook over a wooden plank bridge near Heath Lane (a cart path to the Heath Farm; in 1825 it became Heath Street). That junction was called Central Bridge but most people until the turn of the 20th century called it Hog’s Bridge.[i]

 

That intersection is today known as Jackson Square, a familiar crossroads at Columbus Ave. and Centre Street, but no public record has been found to determine who the Square was named after. Hog’s Bridge was used up to end of the 19th century so it is a 20th century appellation.

 

It may be that the Square was named for General Henry Jackson, one of the three Revolutionary War military leaders from Boston[ii]. General William Heath defended Roxbury during the Siege of Boston and afterwards was ordered to the strategic Hudson River command after Benedict Arnold defected to guard that crucial waterway from 1777 to 1783. Heath Square at the nearby junction of Heath St and Parker Street is named after the general on land he once owned. General Joseph Warren was killed at the Battle of Bunker Hill. A statue of him stood at Warren and Regent Streets for 62 years[iii]. So it would seem appropriate that when Columbus Avenue was extended to Franklin Park in 1895 that the new crossroad would be named after General Henry Jackson.

 

II.

  

Henry Jackson. Courtesy of New England Historic Genealogical Society. Engraved from a pastel drawing done in 1777. Appeared in the April 1892 edition of New England Historical and Genealogical Register.

HENRY JACKSON was born a British subject and died an American citizen.[iv] His life was in two parts: soldier and civic leader who participated in the rebuilding of Boston after the war. Jackson was born on Oct 19. 1747. His father Joseph was a distiller and his home was more than likely on Essex Street. The center of the distillery business in 18th century Boston was at Essex and South Streets. In 1794 there were thirty distilleries on Essex and South Streets. Ships tied up at the South Street wharf to unload grain and barrels of West Indian molasses.[v] Henry Knox’s father William mastered one of those ships. Henry Knox was Jackson’s lifelong friend. Knox was born 1750; his house was on Sea Street (today Atlantic Avenue) at the foot of Essex directly overlooking the South Bay[vi].

 

Jackson’s father was a life- long military man. In 1738 Joseph joined the Ancient and Honorable Artillery Company in which he served until the outbreak of the Revolutionary War. (He was on duty with William Heath of Roxbury who joined the Ancients at the age of 17 in 1754). Joseph died at the age of 84 in 1790. The Ancient and Honorable Artillery Company gave him a military funeral; he was buried at Kings Chapel burial ground.

 

Henry Jackson was an officer in the First Corp Cadets. The First Corps of Cadets was formed in 1741 as bodyguards for the Royal Governor (the first was Gov William Shirley). After the tumult and in the vacuum of the British evacuation, Jackson reorganized the remaining members and recruited other soldiers to form the 16th Massachusetts Regiment called the Boston Regiment in May of 1777. He was appointed colonel of the regiment and ordered by General Washington to join his army outside Philadelphia. The Boston Regiment fought in the battle of Monmouth (1778), Quaker Hill, RI (1778) and Springfield NJ in 1780. The Regiment was at Yorktown and then joined General Henry Knox in recovering New York City from British occupation after the Treaty of Paris in 1783. Jackson retired from active duty when the Continental Army was dissolved on June 29, 1784.

 

In June of 1783 at Newburgh New York he was among the group of army officers including Major General Heath to form the Massachusetts Society of the Cincinnati; he was treasurer of it until his death. Criticized by some in the young nation as a new aristocracy in America, the Society was largely fraternal and benevolent in helping veterans and their families.

 

In the summer of 1784 Jackson, a lifelong bachelor, returned to Boston to stay at Mrs. Hatch’s fashionable boarding house at Common (Tremont) and Winter Streets, then a fairly rural part of the city opposite the Boston Common. He was called back into active duty in 1786 to suppress Shays Rebellion, a revolt by farmers, mechanics and small landowners hard hit by post war financial difficulties who sought state assistance for their debts. Jackson found the task unpleasant, had difficulty raising troops but considered the rebellion a noisy mob. After the revolt was quelled, came home and hung up his uniform. Jackson seemed to have played no active or ceremonial role in the celebrations of George Washington’s triumphant Boston visit from October 24 through October 28, 1789.[vii] He and Generals Knox and Heath were certainly at the great banquet held at Faneuil Hall on the Washington’s last night in the city. Washington stayed at Mrs. Ingersol’s boarding house at Common and Court Street a few short blocks from Jackson’s rooms; it could very well have been that he and his friend Henry Knox paid a quiet visit with their former commanding officer.

 

After the war Jackson managed the business and financial affairs of his close friend Henry Knox[viii] whom President Washington appointed as the first Secretary of War in 1785. This included lumber and shipping businesses but mainly the construction of Montpelier Knox’s’ grand hilltop mansion at Thomaston, Maine. In 1794 Congress authorized construction of six new frigates and Secretary of War Knox directed that Henry Jackson be appointed the government’s agent for the construction of the Constitution at Hartt’s Shipyard in Charlestown. Working with Edmund Hartt Jackson approved and signed off on all payments that totaled $302,000. The oak for the famed iron side hull came from Georgia and the masts from Windsor, Maine just east of Augusta. The ship was launched on Oct 27, 1797.

 

III.

 

Henry Jackson’s closest personal and professional relationship after the war until the end of his life was with the fascinating family of James and Hepzibah Swan.[ix]

 

Born Hepzibah Clarke in 1757 her father was a prosperous merchant. In spring of 1776 during the siege of Boston when many families fled the city[x], Henry Jackson and Henry Knox lived at her home on Rawson’s Lane (Bromfield Street) before both went off to the front lines: Knox directed construction of battlements and breastworks at Roxbury defended by General Heath’s troops before going on to become artillery commander of the Continental Army. Jackson raised a regiment that he commanded for the duration of the war.

 

In 1775 Hepzibah Clarke married James Swan one of the most colorful rogues of wartime and postwar Boston. Swan was born in Scotland and arrived in Boston in 1765 at the age of 34 and became friends with Henry Knox. Active with the Sons of Liberty he participated in the Boson Tea Party and served in the artillery with Knox when the British were driven out of Boston. During the war he took over government positions vacated by the British; he was secretary of the board of war for Massachusetts, adjutant general and legislator. With his wife’s wealth he bought the confiscated house and grounds of Stephen Greenleaf the last Royal High Sheriff on Common Street between West and Winter Streets. (On April 30, 1779 The General court passed the Conspiracy and Confiscation Act in which all property of “certain notorious conspirators” was seized and sold to benefit the Commonwealth. The Act listed each one by name.) Three daughters were born to the Swans between 1777 and 1782 and in 1783 a son was born. Swan was allegedly a privateer during the war; ship owners and masters authorized by Congress to harass, seize and profit from the captured cargo of British supply ships on the high seas.

 

Swan squandered his wife’s wealth from gambling and poor land investments and in 1788 he went to France to rebuild his fortune. Hepzibah and James Swan were both pro French; Mrs. Swan in particular was a devout Francophile all her life. During the war and they entertained French naval officers stationed at Newport who brought their ships to Boston for repair, refitting and supplies. It was these French officers, often noblemen, whom James Swan asked for assistance and political access in Paris. A remarkable financier, he reorganized French debt after the collapse of the monarchy and set up a lucrative trading company to purchase food, munitions and merchandise in America. His trusted American agent in Boston was Henry Jackson. Swan made a huge fortune and returned triumphantly to America in 1795. He landed at Philadelphia and was joined by Hepzibah who arranged to have his portrait painted by her new protégé Gilbert Stuart.

 

On his return to Boston James Swan sought to impress the merchant oligarchy by building a grand countryseat on Dudley Street in Dorchester not far from Royal Governor Shirley’s mansion. Swan had purchased the land in 1781 when he was adjutant general of the Commonwealth. It was a 60-acre estate with a house near the road that the State of Massachusetts had confiscated from Loyalist Nathaniel Hatch. Hatch and 1000 other Tories had fled with the British army to Halifax, Nova Scotia in 1776. The house and land was confiscated under the enabling legislation of 1779 and Swan bought the property for 18,000 pounds. Planned in large part in the French style by Mrs. Swan, she consulted with another protégé the architect Charles Bullfinch who is given attribution for the design of the most remarkable house of its time in the region. The mansion was set on a high earth berm facing east across Dorchester Bay. Completed in 1796, its signature architectural feature was a two story circular drawing room 32 feet in circumference with a domed ceiling. The bow was pulled out from two traditional Federal style wings and surrounded by a colonnade. Everyone called it the Round House and Mrs. Swan filled it with French furnishings; much of it appropriated by the republican French government from royal palaces and sold to Swan’s import company.[xi]

 

James Swan didn’t live in his great house long. His marriage was deteriorating (even the cosmopolitan Hepzibah Swan was tired of his infidelities), his fortune reduced and his merchant company was in trouble; in he returned to France in 1798 to rebuild his company and restore his finances. He never returned. Arrested in 1808 for non-payment of debts to his principle investor, he spent the remainder of his life in a very comfortable Paris prison. Almost under house arrest, James Swan was in no hurry to return home to the aristocratic Hepzibah and prison kept him away from creditors. He lived well, ate well and entertained the ladies in style for the next 22 years. The Marquis de Lafayette, however, refused to visit him. One wonders about the conversation he had with Mrs. Swan when he called on her at Dorchester in 1825. James Swan was freed in 1830 after a change in government but he was disoriented and apparently unable to adjust. He died in a Paris street a year later.

 

Henry Jackson was Mrs. Swan’s closest friend and confidant after 1798. His boarding house was a block away from Mrs. Swan’s house but he was one of the family there and at the Dorchester mansion. After 1798 Mrs. Swan settled into a luxurious and cosmopolitan life of the Boston merchant and political elite in which she played a prominent role for the rest of her life; leaving her city address for her country home in Dorchester on May 1st. Even before James Swan returned to Paris, Jackson was handling her business and financial affairs, something she could not depend on her husband to do.

 

Acting on behalf of the Swan family, in 1795, Jackson bought the town granary at Park St and Common Street from the town of Boston for $8366. Mrs. Swan deeded the land to her daughters who sold the corner lot to the Trustees of the Park St. Church in 1809.[xii]

 

Mrs. Swan bought out two of the original investors in the largest and most far reaching real estate venture in postwar Boston when she became the only female member of the four person Mt Vernon Proprietors that acquired the John Singleton Copley pasture in 1796. It was subdivided into townhouse lots that became very valuable when the State House opened in 1798. Mrs. Swan built three houses on the land for her daughters at 13, 15 + 17 Chestnut Street (built in 1805 and 1807) and her own townhouse at 16 Chestnut Street in 1817. Jackson assessed the property and handled all financial transactions on all four homes each designed by Charles Bullfinch, who seemed now to be among the members of her salon.

 

Jackson managed the household affairs as well. He was very close to the daughters. He organized and managed the marriage of oldest daughter Hepzibah to Dr. John Howard in 1800 and in 1802 the wedding of Sarah Swan to William Sullivan. Mrs. Swan disapproved of her middle daughters fiancé John Turner Sargent (of the Roxbury Sargents; Lucious Manlius Sargent was his brother). Yet despite that Christiana –obviously as strong willed as her mother- married him anyway in 1806 and Mrs. Swan built them a townhouse on Chestnut Street. (John and Christiana named their second son Henry Jackson Sargent,)

 

Her son James Keadie Swan married Caroline Knox, the daughter of Henry Knox, in 1808. At the time of the wedding Mrs. Swan commissioned Gilbert Stuart to paint a portrait of her son and also of herself. [xiii]

 

Henry Jackson was also involved in three major post war civic improvement projects. Jackson was one of six members of the West Boston Bridge Proprietors incorporated by Governor Hancock in 1792 and authorized to collect tolls for 40 years. It was completed in 1793 (replaced by the Longfellow Bridge).

 

In 1791 no doubt at the urging of Mrs. Swan, Jackson and others helped pass legislation which repealed the 1750 law against theater performances. Roxbury state senator William Heath was probably helpful. Jackson was trustee of the Boston Theatre – Boston’s first - designed by Charles Bullfinch at the corner Federal and Franklin Street that opened in 1793.

 

The third was the huge India Wharf project begun in 1803 Jackson. Henry Knox and other investors organized to replace the ramshackle jumble of wooden wharf buildings built on the old dock. Planned by the incorporators to make Boston a competitive international port, the long granite warehouse was designed by Charles Bullfinch with tall gable front entrance facing the city. The wharf was built in 1804 and the brick warehouse with 32 stores opened in 1808.[xiv]

 

Henry Knox traveled frequently to Boston with his wife Lucy and their daughter Caroline (Swan) Knox to visit Mrs., Swan. March 1805 marked the 30th anniversary of the British surrender of Boston made possible by the artillery brought down from Fort Ticonderoga by General Knox’s troops that he strategically placed on hilltops facing the city. There were certainly festivities and dinners at which Knox and his old friend Henry Jackson participated. In 1805, probably at this time, Mrs. Swan commissioned two portraits from Gilbert Stuart of Henry Knox and Henry Jackson. Two portraits could not be more different.[xv]Knox is in full uniform (which suggests he was at the Evacuation Day program) his right hand resting on the barrel of a canon with the smoke of battle behind him. He looks confident but not smug. Jackson is painted more intimately in business suit and ruffled collar. He is painted closer to the frame and his head is cocked back with a slight smile. It’s the face of a kind man.[xvi] Completed in 1806 they joined the earlier Stuart paintings of James and Hepzibah in her drawing room[xvii].

 

This was probably the last time the two old friends saw each other. Knox died the next year and Henry Jackson died suddenly on January 7, 1809. A notice went out that day from the Society of the Cincinnati which notified members of the death of their

 

“brother and friend”. Unlike his father, he was not given a military funeral[xviii]; a service was held at his boarding house. Mrs. Swan was in shock. He loyal friend was gone. The one who never fawned over her but treated her like anyone else. The imperious grande dame of wealth, fine tastes and love of French culture respected the old bachelor because he provided the stability and companionship that James Swan forfeited.

 

Hepzibah Swan had General Jackson interred in a tomb she built in her back garden. The tomb was raised on an earth berm surrounded by a hedge of lilacs and surmounted by an obelisk of blue marble probably quarried and made in Italy. On it was carved “Henry Jackson. Soldier, Patriot, Friend’. [xix] A lane of lilacs led from the house to the tomb that Mrs. Swan often visited and pointed out to guests. One of them was the Marquis de Lafayette in June of 1825 on his triumphal visit to Boston, for the 50th anniversary of the Battle of Bunker Hill. He visited Mrs. Swan on his way to Quincy to see John Adams. The Marquis and Mrs. Swan talked in French for over an hour and no doubt Mrs. Swan walked him out to look at the tomb of Revolutionary War General Henry Jackson.

  

Henry Jackson’s obelisk at the Swan lot Forest Hills Cemetery. Photo by Richard Heath

 

Hepzibah Swan died two months later probably of cholera on August 14, 1825. She was buried in General Jackson’s tomb. [xx] The house and grounds were left to Christiana Sargent who lived there until her death in 1867 at the age of 89.

 

The neighborhood then was changing. Howard Avenue was built through the property in 1869 and in 1872 the owners subdivided it again and Harlow Street was built through the garden. It was at that time that the Swan-Sargent family -probably John T. Sargent- had the grave removed to Forest Hills Cemetery. On Oct 21, 1872 the remains of General Henry Jackson, Hepzibah Swan, John T Sargent, Christiana Sargent and Mary Cochran were transferred to a lot on Lilac Path at Forest Hills Cemetery. In the center of the lot on the edge of the earth terrace was placed the blue marble obelisk dedicated to General Jackson.[xxi]

 

The great country house was torn down in 1891 and the two-acre site sat vacant for almost fifty years until the Boston Parks Dept built the Mary Hannon Playground on the land in 1945.

  

Hog’s Bridge in 1873. Atlas of the County of Suffolk Vol 2. G, M, Hopkins, Philadelphia 1873

 

At the time of General Jackson’s death, Hog’s Bridge was the site of Samuel Heath’s tannery established about 1760 adjacent o the farm of his bother William Heath. The Heath tannery was an extension of industry in the Stony brook Valley centered at Pierpont’s Village (Roxbury crossing). Heath’s Tannery was bought and expanded to become the Guild & White Tannery that opened in 1847. It specialized in calfskin gloves and tanned about 10,000 skins annually. Guild and White was located on the right of way of the Boston + Providence Railroad, a 40 mile passenger train route that opened on June 11, 1834 from Park Square through Pierpont’s Village and Hog’s Bridge to the seacoast city of Providence. Rhode Island. The railroad extended straight across the mudflats and marshes of the Back Bay on an earth and wood causeway; in 1850 a stop was added at Pierpont’s Village. The biggest change came in 1866 when freight service was added on additional track. Heath Street Station was added about this time. Also a second bridge was built to carry Centre Street over the railroad. An incline was graded and a wooden bridge carried wagons and carriages to and from Jamaica Plain.

 

In 1872 Hog’s Bridge was a busy crossroads in which was nestled a business district of wood frame and occasional brick buildings of shopkeepers, blacksmiths and mechanics servicing the tan yard, breweries and the railroad; meandering through was Stony Brook – by then contained in a stone channel- crossed by a wooden bridge at Centre and Heath Streets.

 

The New York New Haven and Hartford Railroad announced in 1893 its plan to eliminate the many unsafe grade crossings in the Stony Brook Valley. Beginning at Cumberland Street in the South End and extending four miles to Forest Hills a massive stone viaduct would carry passenger and freights trains over busy cross-town roads. Hundreds of wooden bridges over Stony Brook (many through factories) would be taken down and the entire length of Stony Brook placed in a brick culvert. The $3 million project was the largest public works project ever seen in Roxbury; it coincided with the control of both Stony Brook and Muddy River in the just completed new park called the Back Bay Fens. The project included eight new bridges and the construction of new passenger stations designed by Samuel Shaw chief engineer of the Old Colony Railroad the owner of that portion of the NYNH &H[xxii].

 

Work began in May of 1895.[xxiii] A gravel berm was laid across the old right of way supported by granite walls twenty feet high built to create a multi track viaduct that rose gently at Cumberland Street adjacent to the baseball grounds (near present-day Carter Playground) to Forest Hills. Centre Street was widened to eighty feet and depressed nineteen feet in grade to run under an iron plate bridge about one hundred feet long including abutments. New electric car tracks were also built on a reconfigured Centre Street as it dropped down the Fort Hill slope. A fifty-foot iron plate bridge was over Heath Street that included in- bound and outbound passenger waiting rooms. By the end of 1897 a solid wall of masonry twenty feet high carrying passenger and freight trains extended across the Stony Brook Valley floor[xxiv].

  

Hog’s Bridge in 1890. Atlas of the City Of Boston Proper and Roxbury GW Bromley, Philadelphia 1890.

 

This was not the only change for Hog’s Bridge. In 1894 the State legislature established the Boston Board of Street Commissioners and also passed the Special Legislation Act for Great Avenues designed to extend roads out to the new districts of Boston. That bill authorized the extension of Columbus Avenue from Northampton Street to Franklin Park. Three hundred men were put to work to take down existing structures and build the Avenue that included electric streetcar tracks. Completed at the end of 1895, the new Columbus Avenue created a great X street pattern as old Centre Street crossed at an angle with the new boulevard. Columbus Avenue was built concurrently with the railroad viaduct. Centre Street was straightened and traffic went in a direct line to the underpass. It was now possible to drive – or take an electric car - from the old Park Square railroad station on a straight and smooth avenue to Egleston Square and Franklin Park.

 

Great improvements were also taking place at the other end of Columbus Avenue in the 1890’s. On October 19, 1891 Lt Col. Thomas Edmunds, commanding officer of the First Corps of Cadets laid the cornerstone for their great new armory at Columbus Ave. and Ferdinand St (later extended and named Arlington Street)[xxv]. It was the 150th anniversary of the fabled First Corp of Cadets that moved into its new armory in February and March 1897.

 

Josiah Quincy was mayor of the city, the third Josiah Quincy to hold that office in the 19th century. His grandfather had built Quincy Market in 1826 and his father opened the city to Cochituate water with a groundbreaking in 1846. He himself would cut the ribbon for the great South Station from which trains rolled over the Roxbury viaduct across Centre Street on its way to New York City.

 

It may have been that Lt Col Edmunds had a word with Mayor Quincy as the cadets hung up the pastel drawing of General Jackson done in 1777 in their new head house library. General Jackson was the man who reorganized the First Corp of Cadets in the turmoil of the British Evacuation and he commanded it as an effective fighting force for the duration of the conflict. Mayor Quincy would have been interested. His grandfather, the first Mayor Quincy (born in 1772), was an attorney and state legislator before becoming a Congressman in 1805, so he knew General Jackson.

 

Lt Col Edmunds may have gone on to note that 1897 was the 150th anniversary of the birth of General Jackson. The intersection created by the new Columbus Avenue might be named Jackson Square in his honor; after all the great investment it certainly deserved a better name than Hog’s Bridge. It was also near General Heath Square. Mayor Quincy may have agreed.

  

Richard Heath October 10, 2011

   

Jackson Square in 1978.

  

Jackson Square Centre St. bridge circa 1960. Courtesy of the Jamaica Plain Neighborhood Development Corporation

 

Notes:

[i] It got its name from an incident that occurred about 1750. A farm girl found her way blocked at the bridge by a drove of pigs. When the herdsman refused to let her pass, she picked up and tossed one of the pigs into Stony Brook and threatened to heave in another unless she was allowed to pass. Drake, Francis A. The Town of Roxbury. Page 386.

 

[ii] General Henry Knox was born in Boston, but he and his wife were far more invested in his huge land holdings and great mansion in Maine, which was part of Massachusetts until 1820

 

[iii] Paul Barrett sculptor. Dedicated June 17, 1904. Temporarily removed for street widening in 1966, it was taken by the Roxbury Latin School, of which Warren was an alumnus, in 1969.

 

[iv] For Jackson’s biography see.

 

1.“ The Swan Commissions” by Eleanor Pearson DeLorme, Winterthur Portfolio Vol 14, No 4, Winter 1979. Pg 389.

 

2. Drake, Francis A., Memorials of the Society of the Cincinnati of Massachusetts, Boston, 1873. page 360. (General William Heath biography page 329.)/

 

3. New England Historic and Genealogical Register, “Henry Jackson”. April 1892 page 111.

 

[v] Is it just a coincidence that Hogs Bridge was the center of the Boston brewery business?

 

[vi] Drake, Memorials of the Cincinnati, page 91.

 

[vii] Two sources consulted each with detailed descriptions of the four-day event make no reference to General Jackson or Major General Heath. Both veteran officers apparently passed on the honors to younger active duty officers: The Massachusetts Centinel. October 28, 1789. “Some recollections of George Washington’s Visit to Boston” by General William H. Sumner. New England Historic + Genealogical Register, April 1860.

 

[viii] Knox named his son born in 1780 Henry Jackson Knox and all his life Jackson was close to the boy.

 

[ix] “The Swan Commissions” By Eleanor Pearson DeLorme, Winterthur Portfolio, Vol 14, No 4. Winter 1979. The Downcast Dilettante blog. “Obelisks, Regrets, Debts, Swans, Bullfinch…” June 4, 2011.

 

[x] The father and mother in law of Henry Knox were among the Loyalists who took British ships to Halifax that month and then to England. Knox acquired for a nominal sum huge tracts of land owned by the Fluckers in coastal Maine that had been confiscated by the Commonwealth of Massachusetts. Not for nothing was the Revolutionary War called the first American Civil War. “The fact is that, as far as the Americans were in it, the war of the revolution was a civil war.” The Loyalists of Massachusetts, James H Stark, Boston, 1910. Pg 61. + Pg 403.

 

[xi] For details on the furnishings, many of which are in the Boston Museum of Fine Arts, see de Lorme. Page 374. For the house, the definitive source is Kirker, Harold. The Architecture of Charles Bullfinch, Harvard University Press. 1969. Pages 128-131. Bullfinch had just completed plans for Montpelier the great house for Henry Knox at Thomaston, Maine

 

[xii] Lawrence, Robert M, Old Park Street and Its vicinity, HMCo, Boston, 1922. page 115.

 

[xiii] For Hepzibahs portrait with detailed commentary see de Lorme page 370. James Keadie’s portrait is on page 378. Both Hepzibah’s portrait and James Swan’s were given to the Boston Museum of Fine Arts by her great granddaughter in 1927. The Henry Knox House, Thomaston, Maine, owns James Keadie Swan’s portrait.

 

[xiv] Henry Knox did not live to see it completed. He died in 1806. Half of the wharf was destroyed for the widening of Atlantic Avenue in 1869 and the remainder was razed in 1962. The Aquarium was built on the 1804 wharf in 1969

 

[xv]The famous Henry Knox portrait is illustrated in deLorme page 38. It is at the Boston Museum of Fine Arts. The Henry Jackson portrait is shown on page 388. It is privately owned.

 

[xvi] Writing in 1876 Francis S Drake described Jackson as “a large man full of wit and gallantry. a gentleman.”

 

[xvii] Did she hang them at her Chestnut Street home and then take them with her to Dorchester? More than likely. The Henry Knox painting was given to the Boston Museum of Fine Arts by the City of Boston in 1876.

 

[xviii] The answer might lie in the Stuart painting: Henry Jackson had hung up his uniform with the epaulets, gold braid and stripes over 20 earlier. He died as Mr. Jackson and as Mr. Jackson he was paid respects.

 

[xix] It may have looked somewhat like the John Codman tomb at the Dorchester Second Church Cemetery at Codman Square. It’s a brick vault crowned with earth from the excavation with a dressed stone front and an arch door to the interior crypt. This was built about 1847,

 

[xx] She joined her son in law John Turner Sargent. When he died in 1813, she had him buried in the Jackson tomb.

 

[xxi] Files of Forest Hills Cemetery. Thank you to Elise Ciregna for her help and the site visit. There are five graves on the lot today. The first one has General Jackson, Hepzibah Swan and Mary Cochran. Mary Cochran – who was perhaps a house servant to Mrs. Swan -died at the age of 91 in 1830. The engraved inscriptions on the obelisk are eroded away and difficult to read.

 

-Orcutt, Dana. Good Old Dorchester, Cambridge, 1894. Page 398, Also pg 397. For a photo of the house taken just before demolition see page 25.

 

-See also Find a Grave .Com; Forest Hills Cemetery: Henry Jackson. Created by Jen Smoots. The biography is by Bill McKern. Included is an engraving of the 1777 pastel drawing of Colonel Jackson when he commanded the Boston Regiment reproduced in the April 1892 NEHGR biography.

 

Also see de Lorme page 390 for the illustration of the original pastel drawing held at the first Corp Cadets Museum.

 

All three Boston Revolutionary War leaders were removed to Forest Hills Cemetery General Warren was removed from a crypt at St Paul’s Church to the family tomb in 1855. General Heath was taken from the family tomb at the Heath farm a placed beneath a splendid pink granite monument at Eliot Hill in 1860.

 

[xxii] A considerable amount of property was taken for this project including the Heath Street freight yard that was given up for the new Heath Street Station and bridge. To satisfy the brewers who had long received grain shipments there, a new one was regraded at Lamartine and Centre Street.

 

[xxiii] For stories on construction see:

Boston Globe July 7, 1893.

 

Boston Globe July 10, 1895.

Boston Herald, March 22, 1896.

The Herald noted that the work was done largely by Italian laborers but had to be replaced in the cold winter months by French Canadians.

 

[xxiv] Train service was never discontinued for the three years of construction. A two track right of way was laid parallel to the construction site for passenger service

 

[xxv] Boston Globe Oct 10, 1891. The Armory was designed by William G. Preston.

 

Principle boy.

A fighter built on the principle that the bigger gun wins. Some people would say I'm overcompensating for something - some people would be wrong.

What an odd shaped little duck this one turned out to be, but it satisfied my starfighter building urges. The yellow is less pale in this shot, and maybe a bit to orange. As you can see the gun placement makes the overall form hard to photo without blocking it's own detail. Also blurred out the stand - can't really hide it - so just imagine this fighter is going so fast it is spawning mini hurricanes in space....somehow.

... missing ...

 

I

Don't know

Just where I'm going

But I'm

Gonna try

For the kingdom

If I can

Cuz it makes me feel like I'm a man

When I put a spike into my vain

And I tell you things aren't quite the same

When I'm rushing on my run

And I feel just like Jesus' son

And I guess

That I just don't know

And I guess

That I just don't know

 

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en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

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ひときわ目をひく黄色の入口。中は暗がりになっています。行きどまりにぶつかったら天井を見上げてみましょう。そして、構造を体で覚えこんだら「切り閉じの間」に挑戦してみましょう。

  

世界的に有名なアーティスト、荒川修作氏とそのパートナーで詩人のマドリン・ギンズ氏の30数年に及ぶ構想を実現した、身体で直接体験できるアート作品です。

この作品はメインパビリオン「極限で似るものの家」と「楕円形のフィールド」の2つの部分から構成されています。「楕円形のフィールド」には、「極限で似るものの家」を分割した9つのパビリオンが点在し、さらに、対をなす丘とくぼみ、148もの曲がりくねった回遊路、大小さまざまな日本列島などがつくられています。

 

ここでは、皆さまが身体を使い、バランスをとりながら、私たちの身体の持つ様々な可能性を見つけることができます。予想もつかない"不思議"と出会える空間をぜひお楽しみください！

十二単の羽衣を着た天女が空から舞い降りたかのような色鮮やかな建物。外壁の24色はすべて内部にも反映され、不規則に注ぐ自然光の効果とあいまって、不思議な空間を作り出しています。荒川・ギンズ両氏が設計したこの建物では、デッサンやCGなどの作品も展示しています。

  

In 1886 an eccentric woman named Sarah Winchester travelled from New Haven, Connecticut, to San Jose, California, to start a new life. She purchased a small eight-room farmhouse and started a small renovation project that would take 36 years and $5.5 million (in the money of the time), only stopping when she passed away in 1922. By the time she was done, the Winchester Mansion was a modern marvel with indoor plumbing, multiple elevators, a hot shower, and central heating. It had over 160 rooms and 40 bedrooms, 10,000 windows, and even 2 basements. Of course, that’s not all that’s unique about the house. Not all 2,000 doors can be walked through—one leads to an eight-foot drop to a kitchen sink, another to a 15-foot drop into bushes in the garden below. Staircases lead straight to ceilings, expensive Tiffany stained-glass windows were installed in places where they would get no light, and there are more secret passages than Narnia. A particularly odd delight is a cabinet that, when opened, extends through thirty rooms of the house. No one is quite sure why Mrs. Winchester demanded constant changes to her very large house. Of course, there are stories. Paying yourself first means you get paid before anyone else. Do that by setting up a monthly transfer of money that goes into a separate savings or investment account. Reversible Destiny believed that changes in bodily perception would lead to changes in consciousness. Consequently, they developed architecture and constructed environments that challenge the body as a way to "reverse our destinies. Lifestyle inflation. It’s when your spending goes up as your income goes up. Most people fall victim to this. And if you do it your whole life then get ready to work until you’re so old or sick that you can’t physically work anymore. It’s one reason why it’s so important to track your finances, because it lifestyle inflation creeps in unconsciously without you even realizing it. Let’s say you get a $10,000 raise. You might decide you deserve to drive a nicer car, buy that more expensive bottle of wine, or move to a place with granite countertops. Soon your raise disappears, and you’re back complaining to your boss that you need another one. It’s why NBA players who take pay cuts to $6.4 million say it’s going to be hard on their family. During this year at 31 years old I quit lifestyle inflation. Because I was at work and realized there were people 25 years older than me still doing the nine-to-five grind. I thought, “What kind of life is that? I can’t do that to my future self.” I needed to tip the scale so I was in control of my life, not some job. And I started doing research, googling things like “financial freedom” and “early retirement,” and the book Your Money or Your Life kept coming up. I read it, and it changed my life."Do you want to live in an apartment or house that can help you determine the nature and extent of interactions between you and the universe?" This is one of many big questions posed by Reversible Destiny, a foundation established with the goal of extending the human lifespan via architectural design.Reversible Destiny—founded by Shusaku Arakawa, a Japanese neo-Dadaist and associate of Marcel Duchamp, and Madeline Gins, an American poet with a background in physics and Eastern philosophy—has produced several homes and recreational sites designed to create a more robust body and mind. Chief among them are the Reversible Destiny Lofts in Tokyo, a set of nine apartments built in 1995 that come with instructions for use. The lofts have spherical rooms, undulating concrete floors riddled with bumps, and candy-colored walls. Poles and ladders run from floor to ceiling in unexpected places and electrical outlets dangle from above. Each apartment resembles a playground designed without regard for child safety regulations.The Site of Reversible Destiny is an “experience park” opened in 1995 designed by Nagoya-born, New York-based artist Arakawa Shusaku and his wife and artistic partner, poet Madeline Gins. The theme of the park is “encountering the unexpected,” spreading across about 18,000 square meters. The artist Shusaku Arakawa and poet Madeline Gins realized here their bold and reckless 30-year vision. The site consists of a main pavilion called the “Critical Resemblance House” and the vast bowl-like “Elliptical Field“. The old Chris worked to earn and earned to consume. And my new approach was to work to earn, earn to save, and save to invest, so I could stop working. That’s freedom.It sounds simple, but where do you start? 1. Implement the 80-20 rule. Most people have heard of the “Pareto Principle,” also known as the 80-20 rule. The idea, introduced by Vilfredo Pareto in the 1790s, is that 20 percent of your efforts produce 80 percent of the results. If you apply that to your finances, you can make a massive impact undoing lifestyle inflation by focusing on just a few big areas. Where you spend the most money (again, you’re tracking that, right?) is probably similar to the average American household: Housing and utilities ($16,895), transportation ($7,658), and food ($6,372). So target changes in those areas first. Renting is better than buying, even though most people don’t believe it. If you’re going to buy, then at least buy less house.The concept behind the unconventional design is that inhabitants will be forced to use their brains and bodies in unusual ways in order to navigate the space. There is no chance of settling into routines and rote movements, because the challenging architecture makes it impossible. The goal is to never become comfortable—comfort, according to Reversible Destiny's philosophy, means death. Arakawa and Gins, no great fans of mortality, sought to make death illegal. In addition to the Tokyo lofts, which are still available for short-term stays, the foundation built the Bioscleave House, also known as the Lifespan Extending Villa, in East Hampton, New York, and the Site of Reversible Destiny, a park in the small Japanese town of Yoro. Both feature Arakawa and Gins' disorienting design elements, such as uneven surfaces, mazes, domes, and shocks of color.

Despite their valiant efforts to defy death, Arakawa and Gins both succumbed to the inevitability of linear time—Arakawa died in 2010, and Gins in January 2014. Their work, however, survives as a vibrant testament to their audacious lives.

In the 1950s, the average house in the U.S. was 983 square feet – now it’s 2,453! Bigger is not better when it comes to housing, as more house means more money to heat and cool, more money towards property taxes, more money towards maintenance and repairs, and maybe most importantly, more loans. Location matters too, so think like a cat when it comes to picking where to live. Reversible Destiny traces the history of the Sicilian mafia to its nineteenth-century roots and examines its late twentieth-century involvement in urban real estate and construction as well as drugs. Based on research in the regional capital of Palermo, this book suggests lessons regarding secretive organized crime: its capacity to reproduce a subculture of violence through time, its acquisition of a dense connective web of political and financial protectors during the Cold War era, and the sad reality that repressing it easily risks harming vulnerable people and communities. Charting the efforts of both the judiciary and a citizen's social movement to reverse the mafia's economic, political, and cultural power, the authors establish a framework for understanding both the difficulties and the accomplishments of Sicily's multifaceted antimafia efforts. No one had any idea where cats went until researchers put GPS on them. They found most cats stay within 200 feet of their home. Everything they need is right there. For you, that means living close to your job and urban amenities. Smart millionaires drive 10-year-old cars, because they don’t care what people think of them. Or, they don’t even own a car because they strategically picked where to live and can use public transportation or their legs to get around.Located at their private residence, Portrack House, near Dumfries, Scotland, the garden’s design is guided by the fundamentals of modern physics and, according to Jencks, brings out the basic elements that underlie the cosmos. From 1989 until Keswick’s death in 1995, Jencks and his wife, an expert on Chinese gardens, met with horticulturists and scientists in order to design a landscape that would bridge the worlds of art, nature and science. Perhaps viewed as an unconventional approach to landscaping, the garden features a dizzying display of geometric fractals that all illuminate - or at least are inspired by - concepts of black holes, string theory, and the “Big Bang.” The garden features five major areas connected by a number of man-made lakes, bridges and other architectural works, including large white staircases and terraces that zigzag down a green hillside, representing the story of the creation of the universe. If you need to own a car, at least drive a 3-year-old+ and fuel efficient one. I like the jack-of-all trades Honda Fit, or the more sporty Mazda 3 Hatchback. Do preventative maintenance to mitigate the risk of costly repairs, negotiate your car insurance, and if you’re in a two-car household, think how you could downsize to one.

After you focus on the big wins, you might need to get control over those everyday dollars that leak from your bank account. Here are five tactics I use to help me out.

  

archeyes.com/reversible-destiny-arakawa-gins/

One of the keys to shooting Epic Landscape Photgraphy is exalting the photograph's soul via golden ratio compositions, thusly wedding the art to the divine proportion by which life itself was designed and exalted.

 

Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!

 

instagram.com/goldennumberratio

 

www.facebook.com/goldennumberratio/

 

facebook.com/mcgucken

 

Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!

 

www.facebook.com/goldennumberratio/

 

The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!

 

The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.

 

Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.

Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:

 

www.facebook.com/media/set/?set=a.1812448512351066.107374...

 

And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!

www.youtube.com/watch?v=AGnxOAhK3os

www.youtube.com/watch?v=WFlzAaBgsDI

www.youtube.com/watch?v=D3eJ86Ej1TY

 

More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)

Jamescauty.com

________________________________________________

 

The Peter Principle

 

The principle Vilars ridge of mainly cups, with one or two canals and small basins, is detached from this stone and at a distance of around 200m. The above stone has 10 crosses of varied detail and form, with 6 to 8 small individual cups. The stone is tucked low in a hollow and is difficult to find: surprising in its current discretion.

 

5,500- 3,800 ybp.

WEEK 22 – Principle Toyota of Hernando

 

As I returned home for spring break this year, one of the very first things I did was set out to photograph two local destinations that had undergone a lot of progress in my absence. One of those was the new El Agave Mexican Restaurant in the former Lone Star Steakhouse and Saloon in Southaven Towne Center, which I showed y’all two weeks ago. The other was Hernando’s new Toyota dealership (which was correctly identified in this week's teaser photo by andsome96, PlazaACME, and Retail Regents). It’s seen here on March 8th, 2020.

 

Principle Toyota of Hernando // 2887 McIngvale Road S, Hernando, MS 38632

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

WEEK 22 – Principle Toyota of Hernando

 

Taking our attention away from the façade and glancing off to the left for a moment. I think my intention here was to show the monument sign along McIngvale Road in addition to the much larger, primary Toyota logo on the façade itself, but the angle of this shot also allows me to carry on a new discussion: what’s inside those windows. While I haven’t been to Principle Toyota yet myself, as we were viewing the building these several times in March I noticed that a very nice, large mural spans the entire width of the upper wall of the interior showroom. You can just barely see its left half if you zoom in really close to this image; I also tried to feature it as my teaser photo this past Sunday, albeit not very successfully.

 

It’s hard to make out, and having not seen it close-up I’m still not totally certain what all is included, but I have been able to make out local landmarks such as Hernando's newest water tower and a “Welcome to Mississippi” sign. If I’m remembering correctly, I think the Landers Center may be in the right half of the mural, and I want to say that’s even the Ole Miss football stadium at the far left, too. As y’all know, I absolutely love local flair elements like this – thanks, Principle Toyota!

 

Principle Toyota of Hernando // 2887 McIngvale Road S, Hernando, MS 38632

 

(c) 2020 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

digital art

Red Tail Speckled Hawk Klamath National Wildlife Refuge Sony A1 ILCE-1 Fine Art Bald Eagle Bird Photography! Sony Alpha 1 & Sony FE 200-600mm f/5.6-6.3 G OSS E-Mount Lens SEL200600G Tule Lake Klamath Basin Oregon! Elliot McGucken Fine Art Wildlife Hawk Photography Alpha1 !

 

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

 

Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.

 

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

 

"Between every two pine trees there is a door leading to a new way of life." --John Muir

 

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

 

“The clearest way into the Universe is through a forest wilderness.” --John Muir

 

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

“The mountains are calling and I must go.” --John Muir

 

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

 

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Some of my epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

 

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!

Self Portrait Fine Art Landscape Nature Wildlife Photographer Dr. Elliot McGucken in Winter Camoflauge iPhone 14 Pro Max RAW Portrait Photography! Winter Snow Lamar Valley National Park!

 

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

 

Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4/dt=ic:

geni.us/mcgucken-sculpture

 

New Golden Ratio Wolf T-shirts: geni.us/9fnvAMw

 

Epic Fine Art Photography Prints & Luxury Wall Art:

geni.us/elliotmcguckenprints

 

Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.

 

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

 

"Between every two pine trees there is a door leading to a new way of life." --John Muir

 

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

 

“The clearest way into the Universe is through a forest wilderness.” --John Muir

 

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

“The mountains are calling and I must go.” --John Muir

 

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

 

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Some of my epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

 

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!

Visit my free gallery show in West Hollywood: facebook.com/mcgucken !!

 

Enjoy my new fine art landscapes & ballet video!

www.youtube.com/watch?v=V3b1df46oKw

 

Let me know what you think! :)

  

instagram.com/elliotmcgucken

 

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

 

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

 

Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

 

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

 

Let me know in the comments if you would like a free review copy of one of my photography books! :)

 

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

 

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

 

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

 

Best wishes on your epic hero's odyssey!:)

 

instagram.com/45surf

 

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

 

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

 

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

 

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

 

www.facebook.com/lightimedimensiontheory/

 

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

 

Follow me on instagram!

instagram.com/elliotmcgucken

 

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

 

Enjoy my new fine art landscapes & ballet video!

www.youtube.com/watch?v=V3b1df46oKw

 

Let me know what you think! :)

 

Antelope Canyon! Elliot McGucken Fine Art Landscape and Nature Photography!

 

Mesa Arch Canyonlands Sunrise! Elliot McGucken Fine Art Landscape and Nature Photography!

Principle (sic) Chief of the Cherokee Nation

Nephew of Chief John Ross

Graduate of Princeton

Editor of Cherokee Advocate

 

*Citizen Cemetery

7 Days of Shooting/Week #51/Underneath/Contrast Thursday

Grand Canyon National Park Winter Snow Sunrise Fuji GFX100 Dr. Elliot McGucken Fine Art Landscape Nature Photography

 

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

 

Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.

 

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

 

"Between every two pine trees there is a door leading to a new way of life." --John Muir

 

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

 

“The clearest way into the Universe is through a forest wilderness.” --John Muir

 

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

“The mountains are calling and I must go.” --John Muir

 

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

 

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Some of my epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

 

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!

Greetings mate! I love voyaging forth to Zion National Park to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

 

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

 

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

 

How inspiring the grandeur of Zion is! It reminds us of those entities greater than ourselves, such as Homer's Iliad and Odyssey and Light Time Dimension Theory!

 

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

 

www.facebook.com/lightimedimensiontheory/

 

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

 

Follow me on intsagram!

instagram.com/elliotmcgucken

 

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

 

Fresh snow! More on my golden ratio musings: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography facebook.com/goldennumberratio

 

Best wishes on your epic hero's odyssey!:)

 

instagram.com/45surf

 

Zion National Park Winter Fine Art Photography 45EPIC Dr. Elliot McGucken Fine Art Landscape and Nature Photography

The ZIS 110 Series was in principle based on the 1942 Packard Super Eight 180 series.

The development of the successor of the ZIS 101 series started in 1942. Because the Sovjet Union joined the allied forces against Nazi-Germany since 1942, the Sovjets gained access to Western industry and technics. Machinery could be taken over from Packard because production of civil cars stopped in 1942.

The first 110 prototype was ready in July 1945. There were some style differences with the Packard example, like the absence of the running board, and the wrap around chrome strips on the front wings.

ZIS means Zavod Imini Stalina, or Stalin factory. After the death of Josef Stalin (1878-1953) this name stayed till 1956, when Russian contemporary history was suddenly regarded differently. The brand name was replaced by ZIL, after Ivan Likhachov (1896-1956). He was an important director of the ZIS factory.

The ZIS 110 was mainly used for official occasions, and by head of states from Russian allied countries.

Note the chrome bar at the back of the front seats. Officials could find stabile support in a driving car by holding on tightly to the bar.

 

This Russian ZIS 110B was part of an exhibition about the former communist state limousines. In the context of openness of state bodies in the new Czech democracy, President Václav Havel (1936-2011) decided to show the official state limousines to the people. These state cars were not in use anymore after the fall of the Iron Curtain in October/November 1989.

 

Location exposition: the Prague Castle.

Period: July 16-September 1, 1996.

Brochure text written by Petr Kožišek.

 

6005 cc L8 engine (own engine).

Performance: 140 bhp.

C. 2500 kg.

Production ZIS 110 Series: 1946-1956.

Production as ZIL 110 Series: 1956-1958.

Production ZIS 110B Cabriolet: 1949-1956, as ZIS 110B: 1956-1958.

With new old type Czech reg. number.

 

Scan from analog photo.

Film roll nr. 96-17.

 

Prague, Hradcany, July 31, 1996.

 

© 1996 Sander Toonen Amsterdam/Halfweg | All Rights Reserved

Point Mugu Sycamore State Beach Malibu Beach Sunset Fine Art Landscape Nature Photography Socal Ocean Art Seascape! 45EPIC PCH Red Orange Yellow Clouds Los Angeles Beach Elliot McGucken Master Fine Art Luxury Photography Southern California Art!

 

Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:

geni.us/mcgucken-sculpture

 

Epic Fine Art Photography Prints & Luxury Wall Art:

geni.us/elliotmcguckenprints

 

Support epic, stoic fine art: Hero's Odyssey Gear!

geni.us/45surf45epicclothing

 

Follow me on Instagram!

geni.us/mcguckenfineart

Facebook:

geni.us/mcgucken-fine-art

 

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

 

Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.

 

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

 

"Between every two pine trees there is a door leading to a new way of life." --John Muir

 

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

 

“The clearest way into the Universe is through a forest wilderness.” --John Muir

 

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

“The mountains are calling and I must go.” --John Muir

 

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

 

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Some of my epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

 

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats

 

Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!

 

2K tee

 

en.wikipedia.org/wiki/Pollyanna_principle

The Talos Principle: Road to Gehenna

Console commands / Reshade Framework

Pretty Woman Model 45SURF Beautiful Goddess! Bryce Amphitheater Hoodoos Bryce Canyon National Park Winter Fuji GFX100 Utah Fine Art Landscape Photography! Master Medium Format Fine Art Photographer! Fujifilm GFX 100 & FUJINON Fujifilm GF 45-100mm F4 OIS Mid Range Zoom Lens! Pretty Blue Eyes Blonde Hair!

 

Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:

geni.us/mcgucken-sculpture

 

Epic Fine Art Photography Prints & Luxury Wall Art:

geni.us/elliotmcguckenprints

 

Support epic, stoic fine art: Hero's Odyssey Gear!

geni.us/45surf45epicclothing

 

Follow me on Instagram!

geni.us/mcguckenfineart

Facebook:

geni.us/mcgucken-fine-art

 

All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .

 

Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.

 

Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q

 

"Between every two pine trees there is a door leading to a new way of life." --John Muir

 

Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism

 

“The clearest way into the Universe is through a forest wilderness.” --John Muir

 

Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

“The mountains are calling and I must go.” --John Muir

 

Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:

geni.us/9fnvAMw

 

Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

geni.us/m90Ms

Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

Some of my epic books, prints, & more!

geni.us/aEG4

 

Exalt your photography with Golden Ratio Compositions!

geni.us/eeA1

Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

geni.us/TV4oEAz

A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)

 

The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)

 

Season of mists and mellow fruitfulness

Close bosom-friend of the maturing sun

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats

Enjoy my new fine art landscapes & ballet video!

www.youtube.com/watch?v=V3b1df46oKw

 

Let me know what you think! :)

  

instagram.com/elliotmcgucken

 

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

 

Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!

 

Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio

instagram.com/goldennumberratio

 

Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken

instagram.com/elliotmcgucken

 

Let me know in the comments if you would like a free review copy of one of my photography books! :)

 

Titles include:

The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!

 

The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography

facebook.com/goldennumberratio

 

And I am also working on a book on photographing the goddesses! :) More goddesses soon!

 

Best wishes on your epic hero's odyssey!:)

 

instagram.com/45surf

 

I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:

 

www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...

 

Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?

 

I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!

 

www.facebook.com/lightimedimensiontheory/

 

Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.

 

Follow me on instagram!

instagram.com/elliotmcgucken

 

Join my new 45EPIC fine art landscapes page on facebook!

facebook.com/mcgucken

 

Enjoy my new fine art landscapes & ballet video!

www.youtube.com/watch?v=V3b1df46oKw

 

Let me know what you think! :)

 

Elliot McGucken Fine Art Landscape and Nature Photography