~ Bruce Lee

Just a little late for Monday Blues, I know, but I figure it's still Monday in some parts of the world right? ;)

Thanks CocoJane for the cold mute action, I love it!

"When we become well acquainted with the waxwing we look upon him as the perfect gentleman of the bird world. There is in him a refinement of deportment and dress; his voice is gentle and subdued; he is quiet and dignified in manner, sociable, never quarrelsome, and into one of his habits, that of sharing food with his companions, we may read, without too much stress of imagination, the quality of politeness, almost unselfishness, very rare, almost unheard of, in the animal kingdom. His plumage is delicate in coloring--soft, quiet browns, grays, and pale yellow--set off, like a carnation in our buttonhole, by a touch of red on the wing."

(Winsor Marrett Tyler, Life Histories of Familiar North American Birds)

Barbie Holiday 2009 outfit

DISCLAIMER

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

The Chinese J-7FS was a direct descendant of the J-7E. The Chengdu J-7 itself has a long heritage of development, even though it is originally a Soviet design, a license-built MiG-21F, which has its roots in the mid 50ies.

The number of built specimen is uncertain, but it is supposed to be less than 100, probably even less than 50. It is rumored that the type had also been offered to Bangladesh and Sri Lanka around 2001, but was not bought.

General characteristics:

Crew: 1

Length: 14.885 m (Overall) (48 ft 10 in)

Wingspan: 8.32 m (27 ft 3½ in)

Height: 4.11 m (13 ft 5½ in)

Wing area: 24.88 m² (267.8 ft²)

Aspect ratio: 2.8:1

Empty weight: 5,292 kg (11.667 lb)

Loaded weight: 7,540 kg (16.620 lb)

Max. take-off weight: 9.100 kg (20.062 lb)

Powerplant:

1 × Guizhou Liyang WP-13F(C) afterburning turbojet with 44.1 kN (9.914 lb) dry thrust and 66.7 kN (14.650 lb) with afterburner:

Performance

Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)

Stall speed: 210 km/h (114 knots, 131 mph) IAS

Combat radius: 850 km (459 nmi, 528 mi) (air superiority, two AAMs and three drop tanks)

Ferry range: 2,200 km (1.187 nmi, 1.367 mi)

Service ceiling: 17,500 m (57.420 ft)

Rate of climb: 195 m/s (38.386 ft/min)

Armament:

1× twin-barreled Type 23-III 23mm (0.9") cannon with 250 rounds under the fuselage;

5× hardpoints (4× under-wing, 1× centerline under-fuselage) with a capacity of 2,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber could be carried

The kit and its assembly:

This whif is based on the real world J-7FS, which actually flew but never made it beyond the technical demonstrator stage. However, I found the air intake design with its raked shape and the pointed radome interesting, and since I had a crappy Matchbox MiG-21MF with misprinted decals in store I decided to use that kit for a whif conversion. There’s even a resin kit of the first J-7FS (still with the standard delta wing, though, and horribly expensive) available, but I wanted to create a more advanced what-if model, if the type had somehow entered service.

The kit saw major modification all around the fuselage: the wing tips were clipped and scratch-built ends for the J-7E double delta wing shape attached. The shape is certainly not correct, but it's IMHO the impression that counts. The MiG-21MF's deep fin was replaced by a donation part from an F-16 – the 2nd J-7FS already featured a distinctive kink at the fin’s top which made it already look rather F-16ish, and the taller and more slender fin suits the MiG-21 well.

A brake parachute housing with a disctinctive, blunt end was added just above the jet exhaust, and some antennae and pitots were added in order to enhance the bleak Matchbox kit a little. The Type 23-III cannon was sculpted from a piece of sprue, just like the brake parachute housing.

The nose section/radome is the front half of an F-18 drop tank. An oval, tapered piece of styrene was implanted as the raked intake lip, trying to copy the look of the real thing according to the few pictures I had at hand. I also added a central splitter in the air intake, which houses the front wheel bay.

Some putty work was necessary to blend the new nose into the front fuselage, as well as the dorsal spine into the new fin, but that turned out to be easier than expected.

The jet exhaust originally is just a vertical "plate" in the MiG-21's tail. I opened it and implanted a new cover inside of the fuselage, in a deeper position. For some more detail I also added a (simple) jet nozzle, IIRC it is a leftover part from a Matchbox Jaguar kit, probably 30 years old... Not much, but it defininitively enhances the rear view of the machine.

The original cockpit only consists of a bulky seat and the pilot figure, and the clear canopy is clear but horribly thick. Hence, I decided to keep the cockpit closed, but nevertheless I added a floor and some side panels, and used an Airfix pilot figure.

The missile ordnance comes from the scrap box, reflecting “modern” Chinese air-to-air weaponry: two PL-7 (Matra Magic AAMs from an Italeri NATO weapons kit) on the outer and two PL-11 (two Aspide missiles from the same set ) on the inner wing hardpoints. All wing hardpoints come from MiG-21F kits, one pair is from the Academy kit, the other from the vintage Hasegawa kit, both have the launch rails molded into the weapon pylon. The drop tank is a typical Chinese item - it resembles the Russian/soviet PTB-490 drop tank, but has a more blunt nose and smaller fins - it comes from a FC-1 kit from Trumpeter.

Paintings and markings:

Since it is an air superiority aircraft, I wanted an appropriate livery, but not the dull overall grey of contemporary PLAAF fighters. But I found some weird real life paint schemes which inspired the final camouflage.

Since the plane was not supposed to look too American through FS tones I rather used 'other' colors for a wraparound scheme. The basic tone is Testors 2123 (Russian Underside Blue), and from above a darker contrast color was added, Humbrol 230 (PRU Blue). Both tones have a greenish/teal hue, which complements each other well. Together they create a pretty distinctive look, though, esp. with the red and yellow insignia and codes. IMHO these colors suit the fighter well.

The kit received a light black ink wash and some dry painting with lighter blue-grey shades (Humbrol 87 and 128), but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine.

The decals were puzzled together from the scrap box, IIRC the insignia originally they belong to a Il-28 Trumpeter kit. The 5 digit code comes from a Revell MiG-29 and the number itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic ;)

So, all in all a rather simple kit conversion, and certainly not a creative masterpiece. To be honest, the similarity with the real thing is just at first glance - but since it is whif world, I am fine with the outcome. ^^

+++ DISCLAIMER +++

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

Some background:

The Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.

Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.

By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.

General characteristics:

Crew: two

Length: 8.92m (29 ft 3 in)

Wingspan: 34 ft 0 in (10.36 m)

Height: 11 ft 9 in (3.58 m)

Wing area: 317 ft² (29.4 m²)

Empty weight: 1,295 kg (2,855 lb)

Max takeoff weight: 1,700 kg (3,748 lb)

Powerplant:

1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)

Performance:

Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)

Cruise speed: 345 km/h (214 mph; 186 kn)

Stall speed: 60 mph (52 knots, 96 km/h)

Range: 373 mi (600 km; 324 nmi)

Endurance: 2 hours

Service ceiling: 10,600 m (34,800 ft)

Rate of climb: 2,982 ft/min (15.15 m/s)

Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds

Armament:

4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage

Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings

The kit and its assembly:

The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.

The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.

The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.

The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).

The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.

The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.

The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.

Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.

Painting and markings:

The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.

Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.

As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…

Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.

The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.

Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.

Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.

+++ DISCLAIMER +++

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

Some background:

As the Egyptian border was threatened by an Italian and German invasion during the Second World War, the Royal Air Force established more airfields in Egypt. The Royal Egyptian Air Force was sometimes treated as a part of the Royal Air Force, at other times a strict policy of neutrality was followed as Egypt maintained its official neutrality until very late in the war. As a result, few additional aircraft were supplied by Britain, however the arm did receive its first modern fighters, Hawker Hurricanes and a small number of Curtiss P-40 Tomahawks. In the immediate post-war period, cheap war surplus aircraft, including a large number of Supermarine Spitfire Mk.IXs were acquired.

Only about 15 HA-100s of REAF No. 2 Squadron were still in flying condition due to quickly worsening engine spares shortages, and the aircraft had, in the meantime, been hardwired to carry up to four “Sakr” unguided 122mm rockets on the underwing hardpoints. Due to their agility at low altitude, the HA-100s were primarily used for ground attacks and low-level reconnaissance duties. On their missions the aircraft still performed well, but at that time, all Egyptian aircraft had been stripped off of their camouflage and were operated in a bare metal finish – a poor decision, since the glinting airframes were highly visible both in the air and on the ground. Consequently, the vintage propeller aircraft became easy targets, resulting high losses, and the HA-100s were grounded. They were officially retired by April 1957, after the end of the Suez conflict, and scrapped.

General characteristics:

Crew: 1

Length: 9,10 m (29 ft 10 in)

Wingspan: 10.01 m (32 ft 9½ in)

Height: 3.52 m (11 ft 6¼ in)

Wing area: 16.8 m² (181 sq ft)

Airfoil: root: NACA 23018 (modified); tip: NACA 23009 (modified)

Empty weight: 2.695 kg (5,936 lb)

Gross weight: 3.621 kg (7,975 lb)

Max takeoff weight: 4.100 kg (9,030 lb)

Powerplant:

1× Fiat RA.1050 R.C.58 Tifone (license-built Daimler Bent DB 605) V-12 inverted liquid-cooled piston

engine with 1,100 kW (1,500 hp), driving a 3-bladed constant-speed propeller#

Performance:

Maximum speed: 642 km/h (399 mph, 347 kn) at 7,200 m (23,600 ft)

Cruise speed: 400 km/h (250 mph, 220 kn)

Range: 950 km (590 mi, 510 nmi)

Service ceiling: 11,500 m (37,700 ft)

Time to altitude: 3,000 m (9,800 ft) in 2 minutes 40 seconds

Wing loading: 202.9 kg/m2 (41.6 lb/sq ft)

Armament.

2× 12.7 mm (.5 in) Breda-SAFAT machine guns, 400 RPG, in the nose

2× 20 mm MG 151 cannon, 250 RPG, in the outer wings

2× underwing hardpoints for 160 kg (350 lb) each for bombs or four 122mm Sakr unguided rockets

The kit and its assembly:

This oddity was spawned from curiosity – when read about the lightweight Helwan HA-300 fighter from the early Sixties, I wondered when and how the Egyptian aircraft industry had started? I was even more curious because I had already attributed a what-if model, the purely fictional (and later) HA-410 fighter bomber, to Egyptian engineering. So, I researched Helwan’s origins, checked the time frame of its establishment and eventually came across the REAF’s post-WWII C.205 Veltros. What if there had been an indigenous update program…?

Consequently, this conversion’s basis is a C.205V kit from Delta 2. This kit is based upon a unique mold, quite similar to the later Italeri kit, but it is different and has some curious solutions. For instance, the landing gear struts are mounted into the wings with L-shaped attachment pegs – as if the landing gear is supposed to be retractable. Odd, but very stable. Another weird solution: the wing gun barrels are attached to the wings together with massive plastic wedges that fit into respective openings. Another quite rigid construction, even though it calls for trimming and PSR. Beyond these quirks, the kit is quite nice. It comes with a convincing mix of recessed panel lines and raised rivet heads. Some parts are a bit soft in shape, though, e. g. the cowling fairings, but overall I am positively surprised.

To change the aircraft’s look I did some conversions, though. The most obvious change is the new tail section, which was transplanted wholesale from a KP Yak-23 and had the C.205’s tail wheel attachment section transplanted from the Delta 2 kit. Originally, I wanted to move the whole cockpit forward, but then just replaced canopy and spine section with a clear part from a Hobby Boss MiG-15 and putty. Other, rather cosmetic changes include clipped wing tips to match the Yak-23’s square tail surfaces shape, and the C.205’s small elliptic stabilizers were replaced with tailored, slightly bigger parts from the scrap box. A bigger/deeper radiator and a different oil cooler replaced the original parts, and I placed them under the inner wings behind the landing gear wells. Both donors come from Spitfires, even though from different kits (IIRC, the oil cooler from an AZ Models Mk. V kit and the radiator from a FROG Mk. XIV). The flaps were lowered, too, because this detail was easy to realize with this kit.

Painting and markings:

The HA-100 received a contemporary camouflage, the RAF Tropical Paint Scheme consisting of Dark Earth and Middle Stone with Azure Blue undersides. The pattern was adapted from RAF Spitfires, and Modelmaster (2052 and 2054) and Humbrol (157) enamels were used, with a light overall black ink washing and some post panel shading. Being a former Italian aircraft, I painted the cockpit in a typical, Italian tone, a very light grayish green called “Verde Anticorrosione“, which was used during WWII on many interior surfaces – I used a mix of Revell 59 with some 45. The landing gear and the respective wells became aluminum (Humbrol 56), though.

One challenge became the characteristic black-and-white REAF ID bands on the wings. These were improvised with generic decal material from TL-Modellbau: on a 1 cm wide black band I simply added two white 2.5 mm stripes, for a very good result. Most other markings belong to an early REAF MiG-15, taken from a Microscale omnibus sheet for various MiG fighters. This provided the green-trimmed white fuselage band, the roundels and the fin flash, and a white spinner completed the REAF ID markings. Unfortunately the decals turned out to be brittle (ESCI-esque...) and disintegrated upon the first attempt to apply them, so I tried to save them with Microsol Decal Film, and this actually worked like a charm, even though the resurrected decals did not adhere well to the model's surface. The REAF 2 Squadron emblem comes from a vintage PrintScale Hawker Hurricane sheet, the white code letter on the fuselage came from an Xtradecal RAF codes sheet, and the black Arabic serials came from a Begemot sheet for MiG-29s.

The kit received some soot stains around the exhaust ports and the gun muzzles and was finally sealed with matt acrylic varnish (Italeri).

Even though it’s just a modded Macchi C.205, the result looks …different. From certain angles the aircraft reminds a lot of a P-51D Mustang, like one of the lightweight prototypes? The Egyptian markings add a confusing touch, though, and while the bodywork is not perfect, I am happy with the result. The Yak-23 tail fits perfectly, and with the narrow wings the HA-100 also reminds a bit of the two-engine Westland Whirlwind?

Land Rover and renowned Magnum photographer Jonas Bendiksen have revealed the first in a series of unique works entitled ‘Ultimate Vistas’, extraordinary landscape photographs captured with help from the world’s ultimate SUV: the Range Rover.

DISCLAIMER

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

The Chinese J-7FS was a direct descendant of the J-7E. The Chengdu J-7 itself has a long heritage of development, even though it is originally a Soviet design, a license-built MiG-21F, which has its roots in the mid 50ies.

The number of built specimen is uncertain, but it is supposed to be less than 100, probably even less than 50. It is rumored that the type had also been offered to Bangladesh and Sri Lanka around 2001, but was not bought.

General characteristics:

Crew: 1

Length: 14.885 m (Overall) (48 ft 10 in)

Wingspan: 8.32 m (27 ft 3½ in)

Height: 4.11 m (13 ft 5½ in)

Wing area: 24.88 m² (267.8 ft²)

Aspect ratio: 2.8:1

Empty weight: 5,292 kg (11.667 lb)

Loaded weight: 7,540 kg (16.620 lb)

Max. take-off weight: 9.100 kg (20.062 lb)

Powerplant:

1 × Guizhou Liyang WP-13F(C) afterburning turbojet with 44.1 kN (9.914 lb) dry thrust and 66.7 kN (14.650 lb) with afterburner:

Performance

Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)

Stall speed: 210 km/h (114 knots, 131 mph) IAS

Combat radius: 850 km (459 nmi, 528 mi) (air superiority, two AAMs and three drop tanks)

Ferry range: 2,200 km (1.187 nmi, 1.367 mi)

Service ceiling: 17,500 m (57.420 ft)

Rate of climb: 195 m/s (38.386 ft/min)

Armament:

1× twin-barreled Type 23-III 23mm (0.9") cannon with 250 rounds under the fuselage;

5× hardpoints (4× under-wing, 1× centerline under-fuselage) with a capacity of 2,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber could be carried

The kit and its assembly:

This whif is based on the real world J-7FS, which actually flew but never made it beyond the technical demonstrator stage. However, I found the air intake design with its raked shape and the pointed radome interesting, and since I had a crappy Matchbox MiG-21MF with misprinted decals in store I decided to use that kit for a whif conversion. There’s even a resin kit of the first J-7FS (still with the standard delta wing, though, and horribly expensive) available, but I wanted to create a more advanced what-if model, if the type had somehow entered service.

The kit saw major modification all around the fuselage: the wing tips were clipped and scratch-built ends for the J-7E double delta wing shape attached. The shape is certainly not correct, but it's IMHO the impression that counts. The MiG-21MF's deep fin was replaced by a donation part from an F-16 – the 2nd J-7FS already featured a distinctive kink at the fin’s top which made it already look rather F-16ish, and the taller and more slender fin suits the MiG-21 well.

A brake parachute housing with a disctinctive, blunt end was added just above the jet exhaust, and some antennae and pitots were added in order to enhance the bleak Matchbox kit a little. The Type 23-III cannon was sculpted from a piece of sprue, just like the brake parachute housing.

The nose section/radome is the front half of an F-18 drop tank. An oval, tapered piece of styrene was implanted as the raked intake lip, trying to copy the look of the real thing according to the few pictures I had at hand. I also added a central splitter in the air intake, which houses the front wheel bay.

Some putty work was necessary to blend the new nose into the front fuselage, as well as the dorsal spine into the new fin, but that turned out to be easier than expected.

The jet exhaust originally is just a vertical "plate" in the MiG-21's tail. I opened it and implanted a new cover inside of the fuselage, in a deeper position. For some more detail I also added a (simple) jet nozzle, IIRC it is a leftover part from a Matchbox Jaguar kit, probably 30 years old... Not much, but it defininitively enhances the rear view of the machine.

The original cockpit only consists of a bulky seat and the pilot figure, and the clear canopy is clear but horribly thick. Hence, I decided to keep the cockpit closed, but nevertheless I added a floor and some side panels, and used an Airfix pilot figure.

The missile ordnance comes from the scrap box, reflecting “modern” Chinese air-to-air weaponry: two PL-7 (Matra Magic AAMs from an Italeri NATO weapons kit) on the outer and two PL-11 (two Aspide missiles from the same set ) on the inner wing hardpoints. All wing hardpoints come from MiG-21F kits, one pair is from the Academy kit, the other from the vintage Hasegawa kit, both have the launch rails molded into the weapon pylon. The drop tank is a typical Chinese item - it resembles the Russian/soviet PTB-490 drop tank, but has a more blunt nose and smaller fins - it comes from a FC-1 kit from Trumpeter.

Paintings and markings:

Since it is an air superiority aircraft, I wanted an appropriate livery, but not the dull overall grey of contemporary PLAAF fighters. But I found some weird real life paint schemes which inspired the final camouflage.

Since the plane was not supposed to look too American through FS tones I rather used 'other' colors for a wraparound scheme. The basic tone is Testors 2123 (Russian Underside Blue), and from above a darker contrast color was added, Humbrol 230 (PRU Blue). Both tones have a greenish/teal hue, which complements each other well. Together they create a pretty distinctive look, though, esp. with the red and yellow insignia and codes. IMHO these colors suit the fighter well.

The kit received a light black ink wash and some dry painting with lighter blue-grey shades (Humbrol 87 and 128), but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine.

The decals were puzzled together from the scrap box, IIRC the insignia originally they belong to a Il-28 Trumpeter kit. The 5 digit code comes from a Revell MiG-29 and the number itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic ;)

So, all in all a rather simple kit conversion, and certainly not a creative masterpiece. To be honest, the similarity with the real thing is just at first glance - but since it is whif world, I am fine with the outcome. ^^

Maria-Celeste is the mother of Joseline, one of Empowerment International´s

excellent photography students who´s work will be shown in the December

exhibition in San Juan del Sur. I was awe-struck by the refinement and grace

Maria-Celeste exuded in the face of, if not abject daunting poverty in her case

for there are significant classes of poverty among nicaraguan barrio poverty

I have learned & understood, certainly a standard of living I have never known.

Something in the essence of her being seemed to rise like the proverbial phoenix

from the ashes, untouched by the conditions metered upon her simple life.

explore 333

A big success by any standard both in and out of competition, the Lancia Stratos was developed as a homologation Special for European rallying. After production ceased it became a cult car and is now highly priced as the ‘modern classis' it is. Conceived strictly for rallying, the Lancia Stratos however makes an exciting road car, though it is very far from GT standards in both luxury and refinement.

The concept vehicle responsible for providing the inspiration for the Lancia Stratos Rally car is the Lancia (Bertone) Stratos. The Stratos featured a 1584 cc V4 DOHC with 115 bhp horsepower at 200 rpm. Designed by Marcello Gandini, the same designer responsible for the Lamborghini Countach and Lamborghini Miura, the Stratos concept was a development of the Bertone designed Alfa Romeo Carabo concept from 1968. The Carabo concept was also a Gandini creation.

First revealed at the Turin Motor Show in October of 1970, the Lancia Stratos HF prototype was a styling exercise for Bertone. A futuristic design, the Stratos featured a wedge shaped profile that stood just 33 inches from the ground. Since the vehicle was so low, conventional doors could not be used and instead one accessed the interior of the Stratos by a hinged windscreen. Drivers had to flip up the windscreen and walk into the vehicle. Once inside, visibility was quite restricted since the front windscreen was narrow. The cockpit of the Lancia Stratos was designed specifically for fast forest flying.

The body design was predictably minimal to hold down weight and bulk with its most distinctive features being semi-concealed A-pillars and a door beltline that sharply upswept to the top of the daylight opening. The shape of the resulting unbroken expanse of glass gave the tunnelback roof the appearance of a futuristic crash helmet.

The main body structure was steel, like the chassis, and weight-saving fiberglass was used for tilt-up nose and tail sections. A small box above and behind the powertrain was where cargo space was held. Bins were also molded into the interior door panels for storing helmets.

The same engine utilized on the Lancia 1600 HF Fulvia was used on the Bertone designed Lancia Stratos Zero prototype. A triangular shaped panel hinged upwards to allow access to the mid-mounted engine. Developed for rallying purposes, the legendary Lancia Stratos was unveiled in 1974. The production vehicle Stratos was powered by a 2.4 liter mid-mounted V6 from the Ferrari Dino.

Like no other Lancia before or after, the Lancia Stratos was a shock that left enthusiasts and rally fans breathless. For almost a decade the Stratos streaked across the rally landscape much like a brilliant comet, while discarding past principles, it also fearlessly represented something undeniably new. A phenomenal rally car, the Lancia Stratos set an example to every other car manufacturer in the world. The first viable purpose-built rally car ever built, the Stratos was probably the last purpose-built rally car.

Created by the Bertone coachbuilding company, the Stratos was both radical, yet fully functional. Fiorio realized that for Lancia to continue to compete in the World Rally Championship, the Fulvia HF would need a much more powerful replacement. A the time, four-wheel drive was not an option, so a mid-engined configuration seemed ideal. To reinforce Fiori's convictions, the Bertone show car was featured soon after with a mid-engine Fulvia V4.

The introduction of the Ford mid-engine purpose-built GT70 rally car at the 1971Brussels Motor Show was what truly inspired the impetus behind the Stratos proect. It was after this appearance that Lancia's general manager, Pierugo Gobbato contacted Nuccio Bertone. Though the GT70 was actually never put in production by Ford, it was this that sparked the inspiration of the Lancia Stratos.

As always, there was a minimum production requirement, 500 units for the Lancia Stratos. This was an awkward figure that would necessitate funds for at least semi-permanent tooling as well as design and development. This was a job well suited to the Italian industry. Fiorio masterminded the project, and he envisioned a short, wide coupe with transverse midships drivetrain. Bertone was immediately contracted to style the vehicle and built its unit body/chassis structure.

43 months passed in between the time of conception to the actual birth of the Lancia Stratos. The vehicle was developed to take over and make Lancia the outright world rally champ. The Stratos was both short and wide, with a wheelbase of only 7 feet 1.8 inches, the width of the vehicle was only 5 feet 8.9 inches. Weighing only 1958 lbs, the Stratos was only 3 feet 7.9 inches high. Able to easily exceed 140 mph, the Stratos featured 190 horsepower in roadgoing trim.

Having studied every possible powerteam in the Fiat/Lancia group, Fiorio secured 2.4 liter V-6s and 5-speed transaxles from Ferrari, which was an ideal chouse as they'd be installed exactly as the Dino 246. All-independent suspension, rack-and-pinion steering and four-wheel disc brakes were all specifically designed for the Lancia Stratos.

After 1978 the Stratos was officially retired and no longer was officially entered by the Lancia factory, the vehicle was still going strong. The Lancia team was headed by by Sandro Munari who won its first event as a homologated entry in October of 1974. Mun ari entered alone 40 events with the Lancia Stratos and won 14. The Stratos also won the World Rally Championship in 1974, 1975, and 1976 and remained competitive for another four years. The final major win came in 1979 when a Lancia Stratos entered by the Monaco importer won the famed Monte Carlo Rally. Finally the factory retired the Stratos.

By Jessica Donaldson

[Text from ConceptCarz.com]

www.conceptcarz.com/z21737/Lancia-Stratos-HF.aspx

This Lego miniland-scale Lancia Stratos Rally Racer has been created for Flickr LUGNuts' 100th Build Challenge - our Centenary, titled 'One Hundred Ways to Win!'. In this challenge, a list of 100 challenges is available, kept by the admins. Individuals wishing to enter, request a number from 1-100 (so long as it has not already been requested) - and the admins assign the individual build challenge associated with that number.

In the case of admins entering models - they request that a general LUGNuts member assigns a number - and the admin must build to that challenge number.

In this case, the number 78 was chosen for me, corresponding to the challenge: '78.Any vehicle from the year you were born'. I was born in 1972, the year that the first Stratos rally cars were built, entering in the Rally Championship as Group 5 (un-homologated) entries.

The road cars required to homologate for Group 4 were built through 1973 to 1978.

As can be seen in some of the images here, not only does the car open and close (a real challenge when you look at the chassis), but it also uses the Lego Group RC Rollerskate - so it can zoom around under its own power.

bedrooms

living room on a budget

Floral textiles, classic silhouettes and calm hues lend a living room the genteel refinement of a ladies' club. Grand total for this room = $2,544!

Create a stunning paneled effect by hanging simple mirrors edge to edge on a wall. We put four between the windows.

Sofa: "Karlstad" $430 and Rattan chair "Agen" $34.99 ikea.com for stores sofa and chaise slipcover

Fabric: Cotton chino twill in Pink $8.95/yard, B&J Fabrics (212) 354-8150

Side tables: Carved mango wood $169.95 each (painted), zgallerie.com for stores

Floral pillow fabric: Isaac Mizrahi linen "Super Chintz" about $152/yard, S. Harris (800) 999-5600 for information

Console table: "Farmhouse" $195 and bookshelves Five-tier $85.99 each, stacksandstacks.com

Floor lamp: 60" metal $59.99 lampsplus.com

Framed mirrors: EconoWood 20" x 30" white oak #20EW from $56.68 each, www.pictureframes.com

Rug: 8' x 10' jute $299 ABC Carpet & Home (212) 473-3000

Photo by Melanie Acevedo

August 2008

Jewelry is from Opera on the 5th Aurelia. This may be her last appearance in my collection. I decided to sell her after there was a new Vanessa in town.

Out of This World Poppy Parker is wearing dress + coat by Squish Tish

BFMC earrings

Refinement Vanessa bag

The Vogue shoes

+++ DISCLAIMER +++

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

Some background:

Cunliffe-Owen Aircraft was a British aircraft manufacturer of the World War II era. They were primarily a repair and overhaul shop, but also a construction shop for other companies' designs, notably the Supermarine Seafire. But the company also undertook contract work for the Air Ministry, Lord Rootes, Shorts and Armstrong Siddeley worth £1.5 million, and undertook design and development work.

The Marlin’s FAA front line career ended in late 1954 with the introduction of the Fairey Gannet. By that time, Cunliffe-Owen had already been, due to huge losses in the Post-War civil aviation market, dissolved since 1947.

General characteristics:

Crew: two

Length: 39 ft 7 1/2 in (12.10 m)

Wingspan: 47 ft 3 in (14.40 m)

Height: 13 ft 4.5 in (4.07 m)

Wing area: 35.40 m² (381.041 ft²)

Empty weight: 10,547 lb (4,794 kg)

Max. takeoff weight: 16,616 lb (7,553 kg)

Fuel capacity: 409 imperial gallons (1,860 l; 491 US gal)

Powerplant:

1× Bristol Centaurus 57 18-cylinder radial engine, 2,825 hp (2,107 kW)

driving a 5-bladed Rotol VH 65, 14 ft (4.3 m) diameter propeller

Performance:

Maximum speed: 540 km/h (293 kn, 335 mph)

Maximum range: 900 mi (783 nmi, 1,450 km)

Combat radius: 349 mi (303 nmi; 562 km)

Service ceiling: 31,600 ft (9,630 m)

Rate of climb: 2,600 ft/min (13 m/s)

Time to altitude: 7.75 minutes to 10,000 feet (3,048 m)

Wing loading: 158.9 kg/m² (32.5 lb/ft²)

Power/mass: 240 W/kg (0.147 hp/lb)

Armament:

2× 20 mm (0.79 in) Hispano autocannon in the outer wings

2× 0.50 in (12.7 mm) M2 Browning machine guns in a dorsal, remote-controlled

Frazer-Nash FN95 barbette

1× 1,850 lb (840 kg) 18” Mk. VXII torpedo or 2 × 2,000 lb (910 kg) bombs under the fuselage,

or up to 2.000 lb of bombs in an internal bomb bay

Alternatively, up to 16× RP-3 rocket projectiles, bombs or 2× 90 gal (408 l) drop tanks

on underwing hardpoints; total ordnance load of up to 3,000 lb (1,361 kg)

The kit and its assembly:

This converted Aichi B7A2 was inspired by a whiffy Royal Navy skin for this type for a flight simulator, found at warthunder.com and created/posted by a user called byacki. The aircraft was otherwise unchanged, but the result looked so convincing that I earmarked the idea for a hardware build.

This time has come now: the 2018 “RAF Centenary” Group Build at whatifmodelers.com was a neat occasion to tackle the project, since I already had stashed away a Fujimi kit for this build.

In fact, Cunliffe-Owen submitted a competitive proposal for the Spearfish’s requirement, but details concerning the respective aircraft remain obscure, so that the B7A2 fills this gap well. The Fujimi kit itself is VERY nice, well detailed and goes together like a charm. In order to stay true to the original inspiration I did not change much, but the Fairey Spearfish of the late WWII era had some influence.

First of all, the engine was changed into a Bristol Centaurus – a very simple rhinoplasty, since the B7A2’s front fuselage diameter turned out to be ideal for this swap! The original nose was cut off just in front of the exhaust stubs, and a Centaurus from a PM Model Sea Fury was mounted in its place – even though it had to be “squashed” a little in order to fit properly (achieved through the use of a screw clamp and 2C putty inside to stabilize the new shape). Inside of the new cowling, a styrene tube was added for the new five blade propeller, also form a Sea Fury, which received a metal axis.

Another addition is the gun barbette, a common feature among Admiralty Specification O.5/43 designs (the Fairey Spearfish carried one, too). I was lucky to find a leftover chin turret from an Airfix B-17G in the pile, which fitted well in shape and size. The casing ejector openings were faired over and then the turret was mounted upside down in a round opening at the end of the cockpit section. Cockpit floor and canopy were modified accordingly and the result does not look bad at all! Inside of the cockpit the OOB bucket seats were replaced by bigger alternatives – the Fujimi parts look like 1:100 scale!

The OOB torpedo was retained and I added some unguided 3” rockets under the aircraft’s wings, left over from my recent Sea Hawk trainer build. Another addition is a radar pod under the port side wing (a modified cardboard drop tank from a WWII P-51D), and the main wheels were changed – from a Matchbox Me 262, because they feature more details than the OOB parts. The tail wheel was modified, too: instead of the B7A2’s fixed wheel, I implanted the front wheel from a PZL Iskra and added covers, for a retractable arrangement.

Painting and markings:

Well, a conservative choice, and since I wanted to stay true to the original CG design, I stuck to classic RN colors in the form of Extra Dark Sea Grey (Humbrol 123) for the upper surfaces and Sky (Tamiya XF-76 IJN Green Grey, which is a very similar, yet slightly darker tone) for the undersides, with a high waterline. A personal twist came through Korean War era “invasion stripes”, which were carried for easy identification esp. by propeller-driven aircraft in order to avoid friendly AA fire from the ground. The stripes were created after basic painting with white and black generic decal sheet material (TL Modellbau): large white bands (32 mm wide) as foundation, with single black bands (each 6.4 mm wide) added on top. Application around the radar pod and on the slightly tapered fuselage was a bit tricky, but IMHO still easier than trying to mask and paint the stripes.

Other markings were puzzled together from a PrintScale Fairey Firefly sheet, from different Korean War era aircraft.

As per usual, the kit received a light black ink wash in order to emphasize the engraved surface details, and then the panels were highlighted through dry-brushing. Lightly chipped paint was simulated with dry-brushed silver and light grey, and gun and exhaust soot were created with grinded graphite.

Finally, everything was sealed under a mix of Italeri’s matt and semi-gloss acrylic varnishes, for a sheen finish.

I am astonished how natural the Japanese B7A2 from late WWII looks in Royal Navy colors – even without my minor modifications the aircraft would look very convincing, even as a post-war design. It’s really an elegant machine, despite its bulk and size!

The Centaurus with its five blade propeller, the missiles under the wings and the gun barbette just add some more muscle and post-war credibility. I could also imagine this elegant aircraft in WWII Luftwaffe markings, maybe with an engine swap (BMW 801 or Jumo 213 power egg), too?

London Born California Based Creative Art Designer Octavious Sage is based out of Lake Merritt, Oakland, California

+++ DISCLAIMER +++

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

Some background:

Cunliffe-Owen Aircraft was a British aircraft manufacturer of the World War II era. They were primarily a repair and overhaul shop, but also a construction shop for other companies' designs, notably the Supermarine Seafire. But the company also undertook contract work for the Air Ministry, Lord Rootes, Shorts and Armstrong Siddeley worth £1.5 million, and undertook design and development work.

The Marlin’s FAA front line career ended in late 1954 with the introduction of the Fairey Gannet. By that time, Cunliffe-Owen had already been, due to huge losses in the Post-War civil aviation market, dissolved since 1947.

General characteristics:

Crew: two

Length: 39 ft 7 1/2 in (12.10 m)

Wingspan: 47 ft 3 in (14.40 m)

Height: 13 ft 4.5 in (4.07 m)

Wing area: 35.40 m² (381.041 ft²)

Empty weight: 10,547 lb (4,794 kg)

Max. takeoff weight: 16,616 lb (7,553 kg)

Fuel capacity: 409 imperial gallons (1,860 l; 491 US gal)

Powerplant:

1× Bristol Centaurus 57 18-cylinder radial engine, 2,825 hp (2,107 kW)

driving a 5-bladed Rotol VH 65, 14 ft (4.3 m) diameter propeller

Performance:

Maximum speed: 540 km/h (293 kn, 335 mph)

Maximum range: 900 mi (783 nmi, 1,450 km)

Combat radius: 349 mi (303 nmi; 562 km)

Service ceiling: 31,600 ft (9,630 m)

Rate of climb: 2,600 ft/min (13 m/s)

Time to altitude: 7.75 minutes to 10,000 feet (3,048 m)

Wing loading: 158.9 kg/m² (32.5 lb/ft²)

Power/mass: 240 W/kg (0.147 hp/lb)

Armament:

2× 20 mm (0.79 in) Hispano autocannon in the outer wings

2× 0.50 in (12.7 mm) M2 Browning machine guns in a dorsal, remote-controlled

Frazer-Nash FN95 barbette

1× 1,850 lb (840 kg) 18” Mk. VXII torpedo or 2 × 2,000 lb (910 kg) bombs under the fuselage,

or up to 2.000 lb of bombs in an internal bomb bay

Alternatively, up to 16× RP-3 rocket projectiles, bombs or 2× 90 gal (408 l) drop tanks

on underwing hardpoints; total ordnance load of up to 3,000 lb (1,361 kg)

The kit and its assembly:

This converted Aichi B7A2 was inspired by a whiffy Royal Navy skin for this type for a flight simulator, found at warthunder.com and created/posted by a user called byacki. The aircraft was otherwise unchanged, but the result looked so convincing that I earmarked the idea for a hardware build.

This time has come now: the 2018 “RAF Centenary” Group Build at whatifmodelers.com was a neat occasion to tackle the project, since I already had stashed away a Fujimi kit for this build.

In fact, Cunliffe-Owen submitted a competitive proposal for the Spearfish’s requirement, but details concerning the respective aircraft remain obscure, so that the B7A2 fills this gap well. The Fujimi kit itself is VERY nice, well detailed and goes together like a charm. In order to stay true to the original inspiration I did not change much, but the Fairey Spearfish of the late WWII era had some influence.

First of all, the engine was changed into a Bristol Centaurus – a very simple rhinoplasty, since the B7A2’s front fuselage diameter turned out to be ideal for this swap! The original nose was cut off just in front of the exhaust stubs, and a Centaurus from a PM Model Sea Fury was mounted in its place – even though it had to be “squashed” a little in order to fit properly (achieved through the use of a screw clamp and 2C putty inside to stabilize the new shape). Inside of the new cowling, a styrene tube was added for the new five blade propeller, also form a Sea Fury, which received a metal axis.

Another addition is the gun barbette, a common feature among Admiralty Specification O.5/43 designs (the Fairey Spearfish carried one, too). I was lucky to find a leftover chin turret from an Airfix B-17G in the pile, which fitted well in shape and size. The casing ejector openings were faired over and then the turret was mounted upside down in a round opening at the end of the cockpit section. Cockpit floor and canopy were modified accordingly and the result does not look bad at all! Inside of the cockpit the OOB bucket seats were replaced by bigger alternatives – the Fujimi parts look like 1:100 scale!

The OOB torpedo was retained and I added some unguided 3” rockets under the aircraft’s wings, left over from my recent Sea Hawk trainer build. Another addition is a radar pod under the port side wing (a modified cardboard drop tank from a WWII P-51D), and the main wheels were changed – from a Matchbox Me 262, because they feature more details than the OOB parts. The tail wheel was modified, too: instead of the B7A2’s fixed wheel, I implanted the front wheel from a PZL Iskra and added covers, for a retractable arrangement.

Painting and markings:

Well, a conservative choice, and since I wanted to stay true to the original CG design, I stuck to classic RN colors in the form of Extra Dark Sea Grey (Humbrol 123) for the upper surfaces and Sky (Tamiya XF-76 IJN Green Grey, which is a very similar, yet slightly darker tone) for the undersides, with a high waterline. A personal twist came through Korean War era “invasion stripes”, which were carried for easy identification esp. by propeller-driven aircraft in order to avoid friendly AA fire from the ground. The stripes were created after basic painting with white and black generic decal sheet material (TL Modellbau): large white bands (32 mm wide) as foundation, with single black bands (each 6.4 mm wide) added on top. Application around the radar pod and on the slightly tapered fuselage was a bit tricky, but IMHO still easier than trying to mask and paint the stripes.

Other markings were puzzled together from a PrintScale Fairey Firefly sheet, from different Korean War era aircraft.

As per usual, the kit received a light black ink wash in order to emphasize the engraved surface details, and then the panels were highlighted through dry-brushing. Lightly chipped paint was simulated with dry-brushed silver and light grey, and gun and exhaust soot were created with grinded graphite.

Finally, everything was sealed under a mix of Italeri’s matt and semi-gloss acrylic varnishes, for a sheen finish.

I am astonished how natural the Japanese B7A2 from late WWII looks in Royal Navy colors – even without my minor modifications the aircraft would look very convincing, even as a post-war design. It’s really an elegant machine, despite its bulk and size!

The Centaurus with its five blade propeller, the missiles under the wings and the gun barbette just add some more muscle and post-war credibility. I could also imagine this elegant aircraft in WWII Luftwaffe markings, maybe with an engine swap (BMW 801 or Jumo 213 power egg), too?

+++ DISCLAIMER +++

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

It took China long way to develop and produce a true supersonic fighter aircraft: in March, 1964, Shenyang Aircraft Factory began the first domestic production of the J-7 jet fighter. However, the mass production of the aircraft, which had been developed through Soviet help, license production and reverse-engineering, was severely hindered by an unexpected problem—the Cultural Revolution. This incident and its consequences resulted in poor initial quality and slow progress.

Production was still continuing in small numbers in late 2016, but the number of built specimen is uncertain. About 150 J-7DH are supposed to be in active service, mostly with PLANAF Northern and East Fleet units. Unlike many former J-7 variants (including its ancestor, the PLAAF's more or less stillborn C and D variants), the J-7DH was not offered for export.

General characteristics:

Crew: 1

Length: 14.61 m (47 ft 10½ in)

15.69 m (51 ft 5 in) with pitot

Wingspan: 7,41 m (24 ft 3½ in)

Height: 4.78 m (15 ft 8½ in)

Wing area: 28.88 m² (309.8 ft²)

Aspect ratio: 2.8:1

Empty weight: 5,892 kg (12.977 lb)

Loaded weight: 8,240 kg (18.150 lb)

Max. take-off weight: 9,800 kg (21.585 lb)

Powerplant:

1× Guizhou WS-13 turbofan with a dry thrust of 51.2 kN (11,510 lbf)

and 84.6 kN (19,000 lbf) with afterburner

Performance

Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)

Stall speed: 210 km/h (114 knots, 131 mph) IAS

Combat radius: 1.050 km (568 nmi, 652 mi) (air superiority, two AAMs and three drop tanks)

Ferry range: 2,500 km (1.350 nmi, 1.550 mi)

Service ceiling: 17,500 m (57.420 ft)

Rate of climb: 195 m/s (38.386 ft/min)

Armament:

1× Type 30-I 30mm (1.18") cannon with 150 rounds in the port forward fuselage;

7× hardpoints (6× under-wing, 1× centerline under-fuselage) with a capacity of 3,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber can be carried

The kit and its assembly:

Another Chinese whif, and again a MiG-21 derivative - a fruitful source of inspiration. The J-7DH is not based ona real world project, though, but was rather inspired by an article about a Chinese 2020 update for the MiG-21 from Japan, including some drawings and artwork.

The latter depicted a late MiG-21 with some minor mods, but also some characteristic F-16 parts like the chines and the BWB flanks grafted to it - and it looked good!

Since I recently butchered an Intech F-16 for my Academy T-50 conversion (primariliy donation the whole landing gear, including the wells), I had a donor kit at ahnd, and I also found a Mastercraft MiG-21MF in my stash without a true plan. So I combined both for "something Chinese"...

The build was pretty starightforward - except for the fact that the Intech F-16 is a rather clumsy affair (donating the fin and the fuselage flanks) and that no part from the Mastercraft MiG-21 matches with another one! Lots of improvisation and mods were necessary.

On the other side, the F-16 parts were just glued onto the MiG-21 fuselage and blended into one with putty (in several layers, though).

The fin was taken wholesale from the F-16, but clipped by about 5mm at the top. I originally wanted to use F-16 wings with wing tip launch rails and the stabilizers, too, but when I held them to the model it looked wacky - so I reverted to the Fishbed parts. The stabilizers were taken OOB, but the wing span was reduced at the roots, so that the original MiG-21 wing span was retained. Only the landing gear wells had to be adapted accordingly, but that was easier than expected and the result looks very organic.

With more wing area, I added a third pair of hardpoints under the wing roots, and I kept the gun under the cockpit in the LERX. That offered room inside of the fuselage, filled by a laser rangefinder in a canoe fairing where the original gun used to be.

On the tail, a new jet nozzle was mounted, on the fuselage some air scoops and antennae were added an an IR sensor on the nose. A new seat was used in the cockpit instead of the poor L-shaped OOB thing. The PL-2 & -11 ordnance consists of simple AIM-9Bs and slightly modified AIM-120, plus some launch rails from the scrap box.

Paintings and markings:

Modern Chinese military aircraft are hardly benchmarks for creative paint schemes - and the only "realistic" option in this case would have been a uniform grey livery. The original J-7C PLAAF night fighters carried a high contrast sand/dark green/light blue livery, similar to the MiG-21 export scheme (a.k.a. "Pumpkin"), but I found the latter not suitabel for a naval operator.

I eventually found a compromise, using one of the J-7C schemes as pattern but using grey tones instead - still not very colorful, but the "clover" patterns would help disrupt the aircraft's outlines and support the modern look and feel of this whif.

Basic colors are Humbrol 140 (Dark Gull Grey, FS 36231) and 165 (RAF Medium Sea Grey) from above, plus 122 (IAF Pale Blue, FS 35622) on the undersides. With the dark grey pattern placed with no direct connection to the Pale Blue undersides, there's even a blending effect between the tones - not spectacular, but IMHO effective.

The cockpit interior became pale teal (a mix of Soviet Cockpit Blue and white), while the landing gear wells were painted with a mix of Humbrol 56, 119 and 225 - for a yellow-ish, dull metallic brown. The wheel discs became bright green (Humbrol 131), and any di-electric panel and the radome became deep green (Humbrol 2).

The decals come from a Begemot MiG-21 sheet (roundels), while the tactical 5-digit code comes from an Airfix 1:72 B-17 sheet. The yellow code is a bit unusual, as well as its place on the fin, but both occur on Chinese fighters.

The code itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic.

The kit received a light black ink wash and some dry painting with lighter blue-grey shades, but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine. Since the kits both did not feature much surface details, and a lot of the few OOB details got lost during the PSR process for the BWB wing sections, I painted some details and panel lines with a soft pencil - a compromise, though. Finally, the kit was sealed with matt acrylic varnish.

The result is a pretty subtle whif, and with the F-16 parts added the result even looks very conclusive! From above, the extra fuselage width makes the Fishbed look very massive, which is underlined by the extended stabilizer span. But I think that retailing the original MiG-21 delta wing was a good decision, because it helps retaining the Fishbed's "fast" look.

I am just not 100% happy with the finish - but for the crappy kits I used as basis it's O.K.

Oil refinery factory fplant or chamical and power energy industrial.

+++ DISCLAIMER +++

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

Some background:

The Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.

Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.

By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.

General characteristics:

Crew: two

Length: 8.92m (29 ft 3 in)

Wingspan: 34 ft 0 in (10.36 m)

Height: 11 ft 9 in (3.58 m)

Wing area: 317 ft² (29.4 m²)

Empty weight: 1,295 kg (2,855 lb)

Max takeoff weight: 1,700 kg (3,748 lb)

Powerplant:

1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)

Performance:

Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)

Cruise speed: 345 km/h (214 mph; 186 kn)

Stall speed: 60 mph (52 knots, 96 km/h)

Range: 373 mi (600 km; 324 nmi)

Endurance: 2 hours

Service ceiling: 10,600 m (34,800 ft)

Rate of climb: 2,982 ft/min (15.15 m/s)

Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds

Armament:

4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage

Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings

The kit and its assembly:

The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.

The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.

The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.

The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).

The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.

The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.

The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.

Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.

Painting and markings:

The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.

Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.

As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…

Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.

The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.

Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.

Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.

n° 57 of 100

Chassis n° ZA9H12EAYYSF76077

Bonhams

Les Grandes Marques du Monde à Paris

The Grand Palais Éphémère

Place Joffre

Parijs - Paris

Frankrijk - France

February 2023

Estimated : € 2.300.000 - 2.700.000

Unsold

"It's a car with its own personality – or rather its own split personality. Beyond refinement and ease of use is a demon with one eye open waiting for its turn, a car that is scintillatingly fast and hugely demanding, a car that can thrill and terrify in equal measure, a supercar in every sense of the word." – evo.

One of the more fascinating aspects of the modern motoring scene is the recent emergence of the small independent supercar manufacturer, many of which have gone from relative obscurity to the status of household names in just a few short years, usually on the back of a product range offering hitherto almost unimaginable levels of performance. Whereas at one time established manufacturers such as Ferrari, Lamborghini, Porsche, Mercedes-Benz, and Aston Martin only had one another to worry about, they now have to contend with the likes of Koenigsegg, De Tomaso and, of course, Pagani.

Succeeding the Zonda, Pagani's latest offering is the Huayra, a mid-engined coupé hailed by Top Gear magazine as 'Hypercar of the Year 2012'. Horacio Pagani was no newcomer to the world of automotive engineering when he built the first Zonda in 1999, for the Argentine-born industrial design graduate had been working with Lamborghini since the mid-1980s, developing the Countach and Diablo road cars and assisting with the Italian manufacturer's Formula 1 engine programme. The Zonda C12 debuted in coupé form at the 1999 Geneva Motor Show, its maker freely acknowledging that its styling had been inspired by the Mercedes-Benz Group C 'Silver Arrow' sports-racers. Mercedes-Benz's influence was more than just skin deep, for the German firm's AMG performance division was responsible for the Zonda's 6.0-litre V12 engine, which was mounted longitudinally amidships in the predominantly carbon fibre body tub. With some 408 horsepower on tap, the C12 was always going to be quick, but performance figures of 0-60mph in 4.2 seconds and 0-100 in 8.2 were simply staggering plus, of course, that all important 200mph (or thereabouts) top speed.

Seemingly small from the outside yet endowed with a comfortable cabin, the C12 provided the basis for a host of derivatives, which emerged from Pagani's factory at San Cesario sul Panaro near Modena (where else?) in strictly limited numbers over the next 11 years.

Its successor, the Huayra - named after a wind god of the South American Quechua people - made its public debut at the Geneva Motor Show in March 2011. Once again, AMG provided the engine, on this occasion a twin-turbocharged 6.0-litre V12 producing a mighty 620bhp and a titanic 737lb/ft of torque. A mind-boggling top speed of around 238mph (383km/h) was claimed for the Huayra, with the 0-60mph dash accomplished in a neck-snapping 2.8 seconds. Power reaches the road via a transversely-mounted Xtrac seven-speed sequential semi-automatic transmission, while the stupendous performance is kept in check by Brembo carbon ceramic disc brakes featuring four-pot callipers all round. It is worthwhile noting the Horacio Pagani chose to stick with a conventional single clutch rather than the more complex and heavier twin-clutch technology favoured by some rivals, reasoning that the considerable saving in weight would result in a better balanced car.

The most significant difference between the Huayra and its Zonda predecessor is the former's use of active aerodynamic aids. These consist of variable front ride height and moveable spoilers at front and rear, their deployment being managed by a dedicated control unit to minimise drag or maximise downforce as required. Under hard braking, the rear spoiler flaps function as an air brake, the front ride height being increased at the same time to counteract weight transfer to the front wheels and thus maintain stability. Cleverly, this system is also used to limit body roll when cornering by raising the 'inside' flaps to generate increased down force on that side only. As had been the case with the Zonda, an open roadster and various limited edition variants followed.

Testing a Huayra in 2013, evo magazine found that even before the ignition key had been turned, the experience of just sitting in the cockpit was almost overwhelming. 'Inside a leather, carbonfibre and aluminium cocoon of obsession, every detail agonised over and beautifully thought out, every material used sympathetically and expertly integrated into this stunning sculpture. The driving position is superb.' Needless to say, the driving experience did not disappoint: 'the engine is just phenomenally powerful and when it's delivering the full 737lb/ft of torque, it scrambles your brain. This is the sort of performance that doesn't dull even with prolonged exposure'.

Pagani's agreement with AMG limited the supply of engines to 100 units, restricting production to only 100 cars, thus guaranteeing the Huayra's instant exclusivity and future collectible status.

Number '57' of the 100 Huayra Roadsters built, this car was delivered new to Denmark and registered in July 2020. The car had been ordered and specified by a Danish car collector, who took delivery but never drove it. He then sold the car to another Danish collector, in whose hands it has covered fewer than 800 kilometres.

RUBBERBANDance Group

rubberbandance.com/

HISTORY RBDG

Company Overview

Victor Quijada, choreographer and performer, founded the RUBBERBANDance Group (RBDG) to make it a channel for expressing and disseminating its choreographic identity by creating, among others, evocative and unpublished plays. The company, co-directed by interpreter Anne Plamondon, is responsible for creating, producing and distributing Quijada's work nationally and internationally in the form of shows, films and special events.

With RBDG, Victor Quijada reconciles the aesthetics of the two poles of the dance that inhabit him: the spontaneity, the risk, the temerity and the audacity of his youth, while he was bathing in hip-hop culture and refinement and the choreographic maturity of ballet and contemporary dance, where he evolved as a professional dancer. The revolutionary character of the aesthetic movement created by Quijada is illustrated by a dozen years of research that have led to more than twelve creations. Impressed by the inherent independence of the street and a keen sense of direction, Quijada's choreographies explore human relationships by capturing the ardor of obsession, the brutality of violence, the delicacy of tenderness , comedy and tragedy, not forgetting sincerity and courage.

Carrying the sensibility of street dancers, Victor Quijada seeks ways to integrate the spontaneity of hip-hop circles into the stage. He has explored various forums, made spontaneous representations and knocked down barriers between performers and the public in innumerable ways. All this with the same objective: to get rid of the format of the usual representations so that the public experiences the dance actively, rather than passively.

In addition to their stage and film creations, Victor Quijada and Anne Plamondon have developed a training program to prepare professional dancers for the demands of Quijada's choreographies. This program introduces the dancers to a hybrid movement influenced by the vocabularies of urban and contemporary dances, with emphasis on interpretation, decision-making, the use of rhythmic variations and accompaniment. Workshops, lecture-demonstrations, question and answer sessions and school performances are also regularly offered as part of the tours.

RBDG also helps young choreographers who want to express their own voice. The Post Hip Hop Project, born in 2009 at the Cinquième Salle, invites young artists to work their creations under the mentorship of Victor Quijada and then present them to the public.

Company History

Founded in Montreal in 2002, the company immediately delighted the public and critics with three creations presented at Espace Tangente over two seasons. At the same time, the company participates in mixed programs and organizes parties throughout the city to present smaller pieces. Tender Loving Care and Hasta La Próxima share a place in the top five dance productions of the newspaper Le Devoir, while Elastic Perspective begins in 2003 a series of more than 100 performances after winning the RIDEAU Prize at Festival Vue on the Relève. The RUBBERBANDance Group then obtains a residence at Usine C for the 2003-2004 season. The play Slicing Static was created, and later named the best dance production in 2004 by the Hour newspaper.

In 2005, Anne Plamondon joined Quijada as artistic director to assist with strategic planning. A second residency at Usine C was granted to them in 2006, followed by a four-year residency at Place des Arts. During this period, four new pieces were created, thanks to the support of multiple partners: Loan Sharking and AV Input / Output in 2008, Punto Ciego in 2009 and Gravity of Center in 2011.

RBDG also co-produced five films choreographed by Victor Quijada. The choreographer goes so far as to realize two: Secret Service and Small Explosions That Are Yours to Keep. Hasta La Próxima, shot in 2003, is a finalist in the short film category at the American Choreography Awards.

Now well established, the company embodies Canadian artistic innovation in the United States, Europe, Mexico and Japan. RBDG is at the forefront of the Montreal contemporary dance community and is recognized internationally for its unique vision of this form of dance.

In terms of peer recognition, Quijada received the Choreography Fellowship from the Princess Grace Foundation (USA), the Peter Darrell Choreography Award (England), the Bonnie Bird North American Award (England), the Choreography Media Honors (US) in addition to a second PGF award with the 2016 Work in Progress Residency Award.

+++ DISCLAIMER +++

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

Some background:

The Gloster Glaive was basically a modernized and re-engined variant of the successful, British-built Gloster Gladiator (or Gloster SS.37), the RAF’s final biplane fighter to enter service. The Gladiator was not only widely used by the RAF at the dawn of WWII and in almost every theatre of operations, but also by many other nations. Operators included Norway, Belgium, Sweden, Greece, Latvia, Lithuania or Nationalist China, and while the RAF already opted for more modern monoplanes, Gloster saw the opportunity to sell an updated Gladiator to countries which were not as progressive.

Originally designated Gladiator Mk. IV, the machine received many aerodynamic refinements and the motor was changed from a draggy radial to a liquid-cooled inline engine. The latter was the new Rolls Royce Peregrine, a development of the Kestrel. It was, in its original form, a 21-litre (1,300 cu in) liquid-cooled V-12 aero engine ), delivering 885-horsepower (660 kW). The engine was housed under a streamlined cowling, driving a three blade metal propeller, and was coupled with a ventral radiator bath, reminiscent of the Hawker Fury biplane’s arrangement.

By April 1941, however, lack of spares and attrition had forced the Hellenic Air Force to merge the surviving seven Glaives with five leftover PZL.24s into one understrength squadron supported by five Gloster Gladiators Mk I & II and the two surviving MB.151s. These fought hopelessly against the Luftwaffe onslaught, and most aircraft were eventually lost on the ground. None of the Hellenic Gloster Glaives survived the conflict.

General characteristics:

Crew: two

Length: 8.92m (29 ft 3 in)

Wingspan: 34 ft 0 in (10.36 m)

Height: 11 ft 9 in (3.58 m)

Wing area: 317 ft² (29.4 m²)

Empty weight: 1,295 kg (2,855 lb)

Max takeoff weight: 1,700 kg (3,748 lb)

Powerplant:

1× Rolls Royce Peregrine II liquid-cooled V12 inline engine, rated at 940 hp (700 kw)

Performance:

Maximum speed: 405 km/h (252 mph; 219 kn) at 4,400 m (14,436 ft)

Cruise speed: 345 km/h (214 mph; 186 kn)

Stall speed: 60 mph (52 knots, 96 km/h)

Range: 373 mi (600 km; 324 nmi)

Endurance: 2 hours

Service ceiling: 10,600 m (34,800 ft)

Rate of climb: 2,982 ft/min (15.15 m/s)

Time to altitude: 10.000 ft (3.050 m) in 3 minutes 20 seconds

Armament:

4× 0.303 calibre (7.7 mm) M1919 Browning machine guns in the fuselage

Provisions for 6× 10 kg (22 lb) or 4x 20 kg (44 lb) bombs under the lower wings

The kit and its assembly:

The fictional Gloster Glaive started quite simple with the idea of replacing the Gladiator’s radial with an inline engine. But this soon did not appear enough for an update – the Peregrine hardly delivered much more power than the former Mercury, so I considered some structural updates, too. Most of them comprised the replacement of former fabric-covered structures, and this led conceptually to a kitbash with only some Gladiator fuselage and tail parts left.

The basis is (once more) the very nice Matchbox Gloster Gladiator, but it was heavily modified. As an initial step, fuselage, fin and stabilizers (all OOB parts) lost their rib-and-fabric structure, simply sanded away. A minor detail, but it changes the overall look of the aircraft a lot, making it appear much more modern.

The fuselage was left without the OOB radial, and instead a leftover Merlin front end from an Airfix Hurricane (ca. 1cm long, left over from one of my first whif builds ever, a Hurricane with a radial engine!) was added. The lines match pretty well: the side profile looks sleek, if not elegant, but the Gladiator fuselage turned out to be wider than expected. Some major body work/PSR was necessary to integrate the new nose, but the result looks very good.

The liquid-cooled engine necessitated a radiator somewhere on the airframe…! Since I wanted the nose to remain slim and streamlined I eventually placed the radiator bath under the fuselage, much like the arrangement of the Hawker Fury biplane. The radiator itself comes from a late Spitfire (FROG kit).

The exhaust was taken from the Hurricane kit, too, and matching slits dug into the putty nose to take them. The three blade propeller is a mash-up, too: the spinner belongs, IIRC, to an early Spitfire (left over from an AZ Models kit) while the blades came from a damaged Matchbox Brewster Buffalo.

The Gladiator’s fuselage flank machine guns were kept and their “bullet channels” extrapolated along the new cowling, running under the new exhaust pipes. Another pair of machine guns were placed on top of the engine – for these, openings were carved into the upper hull and small fairings (similar to the Browning guns in the flanks) added. This arrangement appeared plausible to me, since the Gladiator’s oil cooler was not necessary anymore and the new lower wings (see below) were not big enough anymore to take the Gladiator’s underwing guns. Four MGs in the fuselage appears massive – but there were other types with such an arrangement, e.g. the Avia B-534 with four guns in the flanks and an inline engine.

The wings are complete replacements: the upper wing comes from a Heller Curtiss SBC4, while the lower wings as well as the spats (on shortened OOB Gladiator struts) come from an ICM Polikarpov I-153. All struts were scratched. Once the lower wings were in place and the relative position of the upper wing clear, the outer struts were carved from 1mm styrene sheet, using the I-153 design as benchmark. These were glued to the lower wing first, and, once totally dry after 24h, the upper wing was simply glued onto the top and the wing position adjusted. This was left to dry another 24h, and as a final step the four struts above the cowling (using the OOB struts, but as single parts and trimmed for proper fit) were placed. This way, a stable connection is guaranteed – and the result is surprisingly sturdy.

Rigging was done with heated sprue material – my personal favorite for this delicate task, and executed before painting the kit started so that the glue could cure and bond well.

Painting and markings:

The reason why this aircraft ended in Greek service is a color photograph of a crashed Hellenic Bloch M.B. 152 (coded ‘D 177’, to be specific). I guess that the picture was post-colored, though, because the aircraft of French origin sports rather weird colors: the picture shows a two-tone scheme in a deep, rather reddish chestnut brown and a light green that almost looks like teal. Unique, to say the least... Underside colors couldn’t be identified with certainty in the picture, but appeared like a pale but not too light blue grey.

Anyway, I assume that these colors are pure fiction and exaggerated Photoshop work, since the few M.B. 152s delivered to Greece carried AFAIK standard French camouflage (in French Khaki, Chestnut Brown and Blue-Grey on the upper surfaces, and a very light blue-grey from below). I’d assume that the contrast between the grey and green tones was not very obvious in the original photograph, so that the artist, not familiar with WWII paint schemes, replaced both colors with the strange teal tone and massively overmodulated the brown.

As weird as it looked, I liked this design and used it as an inspirational benchmark for my Hellenic Glaive build. After all, it’s a fictional aircraft… Upper basic colors are Humbrol 31 (RAF Slate Grey) and 160 (German Camouflage Red Brown), while the undersides became French Dark Blue Grey (ModelMaster Authentics 2105). The result looks rather odd…

Representing a combat-worn aircraft, I applied a thorough black ink wash and did heavier panel shading and dry-brushing on the leading edges, along with some visible touches of aluminum.

The Hellenic roundels come from a TL Modellbau aftermarket sheet. The tactical code was puzzled together from single letters, and the Greek “D” was created from single decal strips. For better contrast I used white decals – most Hellenic aircraft of the time had black codes, but the contrast is much better, and I found evidence that some machines actually carried white codes. The small fin flash is another free interpretation. Not every Hellenic aircraft carried these markings, and instead of painting the whole rudder in Greek colors I just applied a small fin flash. This was created with white and blue decal strips, closely matching the roundels’ colors.

Finally, after some soot stains around the guns and the exhausts, the kit was sealed with matt acrylic varnish.

Modified beyond recognition, perhaps…? The fictional Gloster Glaive looks IMHO good and very modern, just like one of those final biplane designs that were about to be outrun by monoplanes at the brink of WWII.

The Italian Renaissance is said by many to be the golden age of painting; roughly spanning the 14th through the mid-17th centuries with a significant influence also out of the borders of modern Italy. In Italy artists like Paolo Uccello, Fra Angelico, Masaccio, Piero della Francesca, Andrea Mantegna, Filippo Lippi, Giorgione, Tintoretto, Sandro Botticelli, Leonardo da Vinci, Michelangelo Buonarroti, Raphael, Giovanni Bellini, and Titian took painting to a higher level through the use of perspective, the study of human anatomy and proportion, and through their development of an unprecedented refinement in drawing and painting techniques. Michelangelo was an active sculptor from about 1500 to 1520, and his great masterpieces including his David, Pietà, Moses. Other prominent Renaissance sculptors include Lorenzo Ghiberti, Luca Della Robbia, Donatello, Filippo Brunelleschi, Andrea del Verrocchio.

Florence, Italy '13

- - - - - - - - -

twitter | website

www.visitsicily.travel/sicilia/trapani/mazara-del-vallo/

The over-lifesize Dancing Satyr of Mazara del Vallo is a Greek bronze statue, whose refinement and rapprochement with the manner of Praxiteles has made it a subject of discussion.

Though the satyr is missing both arms, one leg and its separately-cast tail (originally fixed in a surviving hole at the base of the spine), its head and torso are remarkably well-preserved despite millennia spent at the bottom of the sea. The satyr is depicted in mid-leap, head thrown back ecstatically and back arched, his hair swinging with the movement of his head. The facture is highly refined; the whites of his eyes are inlays of white alabaster.

Though some have dated it to the 4th century BCE and said it was an original work by Praxiteles or a faithful copy, it is more securely dated either to the Hellenistic period of the 3rd and 2nd centuries BCE, or possibly to the "Atticising" phase of Roman taste in the early 2nd century CE. A high percentage of lead in the bronze alloy suggests its being made in Rome itself.

The torso was recovered from the sandy sea floor at a depth of 500 m (1600 ft.) off the southwestern coast of Sicily, on the night of March 4, 1998, in the nets of the same fishing boat (operating from Mazara del Vallo, hence the sculpture's name) that had in the previous year recovered the sculpture's left leg. Other well-known underwater finds of Greek bronzes have been retrieved from the Aegean and Mediterranean seas, generally from shipwreck sites: the Antikythera mechanism, the Antikythera Ephebe and the portrait head of a Stoic discovered by sponge-divers at Antikythera in 1900, the Mahdia shipwreck off the coast of Tunisia, 1907; the Marathon Boy off the coast of Marathon, 1925; the standing Poseidon of Cape Artemision found off Cape Artemision in northern Euboea, 1926; the horse and Rider found off Cape Artemision, 1928 and 1937; the Getty Victorious Youth found off Fano on the Adriatic coast of Italy; the Riace bronzes, found in 1972; and the Apoxyomenos recovered from the sea off the Croatian island of Lošinj in 1999.

Restoration at the Istituto Centrale per il Restauro, Rome, included a steel armature so that the statue can be displayed upright. When first displayed to the public after conservation (in the Chamber of Deputies in Rome, from 31 March to 2 June 2003), it was hailed as the finest new discovery in Italian waters since the Riace bronzes were found in 1972. On 12 July 2003 it returned to Mazara del Vallo, where it is on permanent display in the Museo del Satiro in the church of Sant'Egidio. There, it is provided with an anti-seismic base, to secure it against tremors in this earthquake zone. From 23 March to 28 June 2007 it toured to the Louvre for their Praxiteles exhibition, and an associated Louvre interactive installation, "Connaître la forme" ("Know your form"), displayed a replica of it lit in various ways to demonstrate the importance of lighting in displaying a sculpture.

I've done some minor refinements to my Leo 2A7 lately - the most noticable being the slightly modified front end.

The Leopard tank has been in service with the Scandinavian forces in various variants since it was first introduced in the 1970s, and it continues to do so with the latest addition to the Leopard family: the Leopard 2A7. Although still designated as a Leopard 2, little besides its outside appearance is similar to the older versions. Integrating the latest in tank armour and weaponry together with a 2nd generation hybrid-electric tank engine, the Leopard 2A7 is basically a brand new tank for the modern battlefield.

ENGLISH :

These doors are for me the transition from the poor houses we have seen before to incredible wealth and refinement of these stately homes.

Probable NAA artist's concept that demonstrates the changing/evolving development of the Apollo spacecraft.

When compared to a predecessor depiction (63-Apollo-120), some of the subtle changes are evident...the addition of "corrugation", ullage rockets? and/or fairings?, refinement of S-IVB & CSM external appearance (like the addition of RCS thrusters to the SM). To me, pretty cool shit, but then again, I’m easily amused.

Caption for 63-Apollo-120:

“Artist Drawing by N.A. - The second stage (S-II) engines burn about 6½ minutes, then the stage will be separated and fall away. The S-IV B third stage ignites a single J-2 engine, total thrust 200,000 pounds. The third stage will burn for 2 3/4 minutes placing the configuration in earth orbit.”

My pointless previous observations regarding it:

Note the retrorockets at the forward end of the spent S-II stage firing to ensure a proper and clean separation from the S-IVB stage. Excellent diagram, apparently from page 5-27 of the AS-506 (Apollo 11) Saturn V Flight Manual:

web.archive.org/web/20010223045948/www.apollosaturn.com/s...

With what I’m assuming to be the extracted text:

“At the forward end of the S-II stage was the conical interstage connecting to the S-IVB stage. After S-II burnout, the interstage would be severed at the base of the S-IVB, and would remain attached to the S-II. Four retrorockets assured that the S-II would move backwards relative to the S-IVB. Each rocket had 268.2 pounds of solid propellant and produced 34,810 pounds of thrust for 1.52 seconds.”

All courtesy/credit:

UP-SHIP.com website at:

up-ship.com/blog/?p=18233

The Canyon Diablo meteorites include the many fragments of the asteroid that created the Barringer Crater (Meteor Crater), Arizona, USA. Meteorites have been found around the crater rim, and are named for nearby Canyon Diablo, which lies about three to four miles west of the crater.

The asteroid fell about 50,000 years ago. The meteorites have been known and collected since the mid-19th century and were known and used by pre-historic Native Americans. The Barringer Crater, from the late 19th to the mid-20th century, was the center of a long dispute over the origin of craters that showed little evidence of volcanism. That debate was settled in the 1950s thanks to Eugene Shoemaker's study of the crater.

In 1953, Clair Cameron Patterson measured ratios of the lead isotopes in samples of the meteorite. The result permitted a refinement of the estimate of the age of the Earth to 4.550 billion years (± 70 million years).

Hill Aerospace Museum

The AIRS (Advanced Inertial Reference Sphere) is the most accurate inertial navigation (INS) system ever developed, and perhaps marks the end of a long process of continuous refinement of INS technology. The AIRS was designed for use in the LGM-118A Peacekeeper ICBM.

The most novel aspect of the AIRS is that it has no gimbals. Gimbals are pivots that are provided for each of three spatial axes so that the guidance platform can move freely in all directions (and thus maintain its absolute alignment with the outside world). The AIRS consists of a beryllium sphere that floats in a fluorocarbon fluid within an outer shell and can thus rotate in any direction. The importance of this innovation is that it eliminates the possibility of gimbal lock (where the axes of two gimbals line up and destroy the three-dimensional freedom of motion), and is free from arbitrary limits to range of motion found in some gimbal designs.

The temperature of the fluid is controlled with extreme accuracy by transfer of heat from the fluid through "Power shells" to freon-cooled heat exchangers. The alignment of the sphere is controlled by three hydraulic thrust valves directed by the inertial sensors in the sphere.

Like other INS systems, the sphere houses three accelerometers and three gyroscopes. The accelerometer design is called a SFIR (specific force integrating reciever). This is essentially the same approach as the pendulous integrating gyro accelerometer (of PIGA) used in the Minuteman II. The SFIR/PIGA works by measuring the rate of precession (and thus force applied) to a gyroscope at right angles to its axis of rotation. The gyroscope is a floated gas bearing gyroscope design.

The Taj Mahal (/ˌtɑːdʒ məˈhɑːl/, more often /ˈtɑːʒ/; from Persian and Arabic, "crown of palaces", pronounced [ˈt̪aːdʒ mɛˈɦɛl]) is a white marble mausoleum located on the southern bank of Yamuna River in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned 1628–1658) to house the tomb of his favorite wife of three, Mumtaz Mahal.

Construction of the mausoleum was essentially completed in 1643 but work continued on other phases of the project for an additional ten years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million Indian rupees, which in 2015 would be valued at around 52.8 billion Indian rupees ($827 million US). The construction project employed around 20,000 artisans under the guidance of a board of architects led by Ustad Ahmad Lahauri. The domed marble tomb is part of an integrated complex consisting of gardens and two red-sandstone buildings surrounded by a crenellated wall on three sides.

The Taj Mahal is regarded by many as the best example of Mughal architecture and is widely recognized as "the jewel of Muslim art in India". It is one of the world’s most celebrated structures and a symbol of India’s rich history. Designated a UNESCO World Heritage Site in 1983, the Taj Mahal attracts some 3 million visitors a year.

INSPIRATION

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was grief-stricken when his favorite of three wives and beloved companion, Mumtaz Mahal, a Persian princess, died during the birth of their 14th child, Gauhara Begum. Construction of the Taj Mahal began in 1632. The court chronicles of Shah Jahan's grief illustrate the love story traditionally held as an inspiration for Taj Mahal. The principal mausoleum was completed in 1643 and the surrounding buildings and garden were finished about five years later.

ARCHITECTURE AND DESIGN

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

TOMB

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres high which is close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on which is approximately 7 metres high. Because of its shape, the dome is often called an onion dome or amrud (guava dome). The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasized by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

The minarets, which are each more than 40 metres tall, display the designer's penchant for symmetry. They were designed as working minarets - a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

EXTERIOR DECORATIONS

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur'an that comprise some of the decorative elements. Recent scholarship suggests that the passages were chosen by Amanat Khan.

The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity". Near the lines from the Qur'an at the base of the interior dome is the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting color which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.

INTERIOR DECORATION

The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work is not pietra dura, but a lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, although only the door facing the garden to the south is used. The interior walls are about 25 metres high and are topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level and, as with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas, and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen or jali bordering the cenotaphs is made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall is highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in miniature detail, the design elements seen throughout the exterior of the complex.

Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise centre of the inner chamber on a rectangular marble base of 1.5 by 2.5 metres. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side, and is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on a slightly taller base precisely decorated with lapidary and calligraphy that identifies him. On the lid of the casket is a traditional sculpture of a small pen box.

The pen box and writing tablet are traditional Mughal funerary icons decorating the caskets of men and women respectively. The Ninety Nine Names of God are calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal. Other inscriptions inside the crypt include, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

GARDEN

The complex is set around a large 300-metre square charbagh or Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. Halfway between the tomb and gateway in the center of the garden is a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The raised marble water tank is called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Muhammad.

Elsewhere, the garden is laid out with avenues of trees and fountains. The charbagh garden, a design inspired by Persian gardens, was introduced to India by Babur, the first Mughal emperor. It symbolises the four flowing rivers of Jannah (Paradise) and reflects the Paradise garden derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of the Mughal period, Paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, the interpretation of the Archaeological Survey of India is that the Yamuna river itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. Similarities in layout and architectural features with the Shalimar Gardens suggests both gardens may have been designed by the same architect, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including abundant roses, daffodils, and fruit trees. As the Mughal Empire declined, the Taj Mahal and its gardens also declined. By the end of the 19th century, the British Empire controlled more than three-fifths of India, and assumed management of the Taj Mahal. They changed the landscaping to their liking which more closely resembled the formal lawns of London.

OUTLYING BUILDINGS

The Taj Mahal complex is bordered on three sides by crenellated red sandstone walls; the side facing the river is open. Outside the walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favourite servant.

The main gateway (darwaza) is a monumental structure built primarily of marble, and reminiscent of the Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs like those found in the other sandstone buildings in the complex.

At the far end of the complex are two grand red sandstone buildings that mirror each other, and face the sides of the tomb. The backs of the buildings parallel the western and eastern walls. The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an expansive vaulting dome. The outlying buildings were completed in 1643.

CONSTRUCTION

The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage, and leveled at 50 metres above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". Construction of the mausoleum itself was essentially completed by 1643 while work continued on the outlying buildings. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.

LATER DAYS

Abdul Hamid Lahauri in his book Badshahnama refers to Taj Mahal as rauza-i munawwara, meaning the illumined or illustrious tomb. Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the mausoleum next to his wife. In the 18th century, the Jat rulers of Bharatpur invaded Agra and attacked the Taj Mahal, the two chandeliers, one of agate and another of silver, which were hung over the main cenotaph, were taken away by them, along with the gold and silver screen. Kanbo, a Mughal historian, said the gold shield which covered the 15-foot high finial at the top of the main dome was also removed during the Jat despoliation.

By the late 19th century, parts of the buildings had fallen into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiselled out precious stones and lapis lazuli from its walls. At the end of the 19th century, British viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modelled after one in a Cairo mosque. During this time the garden was remodelled with British-style lawns that are still in place today.

THREATS

In 1942, the government erected a scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots.

More recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura Oil Refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre area around the monument where strict emissions standards are in place.

Concerns for the tomb's structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 5 feet a year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. In 2011 it was reported that some predictions indicated that the tomb could collapse within 5 years.

TOURISM

The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which increased to about 3 million in 2015. A two tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center.

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was originally constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan. For security reasons only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

MYTHS

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

In 2000, India's Supreme Court dismissed P. N. Oak's petition to declare that a Hindu king built the Taj Mahal. In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

WIKIPEDIA

Land Rover and renowned Magnum photographer Jonas Bendiksen have revealed the first in a series of unique works entitled ‘Ultimate Vistas’, extraordinary landscape photographs captured with help from the world’s ultimate SUV: the Range Rover.

The Kawasaki Ninja 300 is a sport bike made by Kawasaki in 2012, for the 2013 model year. It is sold in Europe, North America, Australia and elsewhere. The bike has a 296 cc (18.1 cu in) straight-twin engine.

The new 2013 Ninja 300 thoroughly dominates its lightweight sportbike competition on the performance front, while significantly upping the ante for refinement, ease of use and overall practicality. Thanks to a new digital fuel injection system, a new F.C.C. clutch with assist and slipper functions, and the world’s smallest and lightest motorcycle ABS brake system, this new 300 is the best lightweight sportbike, by far, when it comes to street riding and overall usability.

The new Ninja 300 sportbike is powered by a larger 296cc liquid-cooled, parallel twin that’s tuned to deliver smooth and predictable power around town, plus excellent high-rpm performance on the highway. This upgraded engine offers significantly more performance than the old 250, while its new digital fuel injection (DFI®) system provides improved cold starting, crisper throttle response and better fuel economy than last year’s bike.

This new engine has nearly 50% of its parts upgraded from the previous model. In addition to its new long-stroke 296cc displacement, other engine upgrades include: new intake ports that taper from 1mm wider at the throttle body to .5mm wider at the valve seat, new 23.6mm intake valves that are 1mm larger than last year, a new cam chain that offers reduced friction, a revised 10.6:1 compression ratio that allows the use of regular gasoline and lowers operating temperatures, and new lighter pistons that feature a hard anodized coating for reduced friction and increased performance at all rpms. The underside of the pistons was also revised to more efficiently route cooling oil across their surface. Further highlighting changes for this model, it features new, lighter piston pins to further reduce reciprocating weight and help preserve a high redline, new shorter connecting rods to offset new longer crank throws, and new sleeveless “open-deck” die-cast aluminum cylinders that are 800 grams lighter and feature a friction-reducing “T-treatment” plating. Additional improvements include new thicker crankshaft balancer webs to offset the new longer crank throws, new crank journal bearings made from a stronger alloy for increased durability, new crank cases that feature improved oil passages, a new large-volume 2.4 liter oil pan with cooling fins and more ground clearance than the previous model. Topping-off the changes, a new easy-to-access cartridge type spin-on oil filter helps simplify maintenance.

A revised six-speed transmission features thicker gears to help cope with the extra torque from the 300’s new engine. The transmission also features Kawasaki’s positive neutral finder to make finding neutral a cinch when stopped. This efficient engine and transmission help the Ninja 300 provide plenty of enjoyment from the initial learning curve, all the way through advanced sport riding, track days, and club racing.

Operating that transmission is now easier than ever, thanks to a new F.C.C. clutch with assist and slipper functions. This new clutch reduces lever effort by up to 25%, while increasing the clutch’s ability to handle the extra torque generated by the 300’s more powerful engine. The new clutch’s slipper design also helps reduce rear wheel-hop that can be caused by aggressive downshifting.

The Ninja 300’s extra “go” is complimented by the extra stopping power offered by its anti-lock front and rear disc brakes equipped with a lightweight Nissin ABS system for extra piece of mind when road conditions are questionable. This new system uses the smallest ABS unit of any production motorcycle in the world! Its 290mm front and 220mm petal-type rear brake rotors are gripped by powerful two-piston hydraulic calipers. Like all Kawasaki Ninjas, the new 300 is equipped with high-quality components and was tuned using feedback from professional riders at Kawasaki’s incredible Autopolis race circuit, to help ensure class-leading performance and an entertaining ride for even the most advanced riders.

The Ninja 250 was always known as one of the best handling sportbikes on the market. To uphold the family honor, the 2013 Ninja 300 features a new frame that uses new high-tensile steel main tubes that are 150% more rigid than the tubes in last year’s model. Revised tube shapes and additional gusseting also help provide better longitudinal stiffness for better feel during extreme sport riding. Though the main frame is more rigid for better handling, not all rigidity is positive; that’s why Kawasaki engineers designed new rubber front engine mounts that help make this model noticeably smoother, despite the extra power produced by its new 296cc engine.

Front and rear suspension tuning has been adjusted to compliment the new, more-rigid frame. Softer spring rates provide a more comfortable ride on rough city streets, without compromising sport handling characteristics.

Aggressive new bodywork features a sharp-edged design. It also offers effective heat management and superb aerodynamics. The Ninja 300 not only looks great, but also features a new floating windscreen design to help minimize buffeting and provide smooth airflow around the rider’s helmet.

The Ninja 300’s all-new instrument panel features a large easy-to-read analog tachometer and a digital multifunction display with speedometer, odometer, dual trip meters, fuel gauge, and digital clock functions. The new instrument panel also features indicator lights, while the digital screen incorporates a handy economical riding indicator (ECO) that illuminates to alert riders when they are operating the Ninja 300 in a manner that will maximize fuel economy.

A natural riding position and comfortable ergonomics combine with lightweight handling and nimble response to deliver pure pleasure everywhere from city streets and highways, to twisty backroads and even racetracks. Contributing to this great handling package are the new full-size, 17-inch, 10-spoke wheels.

A further refinement of a design poster some months earlier, with the tracks modeled in more true-to-life detail.

It was brilliant for about 2.3 seconds...

...then there was a kind of whoompf noise that appeared to correspond with the drop in air pressure, that I think caused the subtle slurping noise that reminded me of the feeling you get when your brain shrinks, and then... well... that was when I heard the distinct sound of something popping.

Now I come to think of that, that seemed to be around the time I lost visibility in my right eye and my cheek felt a bit wet.

*sobs*

Back to the drawing board...

Yup.

Anyway...er maybe you'd love to:

Follow me on Twitter

Like my Facebook page

Visit my Blog

Strobist:

Two Bowens Gemini Pro 500's with big softboxes camera left and right, at 90 degrees, both set on 3.5. Triggered by PC cord cable. Still can't wait for my third light to be repaired... :-(

Charity

Guido Reni (Italian, Bolognese, 1575-1642)

Oil on canvas; 54 x 41 3/4 in. (137.2 x 106 cm)

This exceptionally beautiful picture exemplifies the refinement of Reni's much admired style. The variously colored complexions of the three infants was intentional. The picture comes from the Liechtenstein collection, Vienna, where it is recorded in 1767. It may have been bought or commissioned in Italy by Prince Karl Eusebius von Liechtenstein (1611-1684), who travelled in Italy in 1629-30. While not exactly datable, it has much in common with works by Reni executed about 1630.

Gift of Mr. and Mrs. Charles Wrightsman, 1974 (1974.348)

**

The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

Built from 1953 to 1964, the 250 GT was Ferrari’s first production automobile and its most successful early line, with several variants that each established their own benchmarks of greatness. The collective mechanical refinements of Ferrari’s early post war cars were finally fully merged with Pinifarina’s design genius in the 250 GT series; beginning with the 1953 250 Europa and Europa GT, Pininfarina established the styling cues that would signify a generation of road and competition Ferraris: a long nose to accommodate the famous V-12 engine, an oval eggcrate grille, sweeping rear roof panels and smooth, unbroken contours.

As the 250 GT was growing in stature as the world’s finest Grand Touring car, sports car racing was approaching Grand Prix levels of performance, the dangers of which were made only too clear by the 1955 Le Mans accident. In 1956 the FIA responded by introducing a Grand Turismo class to emphasize the more sporting concept of a dual-purpose car suitable for both road and track. The 250 GT was a perfect fit for the new formula, which limited displacement to 3.0 liters, in which configuration the Colombo-designed Ferrari V-12 had been competing since 1952.

Ferrari had anticipated the FIA’s new rules in 1954 with the 250 Europa GT, which was built on a stronger twin-tube long wheelbase (102.3”) chassis using the first coil spring front suspension on a Ferrari. Competition versions also employed aluminum bodywork, plexiglass windows and other race-oriented refinements. The 250 GT competizione immediately became the dominant force in FIA GT racing, and when a factory entry driven by the Spanish Marquis Alfonso de Portago won the grueling Tour de France, another Ferrari legend was born.

Thereafter the name “Tour de France” signified the series of competition berlinetta 250 GT Ferraris built from 1956 to 1959, when chassis number 1321GT, flying the colors of Belgium’s Garage Francorchamps, dominated its class at the twin cathedrals of endurance racing, Le Mans and the Nürburgring. Driven by Jean Blaton (aka “Beurlys”) and Leon Dernier, the Red and Yellow coupe won 1st place in the GT class and 3rd overall at Le Mans as the No. 11 car. Earlier that same year, it took 1st place at the Nürburgring 1000 KM race. After its competition career, the Ferrari was privately owned by only a few collectors – the most recent owning the car since the 1970s – and was last seen in public in the early 1990s at Road America.

1321GT is distinguished by its single-vent sail panels, open headlights mandated by Italian regulations, and is powered by an “inside-plug” V-12 fitted with triple carburetors (Of special note is the unique oil filler door located on the engine cover to facilitate quicker pit stops - the only one to appear on a Tour de France).

Still resplendent in Red with Francorchamps Yellow stripe and Saddle interior upholstery, 1321GT represents the pinnacle of the 250 GT TdF series of 82 cars and serves as historical testament to the brilliant collaboration between the two Italian automotive giants of the 20th century.

A big success by any standard both in and out of competition, the Lancia Stratos was developed as a homologation Special for European rallying. After production ceased it became a cult car and is now highly priced as the ‘modern classis' it is. Conceived strictly for rallying, the Lancia Stratos however makes an exciting road car, though it is very far from GT standards in both luxury and refinement.

The concept vehicle responsible for providing the inspiration for the Lancia Stratos Rally car is the Lancia (Bertone) Stratos. The Stratos featured a 1584 cc V4 DOHC with 115 bhp horsepower at 200 rpm. Designed by Marcello Gandini, the same designer responsible for the Lamborghini Countach and Lamborghini Miura, the Stratos concept was a development of the Bertone designed Alfa Romeo Carabo concept from 1968. The Carabo concept was also a Gandini creation.

First revealed at the Turin Motor Show in October of 1970, the Lancia Stratos HF prototype was a styling exercise for Bertone. A futuristic design, the Stratos featured a wedge shaped profile that stood just 33 inches from the ground. Since the vehicle was so low, conventional doors could not be used and instead one accessed the interior of the Stratos by a hinged windscreen. Drivers had to flip up the windscreen and walk into the vehicle. Once inside, visibility was quite restricted since the front windscreen was narrow. The cockpit of the Lancia Stratos was designed specifically for fast forest flying.

The body design was predictably minimal to hold down weight and bulk with its most distinctive features being semi-concealed A-pillars and a door beltline that sharply upswept to the top of the daylight opening. The shape of the resulting unbroken expanse of glass gave the tunnelback roof the appearance of a futuristic crash helmet.

The main body structure was steel, like the chassis, and weight-saving fiberglass was used for tilt-up nose and tail sections. A small box above and behind the powertrain was where cargo space was held. Bins were also molded into the interior door panels for storing helmets.

The same engine utilized on the Lancia 1600 HF Fulvia was used on the Bertone designed Lancia Stratos Zero prototype. A triangular shaped panel hinged upwards to allow access to the mid-mounted engine. Developed for rallying purposes, the legendary Lancia Stratos was unveiled in 1974. The production vehicle Stratos was powered by a 2.4 liter mid-mounted V6 from the Ferrari Dino.

Like no other Lancia before or after, the Lancia Stratos was a shock that left enthusiasts and rally fans breathless. For almost a decade the Stratos streaked across the rally landscape much like a brilliant comet, while discarding past principles, it also fearlessly represented something undeniably new. A phenomenal rally car, the Lancia Stratos set an example to every other car manufacturer in the world. The first viable purpose-built rally car ever built, the Stratos was probably the last purpose-built rally car.

Created by the Bertone coachbuilding company, the Stratos was both radical, yet fully functional. Fiorio realized that for Lancia to continue to compete in the World Rally Championship, the Fulvia HF would need a much more powerful replacement. A the time, four-wheel drive was not an option, so a mid-engined configuration seemed ideal. To reinforce Fiori's convictions, the Bertone show car was featured soon after with a mid-engine Fulvia V4.

The introduction of the Ford mid-engine purpose-built GT70 rally car at the 1971Brussels Motor Show was what truly inspired the impetus behind the Stratos proect. It was after this appearance that Lancia's general manager, Pierugo Gobbato contacted Nuccio Bertone. Though the GT70 was actually never put in production by Ford, it was this that sparked the inspiration of the Lancia Stratos.

As always, there was a minimum production requirement, 500 units for the Lancia Stratos. This was an awkward figure that would necessitate funds for at least semi-permanent tooling as well as design and development. This was a job well suited to the Italian industry. Fiorio masterminded the project, and he envisioned a short, wide coupe with transverse midships drivetrain. Bertone was immediately contracted to style the vehicle and built its unit body/chassis structure.

43 months passed in between the time of conception to the actual birth of the Lancia Stratos. The vehicle was developed to take over and make Lancia the outright world rally champ. The Stratos was both short and wide, with a wheelbase of only 7 feet 1.8 inches, the width of the vehicle was only 5 feet 8.9 inches. Weighing only 1958 lbs, the Stratos was only 3 feet 7.9 inches high. Able to easily exceed 140 mph, the Stratos featured 190 horsepower in roadgoing trim.

Having studied every possible powerteam in the Fiat/Lancia group, Fiorio secured 2.4 liter V-6s and 5-speed transaxles from Ferrari, which was an ideal chouse as they'd be installed exactly as the Dino 246. All-independent suspension, rack-and-pinion steering and four-wheel disc brakes were all specifically designed for the Lancia Stratos.

After 1978 the Stratos was officially retired and no longer was officially entered by the Lancia factory, the vehicle was still going strong. The Lancia team was headed by by Sandro Munari who won its first event as a homologated entry in October of 1974. Mun ari entered alone 40 events with the Lancia Stratos and won 14. The Stratos also won the World Rally Championship in 1974, 1975, and 1976 and remained competitive for another four years. The final major win came in 1979 when a Lancia Stratos entered by the Monaco importer won the famed Monte Carlo Rally. Finally the factory retired the Stratos.

By Jessica Donaldson

[Text from ConceptCarz.com]

www.conceptcarz.com/z21737/Lancia-Stratos-HF.aspx

This Lego miniland-scale Lancia Stratos Rally Racer has been created for Flickr LUGNuts' 100th Build Challenge - our Centenary, titled 'One Hundred Ways to Win!'. In this challenge, a list of 100 challenges is available, kept by the admins. Individuals wishing to enter, request a number from 1-100 (so long as it has not already been requested) - and the admins assign the individual build challenge associated with that number.

In the case of admins entering models - they request that a general LUGNuts member assigns a number - and the admin must build to that challenge number.

In this case, the number 78 was chosen for me, corresponding to the challenge: '78.Any vehicle from the year you were born'. I was born in 1972, the year that the first Stratos rally cars were built, entering in the Rally Championship as Group 5 (un-homologated) entries.

The road cars required to homologate for Group 4 were built through 1973 to 1978.

Sunrise scence of Oil Refinery factory industry with blue sky and clouds. Petrochemical plant , Petroleum , Industrial-plant.

Bonhams : The Autumn Sale 2020

Estimated : € 90.000 - 130.000

Sold for € 92.000

Autoworld

www.autoworld.be

Brussels - Belgium

September 2020

"For 1955, Jaguar present a range of models incorporating not only added refinements, but mechanical advances directly derived from their many outstanding successes in international competitive events. All the wealth of experience gained on the race-tracks of the world and in record-breaking speed and endurance tests is built into every Jaguar to provide for discriminating motorists the highest degree of efficient performance allied to comfort and safety." - Jaguar Cars Ltd.

Launched in 1954, the Jaguar XK140 was broadly similar to, though more refined than, its sensational XK120 predecessor, major engineering changes being confined to the repositioning of the engine 3" (76mm) further forward and the adoption of rack-and-pinion steering as used on the racing C-Type. The suspension and brakes remained much as before, though with stiffer torsion bars at the front and telescopic shock absorbers replacing the previous lever type at the rear. Like its forbear, the XK140 was built in three model types: roadster, coupé and drophead coupé, the latter two offering usefully increased cabin space and occasional rear seats. Outwardly the newcomer was distinguishable by its revised radiator grille, rear lights incorporating flashing indicators, and larger bumpers - the latter adopted to withstand the cut and thrust of urban parking.

The power unit remained Jaguar's well-tried, 3.4-litre, twin-cam six, which now produced 190bhp in standard trim thanks to higher-lift camshafts and revised porting. To ensure reliability, steel bearing-caps replaced the previous cast-iron type. A close-ratio gearbox enabled better use to be made of the increased performance while Laycock-de Normanville overdrive became an option for the first time. Special Equipment (SE) XK140s came with wire wheels and Lucas fog lamps and could be ordered with an engine developing 210bhp courtesy of the C-type cylinder head. XK140 performance was well up to the standards set by its exemplary predecessor, contemporary magazine road-tests regularly recording top speed figures in excess of 120mph. Tested by Road & Track magazine, a USA-specification XK140 MC (as the C-type head-equipped SE version was known there) recorded a 0-60mph time of 8.4 seconds on the way to a top speed of 121.1mph (195km/h).

According to its accompanying Jaguar Daimler Heritage Trust Certificate, this beautifully restored XK 140 SE Roadster left the factory on 23rd November 1956 and was despatched to Jaguar Cars, New York on 6th December of that same year. Importantly, this is a Special Equipment model with the C-type cylinder head. The certificate also confirms the matching-number engine ('G 9611-8S') and lists centre-lock wire wheels and twin fog lamps as items of original equipment. The original colour combination was black with matching interior.

The first owner is not known, but the car later spent time in Englewood, Colorado with another owner (from 1975 to 1994). In 1996 the Jaguar was imported into Italy where it is believed to have remained, awaiting restoration, for some 18 years. In 2014 the car was purchased by the current owner, who commissioned a comprehensive, frame-off, bare metal restoration, which was finished in 2018. Judging the original all-black colour combination to be too sombre for his taste, he opted for a contrasting magnolia leather interior, while the wire wheels were painted black to match the body. Most importantly, this car retains not only retains its original engine block but also its original cylinder head, which both correspond correctly to the numbers on the Heritage Certificate.

The XK is offered with the aforementioned Heritage Certificate; photocopy of old US title; EU customs documentation; a German TüV certificate issued April 2019, classifying the car as sound; and German registration documents. Full weather equipment as well as sundry photographs documenting the restoration are present also. An unmissable opportunity to purchase a beautifully restored XK 140 SE Roadster that ticks all the boxes.

NOVITEC ROSSO refines the Ferrari 488 Spider with carbon, forged wheels, tuning rated at 568 kW / 772 hp and a top speed of 342 km/h

Haute couture and high performance: NOVITEC ROSSO now also offers an exclusive refinement program for the Ferrari 488 Spider. A sporty designer outfit from naked...

3d-car-shows.com/122020-2/

Designed by pirates, the Sulenko class is completely illegal, ignores all design rules and specifications and lacks much refinement.

Spanning the role of fighter and bomber quite neatly, the three man ship is vacuum and at-mo capable and rather rugged, to boot.

Forward facing ion cannons can disable and make inert all but the largest of freighters. Wing-mounted dumbfire 'Stinger' rocket pods give the ship a destructive ability rarely rivalled.

Faster than similar sized ships, the Sulenko class has a complicated engine suite, and the power core is especially fuel hungry.

Only two ships of this design, owned by the Pirate Lord Deckard, are known to exist. Never venturing to the Core Worlds, there are no complete scans of the ship. Rumours abound as to any hidden gadgets, devices or surprises specific to either ship.

Crew: 3 (with room for 4 more passengers/prisoners)

Weaponry: 2 x Ion Cannons, forward facing. 2 x 'Stinger' Rocket pods, wing-mounted.

Defence: Sensor-phobic, heat absorbing durasteel plating. Self-cycling PriTek shields.

Roses are a classic symbol of love and romance, giving voice to feelings of tenderness and passion without the need for saying a word. Red roses have long been synonymous with true love, but did you know that in Victorian times, the symbolism of flowers and their meanings was taken so seriously there were many published dictionaries of "The Language of Flowers?" The meaning of pink roses is as beautiful & as graceful as the delicate blossom. They're often seen in bridal arrangements, thank you or congratulations bouquets. Considering the word "rose" brings to mind the faint blush of a fair maiden's cheeks, it's not surprising these blooms are a favorite to give and receive. Pink is not just for girls, and it is not just a pretty color. Pink roses have deep significance when it comes to affections given and received. The most widely accepted interpretation of pink roses is grace and gentility. An admiration for beauty, refinement & enduring grace is what the pink rose connotes. The receiver of the pink rose can rest assured that he or she is admired for possessing a certain respectability and decorum not commonly found in others. The meaning of pink roses, as expressed by their lovely color is happiness and joy. Being themselves a joy to behold, pink roses express fun and happiness. The pink rose denotes that the receiver is a pleasure to behold, a pleasure to have in company. Thus, it is an indication of deep joy. They indicate happiness or pride, a heart-felt appreciation. Pink roses are generally looked upon as the flower of sweet thoughts and gentle emotions. It indicates an affection that may turn into deeper love. Innocent love that has not yet blossomed into passion, a deep affection that has not yet reached its pinnacle is what the pink rose expresses. There are many different variations of pink, from a pale blush to a gentle medium pink to a vibrant pink, each having its own meaning and implication. The palest pink roses are a sign of gentleness, joy and grace. Recent historical evidence shows pink roses were grown in China’s Imperial rose gardens about 5,000 years ago and they have continued to play a part in history ever since. Horticulturally speaking, pink roses are a classic. They were the first color rose cultivated, since pink roses are most common in the wild. During the Victorian era, the pink rose was used to decorate everything from wallpaper to greeting cards. Today, the pink rose has been cultivated in more contemporary treatments showing off its different shades of pink. Here’s a quick shade-by-shade guide for choosing the perfect pink to convey your feelings:

Dark Pink Roses: If you want to express appreciation, gratitude, or to say thank you.

Medium Pink Roses: If you have a first love, want to congratulate someone or want to cheer up a friend who’s grieving or healing.

Light Pink Roses: If you want to show gentleness and admiration.