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Construction worker at his work.
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Usage: Free for personal, non-profit or commercial. License: Creative Commons Attribution-ShareAlike. Credit: Budi Nusyirwan (Bukrie) - stock.bukrie.org.
Breadcrumbs, look like space structures.
Composition:
Half is white flower, the other half is wheat flour, yeast and water.
Baking at 200 degrees 35 minutes.
Zerene stack Pmax.
118 steps @ 18 um.
Cycle capture time 1.2 sec/picture.
Nikon D7100 + AFD 200 F5.6 ISO 200
Mitutoyo M Plan APO 5X.
FG led flash module 10 channels
Lighting direction profile default.
Total led power 320W.
Flash time: 1.5 msec.
For more details, visit my set "Kirby Park Zoo Ruins", located on the right.
Read my blog post to see why I think these many not actually be zoo ruins after all!
cherisundra.wordpress.com/2011/11/18/kirby-park-zoo-ruins...
These are from May 2014, on the way back from our first visit to Marden Meadow.
Linton sits on the edge of the downs, looking down on The Weald, right by the main road into Maidstone. It is an attractive village, but the main road means there is always traffic, and half of it struggling up the long and steep hill.
I took these exterior shots, then failed to post them.
So here they are.
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LINTON HILL
TQ 75 SE LINTON
(East Side)
3/139 Church of St. Nicholas
23.5.67
GV II*
Parish church. C14 and C15. Alterations and additions of 1860 by
R.C. Hussey in a C15 style. Ragstone, with plain tile roof. Nave,
south aisle, south porch, chancel, south chancel chapel, north chancel
chapel. Nave and south aisle extended to west and north aisle and north-
west tower added in 1860. Nave: Probably C14, extended in 1860. West
End: small blocks of evenly-coursed stone. Chamfered stone plinth.
One buttress. C19 four-light window and pointed-arched doorway with
squared hoodmould and brattished canopy. South aisle: C14, extended to
west in 1860. Re-faced in 1860 with small blocks of evenly-coursed stone.
Chamfered stone plinth. Gabled. Three C19 three-light windows; one to
west and 2 flanking porch. South porch: C19, with stonework and plinth
similar to nave. Carved bargeboards. Moulded outer and plain-chamfered
inner doorway. South chancel chapel: later C14. Roughly coursed stone
on un-dressed plinth. Two C19 windows, one blocked 2-light to south,
one 3-light to east in a C15 style. Chancel: C14, re-faced, and
probably extended, in C19. Diagonal north-east and south-east buttresses.
2-light C19 windows to north and south.
Moulded pointed-arched south doorway. Vestry: C19. Low, and at right-
angles to chancel. North chancel chapel: C15 or early C16. Roughly
coursed galleted stone, with high moulded stone plinth. Gabled. C19
east window of 3 stepped lights and similar north window. North aisle:
1860. Chamfered stone plinth. Gabled. Two 3-light north windows.
North-west tower: 1860. Three stages, on moulded stone plinth, with
moulded off-sets between stages. Clasping buttresses. Recessed stone
spire. Two 2-light windows to each face of belfry. Small rectangular
north light to second stage and trefoil-headed lights to north and west
of bottom stage. Pointed-arched north doorway. West clock. South face
abuts nave. Interior: Structure: 3-bay south arcade to nave of doubly
plain-chamfered pointed arches; 2 east bays C14, west bay C19 in a C14
style. Columns with scroll-moulded capitals. 2-bay north arcade to nave
in a C14 style. Tower protrudes into north-west end bay. Tall pointed-
arched C15 chancel arch, with continuous outer moulding, and inner moulding
springing on each side from concave-sided semi-octagonal shaft with
moulded capital and base. Later C14 doubly plain-chamfered pointed arch
between chancel and south chapel, springing from attached semi-octagonal
columns with moulded capitals and bases. Pointed doubly plain-chamfered
arch dying into wall between south chapel and south aisle. 4-centred
doubly hollow-chamfered C15 or early C16 arch between chancel and north
chapel, inner order springing from attached semi-octagonal columns with
moulded capitals and high moulded bases. C19 arch between north chapel
and north aisle. Chamfered medieval rere-arch to blocked south window
of south chapel. Roof: Medieval crown-post roof to nave, with 3 moulded
octagonal crown-posts and ribbed C19 boarding under rafters. 2
medieval moulded octagonal crown-posts to south chapel. C19 boarded
wagon roof to chancel. Fittings: moulded cinquefoil-
headed niche with splayed reveals, to east wall of chancel. Small pointed-
arched plain-chamfered piscina adjacent to niche. Traceried wooden screen
with moulded, brattished cornice between chancel and south chapel.
Intricately-carved wooden screen under chancel arch, with vaulted wooden
canopy, enriched cornice and parapet, erected 1949. Monuments: hanging
monument on north wall of north aisle, to Sir Anthony Mayne, d.1627, and
2 wives. Alabaster, with convex corniced plinth. Three-quarter-length
figures between 4 Corinthian columns, with entablature arched over
centre. Achievements of Sir Anthony under arch, and heraldic shield
over each wife above entablature. Seated mourner (Faithful Gardener?)
above arch. Monuments within north chancel chapel: standing monument
against north wall, to Sir Anthony Mayne, d.1615, and wife. Alabaster.
Rectangular chest bearing inscription, surmounted by kneeling figures,
flanked by Corinthian columns bearing entablature with convex cornice.
Achievements above cornice. Vestiges of family tree carved and painted
on back panel. Gothic monument against north wall, to Galfridus Mann,
d.1756. Designed by Richard Bentley 1758: erected at expense of Horace
Walpole. Chest tomb on plain base, chest with trefoils in relief and with
plain central inscription in Latin. Above, a marble urn under crocketed
arch, soffit of arch panelled with quatrefoils. Tablet on north wall to
Eleanor Mann, d.1751. Rectangular, with foliated base plate. Inscribed
panel flanked by cupid terms. Moulded cornice, with flaming urn to each
end, surmounted by grey marble obelisk with white marble dragon rising
from urn. Tablet on south wall to Maria Isabella Mann, d.1823. Signed
E.H. Baily. Inscription on rectangular plinth beneath elderly mourner
seated in relief against gadrooned urn, with draped tapering back plate.
White marble tablet on south wall to Julia, Countess Cornwallis, d.1847,
by Baily. White marble on black ground, flanked by draped semi-octagonal
pilasters with moulded capitals linked by arch in relief. Tablet on west
wall to Edward Mann, d.1775. White marble on brown ground. Base-plate
with achievements. Oval inscription panel with moulded cornice surmounted
by urn against obelisk. Tablet on east wall to Charles James Mann,
d.1835 aged 22, and sister Jemima Isabella Wykeham Martin, d.1836, by
Baily. Rectangular consoled inscription panel surmounted by segmental-
headed white marble tablet on black marble base-plate, with 2 large
draped urns in relief. Free-standing white marble monument in north-
east corner, to the same Charles James Mann, signed by Baily. Young
man lying upon Grecian couch. Free-standing marble monument in south-
west corner, to Laura, Countess Cornwallis, d.1840, by Baily. Woman,
book in hand, turning on couch. (J. Newman, B.O.E. series, West Kent
and the Weald, 1980).
Listing NGR: TQ7538950165
britishlistedbuildings.co.uk/101250235-church-of-st-nicho...
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LINTON.
SOUTHWARD from Loose, on the opposite side of Cocks heath, lies the parish of Linton, antiently written LYLLYNGTON, and in Latin, Lilintuna, which probably took its name from the old English word, lytlan, signifying little or small, and stane, a stone, the upper part of this parish abounding with the quarry stone.
THIS PARISH lies adjoining to Cocks-heath, upon the ridge of quarry hills, the summit of which is the northern boundary of the weald of Kent, consequently almost the whole of it is within that district, only a small part of the heath being beyond it. Cocks-heath is a beautiful, and for this inclosed part of the country, an extensive plain, being about three miles in length, and in some places more than a mile in width. It is esteemed a most healthy spot, and being well watered, is generally preferred, as a situation for large encampments, it being equally commodious for the troops to march from it, on an emergency, either into the county of Sussex, or into Essex. In 1778 there were fifteen thousand men encamped on it, which did not occupy more than two thirds of the whole extent of it. Over this heath the high road from Maidstone goes through this parish and village into the Weald. The village is situated about half a mile from the heath, on the declivity of the hill, having the church and place-house on the east side of it, the prospect from which southward over the Weald, like the other situations on these hills, is very beautiful, and of great extent. The air is very healthy, the soil on the hill a loam, with the quarry stone close beneath, and below the hill a stiff strong clay, in a very miry country, and thick hedgerows interspersed with quantities of spreading oaks. About a mile below the hill the road crosses the river at Style-bridge.
ON COCKS-HEATH there grows THE PLANT, called Lunaria, or small moonwort.
The greatest part of this parish is within the bounds of the manor of East Farleigh, though the manor of Loose extends over some small part of it. The free holders of the former holding their lands in free socage tenure.
This place is not mentioned in Domesday, being most probably included in the description there given of the manor of East Farleigh.
LINTON-PLACE, antiently called Capell's-court, is the only place of consequence in this parish. It took its name originally from the family of Capell, who were proprietaries of it. They were usually called according to the custom of the time at Capell, and in Latin, De Capella, their principal residence being at Capell'scourt, in Ivechurch, in Romney-marsh, though they had large estates in several other parishes in this county. (fn. 1) One of them, John de Capella, in the reign of king Henry III. held lands in Boxley, as appears by the charter of inspeximus granted by that king to the abbey there.
Richard de Capell, his successor, died in the 15th year of king Richard II. in whose descendants this place remained till the reign of king Henry VI. when it was alienated by one of them to Richard Baysden, from which name in the reign of queen Elizabeth, it was sold to Sir Anthony Maney, of Biddenden, whose ancestors had resided there many generations. He removed his seat hither, and at his death was buried in this church, as was his son Walter Maney, esq. whose son, John Maney, was a person of great loyalty to king Charles I. in his troubles, in consideration of which he was first knighted, and afterwards created a baronet. After which he suffered much for his attachment to the king, having his estate plundered and sequestered. He bore for his arms, Party per pale, argent and sable; three chevronels between as many cinquefoils counterchanged. He passed away this seat and estate in the reign of king Charles II. to Sir Francis Withens, one of the justices of the king's bench, whose only daugh ter and heir Catherine, in 1710 carried it in marriage to Sir Thomas Twysden, bart. of East Peckham, and he died in 1712, leaving by her two daughters his coheirs. On his death his widow became intitled to this estate, and soon afterwards again carried it in marriage to brigadier-general George Jocelyn, who was a younger son of Sir Robert Jocelyn, bart. of Hertfordshire, and died in 1727; leaving by lady Twysden, three sons. The family of Jocelyn bore for their arms, Azure, a wreath, argent and sable, with four hawks bells towards the corners of the escutcheon, or. He alienated it to Robert Mann, esq. who built a small but elegant seat here, partly on the scite of the old mansion of Capell'scourt, which he pulled down, and resided in it till his death, in 1751. By his will he devised Linton place, with the parsonage and the advowson of the vicarage of Linton, among his other estates in this county, to his eldest son Edward Louisa, in tail male, with divers remainders over. He resided here and died unmarried in 1775, on which, by the above entail, it came to his next brother, Sir Horatio Mann, K. B. and baronet, envoy extraordinary at Florence, where he died in 1786, and his body being next year brought over to England, was interred in this church. In his lifetime he made over this seat, with his other estates in this parish, to his nephew Sir Horace Mann, who succeeded him likewise in the title of baronet, and he is the present possessor of it, and at times resides here.
THERE were formerly some lands in this parish which belonged to a family named Welldish, who had a chapel in this church called Welldish's chapel. Their arms were, as appears by their seals to some antient deeds, Argent, three talbots passant azure on a chief, or, a fox passant gules, which coat they bore, as is reported by tradition, to perpetuate the memory of one of their ancestors having been huntsman to William the Conqueror. After this estate had been many generations in this family, the greatest part of it was alienated to Walter Maney, esq. whose son, Sir John Maney, bart. of Linton, sold it, with the rest of his estate in this parish, in the reign of king Charles II. to Sir Francis Withins, since which it has passed in like manner as Linton-place, above-mentioned, to the Mann's, and is now in the possession of Sir Horace Mann, bart.
CHARITIES.
One of the family of MANEY, owners of Capell's-court, built and endowed an alms-house here for four poor families. Robert Mann, esq. of Linton-place, in 1749, rebuilt it, and encreased the original stipends of 13s. 4d. to each family to 20s.
LINTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to St. Nicholas, is a small building with a spire steeple, situated on the east side of the village. The patronage of it was part of the antient possessions of the crown, and remained so till it was given to the college or hospital for poor travellers, in the west borough at Maidstone, founded by archbishop Boniface in the reign of Henry III. (fn. 2) Archbishop Walter Reynolds, about 1314, appropriated it to the use and support of the above hospital.
¶In the 19th year of king Richard II. archbishop Courtney, on his making the parish church of Maidstone collegiate, with the king's licence, gave and assigned among other estates, the advowson and patronage of this church of Lyllyngton, to that hospital appropriated, and of the king's patronage, held of the king in capite, to the master and chaplains of the abovementioned new collegiate church of Maidstone, to hold in free, pure, and perpetual alms for ever, for its better maintenance, to which appropriation Adam Mottrum, archdeacon of Canterbury, gave his assent. The collegiate church of Maidstone was dissolved by the act of the 1st year of king Edward VI. anno 1546, and was surrendered into the king's hands accordingly.
In the 8th year of king Richard II. this church was valued at 106s. 8d. per annum. In the year 1640, the vicarage of it was valued at thirty pounds per annum. In the year 1751, the clear yearly certified value of it was 61l. 7s. 8d. yearly income.
This vicarage is valued in the king's books at 7l. 13s. 4d. and the yearly tenths at 15s. 4d. The parsonage, as well as the advowson of the vicarage, were held by grant from the crown in the reign of queen Elizabeth, by Alexander Grygsby, gent. in which name they continued in 1640. In 1681, Francis Martin, gent. held them. About the year 1710, they were held by Wallace, and afterwards by Oliver, who died possessed of them in 1728; soon after which they were purchased by Robert Mann, esq. of Lintonplace. Since which they have passed in like manner as that seat to Sir Horace Mann, bart. the present owner of them.
A massive structure, this Air Ministry Pattern Pillbox has a 24ft diameter, constructed with brickwork shuttering and poured concrete, shellproof walls with large embrasures. It stands in a cropped field south west from the former RAF Hunsdon airfield.
A World War Two Air Ministry Pattern Pillbox, a variant of a FW3/22 Type-22 Pillbox consisting of the standard internal dimensions with thickened walls and enlarged embrasures. The need for a shellproof Pillbox with a wall thickness of between 42in and 55in was deemed necessary in 1941 by the Air Ministry to help defend airfields against aerial bombing. This Pillbox is positioned south west of the airfield, they were built in Great Britain prior to the invasion and thereafter in northwest Europe from the 6th of June 1944 to V-E Day, the 7th of May 1945.
The Air Ministry Pillbox was part of RAF Hunsdon airfield defences, it's been constructed with brickwork shuttering and poured concrete, which has come away in large sections, its also under attack from the undergrowth. The entrance is via a short half-height porch, now fitted with a gate. The porch entrance has stepped anti-ricochet walls which leads in to the interior of the Pillbox, with a central anti-ricochet wall, the corrugated sheets and wooden supports used for shuttering remain in place under the roof. The large stepped embrasures are fitted with Turnbull gun mounts.
+++ 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 Douglas F3D Skyknight (later designated F-10 Skyknight) was a United States twin-engined, mid-wing jet fighter aircraft manufactured by the Douglas Aircraft Company in El Segundo, California. The F3D was designed as a carrier-based all-weather night fighter and saw service with the United States Navy and United States Marine Corps. The mission of the F3D-2 was to search out and destroy enemy aircraft at night.
The F3D was not intended to be a typical sleek and nimble dogfighter, but as a standoff night fighter, packing a powerful radar system and a second crew member. It originated in 1945 with a US Navy requirement for a jet-powered, radar-equipped, carrier-based night fighter. The Douglas team led by Ed Heinemann designed around the bulky air intercept radar systems of the time, with side-by-side seating for the pilot and radar operator. The result was an aircraft with a wide, deep, and roomy fuselage. Instead of ejection seats, an escape tunnel was used.
As a night fighter that was not expected to be as fast as smaller daylight fighters, the expectation was to have a stable platform for its radar system and the four 20 mm cannon mounted in the lower fuselage. The F3D was, however, able to outturn a MiG-15 in an inside circle. The fire control system in the F3D-1 was the Westinghouse AN/APQ-35.
The AN/APQ-35 was advanced for the time, a combination of three different radars, each performing separate functions: an AN/APS-21 search radar, an AN/APG-26 tracking radar, both located in the nose, and an AN/APS-28 tail warning radar. The complexity of this vacuum tube-based radar system, which was produced before the advent of semiconductor electronics, required intensive maintenance to keep it operating properly.
The F3D Skyknight was never produced in great numbers but it did achieve many firsts in its role as a night fighter over Korea. While it never achieved the fame of the North American F-86 Sabre, it did down several Soviet-built MiG-15s as a night fighter over Korea with only one air-to-air loss of its own against a Chinese MiG-15 on the night of 29 May 1953.
In the years after the Korean War, the F3D was gradually replaced by more powerful aircraft with better radar systems. The F3D's career was not over though; its stability and spacious fuselage made it easily adaptable to other roles. The Skyknight played an important role in the development of the radar-guided AIM-7 Sparrow missile in the 1950s which led to further guided air-to-air missile developments.
In 1954, the F3D-2M was the first U.S. Navy jet aircraft to be fitted with an operational air-to-air missile: the Sparrow I,an all weather day/night BVR missile that used beam riding guidance for the aircrew to control the flight of the missile. Only 38 aircraft (12 F3D-1Ms, and 16 F3D-2Ms) were modified to use the missiles, though.
One of the F3D's main flaws, which it shared with many early jet aircraft, was its lack of power and performance. Douglas tried to mend this through a radical redesign: The resulting F3D-3 was the designation assigned to a swept-winged version (36° sweep at quarter chord) of the Skyknight. It was originally to be powered by the J46 turbojet, rated at 4.080 lbf for takeoff, which was under development but suffered serious trouble.
This led to the cancellation of the J46, and calculated performance of the F3D-3 with the substitute J34 was deemed insufficient. As an alternative the aircraft had to be modified to carry two larger and longer J47-GE-2 engines, which also powered the USN's FJ-2 "Fury" fighter.
This engine's thrust of 6.000 pounds-force (27 kN) at 7,950 rpm appeared sufficient for the heavy, swept-wing aircraft, and in 1954 an order for 287 production F3D-3s was issued, right time to upgrade the new type with the Sparrow I.
While the F3D-3's outline resembled that of its straight wing predecessors, a lot of structural changes had to be made to accommodate the shifted main wing spar, and the heavy radar equipment also took its toll: the gross weight climbed by more than 3 tons, and as a result much of the gained performance through the stronger engines and the swept wings was eaten away.
Maximum internal fuel load was 1.350 US gallons, plus a further 300 in underwing drop tanks. Overall wing surface remained the same, but the swept wing surfaces reduced the wing span.
In the end, thrust-to-weight ratio was only marginally improved and in fact, the F3D-3 had a lower rate of climb than the F3D-2, its top speed at height was only marginally higher, and stall speed climbed by more than 30 mph, making carrier landings more complicated.
It's equipment was also the same - the AN/APQ-35 was still fitted, but mainly because the large radar dish offered the largest detection range of any carrier-borne type of that time, and better radars that could match this performance were still under construction. Anyway, the F3D-3 was able to carry Sparrow I from the start, and this would soon be upgraded to Sparrow III (which became the AIM-7), and it showed much better flight characteristics at medium altitude.
Despite the ,many shortcomings the "new" aircraft represented an overall improvement over the F3D-2 and was accepted for service. Production of the F3D-3 started in 1955, but technology advanced quickly and a serious competitor with supersonic capability appeared with the McDonnell F3H Demon and the F4D Skyray - much more potent aircraft that the USN immediately preferred to the slow F3Ds. As a consequence, the production contract was cut down to only 102 aircraft.
But it came even worse: production of the swept wing Skyknight already ceased after 18 months and 71 completed airframes. Ironically, the F3D-3's successor, the F3H and its J40 engine, turned out to be more capricious than expected, which delayed the Demon's service introduction and seriously hampered its performance, so that the F3D-3 kept its all weather/night fighter role until 1960, and was eventually taken out of service in 1964 when the first F-4 Phantom II fighters appeared in USN service.
In 1962 all F3D versions were re-designated into F-10, the swept wing F3D-3 became the F-10C. The straight wing versions were used as trainers and also served as an electronic warfare platform into the Vietnam War as a precursor to the EA-6A Intruder and EA-6B Prowler, while the swept-wing fighters were completely retired as their performance and mission equipment had been outdated. The last F-10C flew in 1965.
General characteristics
Crew: two
Length: 49 ft (14.96 m)
Wingspan: 42 feet 5 inches (12.95 m)
Height: 16 ft 1 in (4.90 m)
Wing area: 400 ft² (37.16 m²)
Empty weight: 19.800 lb (8.989 kg)
Loaded weight: 28,843 lb (13.095 kg)
Max. takeoff weight: 34.000 lb (15.436 kg)
Powerplant:
2× General Electric J47-GE-2 turbojets, each rated at 6.000 lbf (26,7 kN) each
Performance
Maximum speed: 630 mph (1.014 km/h) at sea level, 515 mph (829 km/h) t (6,095 m)
Cruise speed: 515 mph (829 km/h) at 40,000 feet
Stall speed: 128 mph (206 km/h)
Range: 890 mi (1.433 km) with internal fuel; 1,374 mi, 2,212 km with 2× 300 gal (1.136 l) tanks
Service ceiling: 43.000 ft (13.025 m)
Rate of climb: 2,640 ft/min (13,3 m/s)
Wing loading: 53.4 lb/ft² (383 kg/m²)
Thrust/weight: 0.353
Armament
4× 20 mm Hispano-Suiza M2 cannon, 200 rpg, in the lower nose
Four underwing hardpoints inboard of the wing folding points for up to 4.000 lb (1.816 kg)
ordnance, including AIM-7 Sparrow air-to-air missiles, 11.75 in (29.8cm) Tiny Tim rockets, two
150 or 300 US gal drop tanks or bombs of up to 2.000 lb (900 kg) caliber, plus four hardpoints
under each outer wing for a total of eight 5" HVARs or eight pods with six 2 3/4" FFARs each
The kit and its assembly:
Another project which had been on the list for some years now but finally entered the hardware stage. The F3D itself is already a more or less forgotten aircraft, and there are only a few kits available - there has been a vacu kit, the Matchbox offering and lately kits in 1:72 and 1:48 by Sword.
The swept wing F3D-3 remained on the drawing board, but would have been a very attractive evolution of the tubby Skyknight. In fact, the swept surfaces resemble those of the A3D/B-66 a Iot, and this was the spark that started the attempt to build this aircraft as a model through a kitbash.
This model is basically the Matchbox F3D coupled with wings from an Italeri B-66, even though, being much bigger, these had to be modified.
The whole new tail is based on B-66 material. The fin's chord was shortened, though, and a new leading edge (with its beautiful curvature) had to be sculpted from 2C putty. The vertical stabilizers also come from the B-66, its span was adjusted to the Skyknight's and a new root intersection was created from styrene and putty, so that a cross-shaped tail could be realized.
The tail radar dish was retained, even though sketches show the F3D-3 without it.
The wings were take 1:1 from the B-66 and match well. They just had to be shortened, I set the cut at maybe 5mm outwards of the engine pods' attachment points. They needed some re-engraving for the inner flaps, as these would touch the F3D-3's engines when lowered, but shape, depth and size are very good for the conversion.
On the fuselage, the wings' original "attachment bays" had to be filled, and the new wings needed a new position much further forward, directly behind the cockpit, in order to keep the CoG.
One big issue would be the main landing gear. On the straight wing aircraft it retracts outwards, and I kept this arrangement. No detail of the exact landing gear well position was available to me, so I used the Matchbox parts as stencils and placed the new wells as much aft as possible, cutting out new openings from the B-66 wings.
The OOB landing gear was retained, but I added some structure to the landing gear wells with plastic blister material - not to be realistic, just for the effect. A lot of lead was added in the kit's nose section, making sure it actually stands on the front wheel.
The Matchbox Skyknight basically offers no real problems, even though the air intake design leaves, by tendency some ugly seams and even gaps. I slightly pimped the cockpit with headrests, additional gauges and a gunsight, as well as two (half) pilot figures. I did not plan to present the opened cockpit and the bulbous windows do not allow a clear view onto the inside anyway, so this job was only basically done. In fact, the pilots don't have a lower body at all...
Ordnance comprises of four Sparrow III - the Sparrow I with its pointed nose could have been an option, too, but I think at the time of 1960 the early version was already phased out?
Painting and markings:
This was supposed to become a typical USN service aircraft of the 60ies, so a grey/white livery was predetermined. I had built an EF-10B many years ago from the Matchbox kit, and the grey/white guise suits the Whale well - and here it would look even better, with the new, elegant wings.
For easy painting I used semi matt white from the rattle can on the lower sides (painting the landing gear at the same time!), and then added FS 36440 (Light Gull Grey, Humbrol 129) with a brush to the upper sides. The radar nose became semi matt black (with some weathering), while the RHAWS dish was kept in tan (Humbrol 71).
In order to emphasize the landing gear and the respective wells I added a red rim to the covers.
The cockpit interior was painted in dark grey - another factor which made adding too many details there futile, too...
The aircraft's individual marking were to be authentic, and not flamboyant. In the mid 50ies the USN machines were not as colorful as in the Vietnam War era, that just started towards the 60ies.
The markings I used come primarily from an Emhar F3H Demon, which features no less than four(!) markings, all with different colors. I settled for a machine of VF-61 "Jolly Rogers", which operated from the USS Saratoga primarily in the Mediterranean from 1958 on - and shortly thereafter the unit was disbanded.
I took some of the Demon markings and modified them with very similar but somewhat more discrete markings from VMF-323, which flew FJ-4 at the time - both squadrons marked their aircraft with yellow diamonds on black background, and I had some leftover decals from a respective Xtradecal sheet in the stash.
IMHO a good result with the B-66 donation parts, even though I am not totally happy with the fin - it could have been more slender at the top, and with a longer, more elegant spine fillet, but for that the B-66 fin was just too thick. Anyway, I am not certain if anyone has ever built this aircraft? I would not call the F3D-3 elegant or beautiful, but the swept wings underline the fuselage's almost perfect teardrop shape, and the thing reminds a lot of the later Grumman A-6 Intruder?
Basic structure is 5thC CE, constructed using granite and marble columns from ancient Roman buildings (spolia).
_DSC4232 Anx2 V2014 1200h Q90 Ap Q10
Details of a pigeon's wing as it balances on one of our feeders trying to get at some seeds. Primary and secondary wing feathers are clearly seen along with the covert feathers underneath. These are surprisingly delicate structures and it's not often we get the chance to get a good look at them like this
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
At 6:12PM on September 19, 2019 the Los Angeles Fire Department responded to a reported structure fire in the 3900 block of W 1st St in Koreatown. Firefighters arrived to find a detached garage fully engulfed in flames. 40 firefighters took 23 minutes to fully extinguish the fire. A nearby utility pole was exposed to flames, but all adjacent properties were protected from the blaze. There were no reported injuries.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Chris Conkle
LAFD Incident: 091919-1301
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Dayak is a name of tribes that identifies the various indigenous peoples on the island of Borneo by the Indonesian part known as Kalimantan. They are divided into about 450 ethno-linguistic groups. Despite some differences, these group share physical features, architecture, language, an oral tradition, customs, social structure, weapons, agricultural technology and a similar outlook on life.
Dayak population estimated at about four million spread over the four Indonesian provinces in Kalimantan / Borneo, the Malaysian territories of Sabah and Serawak and Brunei Darussalam. In Sabah, the Dayak are known as Kadazandusun.
In the past, anthropologists described the Dayak as the "legendary natives of Borneo" who lived in longhouse and engaged in head-hunting. Today, they form a small minority, the loser in an era of swift change and modernization.
This behemoth of a structure is a Roman Catholic Cathedral in Cologne, Germany. We got to tour this wonder while on our Viking River Cruise honeymoon. To think they began construction on this back in 1248! And then to think construction occurred on and off all the way up until 1880! That's around 600 years of on and off construction time for one structure! The United States would be lucky to have trees this old, let alone something made by man which is still used today! We were very fortunate to get to check this place out!
During WWII, Cologne Germany was almost completely leveled.......it's stated that 95% of the city was destroyed. Our tour guide explained that they removed most if not all of the stained glass and all holy relics from the cathedral to protect them during the war. The church was damaged fairly badly due to bombing of the nearby train station and bridges, but somehow it remained standing......and was nearly the ONLY structure left standing! Fighters on all sides used the cathedral as a reference point since it could be easily seen from far away. Today, citizens in Cologne actually pay an extra tax to help maintain the structure, and according to our tour guide, most do so more than willingly with the desire to preserve this monument.
Estrutura dos brincos ginastas.
Structure for the gymnast earrings.
Blogged here: thelittlecreatures.wordpress.com/2012/08/11/gymnasts-gina...
HOLLYWOOD - A blaze broke out Wednesday morning which consumed a vacant theater that was tucked between several other buildings on three sides. Thankfully, firefighters protected all surrounding structures without injury, and have two persons of interest being questioned.
The Los Angeles Fire Department responded to the 1400 block of North Las Palmas Avenue at 8:57 AM on Wednesday, July 13, 2022 to find a vacant two-story theater with smoke showing. Firefighters ascended ladders to the roof, and made ground-level entry to the interior of the 9,082 square-foot theater built in 1905. Shortly after, flames erupted through the roof. The Incident Commander announced a change to defensive tactics on the radio and all crews withdrew from the building.
Firefighters spent the majority of the incident in defensive operations, as heavy fire compromised the structure, making it extremely hazardous to enter. Firefighters deployed hose lines, heavy streams, and ladder pipes from the exterior of the building, and on adjacent rooftops. Despite the heavy fire load and partial structural collapse of the vacant structure, firefighters were able to successfully protect all neighboring structures (on all three sides with neighbors), including several stand-alone units of the Hollywood Center Motel, the Hollywood Guest Inn, and a multi-family residential building.
Firefighters extinguished the flames in just under two hours. This address will be red tagged by the Department of Building and Safety due to the significant structural damage. Fire investigators from LAFD's Arson/Counter Terrorism Section arrived on scene for investigation and, in coordination with LAPD, have detained one man and one woman for questioning. Thankfully, there were no injuries caused by this fire. The fire-cause investigation remains active.
LAFD Incident: 071322-0476
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