The story goes that in 1835 Mr James Newlove lowered his young son Joshua into a hole in the ground that had appeared during the digging of a duck pond. Joshua emerged describing tunnels covered with shells. He had discovered the Shell Grotto, its walls decorated with strange symbols mosaiced in millions of shells. Is it an ancient pagan temple? A meeting place for some secret cult? Nobody can explain who built this amazing place, or why, but since its accidental discovery visitors from all over the world have been intrigued by the beautiful mosaic and the unsolved mystery.

Scottish Rite Cathedral, 150 North Madison Avenue, Pasadena, California. The Scottish Rite Cathedral in Pasadena was built in 1925 in the Zigzag Moderne style. The architects were Joseph J. Blick and W.C. Crowell. The building was dedicated at a ceremony on February 18, 1925 attended by approximately 1700 high-degree masons and their families. The steps of the Cathedral were the scene of a 1930s murder that remains unsolved to this day. Leonard Seiver, a prominent dentist and playboy in Pasadena, was gunned down near the Cathedral sphinxes. Despite an intensive investigation that included the interrogation of 700 young men in the area, no arrests were made and the case is still a mystery.

A simple device added to nearly all 727s to prevent a repeat of the airborne escape made by "Dan Cooper"

 

Part of 727-22 N7001U

Museum of Flight

Seattle, Washington

 

1972 US FAA Notice of Proposed Rulemaking (NPRM):

 

rgl.faa.gov/Regulatory_and_Guidance_Library/rgNPRM.nsf/2e...

 

No-longer current FAA regulation addressed by the "Cooper Vane:"

 

rgl.faa.gov/Regulatory_and_Guidance_Library/rgFAR.nsf/0/4...

 

"Cooper Vane" (Wikipedia):

en.wikipedia.org/wiki/Cooper_vane

 

More about D.B. Cooper and his legacy:

www.aerotime.aero/rytis.beresnevicius/24238-db-cooper-story

 

Museum of Flight (Museum web site):

www.museumofflight.org

The above depiction appeared on the cover of True Detective June 1953 Vol. 59 No. 2

The portrayal below did not.

*****

The Silken whisper of Flickering Desires

A Chronicle

Adapted from the Final Entry Entitled:

Their Regal Gambit

Subtitled:

While Sherlock Holmes vacationed

 

The first score had been made, now for the Coup de Grace! So far their little operation had gone as smooth as silk, or in this case, satin. Now just to make sure the husband of the silken gowned brunette displaying the jewels in question was still safely out of the picture! Then Mollie would let her husband know that with the coast clear, freeing him to stage his approach of the lady in the long swishing satin gown he had been keeping an eye on all evening. The one who was wearing the exquisite necklace of fiery flickering diamonds, just daring someone to expertly slip it away the throat of its unsuspecting owner.

 

And therein lay the rub, She happily thought….

 

As Mollie made her way down the quiet corridor to the gentlemen’s smoking lounge, she lovingly played through her mind the series of unfortunate ( or fortunate?) events that had led her and her husband to this place. It had all began with an innocent one named Tabitha…….

 

Mollies’ Flash back

 

They had first come across Tabitha at a resort casino deep in the Catskills. Mollie and her husband had been there about three days, scoping out the grounds, and its wealthy clientele. At the casino they both spotted Tabitha at the same time. She was seated at a baccarat table, really standing out in an elegant dress of gold and black striped silk and velvet Her well-toned body displayed numerous pieces of expensive jewelry. A fat little purse dangled, unheeded by her side. Tabitha had held Mollie’s attention mainly due to the strong resemblance she had to herself. Tabitha’s jewelry, a flashy diamond journey style necklace, matching earrings, wide diamond tennis bracelet, and multiple gem encrusted rings, had held Mollies pickpocket husbands’.

 

Mollie went on to the bar and watched as her husband waited for the seat next to Tabitha to become vacant. Then he sat, asking for chips, while unobtrusively eyeing Tabitha’s bracelet. He began striking up a conversation with Tabitha, finding her to be an easy mark. He soon learned from the chatty girl that she was a divorced, upper executive for a well-known digital arts company servicing the movie industry. It was during this conversation that Tabitha babbled about the upscale, invitation only(you know), black tie formal ball she would be attending in England the next month. Now, as her husband was keeping Tabitha occupied Mollie had walked by the pair, ‘tripping’ into her husband, who palmed off to her , the diamond bracelet which had been ever so subtly slipped from around the unwary Tabatha’s’ wrist. Walking away with the bracelet secured in her purse, Mollie made her way to their small bungalow. Her husband did not break in his conversation with Tabitha; a mark would seldom suspect a friendly person of stealing from her.

 

Later that evening, Mollie wore the pricy bracelet while mutually admiring it over a bottle of merlot with her husband. They discussed the high-class affair Tabitha had been bragging about. Wistfully, Mollie admitted it was a shame they had not received an invite. Her husband smiled, and pulled a thickly embossed and crested envelope from his pocket. Easily adopting a British accent, he said “The silly little twit was carrying this in her purse!” The envelope revealed a pair of invitations to the Princess’s Jubilee Royal Ball. As the pair continued to empty the bottle of fine merlot, what had started as speculation, turned towards reality, and soon plans had been laid.

 

As they lay in bed later that night, Mollie turned to her husband, just think about the jewels that will be worn at the English Ball, she shivered with the delightful thoughts. Do you remember the last time we were in England? Mollie looked at her husband slyly, you remember, the Wriggling Whelp Whispering Wisk! She stated teasingly. Mollie knew the quickest way to get her husband’s goat was coming up with silly phrases to describe his more outlandish endeavors. Such phrases like The Tingling Touch Ice Melt, The Slippery Slick Taffeta Pull, The Glossy Gowned Dangling Peel, or her personal favorite, The Ticklish Wedge Clam Dip, never failed to get a response. In this case the response was a brief pillow fight leading into a romantic interlude, ending up with them in bed as they reminisced about the last time they had “visited” England a few years back…..

It had proven a fairly profitable venture with the jewelry alone netting almost 100,000 pounds. It all had culminated quite nicely at one of the posh events they had crashed that final weekend. Their final score had come about from a rambunctious doe eyed Fourteen year old in a shiny dress who had been oblivious to the valuably delicious gold pendent studded with small rubies and emeralds that sparkled ever so invitingly as it swung from her throat. A pair of matching dangling earrings dripped from her ears as she has run around unminded by her elders. Mollie had indignantly stated to her husband that the antique trinkets were simply just too expensive for a child so squirminly young to be trusted with. Her husband then went about the task to prove his wife correct in her statement.

 

After talking a bit about the English Girls parents reaction to the unsolved disappearance of their daughters ultra-pricey pendent , Mollie came back to the present and asked if the lady in the maroon silk that her husband pointed out the previous evening would be wearing the same jewels to the dance tomorrow night? Or better her husband replied sleepily, good Mollie pronounced, I did like her emeralds.

 

In Merry Ole England

 

They had arrived in England several weeks before the Royal Ball and began the preparations.

 

In an irony of fate, the profit they had realized from poor Tabitha’s bracelet had paid for a large chunk of their little excursion. Keeping his accent, and adding a trim beard, Mollies husband looked radically different from the man Tabitha had encountered. During the weeks following their arrival, the pair had practiced like they always did before undertaking a new venture. But this time it was with a more daring edge, they quite simply could not afford being caught red handed in a foreign country. Mollie assumed her practice the role. That of the richly dressed, well jeweled quarry. Her husband would stalk and attempt to relieve her of a piece of her jewelry as she went about her business, shopping! The idea being that, If he was able to do so without being caught by an obviously aware Mollie, than he should have no problem at the Royal Ball. As it usually happened when they practiced in this manner, her husband did incredibly well. Mollie had had several pieces of jewelry vanish from her person during the week, without her noticing how or when.

 

The final night of practice Mollie decided to dress to kill. Looking quite devastating in a glossy gold halter and a long brown velvet skirt with gold stiletto heels clicking as she moved. A diamond heart pendant hung down from her neck, swaying provocatively out from between her breasts. A bracelet, similar to Tabitha’s purloined diamonds, was wrapped around her wrist.

 

She left their penthouse and made her way to the street outside. Some type of festival was going on as she waded through the crowded streets to the nightclub. Her rings sparkled as they kept rhythm with her swaying diamond waterfall earrings. Just daring her husband to make a move for any of them.

 

Mollie drank and danced the night away with no hide or hair of her husband until she returned late that evening to their apartment. She found him in the hot tub, smirking. She undressed and joined him. Okay, how did u do it she demanded? I felt nothing, no one bumped or brushed against me all evening that I was not aware of. He opened his fist, allowing her heart diamond pendant to dangle freely in front of her. A magician never reveals his tricks my little cat, he purred, as the pendant swayed in a sparkling arch.

 

Cat was short for “Cat Lady”, a moniker he had placed upon her when she had broken into a sleeping woman’s room and removed the jewels from her gold case, and even managed to slip off a ring she was wearing. The fact that she was passed out in a drunken stupor, still dressed in her long party gown, didn’t count , or so her husband teased.

 

You should have been a surgeon! , my dear, Mollie exclaimed with pride. Then she leaned towards him, her green eyes gleaming in earnest, time for a real practice run Mon Cherie, she said in dead seriousness. Then Her eyes opened wide, I got it she exclaimed, I’ll call it The Slinking Sneaky Shearing Snag she pronounced joyfully, getting a face full of water in reply to her effort. Okay Cat, let’s get down to business he retorted, I know just the affair. Mollie listened intensively as her Husband described their next plans, derived while eavesdropping on a couple of ladies shopping in a jewelers.

 

The next weekend (two weeks to the evening before the Royal Ball) Mollie found herself at a quaint upscale wedding reception held in the large gardens of a country church. She was attired in the same bewitching ensemble that she had been wearing on the final night of practice. Her only jewels were a recently acquired pair of sparkly cascading earrings set with emeralds and diamonds. The affair of the plump piqued peacock plucking she had mused while getting dressed. The only other exception was that the long fiery red hair she had inherited from her Irish namesake grandmother had been cut and dyed blond. Blue contacts had also been added to the disguise to hide her vivid green eyes.

 

They soon targeted an older jewel laden snob at the reception. An older lady , well jeweled, of the arrogant know it all, obey me totally type whom everyone tries to avoid. While Mollie engaged the mark in a mostly one sided conversation(the older ladies) the lady had become so deeply engrossed about talking about herself and her ties with royalty, that she never detected being relieved of a heirloom antique gold chain and jeweled pendent by Mollies husband who had approached her unnoticed from behind.

It was all Mollie could do no to bring attention to it by looking at the wickedly expensive piece as it was slipped up and away from the Dowager’s ruffled heavy satin blouse.

 

This time it was mollies turn to keep chatting as her husband headed to the door. He had almost made it when two youths ran into him as they scurried away from a rather sullen looking tween girl they had been teasing, and now were in possession of her purse. Mollie stole a look as she saw her husband topple onto the chasing girl. He managed to extracted himself from the girls long slinky gown that she had probably been forced into by an overly conceited mother. He apologized, and left the girl to go after her antagonizes. Later, when Mollie had caught up to him she teased him about his clumsiness. He just smiled, and pulled out from his vest pocket the most exquisitely matched pearls that the youth had been openly displaying from around her throat and wrist at the reception!

 

They were, most definitely, ready. The fated evening could not come soon enough. But it finally did.

 

They had had no problem with using the fancy invitations to gain entrance. Security was heavy, as expected, but with a very lax atmosphere. Mollie was wearing the salmon coloured gown she had had especially made for such occasions, her new blond hair style and the blue contacts. In a coup foray of sorts, Mollie wore the pearls that had been taken by her husband during his run in with the sullen girl at the wedding reception. Her husband was wearing his usual tux with a hand tied bowtie. His ruffled sleeves easily moved up and down along his wrists.

 

Mollie and her husband split up, each spending the first few hours mingling solo, and taking it all in as they thoroughly enjoyed the Ball and all its many stimulating attractions. It had gone smooth as silk. Spending the first few hours prowling while the guests liquored up Mollie scoping out exactly the right candidates. Dangling jewels with easy clasps were everywhere!, it was surprising how the best of jewel makers skimped on the clasps required to keep the expensive pieces in place. Clothing also made a difference. Silks and satins were quiet and slipped easily. Taffeta could be whispery, more of a challenge. Velvet could easily snag as a piece was being lifted. But these were the costliest of materials, and the wearers would logically be wearing the costlier of jewelry.

 

Mollie and her husband regrouped several hours later, unobtrusively under the pretense of dancing. Gently discussing their plans. They settled on three likely prospects amongst the almost three hundred present. The first was an older spinster type wearing a luxurious dress of embroidered navy silk and displaying jewelry studded with diamonds and sapphires. The second was a middle aged snotty blonde wearing a shamelessly low cut green silk taffeta gown (which Mollie secretly liked)wearing a thick gold bracelet studded with vulgarly large rubies surrounded by a sea of small sparkly diamonds. She was alone, and a heavy drinker. The third was a longshot. A lanky , flighty brunette wearing immensely valuable jewels of blindingly sparkling Diamonds. Her necklace alone was in the upper hundred thousand range, with a clasp that was one of the easiest to coax open. The only problem was that she came with an obviously newlywed husband who doted on her every move. Both were heavy drinkers, and if he would only leave his wife’s side for, say about fifteen minutes, the necklace would be theirs!

 

They had decided that any one of the three would produce results worth a king’s ransom, appropriately enough, all things considered. The plan was for her husband to take his time selecting the easiest jewel to acquire from amongst the ones the three marks were displaying , make his move, and pass it off to Mollie who would leave forthwith, while her husband stayed a little while longer to make sure everything remained calm before making his exit stage right via the hallway.

 

As Mollie went to her station, she saw the Blue silken lady, along with her sapphires and diamonds, leaving with a rather unsavory looking male, eyeing her with a look Mollie knew all too well. Mollie decided to follow them, thinking to herself that some women are just prone to being victimized. Good luck with that one Mollie thought unkindly, as she stole one last look at the ladies glistening sapphires, hope he leaves her with something she sarcastically wished wickedly to the couple’s backside as they went out the exit at the end of the hall. One down and out she thought. Then she spied the husband of the newlywed pair heading down the hall towards her with an older, grey bearded man. Getting close she heard them talking about the Gentlemen’s smoking lounge. Mollie decided to give her husband a signal, but when she found him he was already in the arms of the blond. Molly immediately noticed the absence of the jeweled bracelet from his partners’ wrist. She went back to her table. Immediately she was set upon by some drunken snob asking her to dance. She allowed herself to be taken up into his arms. Spending a few unenchanting minutes with Mr. two left feet, before her husband tapped him on the shoulder cutting in. They danced, Mollie placing a hand into his pocket and feeling something cold and metal wrapped her hand around it. Looking him in the eyes she told him about the now unguarded bride, as she palmed the willowy blonde’s bracelet. They decided to go for it, and as the music ended, Mollie made her way to the hall, where she secreted the blondes bracelet safely away

 

One down, one more to go! An exquisite necklace of flickering diamonds waiting to be nimbly slipped away from the throat of its unsuspecting wearer. Now just to make sure the husband of the silken gowned brunette displaying the jewels in question was still safely out of the picture! Then to let her husband know that with the coast clear, he was free to stage his approach of the lady in the long swishing satin gown he had been keeping a drooling eye on all evening. The one wearing the exquisite necklace of flickering diamonds waiting to be so expertly slipped away from the throat of its unsuspecting wearer.

 

She was able to see the groom in windowed room, the husband and his friend were smoking a pair of long cigars and drinking brandy in large glass snifters. Mollie passed unnoticed as she mad e her way to the ladies powder room. He was still there, only halfway through a long stogie as she passed again on her way back. Neither time was she observed. Mollie mad her way back to the Ballroom. She sat down at one side of the room, once again allowing the sights of so many bejeweled women to soak in. Her husband was dancing with a lady in a flowing red ball gown, jewels sparkling in abundance, not aware of the danger so close at hand, nor that even with her husband and his particular skill set so close to them, that at that moment nothing could be safer from his fingertips. Finally she caught her husband’s eye. Mollie innocently rubbed a finger along the side of her nose, a subtle signal that it was safe for him to precede.

 

Mollie was now uncharacteristically having butterflies in her stomach; it was a huge gamble, trying to get away with a pair of thefts in this inhospitable atmosphere. She kept second guessing herself, Bird in hand she kept thinking. But the lure was too great, and it was with a heavy sigh of relief when Mollie saw her husband finally kiss the hand of the young bride after their dance. Mollie could see that she was no longer sporting the thin silver necklace and its row of at least two caret diamonds that had been encircling her throat with their rippling flashy brilliance all evening. Molly stayed put, not daring to leave until her husband had brushed by her in passing and made his way out the hallway to the exit. She waited for a long fifteen minutes, then curling her hand around the necklace that had been dropped into her lap as he had passed; she gained the safety of the hallway. Just in time. For coming down the hallway was none other than the lady in the long luxurious gown and now bare throats groom and his distinguished looking friend. She passed by them, feeling the men eyeing her with roving wolfish gazes. Then she passed them, and proceeded unhindered to once again enter the ladies’ powder room where the necklace soon joined with the Blondes bracelet in its hiding spot.. Than calmly Mollie left, walking past two security Bobbies, virtually unnoticed. The Groom had been absolutely ignorant to the fact that his young Bride’s ridiculously valuable necklace had walked right past him out the door.

 

Mollie did not let herself really breathe until she had gained the safety of the street. She allowed herself to imagine the commotion as the news of the missing jewels were circulated around the cavernous Ballroom. There would be a flurry of activity, flashes and sparkles as the women checked themselves reassuringly that they were still in possession of their trinkets. Mollie would have loved to have stayed and watched, but obviously could not do so. She rejoined her husband at their meeting place and they drove off. They made their way to Ireland where they spent a cautious week touring before leaving for the states.

 

Once the profit was realized from their haul that eventful evening, including obnoxious Dowagers the jeweled antique pendent, and was added in to the modest amount they had already accumulated from previous adventures, Mollie and her husband were able to retire to Ireland and live quite an unpretentious life together in a small stone manor in the woods.

  

Courtesy of Chatwick University Archives

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

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***************************************************************************************************************************************************************************

 

Cut B 1083

**********

The Une cabine d'essayage of Lady St-Claire Glen Cottage, Ruex De le Monte

  

In early 1900’s a European thief of unknown nationality,( never caught or identified), was popularly known as Le Shepared. He earned this moniker because of his adeptness with parting wealthy ladies from the expensive pieces of jewellery they were wearing (Akin to a Shepard trimming wool from lambs). He performed these subtle thefts while haunting the “Black Tie” Affairs, Balls, Receptions, and Soiree’s that promised to be attended by the very upper crust of Europe’s jewel laden females.

. He was also prime suspect in several spectacular jewel thefts that emptied out the glittering contents of several wealthy lady’s jewellery cases, unguarded while their mistress’s were attending the above mentioned fancy dressed functions. A few times, so the stories circulating at the time went, he would lift a piece of jewellery m’lady was wearing, and then knowing she was safely out of the picture, visit milady’s boudoir and pick it clean of anything sparkly and expensive. Such may have been the case with lady St-clair…

 

One of the most notorious unsolved cases evolved around Lord Perter St-Clair.

At the wedding of Lord St-Clair and his bride, one of the gifts was tickets for Le Chat Noir , for a Cabaret being presented there , put on by the Salon Les Arts Incohérents during the same period they would be at their lune de miel (Honeymoon).

 

While the couple was out one evening attending the play, the Lady St-Clair went to “powder her nose” during intermission. When the play resumes, she noticed the loss of her diamond bracelet that she remembers playing during the thrilling end of Act two, just before the curtains came up for intermission. The valuable bracelet was never recovered.

 

Meanwhile, a thief broke into the Lady’s Dressing room during the time the show was being presented, making off with several extremely valuable collections of family jewels.

But, was that all? Some say that an article of some importance to a certain secret society that Lord Perter was a major officer, was also taken that evening.

 

Coincidently, at the ball following the lavish St-Claire wedding, of the almost 400 guests in attendance at the Middle Temple Hall, Temple, London ,several wealthy female guests reported the loss of some extremely valuable jewelled bracelets, a jewelled ring , a navette diamond brioche, and a diamond necklace. Also, no one ever took credit for giving the unmarked gift of the tickets to attend the show being put on at the French café’ Le Chat Noir.

 

Was Le Shepared in attendance scoping out Lady St-Claire’s Jewels? Did he aslo take the time to collect a few “trifles” from a few of the Ladies’ in attendance? Did he then follow the newlyweds to France, to the play, to Mademoiselles boudoir?

 

Quand le chat n'est pas là, les souris dansent.

(translation: While the cat's away the mice will play.)

 

Il ne faut pas réveiller le chat qui dort.

translation: Let sleeping dogs lie.

  

Vous ne trouvez pas le Saint-Graal , c’est le Saint-Graaal qui vous trouve.

(You do not find the grail, the grail finds you)

 

All

Props & Stage courtesy of Chatwick University Theatre

Story

Courtesy of Chatwick University Archives

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

********************************************************************** **********

 

*************************************************************************************

Legend has it that Luther was a practicing witch in the Erie Area in the late 1800’s. His “coven” supposedly included Michael Haverstick who preceded him in death and was buried in a circle of family gravestones. Luther was buried on May 13, 1834 in the same circle.. That evening an unnaturally severe thunder and lightning storm descended on the area. The next day it was discovered that overnight The Douglas and Haverstick stones were turned black. If your read some of the writing on the stones in the circle you will find some pretty weird etchings.

 

The two blackened stones are to the left of the tree. Across from each other.

 

Now for the spooky part:

My sister -in-law is from Nova Scotia. I took her to the Erie Cemetery and she became quite enthralled with the witches circle and its history. So much so that when her sister visited she wanted to take her there. We all went as a group. My sister -in-law’s sister had her infant daughter with her. The child slept peacefully in her mother’s arms as we walked about. We reached the circle, and at one point the sister, still carrying her infant, went inside the circle to look at something. The baby literally woke up screaming in tantrum. The mother stepped outside to walk her daughter. As soon as she left the circle the infant settled right down. Thinking it was a fluke, she entered the circle again. The child again started to struggle and scream. Immediately the mother stepped outside the circle and the child settled right back down. No one else felt anything out of the ordinary, but apparently the infant did.

  

He was hung by his power cable. He was deflated. His friends were tortured.They lost their lights and their blowers. The Slasher wanted to know where Santa's Village is. None of them talked. They even refused to tell him where the North Pole is! I arrived on the scene and scared the Slasher away. Poor Santa, not a breath of air left in his body. Windsor, Ontario

Nessie likes to play hide and go seek...so far we've always found her....

 

subtitled "An Unsolved American Mystery", about a series of murders on Long Island of self employed prostitutes advertising online... many insights into our culture and law enforcement in this country...

 

This is a painting of a woman who had a amazing voice one of my favorites her name was

Mia Katherine Zapata (August 25, 1965 – July 7, 1993) was the lead singer for the Seattle punk band The Gits.The Gits were actually a punk band, but they are often incorrectly classified as grunge (due to their connection with Seattle grunge bands Nirvana and Soundgarden) or as part of the riot grrrl movement. It’s true that the horrible circumstances of Mia Zapata’s death were exactly the kind of thing that riot grrrl bands like Bikini Kill and Bratmobile were writing about, and seemed to drive home the grisly reality of violence against women- that even punk women and riot grrrls were not impervious to sexual violence, that it is a serious problem that needs addressing. (The non-profit Home Alive was founded by members of the Seattle music community in memory of Mia Zapata.)

 

Mia Zapata’s murder remained an unsolved mystery for ten years, until a DNA profile was able to be matched from a saliva sample on her body. The saliva was traced to a fisherman who had been living in Seattle at the time of the murder and had a history of convictions for violence against women. The unanimous guilty verdict that put him in prison for more than 36 years was not only a major breakthrough for Mia’s family and friends, but it was legally significant as well- it was one of the first incidences of DNA evidence being instrumental in a conviction.

 

Vampire crypt

 

Set in a silent hill of Erie Cemetery, one mausoleum's stonework is stained black. Some might call it oxidation, a natural process. Others see it as an omen of its terrible secrets.

 

This is the only mausoleum in the 14 City block cemetery that is set into a hill. There is no telling how large the crypt actually is.

 

There is no writing of any kind. No name or dates adorn the Mausoleum. Only a rather odd carving above the door. Above the gated door is a carved symbol that some claim looks like a "V" with wings while others see a flower with two leaves.

 

"It could be Satan. It could be witchcraft. It could be that vampires live inside,"

 

Little is known about the mausoleum -- the only one in the cemetery to have so few documented records. Even though Erie is a public cemetery, whose records are open to the public. The records for this mausoleum are not.

 

Legend has it that the crypt was broken into and looted at least once. It's also rumored that the burglar soon suffered a horrible fate. Its doors are now gated and locked.

The Monarch is probably the most well-known and beloved of North American butterflies. Its wings when open feature an easily recognizable orange and black pattern, with a wingspan of 3.3 - 4.9 inches (8.5 - 12.5 cm) . The females have darker and thicker veins on their wings while the males have a spot in the center of each hindwing from which pheromones are released, and which also helps to easily distinguish them from females.

 

In North America, the Monarch ranges from southern Canada to northern South America. It rarely strays to western Europe (sometimes as far as Greece) from being transported by U. S. ships or by flying there if weather and wind conditions are right. It has also been found in Bermuda, Hawaii, the Solomons, New Caledonia, New Zealand, Australia, New Guinea, Ceylon, India, the Azores, and the Canary Islands.

 

Monarchs are especially noted for their lengthy annual migration. In North America they make massive southward migrations starting in August until the first frost. A northward migration takes place in the spring. The Monarch is the only butterfly that migrates BOTH north and south as birds do on a regular basis. But no single individual makes the entire round trip. Female monarchs deposit eggs for the next generation to complete the journey during these migrations. How the offspring know where to go remains one of nature's unsolved mysteries.

 

In eastern North American the Monarch population begins the southward migration late summer - early autumn and can cover thousands of mile from the United States and southern Canada to Mexico. The western North American population, west of the Rocky Mountains, most often migrates to sites in California, but have been found overwintering in Mexico.

 

Besides Mexico and California, overwintering populations of Monarchs are also found along the Gulf Coast, year-round in Florida, and in Arizona where the habitat provides the specific conditions necessary for their survival. The overwintering habitat typically provides access to streams, plenty of sunlight (for body temperatures that allows flight), appropriate vegetation on which to roost, and is relatively free of predators. Overwintering, roosting butterflies have been seen on sumacs, locusts, basswood elm, oak, osage orange, mulberry, pecan, willow, cottonwood, and mesquite.

 

ISO400, aperture f/10, exposure .003 seconds (1/320) focal length 300mm

 

In that lot of old American Motors slides I purchased online last year, there was one car which was featured much more often than any other. That car was this black 1961 Rambler Classic. Now, for some long-forgotten (presumably) reason, two of the block-letters in the "RAMBLER" name were missing from below the grille. That's bizarre, and I can't even come up with a plausible theory to explain it. At any rate, the photographer took scads of pictures of this particular car. Many of them were very similar and, since I strive for variety in the photos I post, these near-duplicates will not be shown. In some of these pix, the BACKGROUND is more interesting than the car itself. Of course, that wasn't the case when the photo was taken, well over fifty years ago. Back then, the background was just the background. Not so now! In that background might be a newly-constructed suburban house or street, or some long-vanished city-scape. But what interests me most as an old-car aficionado are the other CARS: mundane, common sights in 1960, rarely-seen collectors' items today. The only thing that bugs me about these photographs is those missing two letters. In some cases, I've digitally fabricated something to fill the gaps; it's not difficult to make an "L" from an "E". However, constructing a credible "A" from one of those blocky "R"s is a different matter! So usually, I've just left the picture as is. To me it's a bit of a distraction (because it's so dumb, and an unsolved mystery------I mean, if you were a dealer trying to promote those brand-new restyled RAMBLERs, wouldn't you make sure that all of the appropriate lettering was in place?), but not enough to diminish the overall appeal of the scene depicted.

Speaking of background detail, check this one out: at left we see the rear fender of a turquoise '59 Ford Galaxie. Beyond that there's a two-tone 1955 Desoto parked next to what may be a '59 Oldsmobile. The car immediately behind the Rambler looks like a '56 Chevy with a lady driver (men didn't have long hair in 1960), accompanied by a small child sitting far away from her at the other end of the car's front bench seat. To the right, the only car I can clearly identify is a black '59 Mercury 4-door hardtop. No SUVs, no crossovers, no pickup trucks (which were farm or delivery vehicles in those days), no anonymous grey jellybeans. Just CARS, all of them big, most of them flamboyant, colorful, and easily distinguishable from one another at a distance!

The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Jacquelyn (Jaclyn) Ellen Smith has been known as the world's Most Beautiful Woman, she was born in Houston, Texas, the daughter of Margaret Ellen and Jack Smith, a dentist. She attended Trinity University in San Antonio.

 

After college, Smith moved to New York City with hopes of dancing with the ballet. Her career aspirations shifted to modeling and acting as she found work in television commercials and print ads, including one for Listerene mouthwash. She landed a job as a Breck girl for Breck Shampoo in 1971, and a few years later joined another popular model/actress, Farrah Fawcett, as a spokesmodel for Wella Balsam shampoo.

Charlie's Angels

 

On March 21, 1976, Smith first played Kelly Garrett in Charlie's Angels; the show was aired as a movie of the week, starring Smith, Kate Jackson and Farrah Fawcett (billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, to whom he referred as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program earned a huge Nielsen rating, causing the network to air it a second time and okay production for a series, with all of the principal characters save the one played by Stiers. The series formally debuted on September 22, 1976, and ran for five seasons. The show would become a smash success not only in the U.S. but, in successive years, in syndication around the world, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Smith's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

Fawcett departed at the end of the first season, and Cheryl Ladd was a successful addition to the cast, remaining until the end of the series. Jackson departed at the end of the third season, and proved harder to replace, as first Shelley Hack and then Tanya Roberts were brought in to try re-igniting the chemistry, media attention and ratings success enjoyed by the earlier teams. Smith played her role for all five seasons of Charlie's Angels until 1981, also portraying the Garrett character in a guest appearance in the 1977 pilot episode of The San Pedro Beach Bums, and in a cameo in the 2003 feature film Charlie's Angels: Full Throttle. Christina Chambers portrayed Smith in the television film Behind the Camera: The Unauthorized Story of Charlie's Angels.

 

Smith's first acting venture outside the Angels mold was the CBS-TV movie of the week Escape from Bogen County (1977). Then came a leading role in Joyce Haber's The Users with Tony Curtis and John Forsythe in 1978. In 1980, Smith starred with Robert Mitchum in the suspense thriller Nightkill. She then starred in the title role of the television movie Jacqueline Bouvier Kennedy in 1981, receiving a Golden Globe Best Actress nomination for her performance but lost to Jane Seymour. In 1983, Smith starred as Jennifer Parker in the TV movie Rage of Angels, based on the novel by Sidney Sheldon. The film was the highest rated in the Nielsen ratings the week it aired. Smith reprised the role in the 1986 sequel, Rage of Angels: The Story Continues.

 

In 1988, she appeared with Robert Wagner in Windmills of the Gods. That same year she was offered the chance to star opposite Richard Chamberlain in the adaptation of Robert Ludlum's The Bourne Identity. Smith was Chamberlain's first choice as his leading lady but she had just wrapped up with the Windmills of the Gods shoot and declined the part. The role was offered to Lesley-Anne Down who wanted her husband to photograph the film. Producers refused and again offered the role to Smith, who then accepted.

 

In 1989, Smith starred in Settle the Score. This film again proved her Nielsen ratings clout. Other television movies and miniseries in which Smith appeared include George Washington, The Night They Saved Christmas, Florence Nightingale, Sentimental Journey, Lies Before Kisses, The Rape of Dr. Willis, In the Arms of a Killer, and several TV versions of Danielle Steel novels, including Kaleidoscope and Family Album. Smith starred in the 1985 feature film Deja Vu, which was directed by her then-husband Tony Richmond. In 1989, she played the title role in Christine Cromwell, a mystery television series based in San Francisco, but which only lasted one season. That same year, she received a star on the Hollywood Walk of Fame.

 

From 2002 to 2004, Smith had a recurring role as Vanessa Cavanaugh in the TV series The District, which starred Craig T. Nelson. She reprised her role as Kelly Garrett for a short cameo in the 2003 Charlie's Angels feature film. Her appearance at the 2006 Emmy telecast led Bravo TV’s producers to cast Smith as the celebrity host of Bravo’s weekly competitive reality series, Shear Genius, which began airing in March 2007. Shear Genius (Season 2) began airing on June 25, 2008.

 

In March 2010, Smith returned to acting after a five year absence with a guest role on the NBC television drama Law and Order: Special Victims Unit. In February 2012, it was announced that Smith would be guest-starring on CSI: Crime Scene Investigation, as the mother of David Hodges (played by Wallace Langham).

 

In 1985, Smith entered the business world with the introduction of her collection of women's apparel for Kmart. She pioneered the concept of celebrities developing their own brands rather than merely endorsing others. A season 15 episode of The Simpsons (The Fat and the Furries) lampooned Smith's many business successes, portraying her as having her own line of axe heads. In May 2009, Smith allowed a documentary crew to profile her home life, design philosophy and relationship with Kmart in an online video series sponsored by Kmart. Her foray into home furnishings was extended to Kmart stores in the fall of 2008, with the chain's introduction of its Jaclyn Smith Today product line of bedding and bath accessories.

 

Smith has been married four times. Her first marriage was to actor Roger Davis (1968–1975). She married Dennis Cole, an actor who had appeared on Charlie's Angels in 1977 and 1978. Cole appeared on the show two more times before the couple divorced in 1981. Cole's son from a previous marriage, Joe Cole, with whom Smith had maintained a relationship after her divorce from his father, was murdered in 1991 during a robbery; the case remains unsolved. Smith married filmmaker Tony Richmond in 1981, with whom she had two children, Gaston (born 1982) and Spencer Margaret (born 1985), before divorcing Richmond in 1989. Smith has been married to Houston cardiothoracic surgeon[12] Brad Allen since 1997.

 

Smith battled breast cancer in 2003. In 2010, Smith was featured in 1 a Minute, a documentary about breast cancer.

 

On September 22, 2009, TMZ.com picked up a Honduran newspaper's false online report that Smith had been hospitalized in a private medical center there; TMZ later retracted the story, reporting that Smith was well and at home in California. Smith posted on her Twitter page, denouncing the Honduran newspaper story as false— Jaclyn is safe and home with her family. She is not in Honduras. It is a lie.

 

* A number of style mavens and magazine polls have attested to Smith's popularity and declared her one of the most beautiful women in the world. The difficult-to-please Mr. Blackwell once named her "The World's Best Dressed Woman". In 1979, McCall's ran a poll of "Whose Face Most Women Would Like To Have"; Smith topped the list. Smith has had more #1 acting projects than any other actress in Hollywood, and she has often been called the "Queen of the miniseries".

 

* In 1985, McCall's named her as one of "America's 10 Best Bodies;. People named Smith twice in its annual list of the Most Beautiful People in the World In the April 1984 issue of People, Smith was voted as one of the Ten Great Faces of Our Time. In 1985, Ladies' Home Journal sampled 2,000 men and women in 100 different locations in the United States to determine America's Favorite Women; Smith came in the top of the list as the Most Beautiful Woman in America, with actress Linda Evans coming in second. TV Guide magazine readers voted Smith as the Most Beautiful Woman On Television in 1991.

 

* Comic strip artist Sy Barry modeled the luscious Diana Palmer, wife of The Phantom, after Smith.

 

* The French band Air was inspired by Smith's Charlie's Angels character Kelly Garrett to record the song Kelly Watch the Stars for their critically acclaimed 1998 album Moon Safari, and the track was released as a single.

 

In 2012 beauty critics around the world voted Jaclyn Smith as the Most Beautiful Woman of all time along side Grace Kelly.

Damsgård Manor (Norwegian: Damsgård hovedgård) is a landmark manor and estate in Bergen, Norway. It is noted for its distinct rococo style and is possibly the best preserved wooden building from 18th-century Europe.

 

History

The area surrounding the manor was most likely populated during the Viking era or earlier, but literary evidence shows it was a population center in 1427, listed as church property. Following the Reformation in 1536, the estate was taken over by the crown and then sold to foreign interests.

 

The name is most likely derived from Dam Tønneson, who in 1654 inherited the farm from his father Tønnes Klausson, who in turn received it from Frederick II of Denmark due to his service during the Northern Seven Years' War. The oldest sections of the structure, however, are probably from around 1720, when Severin Seehusen (1664-1726) owned the estate. At the time, the buildings were painted bright red and green. An estimate for the main house from 1731 exists and indicates the general layout of the structure. By all accounts, the estate was a year-round farm and a recreational property.

 

Joachim Christian Geelmuyden Gyldenkrantz (1730-1795), later knighted Gyldenkrantz, took over the farm in 1769 and quickly began the Rococo construction that exists to this day. He also rebuilt the main house to face the maritime approach to Bergen. Shortly after Gyldenkrantz died, the property was sold to Herman Didrich Janson, one of the wealthiest men of his time. He only completed minor external changes but thoroughly renovated the interior of the houses. The Janson family maintained ownership of the estate until 1983, when it was taken over by Vestlandske kunstindustrimuseum, which embarked on a 10-year restoration effort, in collaboration with the Directorate for Cultural Heritage in Norway. It was put on the protected list, and Bergen Museum took over the estate.

 

Architecture

Damsgård is one of the few buildings of the rococo architectural style in Norway, and is unusual as a rococo wooden structure in Europe. The facade of the main building exaggerates the dimensions of the house itself, and two windows are painted on to create symmetry. The building's interior layout has been restored to its original, early 18th century plan, and the interior to the different eras of Damsgård's history.

 

The estate has two gardens inside its walls and one outside. The eastern garden, located inside the walls, is known as the "Master's garden", the western garden, also located inside the walls, is known as the "Mistress's garden", while the garden outside the walls is known as the "English garden". After decades of deterioration, the gardens were restored to their 18th century state in 1998. Botanists from the University of Bergen helped decide which vegetables and flowers would be grown to make them as much like the original gardens as possible.

 

The eastern garden, also known as the Lord's garden, is strictly symmetric, with six squares of plants and pathways of white shingle. The western garden, known as the Lady's garden, is far less symmetric, with two ponds and a small statue of Neptune spouting water into one of the ponds. Both these gardens are surrounded by walls. This is not the case with the English garden. Laid out in the 18th century, it only became an English garden around 1830. This garden contains a small stream and a path, and is open all year.

 

Museum

The museum of Damsgård is open to the public by tour only. It is located on Alléen 29, in Laksevåg.

 

Bergen, historically Bjørgvin, is a city and municipality in Vestland county on the west coast of Norway. As of 2022, its population was roughly 289,330. Bergen is the second-largest city in Norway after national capital Oslo. The municipality covers 465 square kilometres (180 sq mi) and is located on the peninsula of Bergenshalvøyen. The city centre and northern neighbourhoods are on Byfjorden, 'the city fjord'. The city is surrounded by mountains, causing Bergen to be called the "city of seven mountains". Many of the extra-municipal suburbs are on islands. Bergen is the administrative centre of Vestland county. The city consists of eight boroughs: Arna, Bergenhus, Fana, Fyllingsdalen, Laksevåg, Ytrebygda, Årstad, and Åsane.

 

Trading in Bergen may have started as early as the 1020s. According to tradition, the city was founded in 1070 by King Olav Kyrre and was named Bjørgvin, 'the green meadow among the mountains'. It served as Norway's capital in the 13th century, and from the end of the 13th century became a bureau city of the Hanseatic League. Until 1789, Bergen enjoyed exclusive rights to mediate trade between Northern Norway and abroad, and it was the largest city in Norway until the 1830s when it was overtaken by the capital, Christiania (now known as Oslo). What remains of the quays, Bryggen, is a World Heritage Site. The city was hit by numerous fires over the years. The Bergen School of Meteorology was developed at the Geophysical Institute starting in 1917, the Norwegian School of Economics was founded in 1936, and the University of Bergen in 1946. From 1831 to 1972, Bergen was its own county. In 1972 the municipality absorbed four surrounding municipalities and became a part of Hordaland county.

 

The city is an international centre for aquaculture, shipping, the offshore petroleum industry and subsea technology, and a national centre for higher education, media, tourism and finance. Bergen Port is Norway's busiest in terms of both freight and passengers, with over 300 cruise ship calls a year bringing nearly a half a million passengers to Bergen, a number that has doubled in 10 years. Almost half of the passengers are German or British. The city's main football team is SK Brann and a unique tradition of the city is the buekorps, which are traditional marching neighbourhood youth organisations. Natives speak a distinct dialect, known as Bergensk. The city features Bergen Airport, Flesland and Bergen Light Rail, and is the terminus of the Bergen Line. Four large bridges connect Bergen to its suburban municipalities.

 

Bergen has a mild winter climate, though with significant precipitation. From December to March, Bergen can, in rare cases, be up to 20 °C warmer than Oslo, even though both cities are at about 60° North. In summer however, Bergen is several degrees cooler than Oslo due to the same maritime effects. The Gulf Stream keeps the sea relatively warm, considering the latitude, and the mountains protect the city from cold winds from the north, north-east and east.

 

History

Hieronymus Scholeus's impression of Bergen. The drawing was made in about 1580 and was published in an atlas with drawings of many different cities (Civitaes orbis terrarum).

The city of Bergen was traditionally thought to have been founded by king Olav Kyrre, son of Harald Hardråde in 1070 AD, four years after the Viking Age in England ended with the Battle of Stamford Bridge. Modern research has, however, discovered that a trading settlement had already been established in the 1020s or 1030s.

 

Bergen gradually assumed the function of capital of Norway in the early 13th century, as the first city where a rudimentary central administration was established. The city's cathedral was the site of the first royal coronation in Norway in the 1150s, and continued to host royal coronations throughout the 13th century. Bergenhus fortress dates from the 1240s and guards the entrance to the harbour in Bergen. The functions of the capital city were lost to Oslo during the reign of King Haakon V (1299–1319).

 

In the middle of the 14th century, North German merchants, who had already been present in substantial numbers since the 13th century, founded one of the four Kontore of the Hanseatic League at Bryggen in Bergen. The principal export traded from Bergen was dried cod from the northern Norwegian coast, which started around 1100. The city was granted a monopoly for trade from the north of Norway by King Håkon Håkonsson (1217–1263). Stockfish was the main reason that the city became one of North Europe's largest centres for trade.[11] By the late 14th century, Bergen had established itself as the centre of the trade in Norway. The Hanseatic merchants lived in their own separate quarter of the town, where Middle Low German was used, enjoying exclusive rights to trade with the northern fishermen who each summer sailed to Bergen. The Hansa community resented Scottish merchants who settled in Bergen, and on 9 November 1523 several Scottish households were targeted by German residents. Today, Bergen's old quayside, Bryggen, is on UNESCO's list of World Heritage Sites.

 

In 1349, the Black Death was brought to Norway by an English ship arriving in Bergen. Later outbreaks occurred in 1618, 1629 and 1637, on each occasion taking about 3,000 lives. In the 15th century, the city was attacked several times by the Victual Brothers, and in 1429 they succeeded in burning the royal castle and much of the city. In 1665, the city's harbour was the site of the Battle of Vågen, when an English naval flotilla attacked a Dutch merchant and treasure fleet supported by the city's garrison. Accidental fires sometimes got out of control, and one in 1702 reduced most of the town to ashes.

 

Throughout the 15th and 16th centuries, Bergen remained one of the largest cities in Scandinavia, and it was Norway's biggest city until the 1830s, being overtaken by the capital city of Oslo. From around 1600, the Hanseatic dominance of the city's trade gradually declined in favour of Norwegian merchants (often of Hanseatic ancestry), and in the 1750s, the Kontor, or major trading post of the Hanseatic League, finally closed. During the 17th and 18th centuries, Bergen was involved in the Atlantic slave trade. Bergen-based slave trader Jørgen Thormøhlen, the largest shipowner in Norway, was the main owner of the slave ship Cornelia, which made two slave-trading voyages in 1673 and 1674 respectively; he also developed the city's industrial sector, particularly in the neighbourhood of Møhlenpris, which is named after him. Bergen retained its monopoly of trade with northern Norway until 1789. The Bergen stock exchange, the Bergen børs, was established in 1813.

 

Modern history

Bergen was separated from Hordaland as a county of its own in 1831. It was established as a municipality on 1 January 1838 (see formannskapsdistrikt). The rural municipality of Bergen landdistrikt was merged with Bergen on 1 January 1877. The rural municipality of Årstad was merged with Bergen on 1 July 1915.

 

During World War II, Bergen was occupied on the first day of the German invasion on 9 April 1940, after a brief fight between German ships and the Norwegian coastal artillery. The Norwegian resistance movement groups in Bergen were Saborg, Milorg, "Theta-gruppen", Sivorg, Stein-organisasjonen and the Communist Party. On 20 April 1944, during the German occupation, the Dutch cargo ship Voorbode anchored off the Bergenhus Fortress, loaded with over 120 tons of explosives, and blew up, killing at least 150 people and damaging historic buildings. The city was subject to some Allied bombing raids, aimed at German naval installations in the harbour. Some of these caused Norwegian civilian casualties numbering about 100.

 

Bergen is also well known in Norway for the Isdal Woman (Norwegian: Isdalskvinnen), an unidentified person who was found dead at Isdalen ("Ice Valley") on 29 November 1970. The unsolved case encouraged international speculation over the years and it remains one of the most profound mysteries in recent Norwegian history.

 

The rural municipalities of Arna, Fana, Laksevåg, and Åsane were merged with Bergen on 1 January 1972. The city lost its status as a separate county on the same date, and Bergen is now a municipality, in the county of Vestland.

 

Fires

The city's history is marked by numerous great fires. In 1198, the Bagler faction set fire to the city in connection with a battle against the Birkebeiner faction during the civil war. In 1248, Holmen and Sverresborg burned, and 11 churches were destroyed. In 1413 another fire struck the city, and 14 churches were destroyed. In 1428 the city was plundered by the Victual Brothers, and in 1455, Hanseatic merchants were responsible for burning down Munkeliv Abbey. In 1476, Bryggen burned down in a fire started by a drunk trader. In 1582, another fire hit the city centre and Strandsiden. In 1675, 105 buildings burned down in Øvregaten. In 1686 another great fire hit Strandsiden, destroying 231 city blocks and 218 boathouses. The greatest fire in history was in 1702, when 90% of the city was burned to ashes. In 1751, there was a great fire at Vågsbunnen. In 1756, yet another fire at Strandsiden burned down 1,500 buildings, and further great fires hit Strandsiden in 1771 and 1901. In 1916, 300 buildings burned down in the city centre including the Swan pharmacy, the oldest pharmacy in Norway, and in 1955 parts of Bryggen burned down.

 

Toponymy

Bergen is pronounced in English /ˈbɜːrɡən/ or /ˈbɛərɡən/ and in Norwegian [ˈbæ̀rɡn̩] (in the local dialect [ˈbæ̂ʁɡɛn]). The Old Norse forms of the name were Bergvin [ˈberɡˌwin] and Bjǫrgvin [ˈbjɔrɡˌwin] (and in Icelandic and Faroese the city is still called Björgvin). The first element is berg (n.) or bjǫrg (n.), which translates as 'mountain(s)'. The last element is vin (f.), which means a new settlement where there used to be a pasture or meadow. The full meaning is then "the meadow among the mountains". This is a suitable name: Bergen is often called "the city among the seven mountains". It was the playwright Ludvig Holberg who felt so inspired by the seven hills of Rome, that he decided that his home town must be blessed with a corresponding seven mountains – and locals still argue which seven they are.

 

In 1918, there was a campaign to reintroduce the Norse form Bjørgvin as the name of the city. This was turned down – but as a compromise, the name of the diocese was changed to Bjørgvin bispedømme.

 

Bergen occupies most of the peninsula of Bergenshalvøyen in the district of Midthordland in mid-western Hordaland. The municipality covers an area of 465 square kilometres (180 square miles). Most of the urban area is on or close to a fjord or bay, although the urban area has several mountains. The city centre is surrounded by the Seven Mountains, although there is disagreement as to which of the nine mountains constitute these. Ulriken, Fløyen, Løvstakken and Damsgårdsfjellet are always included as well as three of Lyderhorn, Sandviksfjellet, Blåmanen, Rundemanen and Kolbeinsvarden. Gullfjellet is Bergen's highest mountain, at 987 metres (3,238 ft) above mean sea level. Bergen is far enough north that during clear nights at the solstice, there is borderline civil daylight in spite of the sun having set.

 

Bergen is sheltered from the North Sea by the islands Askøy, Holsnøy (the municipality of Meland) and Sotra (the municipalities of Fjell and Sund). Bergen borders the municipalities Alver and Osterøy to the north, Vaksdal and Samnanger to the east, Os (Bjørnafjorden) and Austevoll to the south, and Øygarden and Askøy to the west.

 

The city centre of Bergen lies in the west of the municipality, facing the fjord of Byfjorden. It is among a group of mountains known as the Seven Mountains, although the number is a matter of definition. From here, the urban area of Bergen extends to the north, west and south, and to its east is a large mountain massif. Outside the city centre and the surrounding neighbourhoods (i.e. Årstad, inner Laksevåg and Sandviken), the majority of the population lives in relatively sparsely populated residential areas built after 1950. While some are dominated by apartment buildings and modern terraced houses (e.g. Fyllingsdalen), others are dominated by single-family homes.

 

The oldest part of Bergen is the area around the bay of Vågen in the city centre. Originally centred on the bay's eastern side, Bergen eventually expanded west and southwards. Few buildings from the oldest period remain, the most significant being St Mary's Church from the 12th century. For several hundred years, the extent of the city remained almost constant. The population was stagnant, and the city limits were narrow. In 1702, seven-eighths of the city burned. Most of the old buildings of Bergen, including Bryggen (which was rebuilt in a mediaeval style), were built after the fire. The fire marked a transition from tar covered houses, as well as the remaining log houses, to painted and some brick-covered wooden buildings.

 

The last half of the 19th century saw a period of rapid expansion and modernisation. The fire of 1855 west of Torgallmenningen led to the development of regularly sized city blocks in this area of the city centre. The city limits were expanded in 1876, and Nygård, Møhlenpris and Sandviken were urbanized with large-scale construction of city blocks housing both the poor and the wealthy. Their architecture is influenced by a variety of styles; historicism, classicism and Art Nouveau. The wealthy built villas between Møhlenpris and Nygård, and on the side of Mount Fløyen; these areas were also added to Bergen in 1876. Simultaneously, an urbanization process was taking place in Solheimsviken in Årstad, at that time outside the Bergen municipality, centred on the large industrial activity in the area. The workers' homes in this area were poorly built, and little remains after large-scale redevelopment in the 1960s–1980s.

 

After Årstad became a part of Bergen in 1916, a development plan was applied to the new area. Few city blocks akin to those in Nygård and Møhlenpris were planned. Many of the worker class built their own homes, and many small, detached apartment buildings were built. After World War II, Bergen had again run short of land to build on, and, contrary to the original plans, many large apartment buildings were built in Landås in the 1950s and 1960s. Bergen acquired Fyllingsdalen from Fana municipality in 1955. Like similar areas in Oslo (e.g. Lambertseter), Fyllingsdalen was developed into a modern suburb with large apartment buildings, mid-rises, and some single-family homes, in the 1960s and 1970s. Similar developments took place beyond Bergen's city limits, for example in Loddefjord.

 

At the same time as planned city expansion took place inside Bergen, its extra-municipal suburbs also grew rapidly. Wealthy citizens of Bergen had been living in Fana since the 19th century, but as the city expanded it became more convenient to settle in the municipality. Similar processes took place in Åsane and Laksevåg. Most of the homes in these areas are detached row houses,[clarification needed] single family homes or small apartment buildings. After the surrounding municipalities were merged with Bergen in 1972, expansion has continued in largely the same manner, although the municipality encourages condensing near commercial centres, future Bergen Light Rail stations, and elsewhere.

 

As part of the modernisation wave of the 1950s and 1960s, and due to damage caused by World War II, the city government ambitiously planned redevelopment of many areas in central Bergen. The plans involved demolition of several neighbourhoods of wooden houses, namely Nordnes, Marken, and Stølen. None of the plans was carried out in its original form; the Marken and Stølen redevelopment plans were discarded and that of Nordnes only carried out in the area that had been most damaged by war. The city council of Bergen had in 1964 voted to demolish the entirety of Marken, however, the decision proved to be highly controversial and the decision was reversed in 1974. Bryggen was under threat of being wholly or partly demolished after the fire of 1955, when a large number of the buildings burned to the ground. Instead of being demolished, the remaining buildings were restored and accompanied by reconstructions of some of the burned buildings.

 

Demolition of old buildings and occasionally whole city blocks is still taking place, the most recent major example being the 2007 razing of Jonsvollskvartalet at Nøstet.

 

Billboards are banned in the city.

 

Culture and sports

Bergens Tidende (BT) and Bergensavisen (BA) are the largest newspapers, with circulations of 87,076 and 30,719 in 2006, BT is a regional newspaper covering all of Vestland, while BA focuses on metropolitan Bergen. Other newspapers published in Bergen include the Christian national Dagen, with a circulation of 8.936, and TradeWinds, an international shipping newspaper. Local newspapers are Fanaposten for Fana, Sydvesten for Laksevåg and Fyllingsdalen and Bygdanytt for Arna and the neighbouring municipality Osterøy. TV 2, Norway's largest private television company, is based in Bergen.

 

The 1,500-seat Grieg Hall is the city's main cultural venue, and home of the Bergen Philharmonic Orchestra, founded in 1765, and the Bergen Woodwind Quintet. The city also features Carte Blanche, the Norwegian national company of contemporary dance. The annual Bergen International Festival is the main cultural festival, which is supplemented by the Bergen International Film Festival. Two internationally renowned composers from Bergen are Edvard Grieg and Ole Bull. Grieg's home, Troldhaugen, has been converted to a museum. During the 1990s and early 2000s, Bergen produced a series of successful pop, rock and black metal artists, collectively known as the Bergen Wave.

 

Den Nationale Scene is Bergen's main theatre. Founded in 1850, it had Henrik Ibsen as one of its first in-house playwrights and art directors. Bergen's contemporary art scene is centred on BIT Teatergarasjen, Bergen Kunsthall, United Sardines Factory (USF) and Bergen Center for Electronic Arts (BEK). Bergen was a European Capital of Culture in 2000. Buekorps is a unique feature of Bergen culture, consisting of boys aged from 7 to 21 parading with imitation weapons and snare drums. The city's Hanseatic heritage is documented in the Hanseatic Museum located at Bryggen.

 

SK Brann is Bergen's premier football team; founded in 1908, they have played in the (men's) Norwegian Premier League for all but seven years since 1963 and consecutively, except one season after relegation in 2014, since 1987. The team were the football champions in 1961–1962, 1963, and 2007,[155] and reached the quarter-finals of the Cup Winners' Cup in 1996–1997. Brann play their home games at the 17,824-seat Brann Stadion. FK Fyllingsdalen is the city's second-best team, playing in the Second Division at Varden Amfi. Its predecessor, Fyllingen, played in the Norwegian Premier League in 1990, 1991 and 1993. Arna-Bjørnar and Sandviken play in the Women's Premier League.

 

Bergen IK is the premier men's ice hockey team, playing at Bergenshallen in the First Division. Tertnes play in the Women's Premier Handball League, and Fyllingen in the Men's Premier Handball League. In athletics, the city is dominated by IL Norna-Salhus, IL Gular and FIK BFG Fana, formerly also Norrøna IL and TIF Viking. The Bergen Storm are an American football team that plays matches at Varden Kunstgress and plays in the second division of the Norwegian league.

 

Bergensk is the native dialect of Bergen. It was strongly influenced by Low German-speaking merchants from the mid-14th to mid-18th centuries. During the Dano-Norwegian period from 1536 to 1814, Bergen was more influenced by Danish than other areas of Norway. The Danish influence removed the female grammatical gender in the 16th century, making Bergensk one of very few Norwegian dialects with only two instead of three grammatical genders. The Rs are uvular trills, as in French, which probably spread to Bergen some time in the 18th century, overtaking the alveolar trill in the time span of two to three generations. Owing to an improved literacy rate, Bergensk was influenced by riksmål and bokmål in the 19th and 20th centuries. This led to large parts of the German-inspired vocabulary disappearing and pronunciations shifting slightly towards East Norwegian.

 

The 1986 edition of the Eurovision Song Contest took place in Bergen. Bergen was the host city for the 2017 UCI Road World Championships. The city is also a member of the UNESCO Creative Cities Network in the category of gastronomy since 2015.

 

Street art

Bergen is considered to be the street art capital of Norway. Famed artist Banksy visited the city in 2000 and inspired many to start creating street art. Soon after, the city brought up the most famous street artist in Norway: Dolk. His art can still be seen in several places in the city, and in 2009 the city council choose to preserve Dolk's work "Spray" with protective glass. In 2011, Bergen council launched a plan of action for street art in Bergen from 2011 to 2015 to ensure that "Bergen will lead the fashion for street art as an expression both in Norway and Scandinavia".

 

The Madam Felle (1831–1908) monument in Sandviken, is in honour of a Norwegian woman of German origin, who in the mid-19th century managed, against the will of the council, to maintain a counter of beer. A well-known restaurant of the same name is now situated at another location in Bergen. The monument was erected in 1990 by sculptor Kari Rolfsen, supported by an anonymous donor. Madam Felle, civil name Oline Fell, was remembered after her death in a popular song, possibly originally a folksong, "Kjenner Dokker Madam Felle?" by Lothar Lindtner and Rolf Berntzen on an album in 1977.

 

Norway , officially the Kingdom of Norway , is a Nordic , European country and an independent state in the west of the Scandinavian Peninsula . Geographically speaking, the country is long and narrow, and on the elongated coast towards the North Atlantic are Norway's well-known fjords . The Kingdom of Norway includes the main country (the mainland with adjacent islands within the baseline ), Jan Mayen and Svalbard . With these two Arctic areas, Norway covers a land area of ​​385,000 km² and has a population of approximately 5.5 million (2023). Mainland Norway borders Sweden in the east , Finland and Russia in the northeast .

 

Norway is a parliamentary democracy and constitutional monarchy , where Harald V has been king and head of state since 1991 , and Jonas Gahr Støre ( Ap ) has been prime minister since 2021 . Norway is a unitary state , with two administrative levels below the state: counties and municipalities . The Sami part of the population has, through the Sami Parliament and the Finnmark Act , to a certain extent self-government and influence over traditionally Sami areas. Although Norway has rejected membership of the European Union through two referendums , through the EEA Agreement Norway has close ties with the Union, and through NATO with the United States . Norway is a significant contributor to the United Nations (UN), and has participated with soldiers in several foreign operations mandated by the UN. Norway is among the states that have participated from the founding of the UN , NATO , the Council of Europe , the OSCE and the Nordic Council , and in addition to these is a member of the EEA , the World Trade Organization , the Organization for Economic Co-operation and Development and is part of the Schengen area .

 

Norway is rich in many natural resources such as oil , gas , minerals , timber , seafood , fresh water and hydropower . Since the beginning of the 20th century, these natural conditions have given the country the opportunity for an increase in wealth that few other countries can now enjoy, and Norwegians have the second highest average income in the world, measured in GDP per capita, as of 2022. The petroleum industry accounts for around 14% of Norway's gross domestic product as of 2018. Norway is the world's largest producer of oil and gas per capita outside the Middle East. However, the number of employees linked to this industry fell from approx. 232,000 in 2013 to 207,000 in 2015.

 

In Norway, these natural resources have been managed for socially beneficial purposes. The country maintains a welfare model in line with the other Nordic countries. Important service areas such as health and higher education are state-funded, and the country has an extensive welfare system for its citizens. Public expenditure in 2018 is approx. 50% of GDP, and the majority of these expenses are related to education, healthcare, social security and welfare. Since 2001 and until 2021, when the country took second place, the UN has ranked Norway as the world's best country to live in . From 2010, Norway is also ranked at the top of the EIU's democracy index . Norway ranks third on the UN's World Happiness Report for the years 2016–2018, behind Finland and Denmark , a report published in March 2019.

 

The majority of the population is Nordic. In the last couple of years, immigration has accounted for more than half of population growth. The five largest minority groups are Norwegian-Poles , Lithuanians , Norwegian-Swedes , Norwegian-Syrians including Syrian Kurds and Norwegian-Pakistani .

 

Norway's national day is 17 May, on this day in 1814 the Norwegian Constitution was dated and signed by the presidency of the National Assembly at Eidsvoll . It is stipulated in the law of 26 April 1947 that 17 May are national public holidays. The Sami national day is 6 February. "Yes, we love this country" is Norway's national anthem, the song was written in 1859 by Bjørnstjerne Bjørnson (1832–1910).

 

Norway's history of human settlement goes back at least 10,000 years, to the Late Paleolithic , the first period of the Stone Age . Archaeological finds of settlements along the entire Norwegian coast have so far been dated back to 10,400 before present (BP), the oldest find is today considered to be a settlement at Pauler in Brunlanes , Vestfold .

For a period these settlements were considered to be the remains of settlers from Doggerland , an area which today lies beneath the North Sea , but which was once a land bridge connecting today's British Isles with Danish Jutland . But the archaeologists who study the initial phase of the settlement in what is today Norway reckon that the first people who came here followed the coast along what is today Bohuslân. That they arrived in some form of boat is absolutely certain, and there is much evidence that they could easily move over large distances.

 

Since the last Ice Age, there has been continuous settlement in Norway. It cannot be ruled out that people lived in Norway during the interglacial period , but no trace of such a population or settlement has been found.

 

The Stone Age lasted a long time; half of the time that our country has been populated. There are no written accounts of what life was like back then. The knowledge we have has been painstakingly collected through investigations of places where people have stayed and left behind objects that we can understand have been processed by human hands. This field of knowledge is called archaeology . The archaeologists interpret their findings and the history of the surrounding landscape. In our country, the uplift after the Ice Age is fundamental. The history of the settlements at Pauler is no more than fifteen years old.

 

The Fosna culture settled parts of Norway sometime between 10,000–8,000 BC. (see Stone Age in Norway ). The dating of rock carvings is set to Neolithic times (in Norway between 4000 BC to 1700 BC) and show activities typical of hunters and gatherers .

 

Agriculture with livestock and arable farming was introduced in the Neolithic. Swad farming where the farmers move when the field does not produce the expected yield.

 

More permanent and persistent farm settlements developed in the Bronze Age (1700 BC to 500 BC) and the Iron Age . The earliest runes have been found on an arrowhead dated to around 200 BC. Many more inscriptions are dated to around 800, and a number of petty kingdoms developed during these centuries. In prehistoric times, there were no fixed national borders in the Nordic countries and Norway did not exist as a state. The population in Norway probably fell to year 0.

 

Events in this time period, the centuries before the year 1000, are glimpsed in written sources. Although the sagas were written down in the 13th century, many hundreds of years later, they provide a glimpse into what was already a distant past. The story of the fimbul winter gives us a historical picture of something that happened and which in our time, with the help of dendrochronology , can be interpreted as a natural disaster in the year 536, created by a volcanic eruption in El Salvador .

 

In the period between 800 and 1066 there was a significant expansion and it is referred to as the Viking Age . During this period, Norwegians, as Swedes and Danes also did, traveled abroad in longships with sails as explorers, traders, settlers and as Vikings (raiders and pirates ). By the middle of the 11th century, the Norwegian kingship had been firmly established, building its right as descendants of Harald Hårfagre and then as heirs of Olav the Holy . The Norwegian kings, and their subjects, now professed Christianity . In the time around Håkon Håkonsson , in the time after the civil war , there was a small renaissance in Norway with extensive literary activity and diplomatic activity with Europe. The black dew came to Norway in 1349 and killed around half of the population. The entire state apparatus and Norway then entered a period of decline.

 

Between 1396 and 1536, Norway was part of the Kalmar Union , and from 1536 until 1814 Norway had been reduced to a tributary part of Denmark , named as the Personal Union of Denmark-Norway . This staff union entered into an alliance with Napoléon Bonaparte with a war that brought bad times and famine in 1812 . In 1814, Denmark-Norway lost the Anglophone Wars , part of the Napoleonic Wars , and the Danish king was forced to cede Norway to the king of Sweden in the Treaty of Kiel on 14 January of that year. After a Norwegian attempt at independence, Norway was forced into a loose union with Sweden, but where Norway was allowed to create its own constitution, the Constitution of 1814 . In this period, Norwegian, romantic national feeling flourished, and the Norwegians tried to develop and establish their own national self-worth. The union with Sweden was broken in 1905 after it had been threatened with war, and Norway became an independent kingdom with its own monarch, Haakon VII .

 

Norway remained neutral during the First World War , and at the outbreak of the Second World War, Norway again declared itself neutral, but was invaded by National Socialist Germany on 9 April 1940 .

 

Norway became a member of the Western defense alliance NATO in 1949 . Two attempts to join the EU were voted down in referendums by small margins in 1972 and 1994 . Norway has been a close ally of the United States in the post-war period. Large discoveries of oil and natural gas in the North Sea at the end of the 1960s led to tremendous economic growth in the country, which is still ongoing. Traditional industries such as fishing are also part of Norway's economy.

 

Stone Age (before 1700 BC)

When most of the ice disappeared, vegetation spread over the landscape and due to a warm climate around 2000-3000 BC. the forest grew much taller than in modern times. Land uplift after the ice age led to a number of fjords becoming lakes and dry land. The first people probably came from the south along the coast of the Kattegat and overland into Finnmark from the east. The first people probably lived by gathering, hunting and trapping. A good number of Stone Age settlements have been found which show that such hunting and trapping people stayed for a long time in the same place or returned to the same place regularly. Large amounts of gnawed bones show that they lived on, among other things, reindeer, elk, small game and fish.

 

Flintstone was imported from Denmark and apart from small natural deposits along the southern coast, all flintstone in Norway is transported by people. At Espevær, greenstone was quarried for tools in the Stone Age, and greenstone tools from Espevær have been found over large parts of Western Norway. Around 2000-3000 BC the usual farm animals such as cows and sheep were introduced to Norway. Livestock probably meant a fundamental change in society in that part of the people had to be permanent residents or live a semi-nomadic life. Livestock farming may also have led to conflict with hunters.

 

The oldest traces of people in what is today Norway have been found at Pauler , a farm in Brunlanes in Larvik municipality in Vestfold . In 2007 and 2008, the farm has given its name to a number of Stone Age settlements that have been excavated and examined by archaeologists from the Cultural History Museum at UiO. The investigations have been carried out in connection with the new route for the E18 motorway west of Farris. The oldest settlement, located more than 127 m above sea level, is dated to be about 10,400 years old (uncalibrated, more than 11,000 years in real calendar years). From here, the ice sheet was perhaps visible when people settled here. This locality has been named Pauler I, and is today considered to be the oldest confirmed human traces in Norway to date. The place is in the mountains above the Pauler tunnel on the E18 between Larvik and Porsgrunn . The pioneer settlement is a term archaeologists have adopted for the oldest settlement. The archaeologists have speculated about where they came from, the first people in what is today Norway. It has been suggested that they could come by boat or perhaps across the ice from Doggerland or the North Sea, but there is now a large consensus that they came north along what is today the Bohuslän coast. The Fosna culture , the Komsa culture and the Nøstvet culture are the traditional terms for hunting cultures from the Stone Age. One thing is certain - getting to the water was something they mastered, the first people in our country. Therefore, within a short time they were able to use our entire long coast.

 

In the New Stone Age (4000 BC–1700 BC) there is a theory that a new people immigrated to the country, the so-called Stone Ax People . Rock carvings from this period show motifs from hunting and fishing , which were still important industries. From this period, a megalithic tomb has been found in Østfold .

It is uncertain whether there were organized societies or state-like associations in the Stone Age in Norway. Findings from settlements indicate that many lived together and that this was probably more than one family so that it was a slightly larger, organized herd.

 

Finnmark

In prehistoric times, animal husbandry and agriculture were of little economic importance in Finnmark. Livelihoods in Finnmark were mainly based on fish, gathering, hunting and trapping, and eventually domestic reindeer herding became widespread in the Middle Ages. Archaeological finds from the Stone Age have been referred to as the Komsa culture and comprise around 5,000 years of settlement. Finnmark probably got its first settlement around 8000 BC. It is believed that the coastal areas became ice-free 11,000 years BC and the fjord areas around 9,000 years BC. after which willows, grass, heather, birch and pine came into being. Finnmarksvidda was covered by pine forest around 6000 BC. After the Ice Age, the land rose around 80 meters in the inner fjord areas (Alta, Tana, Varanger). Due to ice melting in the polar region, the sea rose in the period 6400–3800 BC. and in areas with little land elevation, some settlements from the first part of the Stone Age were flooded. On Sørøya, the net sea level rise was 12 to 14 meters and many residential areas were flooded.

 

According to Bjørnar Olsen , there are many indications of a connection between the oldest settlement in Western Norway (the " Fosnakulturen ") and that in Finnmark, but it is uncertain in which direction the settlement took place. In the earliest part of the Stone Age, settlement in Finnmark was probably concentrated in the coastal areas, and these only reflected a lifestyle with great mobility and no permanent dwellings. The inner regions, such as Pasvik, were probably used seasonally. The archaeologically proven settlements from the Stone Age in inner Finnmark and Troms are linked to lakes and large watercourses. The oldest petroglyphs in Alta are usually dated to 4200 BC, that is, the Neolithic . Bjørnar Olsen believes that the oldest can be up to 2,000 years older than this.

 

From around 4000 BC a slow deforestation of Finnmark began and around 1800 BC the vegetation distribution was roughly the same as in modern times. The change in vegetation may have increased the distance between the reindeer's summer and winter grazing. The uplift continued slowly from around 4000 BC. at the same time as sea level rise stopped.

 

According to Gutorm Gjessing, the settlement in Finnmark and large parts of northern Norway in the Neolithic was semi-nomadic with movement between four seasonal settlements (following the pattern of life in Sami siida in historical times): On the outer coast in summer (fishing and seal catching) and inland in winter (hunting for reindeer, elk and bear). Povl Simonsen believed instead that the winter residence was in the inner fjord area in a village-like sod house settlement. Bjørnar Olsen believes that at the end of the Stone Age there was a relatively settled population along the coast, while inland there was less settlement and a more mobile lifestyle.

 

Bronze Age (1700 BC–500 BC)

Bronze was used for tools in Norway from around 1500 BC. Bronze is a mixture of tin and copper , and these metals were introduced because they were not mined in the country at the time. Bronze is believed to have been a relatively expensive material. The Bronze Age in Norway can be divided into two phases:

 

Early Bronze Age (1700–1100 BC)

Younger Bronze Age (1100–500 BC)

For the prehistoric (unwritten) era, there is limited knowledge about social conditions and possible state formations. From the Bronze Age, there are large burial mounds of stone piles along the coast of Vestfold and Agder, among others. It is likely that only chieftains or other great men could erect such grave monuments and there was probably some form of organized society linked to these. In the Bronze Age, society was more organized and stratified than in the Stone Age. Then a rich class of chieftains emerged who had close connections with southern Scandinavia. The settlements became more permanent and people adopted horses and ard . They acquired bronze status symbols, lived in longhouses and people were buried in large burial mounds . Petroglyphs from the Bronze Age indicate that humans practiced solar cultivation.

 

Finnmark

In the last millennium BC the climate became cooler and the pine forest disappears from the coast; pine forests, for example, were only found in the innermost part of the Altafjord, while the outer coast was almost treeless. Around the year 0, the limit for birch forest was south of Kirkenes. Animals with forest habitats (elk, bear and beaver) disappeared and the reindeer probably established their annual migration routes sometime at that time. In the period 1800–900 BC there were significantly more settlements in and utilization of the hinterland was particularly noticeable on Finnmarksvidda. From around 1800 BC until year 0 there was a significant increase in contact between Finnmark and areas in the east including Karelia (where metals were produced including copper) and central and eastern Russia. The youngest petroglyphs in Alta show far more boats than the earlier phases and the boats are reminiscent of types depicted in petroglyphs in southern Scandinavia. It is unclear what influence southern Scandinavian societies had as far north as Alta before the year 0. Many of the cultural features that are considered typical Sami in modern times were created or consolidated in the last millennium BC, this applies, among other things, to the custom of burying in brick chambers in stone urns. The Mortensnes burial ground may have been used for 2000 years until around 1600 AD.

 

Iron Age (c. 500 BC–c. 1050 AD)

 

The Einangsteinen is one of the oldest Norwegian runestones; it is from the 4th century

 

Simultaneous production of Vikings

Around 500 years BC the researchers reckon that the Bronze Age will be replaced by the Iron Age as iron takes over as the most important material for weapons and tools. Bronze, wood and stone were still used. Iron was cheaper than bronze, easier to work than flint , and could be used for many purposes; iron probably became common property. Iron could, among other things, be used to make solid and sharp axes which made it much easier to fell trees. In the Iron Age, gold and silver were also used partly for decoration and partly as means of payment. It is unknown which language was used in Norway before our era. From around the year 0 until around the year 800, everyone in Scandinavia (except the Sami) spoke Old Norse , a North Germanic language. Subsequently, several different languages ​​developed in this area that were only partially mutually intelligible. The Iron Age is divided into several periods:

 

Early Iron Age

Pre-Roman Iron Age (c. 500 BC–c. 0)

Roman Iron Age (c. 0–c. AD 400)

Migration period (approx. 400–600). In the migration period (approx. 400–600), new peoples came to Norway, and ruins of fortress buildings etc. are interpreted as signs that there has been talk of a violent invasion.

Younger Iron Age

Merovingian period (500–800)

 

The Viking Age (793–1066)

Norwegian Vikings go on plundering expeditions and trade voyages around the coastal countries of Western Europe . Large groups of Norwegians emigrate to the British Isles , Iceland and Greenland . Harald Hårfagre starts a unification process of Norway late in the 8th century , which was completed by Harald Hardråde in the 1060s . The country was Christianized under the kings Olav Tryggvason , fell in the battle of Svolder ( 1000 ) and Olav Haraldsson (the saint), fell in the battle of Stiklestad in 1030 .

 

Sources of prehistoric times

Shrinking glaciers in the high mountains, including in Jotunheimen and Breheimen , have from around the year 2000 uncovered objects from the Viking Age and earlier. These are objects of organic material that have been preserved by the ice and that elsewhere in nature are broken down in a few months. The finds are getting older as the melting makes the archaeologists go deeper into the ice. About half of all archaeological discoveries on glaciers in the world are made in Oppland . In 2013, a 3,400-year-old shoe and a robe from the year 300 were found. Finds at Lomseggen in Lom published in 2020 revealed, among other things, well-preserved horseshoes used on a mountain pass. Many hundreds of items include preserved clothing, knives, whisks, mittens, leather shoes, wooden chests and horse equipment. A piece of cloth dated to the year 1000 has preserved its original colour. In 2014, a wooden ski from around the year 700 was found in Reinheimen . The ski is 172 cm long and 14 cm wide, with preserved binding of leather and wicker.

 

Pytheas from Massalia is the oldest known account of what was probably the coast of Norway, perhaps somewhere on the coast of Møre. Pytheas visited Britannia around 325 BC. and traveled further north to a country by the "Ice Sea". Pytheas described the short summer night and the midnight sun farther north. He wrote, among other things, that people there made a drink from grain and honey. Caesar wrote in his work about the Gallic campaign about the Germanic tribe Haruders. Other Roman sources around the year 0 mention the land of the Cimbri (Jutland) and the Cimbri headlands ( Skagen ) and that the sources stated that Cimbri and Charyds lived in this area. Some of these peoples may have immigrated to Norway and there become known as hordes (as in Hordaland). Sources from the Mediterranean area referred to the islands of Scandia, Scandinavia and Thule ("the outermost of all islands"). The Roman historian Tacitus wrote around the year 100 a work about Germania and mentioned the people of Scandia, the Sviones. Ptolemy wrote around the year 150 that the Kharudes (Hordes) lived further north than all the Cimbri, in the north lived the Finnoi (Finns or Sami) and in the south the Gutai (Goths). The Nordic countries and Norway were outside the Roman Empire , which dominated Europe at the time. The Gothic-born historian Jordanes wrote in the 5th century about 13 tribes or people groups in Norway, including raumaricii (probably Romerike ), ragnaricii ( Ranrike ) and finni or skretefinni (skrid finner or ski finner, i.e. Sami) as well as a number of unclear groups. Prokopios wrote at the same time about Thule north of the land of the Danes and Slavs, Thule was ten times as big as Britannia and the largest of all the islands. In Thule, the sun was up 40 days straight in the summer. After the migration period , southern Europeans' accounts of northern Europe became fuller and more reliable.

 

Settlement in prehistoric times

Norway has around 50,000 farms with their own names. Farm names have persisted for a long time, over 1000 years, perhaps as much as 2000 years. The name researchers have arranged different types of farm names chronologically, which provides a basis for determining when the place was used by people or received a permanent settlement. Uncompounded landscape names such as Haug, Eid, Vik and Berg are believed to be the oldest. Archaeological traces indicate that some areas have been inhabited earlier than assumed from the farm name. Burial mounds also indicate permanent settlement. For example, the burial ground at Svartelva in Løten was used from around the year 0 to the year 1000 when Christianity took over. The first farmers probably used large areas for inland and outland, and new farms were probably established based on some "mother farms". Names such as By (or Bø) show that it is an old place of residence. From the older Iron Age, names with -heim (a common Germanic word meaning place of residence) and -stad tell of settlement, while -vin and -land tell of the use of the place. Farm names in -heim are often found as -um , -eim or -em as in Lerum and Seim, there are often large farms in the center of the village. New farm names with -city and -country were also established in the Viking Age . The first farmers probably used the best areas. The largest burial grounds, the oldest archaeological finds and the oldest farm names are found where the arable land is richest and most spacious.

 

It is unclear whether the settlement expansion in Roman times, migrations and the Iron Age is due to immigration or internal development and population growth. Among other things, it is difficult to demonstrate where in Europe the immigrants have come from. The permanent residents had both fields (where grain was grown) and livestock that grazed in the open fields, but it is uncertain which of these was more important. Population growth from around the year 200 led to more utilization of open land, for example in the form of settlements in the mountains. During the migration period, it also seems that in parts of the country it became common to have cluster gardens or a form of village settlement.

 

Norwegian expansion northwards

From around the year 200, there was a certain migration by sea from Rogaland and Hordaland to Nordland and Sør-Troms. Those who moved settled down as a settled Iron Age population and became dominant over the original population which may have been Sami . The immigrant Norwegians, Bumen , farmed with livestock that were fed inside in the winter as well as some grain cultivation and fishing. The northern border of the Norwegians' settlement was originally at the Toppsundet near Harstad and around the year 500 there was a Norwegian settlement to Malangsgapet. That was as far north as it was possible to grow grain at the time. Malangen was considered the border between Hålogaland and Finnmork until around 1400 . Further into the Viking Age and the Middle Ages, there was immigration and settlement of Norwegian speakers along the coast north of Malangen. Around the year 800, Norwegians lived along the entire outer coast to Vannøy . The Norwegians partly copied Sami livelihoods such as whaling, fur hunting and reindeer husbandry. It was probably this area between Malangen and Vannøy that was Ottar from the Hålogaland area. In the Viking Age, there were also some Norwegian settlements further north and east. East of the North Cape are the scattered archaeological finds of Norwegian settlement in the Viking Age. There are Norwegian names for fjords and islands from the Viking Age, including fjord names with "-anger". Around the year 1050, there were Norwegian settlements on the outer coast of Western Finnmark. Traders and tax collectors traveled even further.

 

North of Malangen there were Norse farming settlements in the Iron Age. Malangen was considered Finnmark's western border until 1300. There are some archaeological traces of Norse activity around the coast from Tromsø to Kirkenes in the Viking Age. Around Tromsø, the research indicates a Norse/Sami mixed culture on the coast.

 

From the year 1100 and the next 200–300 years, there are no traces of Norwegian settlement north and east of Tromsø. It is uncertain whether this is due to depopulation, whether it is because the Norwegians further north were not Christianized or because there were no churches north of Lenvik or Tromsø . Norwegian settlement in the far north appears from sources from the 14th century. In the Hanseatic period , the settlement was developed into large areas specialized in commercial fishing, while earlier (in the Viking Age) there had been farms with a combination of fishing and agriculture. In 1307 , a fortress and the first church east of Tromsø were built in Vardø . Vardø became a small Norwegian town, while Vadsø remained Sami. Norwegian settlements and churches appeared along the outermost coast in the Middle Ages. After the Reformation, perhaps as a result of a decline in fish stocks or fish prices, there were Norwegian settlements in the inner fjord areas such as Lebesby in Laksefjord. Some fishing villages at the far end of the coast were abandoned for good. In the interior of Finnmark, there was no national border for a long time and Kautokeino and Karasjok were joint Norwegian-Swedish areas with strong Swedish influence. The border with Finland was established in 1751 and with Russia in 1826.

 

On a Swedish map from 1626, Norway's border is indicated at Malangen, while Sweden with this map showed a desire to control the Sami area which had been a common area.

 

The term Northern Norway only came into use at the end of the 19th century and administratively the area was referred to as Tromsø Diocese when Tromsø became a bishopric in 1840. There had been different designations previously: Hålogaland originally included only Helgeland and when Norse settlement spread north in the Viking Age and the Middle Ages, Hålogaland was used for the area north approximately to Malangen , while Finnmark or "Finnmarken", "the land of the Sami", lay outside. The term Northern Norway was coined at a cafe table in Kristiania in 1884 by members of the Nordlændingernes Forening and was first commonly used in the interwar period as it eventually supplanted "Hålogaland".

 

State formation

The battle in Hafrsfjord in the year 872 has long been regarded as the day when Norway became a kingdom. The year of the battle is uncertain (may have been 10-20 years later). The whole of Norway was not united in that battle: the process had begun earlier and continued a couple of hundred years later. This means that the geographical area became subject to a political authority and became a political unit. The geographical area was perceived as an area as it is known, among other things, from Ottar from Hålogaland's account for King Alfred of Wessex around the year 880. Ottar described "the land of the Norwegians" as very long and narrow, and it was narrowest in the far north. East of the wasteland in the south lay Sveoland and in the north lay Kvenaland in the east. When Ottar sailed south along the land from his home ( Malangen ) to Skiringssal, he always had Norway ("Nordveg") on his port side and the British Isles on his starboard side. The journey took a good month. Ottar perceived "Nordveg" as a geographical unit, but did not imply that it was a political unit. Ottar separated Norwegians from Swedes and Danes. It is unclear why Ottar perceived the population spread over such a large area as a whole. It is unclear whether Norway as a geographical term or Norwegians as the name of a ethnic group is the oldest. The Norwegians had a common language which in the centuries before Ottar did not differ much from the language of Denmark and Sweden.

 

According to Sverre Steen, it is unlikely that Harald Hårfagre was able to control this entire area as one kingdom. The saga of Harald was written 300 years later and at his death Norway was several smaller kingdoms. Harald probably controlled a larger area than anyone before him and at most Harald's kingdom probably included the coast from Trøndelag to Agder and Vestfold as well as parts of Viken . There were probably several smaller kingdoms of varying extent before Harald and some of these are reflected in traditional landscape names such as Ranrike and Ringerike . Landscape names of "-land" (Rogaland) and "-mark" (Hedmark) as well as names such as Agder and Sogn may have been political units before Harald.

 

According to Sverre Steen, the national assembly was completed at the earliest at the battle of Stiklestad in 1030 and the introduction of Christianity was probably a significant factor in the establishment of Norway as a state. Håkon I the good Adalsteinsfostre introduced the leasehold system where the "coastal land" (as far as the salmon went up the rivers) was divided into ship raiders who were to provide a longship with soldiers and supplies. The leidange was probably introduced as a defense against the Danes. The border with the Danes was traditionally at the Göta älv and several times before and after Harald Hårfagre the Danes had control over central parts of Norway.

 

Christianity was known and existed in Norway before Olav Haraldson's time. The spread occurred both from the south (today's Denmark and northern Germany) and from the west (England and Ireland). Ansgar of Bremen , called the "Apostle of the North", worked in Sweden, but he was never in Norway and probably had little influence in the country. Viking expeditions brought the Norwegians of that time into contact with Christian countries and some were baptized in England, Ireland and northern France. Olav Tryggvason and Olav Haraldson were Vikings who returned home. The first Christians in Norway were also linked to pre-Christian local religion, among other things, by mixing Christian symbols with symbols of Odin and other figures from Norse religion.

 

According to Sverre Steen, the introduction of Christianity in Norway should not be perceived as a nationwide revival. At Mostratinget, Christian law was introduced as law in the country and later incorporated into the laws of the individual jurisdictions. Christianity primarily involved new forms in social life, among other things exposure and images of gods were prohibited, it was forbidden to "put out" unwanted infants (to let them die), and it was forbidden to have multiple wives. The church became a nationwide institution with a special group of officials tasked with protecting the church and consolidating the new religion. According to Sverre Steen, Christianity and the church in the Middle Ages should therefore be considered together, and these became a new unifying factor in the country. The church and Christianity linked Norway to Roman Catholic Europe with Church Latin as the common language, the same time reckoning as the rest of Europe and the church in Norway was arranged much like the churches in Denmark, Sweden and England. Norway received papal approval in 1070 and became its own church province in 1152 with Archbishop Nidaros .

 

With Christianity, the country got three social powers: the peasants (organized through the things), the king with his officials and the church with the clergy. The things are the oldest institution: At allthings all armed men had the right to attend (in part an obligation to attend) and at lagthings met emissaries from an area (that is, the lagthings were representative assemblies). The Thing both ruled in conflicts and established laws. The laws were memorized by the participants and written down around the year 1000 or later in the Gulationsloven , Frostatingsloven , Eidsivatingsloven and Borgartingsloven . The person who had been successful at the hearing had to see to the implementation of the judgment themselves.

 

Early Middle Ages (1050s–1184)

The early Middle Ages is considered in Norwegian history to be the period between the end of the Viking Age around 1050 and the coronation of King Sverre in 1184 . The beginning of the period can be dated differently, from around the year 1000 when the Christianization of the country took place and up to 1100 when the Viking Age was over from an archaeological point of view. From 1035 to 1130 it was a time of (relative) internal peace in Norway, even several of the kings attempted campaigns abroad, including in 1066 and 1103 .

 

During this period, the church's organization was built up. This led to a gradual change in religious customs. Religion went from being a domestic matter to being regulated by common European Christian law and the royal power gained increased power and influence. Slavery (" servitude ") was gradually abolished. The population grew rapidly during this period, as the thousands of farm names ending in -rud show.

 

The urbanization of Norway is a historical process that has slowly but surely changed Norway from the early Viking Age to today, from a country based on agriculture and sea salvage, to increasingly trade and industry. As early as the ninth century, the country got its first urban community, and in the eleventh century we got the first permanent cities.

 

In the 1130s, civil war broke out . This was due to a power struggle and that anyone who claimed to be the king's son could claim the right to the throne. The disputes escalated into extensive year-round warfare when Sverre Sigurdsson started a rebellion against the church's and the landmen's candidate for the throne , Magnus Erlingsson .

 

Emergence of cities

The oldest Norwegian cities probably emerged from the end of the 9th century. Oslo, Bergen and Nidaros became episcopal seats, which stimulated urban development there, and the king built churches in Borg , Konghelle and Tønsberg. Hamar and Stavanger became new episcopal seats and are referred to in the late 12th century as towns together with the trading places Veøy in Romsdal and Kaupanger in Sogn. In the late Middle Ages, Borgund (on Sunnmøre), Veøy (in Romsdalsfjorden) and Vågan (in Lofoten) were referred to as small trading places. Urbanization in Norway occurred in few places compared to the neighboring countries, only 14 places appear as cities before 1350. Stavanger became a bishopric around 1120–1130, but it is unclear whether the place was already a city then. The fertile Jæren and outer Ryfylke were probably relatively densely populated at that time. A particularly large concentration of Irish artefacts from the Viking Age has been found in Stavanger and Nord-Jæren.

 

It has been difficult to estimate the population in the Norwegian medieval cities, but it is considered certain that the cities grew rapidly in the Middle Ages. Oscar Albert Johnsen estimated the city's population before the Black Death at 20,000, of which 7,000 in Bergen, 3,000 in Nidaros, 2,000 in Oslo and 1,500 in Tunsberg. Based on archaeological research, Lunden estimates that Oslo had around 1,500 inhabitants in 250 households in the year 1300. Bergen was built up more densely and, with the concentration of exports there, became Norway's largest city in a special position for several hundred years. Knut Helle suggests a city population of 20,000 at most in the High Middle Ages, of which almost half in Bergen.

 

The Bjarkøyretten regulated the conditions in cities (especially Bergen and Nidaros) and in trading places, and for Nidaros had many of the same provisions as the Frostating Act . Magnus Lagabøte's city law replaced the bjarkøretten and from 1276 regulated the settlement in Bergen and with corresponding laws also drawn up for Oslo, Nidaros and Tunsberg. The city law applied within the city's roof area . The City Act determined that the city's public streets consisted of wid

“The strangest thing happened in the hot summer afternoon near Erie in July of 1861.

 

In the suburban Erie township of Girard there was a large summer picnic at the Battles estate that July summer day in 1861. The Battles were a wealthy banking family in the small rural town on the Western edge of Erie County. Just 3 years earlier they had constructed the large Italianate style farmhouse that was a showcase in the local community. That summer was one of celebration; Rush Sobieski Battles had just wed Charlotte Webster, his banking partner’s sister, in late March. They had recently returned from their honeymoon and hosted that lavish feast on their lawn on that hot summer day.

 

After the picnic two gentlemen were taking a leisurely stroll in the acreage behind the farmhouse to enjoy the cool early evening breeze. As they descended the tiny slope in the landscape that ended in at the edge of a small creek they saw something flailing in the water a few meters up stream.

 

It was a body.

 

They rushed to the bodies side and pulled it from the creek. The body was that of a young man dressed in a military uniform. He looked to be about 21 and his throat was slit from ear to ear. As the crown gathered to view the body, no one in the small close knit community recognized him. Then they realized the oddest part of this mystery, for the dead lad wore the military uniform of a soldier in the War of 1812…some 48 years out of time!

 

The uniform was new, its colors were bright and the uniform fit perfectly. The boy was never identified and the body was buried in a local cemetery. The small creek behind the Battles Mansion forever after was known by its new name, Dead Man’s Creek.

 

Some darker theories suggested he was transported from the past or another spiritual plane to the creek (Spiritualism was the rage at that time.) No matter how he got there, his ghost is alleged to walk along the creek looking for his assassin. That's the legend on why tiny Battles Creek became known locally as Dead Man's Creek

 

Erie Pennsylvania and the War of 1812 are forever linked because of the prominent role the city played in the naval victory of the War.

 

This fascinating story has been spread by word of mouth for over 100 years in the small community of Girard Pennsylvania. It has also been reported in local historian Stephanie Wincik’s book “The Ghost’s of Erie County”, “

 

Project Electric Sheep

Log Author Nurse Hauer

Date Stamp 2158.02.28 14:44 FPT

 

Do cyborgs dream of electric sheep?

 

On behalf of Dr Xavier Storm, I am conducing a series of experiments to determine whether or not cyborgs dream of electric sheep. He feels that this is an important area of research which has so far been neglected by his fellow researchers here at the Institute.

 

Unfortunately, past results have proven inconclusive. With previous test sequences, the combined dream analyser and holographic projector has failed to produce any kind of coherent response. In addition, I fear that some of our test subjects may have been irreparably damaged by the process.

 

However, I have now commenced test sequence 453-Gamma-3 using test subject Cyborg XF218 and the results appear to be positive. Based upon the output of the holographic projector, it appears that we can conclusively state that our test subject dreams of becoming a surfer.

 

Whilst this was not the result we were looking for, today's success is a clear indication that we have made some progress towards resolving one of our generation's greatest unsolved questions.

One day, I am confident that we will be able to locate the elusive electric sheep.

 

Research continues ...

 

======================================================================

 

This vignette was created for the Eurobricks Collectable LEGO Minifigs Series 3 contest as a display setting for the Cyborg (Series 3) interacting with the Surfer (Series 2) and the Nurse (Series 1).

 

The dream in this vignette can be removed and replaced with any other standard 8x8 vignette.

For example, this is the vignette with the surfing dream replaced with another one of my vignettes.

Mary Rogers, also called the “Beautiful Cigar Girl” was found dead in the Hudson River of Hoboken, New Jersey during a trip to her family members. This murder remains unsolved because there are just too many factors in this case such as she was a beautiful woman she could have been abused, or maybe even gang abuse. Some also suspect it was because of abortion, but the police still does not want to conclude anything.

research site: en.wikipedia.org/wiki/Mary_Rogers

A couple of Bongo Antelopes in a problematic situation. A little shaken as I was quite excited.... :-/

en.wikipedia.org/wiki/Beamish_Museum

 

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

 

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

 

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

 

History

Genesis

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

 

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

 

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

 

Establishment and expansion

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Remaking Beamish

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

 

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

 

Museum site

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

 

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

 

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

 

Governance

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

 

Sections of the museum

1913

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

 

Tramway

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

 

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

 

Bakery

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

 

Motor garage

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

 

Department Store

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

 

Ravensworth Terrace

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

 

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

 

Pub

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

 

Town stables

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

 

Printer, stationer and newspaper branch office

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

 

Sweet shop

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

 

Bank

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

 

Masonic Hall

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

 

Chemist and photographer

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

 

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

 

Redman Park

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

 

Other

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

 

Unbuilt

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

 

Railway station

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

 

Rowley station

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

 

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

 

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

 

Signal box

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

 

Goods shed

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

 

Coal yard

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

 

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

 

Bridges and level crossing

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

 

Waggon and Iron Works

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

 

Other

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

 

Fairground

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

 

Colliery

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

 

Deep mine

Reconstructed pitworks buildings showing winding gear

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

 

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

 

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

 

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

 

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

 

Drift mine

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

 

Lamp cabin

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

 

Colliery railways

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

 

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

 

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

 

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

 

Other

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

 

Pit Village

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

 

Miner's Cottages

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

 

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

 

School

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

 

Chapel

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

 

Fish bar

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

 

Band hall

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

 

Pit pony stables

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

 

Other

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

 

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

 

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

 

The Georgian North (1825)

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

 

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

 

Pockerley Old Hall

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

 

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

 

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

 

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

 

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

 

Pockerley Waggonway

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

 

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

 

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

 

Wooden waggonway

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

 

St Helen's Church

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

 

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

 

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

 

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

 

Joe the Quilter's Cottage

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

 

Other

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

 

Farm (1940s)

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

 

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

 

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

 

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

 

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

 

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

 

Town (1950s)

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

 

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

 

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

 

Spain's Field Farm

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

 

1820s Expansion

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

 

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

 

Museum stores

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

 

Open Store

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

 

Regional Museums Store

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

 

Transport collection

Main article: Beamish Museum transport collection

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

 

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

 

Agriculture

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

 

Regional heritage

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

 

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

 

Filming location

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

 

Visitor numbers

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

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

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

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

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

 

Critical responses

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

 

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

 

Legacy

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

 

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

Some items displayed on our dining room book shelves. The pot is ancient Peruvian. The bust is of old Pakal. Access to this area of our home has been blocked for many months due some goods to be sold and my not being in good enough health to pack and identify the items.

 

Kʼinich Janaab Pakal I[N 1] (Mayan pronunciation: [kʼihniʧ xanaːɓ pakal]), also known as Pacal, Pacal the Great, 8 Ahau and Sun Shield (March 603 – August 683),[1] was ajaw of the Maya city-state of Palenque in the Late Classic period of pre-Columbian Mesoamerican chronology. He acceded to the throne in July 615 and ruled until his death. During a reign of 68 years—the fourth-longest verified regnal period of any sovereign monarch in history, the longest in world history for more than a millennium,[N 2] and still the longest in the history of the Americas—Pakal was responsible for the construction or extension of some of Palenque's most notable surviving inscriptions and monumental architecture.[N 3][2][3]Pakal is perhaps best-known in popular culture for his depiction on the carved lid of his sarcophagus, which has become the subject of pseudoarchaeological speculations.[4]

 

Kʼinich Janaab Pakal I's glyphs.

Before his name was securely deciphered from extant Maya inscriptions, this ruler had been known by an assortment of nicknames and approximations, including Pakal or Pacal, Sun Shield, 8 Ahau, and (familiarly) as Pacal the Great. The word pakal means "shield" in the Classic Maya language.[5]

 

In modern sources his name is also sometimes appended with a regnal number,[N 4] to distinguish him from other rulers with this name, that either preceded or followed him in the dynastic lineage of Palenque. Confusingly, he has at times been referred to as either "Pakal I" or "Pakal II". Reference to him as Pakal II alludes to his maternal grandfather (who died c.612) also being named Janahb Pakal. However, although his grandfather was a personage of ajaw ranking, he does not himself appear to have been a king. When instead the name Pakal I is used, this serves to distinguish him from two later known successors to the Palenque rulership, Kʼinich Janaab Pakal II (ruled c. 742) and Janaab Pakal III, the last-known Palenque ruler (ruled c.799).[6]

 

Pakal expanded Palenque's power in the western part of the Maya states and initiated a building program at his capital that produced some of Maya civilization's finest art and architecture.

 

In 628, one of Pakal's officials (aj kʼuhuun), was captured by Piedras Negras. Six days later Nuun Ujol Chaak, ajaw of Santa Elena, was captured and taken to Palenque. Santa Elena became a tributary of Palenque. Having been appointed ajaw at the age of twelve, Pakal's mother was a regent to him. Over the years she slowly ceded power until she died in September 640. In 659 Pakal captured six prisoners, One of them, Ahiin Chan Ahk, was from Pipaʼ, generally associated with Pomona. In 663 Pakal killed another lord of Pipaʼ. At this time he also captured six people from Santa Elena.[8]

 

647 Kʼinich Janaab Pakal began his first construction project (he was 44 at the time). The first project was a temple called El Olvidado, also called the forgotten temple because it's far away from Lakamhaʼ. Of all Pakal's construction projects, perhaps the most accomplished is the Palace of Palenque. The building was already in existence, but Pakal made it much larger than it was. Pakal started his construction by adding monument rooms onto the old level of the building. He then constructed Building E, called Sak Nuk Naah "White Skin House" in Classic Maya for its white coat of paint rather than the red used elsewhere in the palace. The east court of the palace is a ceremonial area marking military triumphs. Houses B and C were built in 661 and house A in 668. House A is covered with frescos of prisoners captured in 662.[9][10]

 

The monuments and text associated with Kʼinich Janaab Pakal I are: Oval Palace Tablet, Hieroglyphic Stairway, House C texts, Subterranean Thrones and Tableritos, Olvidado piers and sarcophagus texts.[11]

 

After his death, Pakal was deified and was said to communicate with his descendants. He was succeeded by his son, Kʼinich Kan Bahlam II.

 

Pakal was buried in a colossal sarcophagus in the largest of Palenque's stepped pyramid structures, the building called Bʼolon Yej Teʼ Naah "House of the Nine Sharpened Spears"[12] in Classic Maya and now known as the Temple of the Inscriptions. Though Palenque had been examined by archaeologists before, the secret to opening his tomb — closed off by a stone slab with stone plugs in the holes, which had until then escaped the attention of archaeologists—was discovered by Mexican archaeologist Alberto Ruz Lhuillier in 1948. It took four years to clear the rubble from the stairway leading down to Pakal's tomb, but it was finally uncovered in 1952.[13] His skeletal remains were still lying in his coffin, wearing a jade mask and bead necklaces, surrounded by sculptures and stucco reliefs depicting the ruler's transition to divinity and figures from Maya mythology. Traces of pigment show that these were once colorfully painted, common of much Maya sculpture at the time.[14]

 

Whether the bones in the tomb are really those of Pakal is under debate because analysis of the wear on the skeleton's teeth places the age of the owner at death as 40 years younger than Pakal would have been at his death. Epigraphers insist that the inscriptions on the tomb indicate that it is indeed Kʼinich Janaabʼ Pakal entombed within, and that he died at the age of 80 after ruling for around 70 years. Some contest that the glyphs refer to two people with the same name or that an unusual method for recording time was used, but other experts in the field say that allowing for such possibilities would go against everything else that is known about the Maya calendar and records of events. The most commonly accepted explanation for the irregularity is that Pakal, being an aristocrat, had access to softer, less abrasive food than the average person so that his teeth naturally acquired less wear.[15]

 

An underground water tunnel was found under the Temple of Inscriptions in 2016. Later on, a mask of Pakal was discovered in August 2018.[16][17]

 

The large carved stone sarcophagus lid in the Temple of Inscriptions is a unique piece of Classic Maya art. Iconographically, however, it is closely related to the large wall panels of the temples of the Cross and the Foliated Cross centered on world trees. Around the edges of the lid is a band with cosmological signs, including those for sun, moon, and star, as well as the heads of six named noblemen of varying rank.[18] The central image is that of a cruciform world tree. Beneath Pakal is one of the heads of a celestial two-headed serpent viewed frontally. Both the king and the serpent head on which he seems to rest are framed by the open jaws of a funerary serpent, a common iconographic device for signalling entrance into, or residence in, the realm(s) of the dead. The king himself wears the attributes of the Tonsured maize god - in particular a turtle ornament on the breast - and is shown in a peculiar posture that may denote rebirth.[19] Interpretation of the lid has raised controversy. Linda Schele saw Pakal falling down the Milky Way into the southern horizon.[20]

 

Pakal's tomb has been the subject of ancient astronaut hypotheses since its appearance in Erich von Däniken's 1968 best seller, Chariots of the Gods?. Von Däniken reproduced a drawing of the sarcophagus lid, incorrectly labeling it as being from "Copán" and comparing Pacal's pose to that of Project Mercury astronauts in the 1960s. Von Däniken interprets drawings underneath him as rockets, and offers it as possible evidence of an extraterrestrial influence on the ancient Maya.[21]

 

In the center of that frame is a man sitting, bending forward. He has a mask on his nose, he uses his two hands to manipulate some controls, and the heel of his left foot is on a kind of pedal with different adjustments. The rear portion is separated from him; he is sitting on a complicated chair, and outside of this whole frame, you see a little flame like an exhaust.[22]

 

Another example of this carving's manifestation in pseudoarchaeology is the identification by José Argüelles of "Pacal Votan" as an incarnation named "Valum Votan," who would act as a "closer of the cycle" in 2012 (an event that is also significant on Argüelles' "13 Moon" calendar). Daniel Pinchbeck, in his book 2012: The Return of Quetzalcoatl (2006), also uses the name "Votan" in reference to Pakal.[citation needed]

 

Notes:

 

^ The ruler's name, when transcribed is KʼINICH-JANA꞉B-PAKAL-la, translated "Radiant ? Shield", Martin & Grube 2008, p. 162.

^ Pakal's record was eventually surpassed in June 1711, by Louis XIV of France; Louis's record still stands as of 10 January 2020.

^ These are the dates indicated on the Maya inscriptions in Mesoamerican Long Count calendar. Born: 9.8.9.13.0 8 Ahaw 13 Pop; acceded: 9.9.2.4.8 5 Lamat 1 Mol; died: 9.12.11.5.18 6 Etzʼnab 11 Yax, Martin & Grube 2008, p. 162.

^ Maya rulership titles and name glyphs themselves do not use regnal numbers, they are a convenience only of modern scholars.

 

Footnotes:

 

^ 9.8.9.13.0 and 9.12.11.5.18 (Tiesler & Cucina 2004, p. 40)

^ Skidmore 2010, p. 71.

^ Martin & Grube 2008, pp. 162-168.

^ Wade, Lizzie (2019-04-09). "Believe in Atlantis? These archaeologists want to win you back to science". Science | AAAS. Retrieved 2019-04-14.

^ Skidmore 2010, pp. 71-73.

^ Skidmore 2010, pp. 56-57, pp. 71-73, p. 83, p. 91.

^ Martin & Grube 2008, pp. 162-165.

^ Skidmore 2010, pp. 71-73.

^ Martin & Grube 2008, pp. 162-168.

^ Skidmore 2010, pp. 71-73.

^ Martin & Grube 2008, p. 162.

^ Universidad Nacional Autónoma de Mexico

^ Mathews, p. 1.

^ Stokstad, p. 388.

^ Mathews, p. 1.

^ "Incredible Maya discovery: Ancient king's mask uncovered in Mexico". Fox News. 29 August 2018.

^ "This Haunting Mask Could Be The Face of The Longest-Reigning Ancient Maya King". Science Alert. 30 August 2018.

^ Schele & Mathews 1998, pp. 111-112.

^ Stuart & Stuart 2008, pp. 174-177

^ Freidel, Schele & Parker 1993, pp. 76-77

^ Finley, p.1

^ von Däniken, pp. 100-101, line drawing between pp. 78-79.

 

References:

 

Finley, Michael. "Von Daniken's Maya Astronaut". SHAW WEBSPACE. Archived from the original on April 12, 2008. Retrieved 18 October 2015.

Freidel, David A.; Schele, Linda; Parker, Joy (1993). Maya Cosmos: Three Thousand Years on the Shaman's Path. New York: William Morrow and Company. ISBN 9780688100810.

Martin, Simon; Nikolai Grube (2008). Chronicle of the Maya Kings and Queens: Deciphering the Dynasties of the Ancient Maya (2nd ed.). London and New York: Thames & Hudson. ISBN 9780500287262. OCLC 191753193.

Mathews, Peter. "WHO'S WHO IN THE CLASSIC MAYA WORLD". Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI). Retrieved 18 October 2015.

Schele, Linda; Mathews, Peter (1998). The Code of Kings: The Language of Seven Sacred Maya Temples and Tombs. New York: Touchstone. ISBN 068480106X. Retrieved 17 October 2015.

Skidmore, Joel (2010). The Rulers of Palenque (PDF) (Fifth ed.). Mesoweb Publications. Retrieved 12 October 2015.

Stokstad, Marilyn (2008). Art History Fourth Edition. Upper Saddle River, New Jersey: Prentice Hall. ISBN 978-0-205-74422-0.

Stuart, David; Stuart, George (2008). Palenque: Eternal City of the Maya. Thames & Hudson. ISBN 9780500051566.

Tiesler, V.; Cucina, A.; Pacheco, A. Romano (2004-10-18). "Who was the Red Queen? Identity of the female Maya dignitary from the sarcophagus tomb of Temple XIII, Palenque, Mexico". HOMO. 55 (1): 65–76. doi:10.1016/j.jchb.2004.01.003. ISSN 0018-442X. PMID 15553269.

von Däniken, Erich (1969). Chariots of the Gods?: Unsolved Mysteries of the Past. Bantam Books. ISBN 0285502565.

 

The Maya - Lost Cities in the Jungle. youtu.be/OfnvQ_vQZuA

 

Palenque's Maya Glyph Carver: youtu.be/bRvoVfrrSRE

I hope I never see the day when I must accept that a mother reflects over the killing of her child as simply “just another one!”

 

Unfortunately, this is far too commonplace in Brazil, where even the most brutal of homicides usually end up unsolved and archived to the dispair of those left grieving over the sudden deaths of their beloved ones. I’m afraid as long as the “three wise monkeys” philosophy continues to be practiced; this kind of attitude will be here to stay;

 

Hear no evil...

Speak no evil...

See no evil.............................

 

As if this will stop the killings...............

 

The study below was derived from facts uncovered while doing research for the following Doctorial dissertation:

Light to the shadows of their mind:

Criminal tatics and strategies

Criminology Department Dept.

Chatwick University

 

**************************** Story ***************************

 

Mae, had been having quite a rewarding chat with a charmingly attired young lady, all of seventeen, whom Mae had caught scurrying unsupervised amongst the Mansions’ other guests, when she suddenly felt a shocking vibe.

 

At the same time the seventeen year old turned her head away, her long hair swirling to behind her back, as she gazed at a sobbing lady treaded past her. The forlorn figure woefully alighting on a small stone bench located along a back wall. Mae, for a second blinded as the diamond in the girls swaying pearl earring caught the light of a chandelier, turned her head to watch also.

 

Making a call in judgment, Mae then finished her conversation with the fidgety young thing, letting her go on to rejoin the party. As she watched the silken and lace clad youth swirled away, a curiously pained expression crossed Mae’s face. She had almost convinced the pretty young thing to….

 

Oh well ,Mae said to herself, Trust in instinct. She then turned, focusing her attention to the limp, sobbing form now seated on the bench.

 

Oozing with compassion, Mae walked over to the weeping young lady. Sitting on the bench next to her Mae placed a comforting arm around her and drew her close. She handed the girl her silky laced handkerchief, to dry her eyes with,” Here my dear, you don’t want to stain that pretty gown!” Mae said, while lovingly pulling back the sobbing girls wave of corn silk coloured hair. The young lady took it, gratefully accepting this unknown woman’s sympathy. Taking the handkerchief with a gloved hand she buried her eyes into it ,rings and a bracelet twinkling merrily , mutely ignorant of their mistress’s wretchedness. Mae meet the girls sad gaze with her kind gypsy like eyes, gaining the poor young things’ confidence. Slowly Mae calmed her down enough to begin extracting the girl’s source of woe between racking sobs.

 

It seemed that the ladies fiancé had been dancing too close with a female friend of hers, and she was afraid he was going to call off the wedding after he snapped at her for bringing the matter to his attention. Mae patted the girl matronly on the back, telling her to go to the powder room to freshen up while she had a word with him on her account. The girl cheered up a little, really she said, hugging Mae that would be wonderful, and she obediently swept off without any question, so strong was Mae’s persuasiveness.

 

Ten minutes later Mae joined the girl in the powder room, telling her that it had all been a misunderstanding, and he wanted to meet with her in private to patch things up. As Mae spoke she helped straighten the girls luxuriously long satin gown, you want to look good for him she explained, watching a smile enchantingly brighten up her pretty face.

 

Collecting the girls wrap, Mae accompanied her out the back door leading into an ancient garden. Along one side an alley edged the street that separated the garden from the surrounding, rundown neighborhoods. The alley passed an old greenhouse, and it was there that Mae pointed out to the girl, “your fiancé awaits”, and without hesitation, the young lady allowed Mae to start to escort her there.

 

It was then that Mae saw the cop across the street by a vacant lot heading their way, although he had yet to spot the pair of ladies. Mae turned towards the young lady and explained that the policeman over there was a friend of hers and she wanted a word with him, besides, she winked, you don’t need my company inside there with him, she nodded towards the greenhouse, the girl smiled fetchingly, pressed Mae’s hand in thanks, and headed off, her gown swishing, stiletto heels clicking, along the cobblestone path. For a moment, Mae stared as the young lady, the flowing satin gown whispering along her petite figure as she went to the greenhouse to meet with her lover, and entirely different sort of stare, and then crossed the street to intercept the copper.

 

Mae walked past the copper tossing his way the sorta glance that she knew would pique his natural distrust, making him follow to see what mischief was going on!

 

*********

As Mae happily led the harness bull away from the garden she marveled over her good fortune, wondering over how things had worked to her benefit:

 

How such a lavish affair had been planned on that side of town in an old mansion, turned club.

 

How easily she had been able to slip through the tight security and crash the upscale party.

 

How lucky she had been to spy the young lady deep in misery before anyone else.

 

How easy it had been to convince the guilt ridden fiancé on what steps to take to win back his ladies hand, starting with waiting an hour in the upstairs gentlemen’s smoke lounge.

 

How pretty the young lady had looked when seductively she headed down the path to the greenhouse, the luxuriously sleek gown fluidly flowing, while opulent jewels flickered fire with each step.

 

How noisy those stiletto heels of the young lady were on the path, giving a loud notice of her approach as she went to the green house.

 

How quickly the look of lust upon the girls face would change to horror when she entered the greenhouse and encounter, not her fiancé, but Mae’s two masked partners lying in wait to rob anyone unlucky enough to cross their path.

 

How wicked the smiles would be of Mae’s confederates as one held the slippery, squirming figure of the young lady, while the other groped her body, picking it clean of anything of value.

  

Mae looked back and smiled smugly at the copper hot on her heels. Someone is going to be in trouble for leaving his post she thought. Just a couple more blocks should give them enough time in the greenhouse, and then Mae would easily give this flatfoot the slip. Mae’s mind went deliciously back to what should now be happening to the luckless lady in the long glossy gown, and how much Mae’s cut of the take would amount to. It was too bad she would miss the boys at work; Mae did so enjoy watching a good mugging.

 

********************

 

It had been the boys who had first spotted the ladies in colorfully long shiny gowns. Those gowns fluidly rustling along shapely figures crossing the street leading to ornate front doors of the old Hampton East club Mansion. But it had been their “sparklers” the glittering jewelry the ladies all seemed to be temptingly showing off, that had made their mouths wolfishly drool.

 

But, what they had seen when stealing peeks through slits in a velvet curtained window, had made them run to find Mae. They then breathlessly babbled on about the halfcocked, half-baked scheme they had dreamed up. “Even the young’uns had jools” they had excitedly told Mae. She figured that most of it was probably paste, who wears anything of value on the eastside she thought to herself. But just a glimmer of a possibility began to take seed, as she maternally continued to listen to the excited pair.

 

Mae decided to humor the pair of excitable petty thieves, she owed them some favors anyway, and Mae hated leaving a debt unpaid. Besides, business had been slow lately; it seemed that no one well to do these days need their fortune read. So, for no rhythm or reason other than to see what all the chatter had been about, Mae crashed the upscale event. She slipped inside through the large matching oak doors, without even a second glance from the old man wearing a loose uniform “guarding” the entrance.

 

Mae was amazed, even she could not have predicted the amazing displays of wealth, so tantalizingly close, and yet seemingly so far out of reach. Even the dangling “jools” worn with careless abandon by the “Young’uns” appeared to be the real McCoy! Although she had thought they were talking about girls a little younger than the solely 16 through 20 year olds she observed among the multitude of guests.

 

Mae was also surprised that she had been able to get this far, and so was now just beginning to think of ways to profit from the situation. One idea was also the simplest, find a tipsy lady shimmering in jewels and offer to read her fortune, targeting selected jewel adorned areas to do her readings and hope opportunity knocks. Another thought was to just wait by an exit and hope an inquisitive type wanders out, then follow and force them to the shed. If it was one of the “youn’uns” Mae could than renter and convince her wealthy mother to go and collect her daughter that Mae had seen going into the shed with a , gasp, boy! This last one was not as far-fetched as it sounded, given the antics that a lot of the guests were performing under Mae’s watchful eyes…

 

All in all, Mae was glad she had positioned the boys to wait in the old greenhouse, promising it would be worth their while. Mainly Mae had wanted to keep them out of mischief, too avoid having them upset her apple cart, and it appeared to have been a canny move on her part.

 

Still with no real purpose yet, she had started to shadow a fetchingly gowned young lady of about seventeen who was timidly weaving in and out amongst the groups of happily chatting guests. What Mae mostly desired was a closer scrutiny of the prettily dressed young girls savory pearls and delectable rings, so enticingly slippery upon the sweat glistened figure. Suddenly Mae had an epiphany, realizing exactly what to say to the pretty little miss to satisfy those desires, and more. Eagerly, she caught up to the darting little darling, and literally grabbed the young things attention.

 

The young miss, nervously looked around, as she played with her necklace, holding it with slender ringed fingers, as she innocently listened to the captivating dark haired stranger. Overly pretty teenage girls were so naïve and easy to manipulate, Mae thought, as she began to weave her story around the young thing that had fallen into the gypsies grasp.

 

The plan that had developed Mae’s in mind concerning the girl, was in her opinion, brilliant : for girls like this always travelled about in packs. And it was a good bet that if she ventured out into the night she would not be alone. Mae began to envision two or three similarly attired young ladies walking in the moonlit garden. Shimmering as they approached the garden shed, like so many high heeled, well jeweled Gretel’s heading to the witches’ tempting cottage. And Mae had the perfect fairy tale to tell this pretty girl, one that would spin around her like sticky strands of web that Mae would use to pull her away out into the night.

 

Mae started by charismatically complimented the teenager on her fine dress of silk and lace , she pleasantly straitening it for a “better look”, greedy emotions rising as she looked over the young ladies jewels. As she did this performance, Mae subtly started guiding the unquestioningly obedient girl towards a rear exit. But the girl innocently let out a squeal and pulled Mae over to the “cute little stone bench” one of several that lines a back, potted palm lined , wall . Mae helped the squirming young thing to a seat. As Mae started then to work on the girl, she scanned the area to see if anyone was watching. Seeing no signs of intervention, Mae asked for and obediently received, in turn, each of the girl’s excitedly sweaty palms.

 

Deeper and deeper the seventeen year old fell under Mae’s spell, listening enraptured as Mae began to “read” the girls fortune using her quivering palms. Mae, never letting the girls eyes fall away from her almost hypnotic gaze, began to delicately tug at the pretty rings encircling the slender fingers of the palms as she gently caressed them.

  

As the girl was told her fortune, the pretty young miss was totally caught under the enchantment of Mae’s eyes and sing-song way of speaking. Mae could see that she had captured the girl’s imagination as she wove her fortune telling into a romantic saga that would hopefully peak with the girl sneaking out to the cold shed where the hoodlums were waiting. Then, with delight, Mae saw a special gleam in the girl’s eyes that she knew all too well. A look she had seen before in previous clients, one that told her they were no longer completely aware of what was going on around them. The look that usually had her try to make a little extra profit from the situation!

 

She now did so by ever so slightly tighten her grip on the palm she held. Than with baited breath Mae began to work the girl’s jeweled rings over the knuckles of her warm slender fingers, her practiced eye watching the girls face for any sign that she was catching on to what was happening. Mae thought to herself, this is just coming together perfectly. Mae smiled broadly as she had a habit of doing when one of her wicked schemes was coming to fruitation. The girl smiled impishly in response, totally misinterpreting what that smile stood for. Never in her wildest dreams would she have guessed what this nice lady: with the deep black eyes from which she could not pull away from, who was so pleasantly stroking her palms while telling her fortune so enjoyably, was smiling about! Nor did she have the slightest of inklings that her Grandmother’s pretty rings were starting to vanish!

  

And that’s when It happened!

  

The girl’s deep concentration was broken as she saw a woeful figure heading to a nearby stone bench. Mae felt vibes coursing electrically through her body, her adrenalin mounting! Watching the sobbing newcomer, curled up on the bench, her long shiny gown splayed out over her knees, pooling around her feet. Her hands cupped her face, hiding it beneath waves of long corn silk coloured hair.

 

Mae’s eyes darted back to the young girl who was now innocently looking at Mae, with pretty questioning violet coloured eyes. Mae quickly weighed the consequences. Keep her bird in hand, or let it fly away and take a chance on enveloping the newcomer under her spell. Once again she envisioned a gaggle of Gretel’s in the garden, but then, with a sobering realization, a couple of Hansel’s horned in on the group. That would never do the Gypsy reasoned. Mae made her decision.

 

“Off you go my pretty miss; I see a friend is looking me.” Mae told her dismissingly. The girl looked around, still confused, but she gave Mae a chirping “okay” Mae, a warm smile spreading across her face, lifted up the girls long pearl necklace, fingering it as the girl’s violet eyes traveled to watch it. “C'est la vie, my pretty one “Not today, anyway she finished, sighing to herself, the girl only looked confused. Mae let the necklace go, watching the pearls fall back onto the girls lace covered chest. Without thinking more of it, she scampered off out of sight, her long gown flowing out.

 

Mae’s eyes changed from sparkly to pained, then to dead serious as she scanned the area around the miserable wretch in the corner. Then, a putting a smile across her face, she turned her focus totally on solacing and prizing the unhappy soul.

 

As Mae had sat next to the rich girl, her long fingers soothingly stroked the young lady into submission Mae faked an interest in consoling her and pretending to be concerned about the wretches sob story. She had actually been looking her over, appraising the shimmering jewels that had adorned the weeping young lady. The necklace and earrings dripped with small, but real flashy diamonds. The same size as the ones glistening on the thin tiara that held up the rich girl’s luxuriantly long hair. While she sniffled into Mae’s conveniently produced hankie, the young lady’s gem encrusted rings, wide diamond bracelet, and the fine jeweled brooch that held up the front of the slick satin gown were also closely examined.

 

Mae looked at the girl now walking next to her, innocently unaware of the fact that she had been led out here for one reason only, oblivious to the fact that she now presented nothing more than to the seemingly sweet lady walking next to her than the value of the jewels she wore. Mae smiled to herself, knowing that in the greenhouse her two muggers would miss nothing, the young girls jewels, her mink stole, fat silken purse, even the gown would all fetch a sweet price when sold.

 

While contemplating all this Mae had stayed ahead of the nosey cop and now had reached her destination. She quickly turned down a foggy alley she knew all too well. Just before she disappeared from view she gave the unfortunate girl one last thought.

 

Contemplating on whether her luck would change and she would be found first by her errant fiancé once he finished with his cigars and brandy, , or if her bad luck would hold she would be found by someone like that scoundrel Renauld, who specialized in kidnapping and white slavery among other nefarious activities?

  

Renauld to whom Mae owed a huge favor! Mae figured that some foreign sheik would bid high to add a petite fair skinned blond to his harem back in his country. Mae smiled smugly, licking her lips, It had shaped up to be ,indeed, a very good evening.

 

Coming soon

 

What fate had in mind

Please list as a favorite and comment if interested in the final act

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The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

********************************************************************************

 

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

  

***************************

 

Cut B 1083

**********

The Une cabine d'essayage of Lady St-Claire Glen Cottage, Ruex De le Monte

  

In early 1900’s a European thief of unknown nationality,( never caught or identified), was popularly known as Le Shepared. He earned this moniker because of his adeptness with parting wealthy ladies from the expensive pieces of jewellery they were wearing (Akin to a Shepard trimming wool from lambs). He performed these subtle thefts while haunting the “Black Tie” Affairs, Balls, Receptions, and Soiree’s that promised to be attended by the very upper crust of Europe’s jewel laden females.

. He was also prime suspect in several spectacular jewel thefts that emptied out the glittering contents of several wealthy lady’s jewellery cases, unguarded while their mistress’s were attending the above mentioned fancy dressed functions. A few times, so the stories circulating at the time went, he would lift a piece of jewellery m’lady was wearing, and then knowing she was safely out of the picture, visit milady’s boudoir and pick it clean of anything sparkly and expensive. Such may have been the case with lady St-clair…

 

One of the most notorious unsolved cases evolved around Lord Perter St-Clair.

At the wedding of Lord St-Clair and his bride, one of the gifts was tickets for Le Chat Noir , for a Cabaret being presented there , put on by the Salon Les Arts Incohérents during the same period they would be at their lune de miel (Honeymoon).

 

While the couple was out one evening attending the play, the Lady St-Clair went to “powder her nose” during intermission. When the play resumes, she noticed the loss of her diamond bracelet that she remembers playing during the thrilling end of Act two, just before the curtains came up for intermission. The valuable bracelet was never recovered.

 

Meanwhile, a thief broke into the Lady’s Dressing room during the time the show was being presented, making off with several extremely valuable collections of family jewels.

But, was that all? Some say that an article of some importance to a certain secret society that Lord Perter was a major officer, was also taken that evening.

 

Coincidently, at the ball following the lavish St-Claire wedding, of the almost 400 guests in attendance at the Middle Temple Hall, Temple, London ,several wealthy female guests reported the loss of some extremely valuable jewelled bracelets, a jewelled ring , a navette diamond brioche, and a diamond necklace. Also, no one ever took credit for giving the unmarked gift of the tickets to attend the show being put on at the French café’ Le Chat Noir.

 

Was Le Shepared in attendance scoping out Lady St-Claire’s Jewels? Did he aslo take the time to collect a few “trifles” from a few of the Ladies’ in attendance? Did he then follow the newlyweds to France, to the play, to Mademoiselles boudoir?

 

Quand le chat n'est pas là, les souris dansent.

(translation: While the cat's away the mice will play.)

 

Il ne faut pas réveiller le chat qui dort.

translation: Let sleeping dogs lie.

  

Vous ne trouvez pas le Saint-Graal , c’est le Saint-Graaal qui vous trouve.

(You do not find the grail, the grail finds you)

 

All

Props & Stage courtesy of Chatwick University Theatre

Story

Courtesy of Chatwick University Archives

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

********************************************************************** **********

 

+++ DISCLAIMER +++

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

  

Some background:

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

General characteristics:

Crew: 1

Length: 8.57 m (28 ft 1 in)

Wingspan: 10.85 m (35 ft 7 in)

Height: 2.60 m (8 ft 6 in)

Wing area: 17.00 m² (183 ft²)

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

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

 

Powerplant:

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

 

Performance:

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

Range: 320 miles (515 km)

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

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

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

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

 

Armament:

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

  

The kit and its assembly:

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

 

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

 

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

 

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

 

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

 

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

  

Painting and markings:

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

 

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

 

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

 

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

  

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

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

The Greek Orthodox Priest over the Church at Jacob's Well in Nablus, Israel, is using hot wax to seal jars of well water. Jacob's well is just a few feet to the left of this photo. It is almost certainly the well where Jesus encountered the Samaritan woman in John 4, and likely existed in Jacob's time, over thirty-five hundred years ago. The 6,000 year old ruins of Shechem are a couple of hundred yards away. The church has suffered from sectarian violence from radical Muslims among the local population, as evidenced by bullet holes in the church gate. The Balata refugee camp is also only a couple of hundred yards away.

 

The priest's predecessor, Philoumenos, was murdered in 1979, and suspicion for the unsolved murder fell on Jewish zealots, who had been demanding Christian symbols be removed from the area.

  

Is15-9301-Priest-at-Jacobs-Well-8x10-bi

venue - tanjung bungah, penang.

november 2007, 8.30 am., this foggy island really caught my attention..the post processing? not much.. just a single raw and slight vibrance adjustment.

 

zoom closer guys..u wont regret it :)

Some things do not make sense to a nine year old. The presence of a cannon in the courthouse yard was not one of them. None of us doubted the appropriateness of having a cannon handy to defend the most important government building of our limited world. We knew well that the paddy wagon sometimes transported criminals from the jail, one half of a block further south on Washington Ave., to their day of judgment in the courtrooms, on the second floor, directly above the marriage license department, in the old part of the courthouse. But we were not so naive as to believe that anyone needed military hardware to defend against mere criminals. Instead, we all just assumed that the cannon was part of the same grand defense strategy that had required all of us as third graders to duck under our desk and cover our heads when the air-raid siren went off every Monday at 1:00 PM sharp. And we heartily endorse the more sophisticated strategy of abandoning our class rooms completely for the far greater safety of the corridor, where we would kneel down on the floor with our heads up against the lockers and pray to the Blessed Mary. We fully approved when this improved strategy, was introduced midway through the fourth grade. We were grateful that the nuns were so farsighted as to see how more likely to survive nuclear annihilation we would be in the hallway rather than under our desk in the classroom where we might get cut by broken glass. We could readily see that the hallway was the nuclear high ground as it were, even before we factored in the added advantage of praying on ones knees compared to just crouching under the desks. Of course we would have endorsed any plan that brought even the slightest release from the classroom. To this day I am still not convinced that there weren't some of us who would have preferred the full thermo nuclear blast to returning to the blessings of a Catholic education at 1:05. From our perspective, it just made good sense to keep a cannon in the courthouse lawn.

What we could never figure out is, why a great nation like the United States of America, a nation so awesome that it has had single handedly defeated Germany, Japan, Italy and Russia and a host of other ner-do-wells in World War II, would ever need to resort to the embarrassment of assigning used cannons to defend one of the most important building in the county. It just did not seem reasonable, but the evidence was undeniable. We shinnied over and slid down the proof every afternoon. We were depending on some old king's cannon. We were positive of that much. One merely had to look at the crown and fancy lettering so artfully engraved in the base of that hulking bronze weapon to know that this was not a regular democratic cannon. It almost seemed un-American to rely on a weapon with so many curly-q's. And the letter were so fancy that even a fully certified member of the Palmer Method Good Penmanship Club could not decipher the monogram with any real degree of certainty. The need for a royal cannon just did not make sense to a fourth grader, but it was only one of a trinity of mysteries that surrounded this old cannon. That first puzzle was hardly fit to hold the coat of either of the two others, which unlike the mystery of King Charles III initials, remained unsolved well past the fifth grade. While we were curious about our need for used weaponry, that could not hold our curiosity nearly as well as the next mystery.

 

PART 1: Even with all the hoopla of being spied on and making front page news, Professor Vata nevertheless continued with his obsession. And just what was it? It was nothing less than Time Travel!

But the story goes deeper than that.

There is an agenda here concerning a certain Doctor [or maybe two].

And an unsolved suicide.

During an electrical storm, back in 1933, the air hums and crackles as the shape of Professor Vata solidifies in a forgotten alley. The transporter, that enabled him to bridge the decades, glows and pulsates as it re-knits the tear in time it had created. After getting his bearings, Vata resets the device to take him back within an hour.

The stage is set.

 

words have the power to both destroy and heal. when words are both true and kind, they can change our world.

 

gautama buddha (unsourced)

   

View On Black

Vampire crypt

 

Set in a silent hill of Erie Cemetery, one mausoleum's stonework is stained black. Some might call it oxidation, a natural process. Others see it as an omen of its terrible secrets.

 

This is the only mausoleum in the 14 City block cemetery that is set into a hill. There is no telling how large the crypt actually is.

 

There is no writing of any kind. No name or dates adorn the Mausoleum. Only a rather odd carving above the door. Above the gated door is a carved symbol that some claim looks like a "V" with wings while others see a flower with two leaves.

 

"It could be Satan. It could be witchcraft. It could be that vampires live inside,"

 

Little is known about the mausoleum -- the only one in the cemetery to have so few documented records. Even though Erie is a public cemetery, whose records are open to the public. The records for this mausoleum are not.

 

Legend has it that the crypt was broken into and looted at least once. It's also rumored that the burglar soon suffered a horrible fate. Its doors are now gated and locked.

For the story of the hijacker who called himself Dan Cooper, and became known as "D.B. Cooper," see:

 

en.wikipedia.org/wiki/D._B._Cooper

 

More about D.B. Cooper and his legacy:

www.aerotime.aero/rytis.beresnevicius/24238-db-cooper-story

 

Museum of Flight

Seattle, Washington

 

Museum of Flight (Museum web site):

www.museumofflight.org

  

. . . in Double Ikat not only the warp gets pattern, so does the weft. This is much more time consuming and complicate.

________________________________________________

 

Ikat (in Indonesian languages means "bind") is a dyeing technique originating from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.

 

In ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.

 

A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.

 

Ikat is produced in many traditional textile centres around the world, including India to Central Asia, Southeast Asia, Japan (where it is called kasuri), Africa, and Latin America. Double ikats—in which both the warp and weft yarns are tied and dyed before being woven into a single textile—are relatively rare because of the intensive skilled labour required to produce them, especially in lining up the weft patterns.

 

ETYMOLOGY

Ikat is an Indonesian word, which depending on context, can be the nouns: cord, thread, knot, or bundle, also the finished ikat fabric, as well as the verbs "to tie" or "to bind"; the term ikatan is a noun for bond or tie. It has a direct etymological relation to cognates in various Indonesian languages from Sumatra, Borneo, Java, Bali, Sulawesi, Sumba, Flores and Timor. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.

 

The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.

 

In Indonesian, the plural of ikat remains ikat. While in English, a suffix plural 's' is commonly added, as in ikats. However, these term are interchangeably used and correct.

 

HISTORY OF IKAT

The term "ikat" has Indonesian and Malay origin, and it was introduced into European textile vocabulary back in the early 20th century, when Dutch scholars begin to study the rich textile traditions of the Dutch East Indies archipelago (present-day Indonesia).

 

Some parts of Asia demonstrate strong ikat traditions which suggest its possible origin; whether they are Maritime Southeast Asia (Dutch East Indies archipelago), the Indian subcontinent and Central Asia. However, it probably developed in several different locations independently.

 

Uyghurs call it atlas (IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing Chinese occupation. Now there are only four types of Uyghur atlas remaining: qara-atlas, a black ikat used for older women's clothing; khoja'e-atlas, a yellow, blue, or purple ikat used for married women; qizil-atlas, a red ikat used for girls; and Yarkent-atlas, a khan or royal atlas.

 

Yarkent-atlas has more diverse styles; during the Yarkent Khanate (1514–1705), there were ten different styles of Yarkent-atlas.

 

TYPES OF IKAT

In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.

 

In weft ikat it is the weaving of weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.

 

Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. Double ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda district and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.

 

DISTRIBUTION

Ikat is a resist dyeing technique common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In South America, Central and North America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico, respectively.

 

In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.

 

India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat resist dyeing.

 

Double ikat textiles are still found in India, Japan and Indonesia. In Indonesia ikat textiles are produced throughout the islands from Sumatra in the west to Timor in the east and Kalimantan and Sulawesi in the north. Ikat is also found in Iran, where the Persian name is daraee. Daraee means wealth, and this fabric is often included in a bride's dowry during wedding ceremonies; and the people who buy these fabrics were rich.

 

PRODUKTION

WARP IKAT

Ikat created by dyeing the warps (warp ikat) is simpler to make than either weft ikat or double ikat. First the yarns--cotton, silk, wool or other fibres—are wound onto a tying frame. Then they are separated into bundles. As the binding process is very labor-intensive an effort is made to reduce the work to a minimum by folding the thread bundles like in paper dolls and binding a basic ikat motif (BIM) that will be repeated like in paper dolls when the threads are unfolded for weaving after the dyeing is completed. The thread bundles may be folded around a vertical and/or horizontal axis. The bundles may be covered with wax, as in batik. (However, in making batik, the crafts person applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material with the desired pattern so as to prevent unwanted dye penetration. The procedure is repeated, according to the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. After the dyeing is finished the bindings are removed and the threads are wound onto the loom as the warp (longitudinal yarns). The threads are adjusted to precisely align the motifs and thin bamboo strips are lashed to the threads to prevent them from tangling or slipping out of alignment during weaving.

 

Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve alignment of the ikat yarns. South American and Indonesian ikats are known for a high degree of warp alignment. Weavers carefully adjust the warp threads when they are placed on the loom so the patterns appear clearly. Thin strips of bamboo are then lashed to the warps to maintain the pattern alignment during weaving.

 

Patterns are visible in the warp threads even before the weft, a plain colored thread, is woven in. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.

 

WEFT IKAT

Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to achieve. The weft yarn must be adjusted after each passing of the shuttle to preserve the clarity of the patterns.

 

Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine patterns in weft ikat. In Thailand, weavers make silk sarongs depicting birds and complex geometrical designs in seven-colour weft ikat.

 

In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.

 

As the weft is a continuous strand, aberrations or variations in the weaving tension are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."

 

DOUBLE IKAT

Double ikat is created by resist-dyeing both the warp and weft prior to weaving. Some sources use the term double ikat only when the warp and weft patterning overlap to form common, identical motifs. If they do not, the result is referred to as compound ikat.

 

This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Khambat, Gujarat. During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.

 

In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.

 

The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.

 

Pochampally Saree, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.

 

The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.

 

Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to five hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.

 

ŌSHIMA

Ōshima ikat is a uniquely Japanese ikat. In Amami Ōshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into Ōshima cloth.

 

The Ōshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.

 

OTHER COUNTRIES

CAMBODIA

The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.

 

By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth.[18] The most intricately patterned of the Cambodian fabrics are the sampot hol—skirts worn by the women—and the pidans—wall hangings used to decorate the pagoda or the home for special ceremonies.

 

Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.

 

Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two elderly weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.

 

THAILAND

In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.

 

This type of cloth is the favourite silk item woven by Khmer people living in southern Isan, mainly in Surin, Sisaket and Buriram provinces.

 

IRAN

In Iran, ikat, known by the name darayee, has been woven in different areas. In Yazd, there are some workshops that produce it. It is said that this kind of cloth historically used to be included in a bride's dowry. In popular culture, there is a quote that states that people who bought this type of cloth were wealthy.

 

LATIN AMERICA

Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used. India: In India Ikat art is present since thousands of years . Now also some parts of India this Ikat processed cloth like saree and kurtis are much popular . bedsheet, door screen, towels are also much preferred one.

 

The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.

 

Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design The "corte" is the typical wrap-skirt used worn by Guatemalan women.

 

ACCREDITATION

As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.

 

WIKIPEDIA

This crab was invisible against the backdrop of the rock outcrop, and had I not been positioned right here for a few seconds, preparing to get under the ledge, I don't think I would have even seen it.

 

The case of what kind of crab this is still unsolved, so any help with an ID would be appreciated.

 

Little Bahia Honda

Bahia Honda State Park

Monroe County, Florida, USA

SeaLife DC1400

[I have had several inquiries regarding licensing this image. I cannot do it because the subject is trademarked by the Chapel and they do not allow anything other than personal use of images. Sorry!]

 

When we were in Santa Fe we stopped to visit the Loretto Chapel and the "miraculous" stairs. This wooden spiral staircase has been a subject of wonder and mystery since it was built. It has no center support and minimal external supports yet has been able to support an amount of weight that has not been explained by physics. Originally, there was not even a banister, just the beautiful wooden stair spiral up to the choir loft. Scientists have studied the stairs and have not been able to explain it. It has been featured on some "unsolved mysteries" types of shows.

 

The legend says that when the chapel needed someone to build the stairs a mysterious person showed up, built the stairs, and disappeared before receiving payment.

 

Read more here: en.wikipedia.org/wiki/Loretto_Chapel

qwikLoadr™ Videos...

Samantha Fish Band | Runaway Live! • YouTube™

Big Fish | Theatrical Trailer Tim Burton! • YouTube™

Ice Dance | Edward Scissorhands [scene] 1990 • Bing™

 

Blogger GrfxDziner | Novel Beginning [Go Molly!]...

GrfxDziner.blogspot.com/2016/07/novel-beginning-go-molly....

blogger gwennie2006 | May Day Mary [Concrete Angel]...

gwennie2006.blogspot.com/2016/05/may-day-mary-concrete-an...

 

Deanna Cremin Murder Investigation...

www.flickr.com/groups/somervillema/discuss/72157602047189...

according to reports, she was murdered March 29, 1995, her lifeless body was found the morning of March 30, 1995 at 125 Jaques Street, Somerville, behind an elderly housing project there. in 2014 Deanna's mother Katherine was off a full week when she talked about her birthday, in comments below. Still unsolved, I wonder why?

 

Edited in PicMonkey, square crop, dark edges as shadow & borders.

 

Tenuous Link: very big knife

 

katydid | rockDoves - part I [10.12-16.21] gwennie2006! • YouTube™

 immature Eagle

 

7 x 6 10x5cm duocolor craft paper hex cross modules

I stumbled around Francis Ows flickr memory to remember this fine puzzle - to solve the puzzle I have to reactivate unknown regions of my brain ...

Can you guess?

Unsolved Murder. A Santa on our street was stabbed with a fork. The power of the air-out pushed Santa into a snowbank. There was nothing I could do. Killing Santas is the In-Thing here in Toronto

Dateline: July 22, 2020

 

Merideth Kopit Levien | CEO NY Times...

thehill.com/homenews/media/508504-new-york-times-names-me...

 

qwikLoadr™ Videos...

sunBeam | sparkle [3.27.20] gwennie2006! • YouTube™

 NOTE: Comet NeoWise discovered. re: @ 0:47

bluSunBird | part II wing 'n prayer [11.26.19] gwennie2006! • flickr™

____________________________

oneDay | Comet & Venus [7.23.20] GrfxDziner! • flickr™

 

blogger gwennie2006 | Just for One Day...

gwennie2006.blogspot.com/2020/07/just-for-one-day.html

 

Deanna Cremin Murder Investigation...

www.flickr.com/groups/SomervilleMA/discuss/72157602047189...

according to reports, she was murdered March 29, 1995, her lifeless body was found the morning of March 30, 1995 at 125 Jaques Street, Somerville, behind an elderly housing project there.

 

Ph.Law.D. | novel for Deanna Cremin [chapter 1]...

www.flickr.com/groups/GrfxDziner/discuss/72157685360935812/

 

...in 2012 I got an email that ALL Deanna's Reward money was missin [stolen] and I was to remove the billboards from ALL of the blogs, comments, sites where it was. It took over two months to do that, but I did, and it destroyed the structure of what I had spent years developing for her, fully explained here....

www.flickr.com/groups/DCMemorialFoundation/discuss/721576...

 

NOTE 2: No one ever responded to the emails regarding that stuff in 2010, no one at all, first no one ever responded too, and it was so crucial to her case, which is still unsolved. I since figured out the difference in the URLs in that discussion. It went through email, and the email client truncated the link, causing the ellipsis. They were emailing each other.

 

Three Billboards | Theatrical Trailer Nov. 2017! • YouTube™

 

see comments too

Curious to see what the next sprite I'd love to have in Rubik's Cube pop-art wall hanging form, I wrote out the moves for a Koopa Paratroopa from NES Super Mario Bros., and then solved and unsolved 1 cube 54 times, taking a picture of each, and stitching them together in Photoshop. Unfortunately a real version of such a thing, even with the cheapest standard cube from www.rubiks.com, would run me $582.71US, before tax and shipping, which is purely an insane amount of money for such a thing. I could do it with official 3x3 keychains for a mere $242.51, again, pre-tax and S&H, but I won't.

 

If you have the means, and would like some crib notes on how to solve these 54 cubes, you're in luck. Instructions on how my notes work can be found on the instructions for the real-life SMB Mario made of 24 $1 Rubik's knockoff brand keychains here.

 

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

54_cube_(6x9)_koopa_paratroopa

 

SOLVE___________________________________________UNDO

1:1_XDB'D'______________________________________(DBD'X')

2:1_XD'BD_______________________________________(D'B'DX')

3:1_X___________________________________________(X')

4:1_X___________________________________________(X')

5:1_XBLR'U'L'RF2________________________________(F2R'LURL'B'X')

6:1_X___________________________________________(X')

1:2_L'BRL'D'LR'_________________________________(RL'DLR'B'L)

2:2_U'BU________________________________________(U'B'U)

3:2_XD'BD_______________________________________(D'B'DX')

4:2_XL'D'LBUD'R'U'D_____________________________(D'URDU'B'L'DLX')

5:2_DB'D'_______________________________________(DBD')

6:2_XLB'L'______________________________________(LBL'X')

1:3_XUR'U'______________________________________(URU'X')

2:3_RBR'________________________________________(RB'R')

3:3_D'RDB2LFU'F'________________________________(FUF'L'B2D'R'D)

4:3_Y'L'________________________________________(LY)

5:3_D'R'D_______________________________________(D'RD)

6:3_XZL_________________________________________(L'Z'X')

1:4_XUR'U'______________________________________(URU'X')

2:4_U'DL'UD'____________________________________(DU'LD'U)

3:4_ZX'L'R______________________________________(R'LXZ')

4:4_YL'BRL'D'R'L________________________________(L'RDLR'B'LY')

5:4_YLR'U'L'R___________________________________(R'LURL'Y')

6:4_YRU'DLUD'___________________________________(DU'L'D'UR'Y')

1:5_XUBR2B'U'___________________________________(UBR2B'U'X')

2:5_ZY'U2R'U'BUD'R'U'D__________________________(D'URDU'B'URU2YZ')

3:5_L'D'R'LD'B2DB'L'BL__________________________(L'B'LBD'B2DL'RDL)

4:5_XLRD2LBR'B'RFL'D'LF'________________________(FL'DLF'R'BRB'L'D2R'L'X')

5:5_XZLU'B'URL'D'R'L____________________________(L'RDLR'U'BUL'Z'X')

6:5_YR__________________________________________(R'Y')

1:6_XR'BR'______________________________________(RB'RX')

2:6_X'ZBR'LU'RUB'U'_____________________________(UBU'R'UL'RB'Z'X)

3:6_X'RBR'______________________________________(RB'R'X)

4:6_YB'UR'_B'R'UR_U'DLU_LD'BRL'D'R'L____________(L'RDLR'B'DL'_U'L'D'U_R'U'RB_RU'BY')

5:6_YD'RDBD'B'D_________________________________(D'BDB'D'R'DY')

6:6_XL'BL_______________________________________(L'B'LX')

1:7_XR'BR'______________________________________(RB'RX')

2:7_X'R'LURL'F'LR'U'L'RBLR'U2RL'F_______________(F'LR'U2RL'B'R'LURL'FLR'U'L'RX)

3:7_YDLD'UR'U'BLR'UL'RB'LR'U2L'RF'D'R'DBRBR'____(RB'R'B'D'RDFR'LU2RL'BR'LU'RL'B'URU'DL'D'Y')

4:7_X'R'LURL'F'LR'U'L'RBLR'U2RL'F_______________(F'LR'U2RL'B'R'LURL'FLR'U'L'RX')

5:7_YRFLU'F'BR'B'R2L'D'LR'______________________(RL'DLR2BRB'FUL'F'R'Y')

6:7_X___________________________________________(X')

1:8_XZLU'L'DB'D'________________________________(DBD'LUL'Z'X')

2:8_BLR'U'L'R2BL'D2LR'BD'B2D____________________(D'B2DB'RL'D2LB'R2LURL'B')

3:8_X'ZD2UR'U'DLR'U'L'RBLR'U2L'R________________(R'LU2RL'B'R'LURL'D'URU'D2Z'X)

4:8_L'D'LFR'F'U'BU______________________________(U'B'UFRF'L'DL)

5:8_YZ2D'R'DUFUR'U'F'___________________________(FURU'F'U'D'RDZ2Y')

6:8_X___________________________________________(X')

1:9_XLUL'_______________________________________(LU'L'X')

2:9_XR'UR_______________________________________(R'U'RX')

3:9_X___________________________________________(X')

4:9_XRBR'_______________________________________(RB'R'X')

5:9_XU__________________________________________(U'X')

6:9_XL'BL_______________________________________(L'B'LX')

 

Venus was nothing compared to the girl. Her clothes trailed alluringly across the floor; her satin evening gown with the magnificent broach, her long shiny gloves, gorgeous Sable Fur all were laid out in seductive, overlying curls as she had slinked through the room, leaving behind her the telling path of unmistakably rich prey. The beginning of which held a feast for the tracking predator who knew how to read the signs.

*************************************************

The study below was derived from facts uncovered while doing research for the following Doctoral dissertation:

Light to the shadows of their mind:

Criminal tactics and strategies

Criminology Department .

Chatwick University

 

**************************

If there was ever one thing I savored the most about my chosen profession I would have to say it was the lavish receptions, balls and other posh settings where the frills of the filthy rich could be both admired and enjoyed. There was just something about the voluptuous ladies who haunted these venues, dressed up to the silky nines and sporting flashy ornaments, which I found so very mesmerizing.

 

Take the young lady in whose spell I was currently basking. She was wearing a slinky long satin number that appeared to have been poured along her enticing figure. A diamond brooch sparkled from just below her perky breasts. Her opulent gemstone jewels, surrounded by sparkling diamonds, shone like cat eyes when caught by the lights. I studied her the way one would appraise a painting by an old master, closely examining everything I could that pertained to her. If this work of art went by a name, I would title it: Eileen, a study in opulence.

 

I could also see that I wasn’t the only one who was paying Eileen attention. The man she was seeing appeared, as usual to be caught up in the ladies enchantment this evening. I had seen the couple together several times, but tonight he seemed to be especially attentive to her. There was definitely electricity in the air between them. Which was good, for tonight would be the night to pounce, paying the witchy young lady and her jewels a long anticipated nocturnal visit in the wee hours of the morning.

  

I had heard about Eileen through a paid source close by in Sutton. She had been an orphan at a young age and brought up properly by a war-widowed grandmother. The Grandmother had been wealthy, and when she passed on she had left 22 year old Eileen with a small fortune. Along with the Grandmothers wealth, Eileen inherited from the old lady three major facets, a spoiled naivety, a gullible ego, and a massive jewelry collection. Which all together presented a very enticing combination for someone like me.

 

Eileen wore her grandmother’s jewels with reckless abandonment, so I was told, and that is what made her stand out to those who sell information to people like me. Like a hungry predator, I shadowed Eileen for an entire month as she bounced from night club to private club, from extravagant balls, to ultra-fancy ritzy dances. I got to see her and her collection of jewels in close proximity, and it was love at every sighting. I even stole a dance away from her escort, when he was away making one of his frequent business calls. She was wearing a puffy gown of rich taffeta, with silvery diamonds that flashed as they cascaded down from her ears throat. It was a slow dance and I was able to tune out her constant babbling and concentrate on appraising her jewels. After the dance I kissed her gloved hand with its heavily ringed fingers, and bid au revoir, before quickly getting lost in the crowd before her lover returned.

 

The whole time I closely watched over Eileen and her latest Beau, a charming man named Claude who spoke with a heavy French accent. I quickly learned everything I could about the pair’s background, their relationship, their friends, their habits. Several times I had left them alone while when they were safely partying out on the town, and did a trail run by the ladies residence. This was a secluded small stone mini-mansion, located deep in the woods on the far outskirts of town that had been her Grandmothers weekend retreat. I had plenty of time to study, so that by the time the evening arrived when I would make my move, I had it all plotted out, taking into consideration every angle. I was ready, and actually had been so for over a week prior to this evening.

 

I followed the happy couple home that evening, and waited while they got down to business. I was calm, my nerves knew no anxiety. I spirited away back to my car and changed into my proper “ business” attire ( black clothes, gloves and mask). I had witnessed Eileen and Claude putting on the same show for several late evenings, and I knew just when to strike. And, then, strike I did.

 

Like a shadow I moved, becoming part of the background. Reaching the house I stole in through a basement window which I had loosened the week before. I cautiously moved inside, using my torch only sparingly. I made my way up through the basement to the first level, pausing only for a few precious seconds to observe the pricy landscapes that hung from the walls, but I did not touch, for that was not my game.

 

I crept up the stairs to the sitting room of the master bedroom, Eileen’s grandmother’s old room. It stood as a shrine to the old lady, right down to her old white cat lying on the primly made bed. The cat watched me untrustingly before hissing and running off into some dark corner. I went over and pulled back a self-portrait of the old lady, behind which was a small wall safe. It’s amazing how easy these things are to spot. The tumblers satisfactorily whirled and clicked home, allowing me to open silently and peek into its small chamber. A number of jewel cases of various shapes and makes were exposed to my torch. Quickly I emptied them, watching as jewel after jewel slithered brightly into my satchel. I replaced each case, and after the last was disposed of its contents, I closed it back up and made my way to the fair Eileen’s boudoir.

 

Venus was nothing compared to the viixen Eileen. Her clothes laid an alluring path across the sitting room floor; her satin evening gown with the magnificent broach, her long shiny gloves, gorgeous Sable Fur, all were laying in seductive, overlapping curves like a carefully marked out trail leading one to a treasure of promised ecstasy. For Eileen and her paramour, that ecstasy was to be found where the trail ended, in her boudoir. For me, the ecstasy lay where the trail had begun, the spot where she had removed her jewels before giving into the passion of the moment. The expensive pile gleamed invitingly, flickering like so many colorful cat eyes by my torches light. They were perched on her dresser, carelessly discarded for things so valuable, they snaked around the marble bird of prey that, alas, would soon prove a futile guardian.

 

I looked at the door to her bedroom, it was open a sliver and I could hear the raw animal sounds of their lovemaking. Obviously they were occupied for a while. Unhurriedly I carefully lifted each piece up, savoring their shimmering fire before stowing them safely away to join their mates. I then went to the gown on the floor and lifting it ran it through my fingers, it whispered and felt silky, even through my thin gloves. Reaching the brooch I carefully undid the clasp, pulling the jewel away. Dropping the gown, I then turned and silently retraced my steps. Gaining the cellar I watched out the window for any signs of activity. I would be lying if I said I wasn’t half expecting company.

 

As I waited I wondered who would be more upset over the loss of the grandmother’s jewelry, Eileen, or her “lover” Claude. For you see, “Claude” was a kindred spirit to my profession. He was known to me as Carl , a slick operator born in Brooklyn. He had also had correctly read the signs that Eileen possessed that made her a temptingly easy mark. For you see, Carl was the inside man for a gang of jet setting thieves. Cultured and handsome, it was his part to lure the chosen rich lady into his web and wine and dine her into complete compliancy in preparation of his actions. Once he had obtained her trust, he would select the perfect evening and “Claude” and his heavily jeweled paramour would be set upon by the thieves shortly after returning home on the designated evening. The Lady would be bound and gagged then be forced to watch as her home was stripped of its valuable treasures. The gang would leave with their haul, melting into obscurity with their treasure. Carl would disappear to his home overseas in New York until the next operation was formed. How Carl had found out about Eileen, I had no doubts. The type of blokes who peddled information on vulnerably wealthy prey have no problems with selling the same tidbits to multiple clients. It does have a tendency to make life a bit more interesting on occasion.

 

I had kept tabs on Eileen’s crooked paramour and soon learned that Carl’s actual girlfriend, who had been posing as his sister Maxine, had booked passage for two to the United States on a steamer leaving the very next weekend. I realized that my window of opportunity had been forced open. If he was preparing to flee the country on Saturday, as was his way immediately after a job, than I surmised that Eileen would be met with misadventure on Friday night before. This also happened to be the evening of a major charity Ball she had bought tickets for her and “Claude” to attend. So tonight, Saturday one week before the steamer was to leave, I made my own move hoping to beat Carl and his gang of scoundrels to the punch, at least where the grandmothers jewelry collection was concerned. I didn’t know if they would still attempt their plan once they realized the jewels had been lifted from under their noses, although, for Eileen’s sake, I hoped they would abandon them. Both ways, my tracks were covered, and before the sunrise I would be miles away.

 

I gave myself 15 precious minutes, before leaving via the window and making my escape. Nothing had stirred, in or around the house. So I had interpreted the signs correctly, the raid was not on for tonight. I quickly moved out and made for the tree line, melting into the night, soon losing myself (and Eileen’s Jewels) to the darkness.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

********************************************************************************

 

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

  

***************************

 

Trappings of the filthy rich

 

It is really sad when one comes across a memorial such as this.

 

Ireland's "Vanishing Triangle"[is a term commonly used in the Irish media when referring to a number of high-profile disappearances of Irish women in the mid to late 1990s.

 

The "Vanishing Triangle" disappearances cases all appeared to share some common characteristics, for example; the women were all young, ranging from their late teens to forty years of age; they disappeared inexplicably and suddenly and no substantial clues or evidence of their fate has ever been found despite large scale searches and campaigns by the Irish police force, or Gardaí, to find them. Another important characteristic is that all disappearances occurred in a geographical area which subsequently became popularly known in the media as "The Vanishing Triangle". This area is a triangle located in the eastern part of the island vertices approximate the boundaries of Leinster.[1] To date the unofficial list of Ireland's missing women holds six names. Due to these similarities in the cases, a popular hypothesis is that they may be the result of a serial killer or killers being active in the same geographical area during this period. The cases of these missing women feature in the Irish media periodically and the disappearances have been the subject in a number of unsolved crime documentaries, the TV-3 production "Disappeared in the Mountains" being one example. Irish police set up Operation Trace to focus on unsolved disappearance but to date this has failed to turn up any substantial clues as to the fate of the women despite a €10,000 reward being on offer for information which would result in recovery of the body.

 

The following women are usually included in the unofficial listing:

 

Annie McCarrick, disappeared 1993. A 26-year-old American student living in Sandymount, she was last seen outside Johnny Fox's Pub in Glencullen, County Dublin.

Eva Brennan, 40. She disappeared in 1993. After leaving her parents house to return to her apartment she was never seen again.

Imelda Keenan, 22. Originally from Mountmellick, Co. Laois, Imelda disappeared on 3 January 1994 with the last confirmed sighting of her being in Lomarard Street, Waterford.

Josephine (JoJo) Dollard, 21,[7] disappeared 1995. Vanished in the Moone area while hitch-hiking home from Dublin to Kilkenny one night; a witness saw her using a payphone. She was never seen again.

Ciara Breen, 17, went missing in 1997 from the Dundalk area

Deirdre Jacob, 18, vanished without trace just yards from her parents home as she walked home in 1998. This particular case is often said to be the most puzzling as the girl was almost home, passing motorists witnessed the girl approaching within yards of her parents drive-way, but for some reason, she never made it to her house. No trace has ever been found.

Fiona Pender, 25, stepped out of her flat one evening in 1996 and was never seen again. Fiona was seven months pregnant when she disappeared.

Fiona Sinnott, 19. In 1998 she was last seen leaving a pub in Broadway, County Wexford.

The last disappearance to be included on the list was Ms. Sinnott in 1998. Since then, no case of disappearances has been of a nature so unexplained and random as to be added to this list.

Blackpool Toastrack tram 166 (ex. 160), National Tramway Museum, Crich. Sunday 27 August 1972.

 

Photograph copyright: Ian 10B. Slide No.1788

 

THE TOASTRACK RENUMBERING MYSTERY

Toastrack 166 is actually Toastrack 160. It was always thought that when the six toastracks were built in 1927 that they were numbered 161 – 166 however this is not the case.

 

Over the years Blackpool Tramway historians including myself have never understood why 166 had a building completion date of 07 May 1927 two months earlier than sisters 161 – 164 which were completed in mid-July 1927. Following a discovery of a photograph taken at Oxford Square between 07 May and 25 July 1927 of a Toastrack which was numbered 160 we now know that this tram was renumbered 166 when new Standard tram 160 was completed on 09 September 1927.

 

The outstanding mystery is Toastrack 165 as there is no official record of its completion date other than 1927. My question therefore is was 165 also completed earlier than 160 say within the first nine days of May 1927 and carrying carrying a different fleet number presumably 159 and then renumbered 165 when the new Standard 159 was completed on 09 June 1927 or was Toastrack 165 built carrying that fleet number after 161 – 164 in July 1927? Unfortunately without written or photographic evidence which appears to be non-existent we will probably never know and it will be one of several unsolved mysteries regarding the earlier history of the Blackpool tram fleet.

 

Thankfully no Standard trams apart from 160 were numbered in the 160’s so we know that the fleet numbers of Toastracks 161 – 164 have never changed.

 

Below are the BCT completion dates shown in date order (except 165) for the Standard trams and Toastracks numbered in the 150’s and 160’s built during 1927.

 

165 ? 1927 Toastrack

166 07 May 1927 Toastrack Originally numbered 160

 

156 12 May 1927 Standard

157 02 June 1927 Standard

158 08 June 1927 Standard

159 09 June 1927 Standard

 

161 12 July 1927 Toastrack

162 14 July 1927 Toastrack

163 15 July 1927 Toastrack

164 19 July 1927 Toastrack

 

160 09 Sept. 1927 Standard

 

So Crich time to renumber 166 to 160

 

en.wikipedia.org/wiki/Beamish_Museum

 

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

 

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

 

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

 

History

Genesis

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

 

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

 

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

 

Establishment and expansion

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Remaking Beamish

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

 

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

 

Museum site

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

 

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

 

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

 

Governance

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

 

Sections of the museum

1913

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

 

Tramway

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

 

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

 

Bakery

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

 

Motor garage

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

 

Department Store

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

 

Ravensworth Terrace

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

 

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

 

Pub

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

 

Town stables

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

 

Printer, stationer and newspaper branch office

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

 

Sweet shop

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

 

Bank

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

 

Masonic Hall

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

 

Chemist and photographer

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

 

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

 

Redman Park

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

 

Other

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

 

Unbuilt

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

 

Railway station

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

 

Rowley station

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

 

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

 

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

 

Signal box

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

 

Goods shed

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

 

Coal yard

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

 

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

 

Bridges and level crossing

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

 

Waggon and Iron Works

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

 

Other

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

 

Fairground

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

 

Colliery

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

 

Deep mine

Reconstructed pitworks buildings showing winding gear

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

 

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

 

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

 

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

 

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

 

Drift mine

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

 

Lamp cabin

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

 

Colliery railways

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

 

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

 

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

 

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

 

Other

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

 

Pit Village

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

 

Miner's Cottages

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

 

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

 

School

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

 

Chapel

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

 

Fish bar

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

 

Band hall

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

 

Pit pony stables

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

 

Other

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

 

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

 

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

 

The Georgian North (1825)

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

 

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

 

Pockerley Old Hall

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

 

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

 

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

 

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

 

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

 

Pockerley Waggonway

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

 

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

 

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

 

Wooden waggonway

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

 

St Helen's Church

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

 

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

 

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

 

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

 

Joe the Quilter's Cottage

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

 

Other

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

 

Farm (1940s)

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

 

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

 

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

 

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

 

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

 

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

 

Town (1950s)

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

 

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

 

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

 

Spain's Field Farm

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

 

1820s Expansion

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

 

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

 

Museum stores

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

 

Open Store

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

 

Regional Museums Store

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

 

Transport collection

Main article: Beamish Museum transport collection

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

 

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

 

Agriculture

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

 

Regional heritage

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

 

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

 

Filming location

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

 

Visitor numbers

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

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

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

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

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

 

Critical responses

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

 

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

 

Legacy

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

 

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

6/25 The 25 Book Challenge

 

I did my book shot whilst I was doing my film noir lighting as I can see this thriller as being a film noir. I've tinted it similar to the book cover.

 

Now about the book. I am pleasantly surprised by this as I only bought it as it was a cheap chart book that would bring my Amazon order up to the value of my gift vouchers. I'm not that far into it but an art dealer stumbles across some disturbing yet excellent drawings left behind after a tennant has disappeared. He slowly begins to discover the meaning behind the artwork, drawing him into the cases of some unsolved murders all the while the artist is still missing. It is set in present day New York but the story crosses several generations.

The Postcard

 

A Living Picture Series postcard that was published by H. G., L. The card was posted in Portsmouth on Wednesday the 19th. March 1919 to:

 

Mrs. Pannell,

North Street,

Bedhampton,

Havant.

 

The message on the divided back of the card was as follows:

 

"Dear Daisy,

I shall be coming over

on Saturday with the

records, 30 for the £.

I have promised to go

out for the day tomorrow

otherwise would have

come over.

We have notice to quit

our house - will tell you

all the news on Saturday

afternoon.

Hope you are all well

and Uncle feeling better.

Love from

May & Maurice."

 

Blue bell: March Song and Chorus

 

"Blue bell: March Song and Chorus" is a march-style song composed by Theodore F. Morse and written by Edward Madden.

 

The song was published in 1904 by the F. B. Haviland Publishing Co., in New York, N.Y. The sheet music cover, illustrated by Rose Starmer, depicts a soldier and a young woman.

 

The song was recorded and popularized by Byron Harland and Frank Stanley, the Haydn Quartet, and Henry Burr.

 

The sheet music can be found at the Pritzker Military Museum & Library.

 

Nazi Expropriation of the Melody

 

The Blue Bell melody was expropriated by the Nazi's in World War II and given a new set of lyrics (which not surprisingly exalted the Fatherland). The title was changed to Heil Deutschland, and it became a Nazi hit.

 

Many other American songs were similarly expropriated and changed into rousing Nazi marches, particularly old college songs.

 

What's sauce for the goose .... American Colleges (such as Yale) stole German Marches and patriotic songs and turned them into college songs. One famous example is Yale's Bright College Years - adapted from the famous German March Die Wacht Am Rhein.

 

The Axeman of New Orleans

 

So what else happened on the day that May and Maurice posted the card?

 

Well, the Axeman of New Orleans had threatened to go on a murder spree in the early morning of the 19th. March 1919.

 

The Axeman's reign of terror had started on the 5th. August 1918, when New Orleans resident Ed Schneider returned home late from work to find his pregnant wife had been attacked and bludgeoned. Remarkably, she survived the attack and gave birth two days later.

 

The Axeman of New Orleans was an American serial killer who was active in New Orleans, Louisiana, and surrounding communities, from May 1918 to October 1919.

 

Press reports during the height of public panic about the killings mentioned similar murders as early as 1911, but recent researchers have called these reports into question. The Axeman was never identified, and the murders remain unsolved.

 

The Serial Killings

 

As the killer's epithet implies, the victims usually were attacked with an axe, which often belonged to the victims themselves. In most cases, a panel on a back door of a home was removed by a chisel, which along with the panel was left on the floor near the door.

 

The intruder then attacked one or more of the residents with either an axe or straight razor. The crimes were not motivated by robbery, and the perpetrator never removed items from his victims' homes.

 

The majority of the Axeman's victims were Italian immigrants or Italian-Americans, leading many to believe that the crimes were ethnically motivated. Many media outlets sensationalized this aspect of the crimes, even suggesting Mafia involvement despite lack of evidence.

 

Some crime analysts have suggested that the killings were related to sex, and that the murderer was perhaps a sadist specifically seeking female victims. Criminologists Colin and Damon Wilson hypothesise that the Axeman killed male victims only when they obstructed his attempts to murder women, supported by cases in which the woman of the household was murdered but not the man.

 

A less plausible theory is that the killer committed the murders in an attempt to promote jazz music, suggested by a letter attributed to the killer in which he stated that he would spare the lives of those who played jazz in their homes.

 

The Axeman was not caught or identified, and his crime spree stopped as mysteriously as it had started. The murderer's identity remains unknown to this day, although various possible identifications of varying plausibility have been proposed.

 

On the 13th. March 1919, a letter purporting to be from the Axeman was published in newspapers, saying that he would kill again at 15 minutes past midnight on the night of the 19th. March, but would spare the occupants of any place where a jazz band was playing.

 

That night all of New Orleans' dance halls were filled to capacity, and professional and amateur bands played jazz at parties at hundreds of houses around town. There were no murders that night.

 

The Axeman's Letter

 

"Hottest Hell, March 13, 1919.

They have never caught me and they never will.

They have never seen me, for I am invisible,

even as the ether that surrounds your earth.

I am not a human being, but a spirit and a demon

from the hottest hell.

I am what you Orleanians and your foolish police

call the Axeman.

When I see fit, I shall come and claim other victims.

I alone know whom they shall be. I shall leave no

clue except my bloody axe, besmeared with blood

and brains of he whom I have sent below to keep

me company.

If you wish you may tell the police to be careful not

to rile me. Of course, I am a reasonable spirit. I take

no offense at the way they have conducted their

investigations in the past.

In fact, they have been so utterly stupid as to not only

amuse me, but His Satanic Majesty, Francis Josef, etc.

But tell them to beware. Let them not try to discover

what I am, for it were better that they were never born

than to incur the wrath of the Axeman.

I don't think there is any need of such a warning, for I

feel sure the police will always dodge me, as they have

in the past. They are wise and know how to keep away

from all harm.

Undoubtedly, you Orleanians think of me as a most

horrible murderer, which I am, but I could be much worse

if I wanted to. If I wished, I could pay a visit to your city

every night. At will I could slay thousands of your best

citizens (and the worst), for I am in close relationship with

the Angel of Death.

Now, to be exact, at 12:15 (earthly time) on next Tuesday

night, I am going to pass over New Orleans. In my infinite

mercy, I am going to make a little proposition to you people.

Here it is: I am very fond of jazz music, and I swear by all

the devils in the nether regions that every person shall

be spared in whose home a jazz band is in full swing at the

time I have just mentioned.

If everyone has a jazz band going, well, then, so much

the better for you people. One thing is certain, and that

is that some of your people who do not jazz it out on that

specific Tuesday night (if there be any) will get the axe.

Well, as I am cold and crave the warmth of my native

Tartarus, and it is about time I leave your earthly home,

I will cease my discourse. Hoping that thou wilt publish

this, that it may go well with thee, I have been, am and

will be the worst spirit that ever existed either in fact

or realm of fancy.

--The Axeman".

 

Identity of the Axeman

 

Crime writer Colin Wilson speculates the Axeman could have been Leone Manfre, a man shot to death in Los Angeles in December 1920 by the widow of Mike Pepitone, the Axeman's last known victim.

 

According to Richard Warner, the chief suspect in the crimes was Frank "Doc" Mumphrey (1875–1921), who used the alias Leon Joseph Monfre/Manfre.

 

Victims of the Axeman

 

Joseph and Catherine Maggio

 

Joseph Maggio, an Italian grocer, and his wife Catherine Maggio were attacked on the 23rd. May 1918, while sleeping alongside each other, at their home on the corner of Upperline and Magnolia Streets where they conducted a barroom and grocery.

 

The killer broke into the home, and then proceeded to cut the couple's throats with a straight razor. Catherine's throat was cut so deeply that her head was nearly severed from her shoulders.

 

Upon leaving the murderer bashed their heads with an axe, perhaps in order to conceal the real cause of death. Joseph survived the attack, but died minutes after being discovered by his brothers Jake and Andrew Maggio.

 

Catherine died prior to the brothers' arrival. In the apartment, law enforcement agents found the bloody clothes of the murderer, as he had obviously changed into a clean set of clothes before fleeing the scene. A complete search of the premises was not completed by police after the bodies were removed, yet later the bloody razor was found on the lawn of a neighboring property.

 

Police ruled out robbery as motivation for the attacks, as money and valuables left in plain sight were not stolen by the intruder.

 

The razor used to kill the couple was found to belong to Andrew Maggio, the brother of the deceased who ran a barber shop on Camp Street. His employee, Esteban Torres, told police that Maggio had removed the razor from his shop two days prior to the murder, explaining that he had wanted to have a nick honed from the blade.

 

Maggio, who lived in the adjoining apartment to his brother's residence, discovered his slain brother and sister-in-law roughly two hours after the gruesome attacks had occurred, upon hearing strange groaning noises through the wall.

 

Maggio blamed his failure to hear any noise related to the attacks on his intoxicated state, as he had returned home after a night of celebration prior to his departure to join the navy; police, however, were nonetheless surprised that he failed to hear the intruder, as he made a forced entry into the home.

 

Andrew Maggio became the prime suspect in the crime, yet was released after investigators were unable to break down his statement, as well as his account of an unknown man who was supposedly seen lurking near the residence prior to the murders.

 

Louis Besumer and Harriet Lowe

 

Louis Besumer and his mistress Harriet Lowe were attacked in the early morning hours of the 27th. June 1918, at the back of his grocery which was located at the corner of Dorgenois and Laharpe Streets. Besumer was struck with a hatchet above his right temple, which resulted in a skull fracture. Lowe was hacked over the left ear, and found unconscious when police arrived at the scene.

 

The couple were discovered shortly after 7am on the morning of the attack by John Zanca, a driver of a bakery wagon who had come to the grocery in order to make a routine delivery. Zanca found both Besumer and Lowe in a puddle of their own blood, both bleeding from their heads.

 

The axe, which had belonged to Besumer himself, was found in the bathroom of the apartment. Besumer later stated to police that he had been sleeping when he was bashed with the hatchet.

 

Police arrested potential suspect Lewis Oubicon, a 41-year-old African-American man who had been employed in Besumer's store just a week before the attacks. No evidence existed to prove the man guilty, yet police arrested him nonetheless, stating that Oubicon had offered conflicting accounts of his whereabouts on the morning of the attack.

 

Shortly after the attempted murder Lowe stated that she remembered having been attacked by a mulatto man, yet her statement was discounted by police due to her disillusioned state. Robbery was said to be the only possible explanation for the attacks, yet no money or valuables were removed from the couple's home.

 

Oubicon was later released as police were unable to gather sufficient evidence to hold him accountable for the crimes. Media attention soon turned to Besumer himself, as a series of letters written in German, Russian, and Yiddish were discovered in a trunk at the man's home. Police suspected that Besumer was a German spy, and government officials began a full investigation of his potential espionage.

 

Weeks later, after going in and out of consciousness, Harriet Lowe told police that she thought Besumer was in fact a German spy, which led to his immediate arrest. Two days later Besumer was released, and two lead investigators of the case were demoted due to unacceptable police work.

 

Besumer was once again arrested in August 1918, after Harriet Lowe, who lay dying in Charity Hospital after a failed surgery, stated that it was he who had attacked her more than a month previously with his hatchet. He was charged with murder, and served nine months in prison before being acquitted on the 1st. May 1919, after a ten-minute jury deliberation.

 

Lowe became the center of a media circus, as she continually made scandalous and often false statements relating to both the attacks and the character of Louis Besumer. The Times-Picayune sensationalized Lowe and her outspoken nature upon discovering that she was not the wife of Besumer, but his mistress.

 

A Charity Hospital source discovered the scandal, when Besumer asked to be directed to the room of "Mrs. Harriet Lowe," and was denied access as no woman by that name was a patient. Besumer's legal wife arrived from Cincinnati in the days immediately following the discovery, which further inflamed the ongoing drama.

 

Lowe further gained media attention as she repeatedly made statements which voiced her dislike of the New Orleans chief of police, as well as her reluctance to comply with police questioning. After the truth of her marital status was revealed publicly, Lowe told reporters from the Times-Picayune that she would no longer aid the police in their investigation, as she suspected that it had been Chief Mooney who first informed the press of the scandal.

 

Despite the scandal, and her delirious statements which suggested that Besumer was a German spy, Lowe returned to the home she shared with Besumer weeks after the attack. One side of her face was partially paralyzed due to the severity of the attack. Lowe died on the 5th. August 1918, just two days after doctors performed surgery in an effort to repair her partially paralyzed face. Just prior to her death, Lowe told authorities that she suspected it was Louis Besumer who had attacked her.

 

Anna Schneider

 

Anna Schneider was attacked in the early evening hours of the 5th. August 1918. The 8 months-pregnant, 28-year-old of Elmira Street awoke to find a dark figure standing over her and was bashed in the face repeatedly. Her scalp had been cut open, and her face was completely covered in blood.

 

Mrs. Schneider was discovered after midnight by her husband, Ed Schneider, who was returning late from work. Schneider claimed that she remembered nothing of the attack, and gave birth to a healthy baby girl two days after the incident.

 

Her husband told police that nothing had been stolen from the home, besides six or seven dollars that had been in his wallet. The windows and doors of the apartment appeared not to have been forced open, and authorities came to the conclusion that the woman was most likely attacked with a lamp that had been on a nearby table.

 

James Gleason, whom police said was an ex-convict, was arrested shortly after Schneider was found. Gleason was later released due to a complete lack of evidence, and stated that he originally ran from authorities because he had so often been arrested.

 

Lead investigators began to publicly speculate that the attack was related to the previous incidents involving Besumer and Maggio.

 

Joseph Romano and The Bruno Sisters

 

Joseph Romano was an elderly man living with his two nieces, Pauline and Mary Bruno. On the 10th. August 1918, Pauline and Mary awoke to the sound of a commotion in the adjoining room where their uncle resided. Upon entering the room, the sisters discovered that their uncle had taken a serious blow to his head, which resulted in two open cuts.

 

The assailant was fleeing the scene as they arrived, yet the girls were able to distinguish that he was a dark-skinned, heavy-set man, who wore a dark suit and slouched hat. Romano, although seriously injured, was able to walk to the ambulance once it arrived, yet died two days later due to severe head trauma.

 

The home had been ransacked, yet no items were stolen from Romano. Authorities found a bloody axe in the back yard, and discovered that a panel on the back door had been chiseled away.

 

The Romano murder created a state of extreme chaos in the city, with residents living in constant fear of an axeman attack. Police received a slew of reports, in which citizens claimed to have seen an axeman lurking in New Orleans neighborhoods. A few men even called to report that they had found axes in their back yards.

 

John Dantonio, a then-retired Italian detective, made public statements in which he hypothesized that the man who had committed the axeman murders was the same who had killed several individuals in 1911. The retired detective cited similarities in the manner by which the two sets of homicides had been committed, as reason to assume that they had been conducted by the same individual.

 

Dantonio described the potential killer as an individual of dual personalities, who killed without motive. This type of individual, Dantonio stated, could very likely have been a normal, law-abiding citizen, who was often overcome by an overwhelming desire to kill. He later went on to describe the killer as "A real-life Dr. Jekyll and Mr. Hyde".

 

Charles, Rosie and Mary Cortimiglia

 

Charles Cortimiglia was an Italian immigrant who lived with his wife, Rosie, and infant daughter, Mary, on the corner of Jefferson Avenue and Second Street in Gretna, Louisiana, a New Orleans suburb across the Mississippi River.

 

On the night of the 10th. March 1919, screams were heard coming from the Cortimiglia residence. Grocer Iorlando Jordano rushed across the street to investigate. Upon his arrival, Jordano found that Charles Cortimiglia, his wife, and their daughter had all been attacked by the unknown intruder.

 

Rosie stood in the doorway with a serious head wound, clutching her deceased daughter. Charles lay on the floor, bleeding profusely. The couple was rushed to Charity Hospital, where it was discovered that both had suffered skull fractures.

 

Nothing was stolen from the house, but a panel on the back door had been chiseled away, and a bloody axe was found on the back porch of the home. Charles was released two days later, while his wife remained in the care of doctors.

 

Upon gaining full consciousness, Rosie made claims that Iorlando Jordano and his 18-year-old son, Frank, were responsible for the attacks. Iorlando, a 69-year-old man, was too ill to have committed the crimes. Frank Jordano, more than six feet tall and weighing over 200 pounds, would have been too large to have fit through the panel on the back door.

 

Charles Cortimiglia vehemently denied his wife's claims, yet police nonetheless arrested the two and charged them with the murder. The men would later be found guilty. Frank was sentenced to hang, and his father to life in prison.

 

Charles Cortimiglia divorced his wife after the trial. Almost a year later, Rosie announced that she had falsely accused the two out of jealousy and spite. Her statement was the only evidence against the Jordanos, and they were released from jail shortly thereafter.

 

Steve Boca

 

Steve Boca, a grocer, was attacked in his bedroom as he slept by an axe-wielding intruder on the 10th. August 1919. Boca awoke during the night to find a dark figure looming over his bed. Upon regaining consciousness, Boca ran into the street, and found that his head had been cracked open.

 

The grocer then ran to the home of his neighbor, Frank Genusa, where he lost consciousness and collapsed. Nothing had been taken from the home, yet, once again, a panel on the back door of the home had been chiseled away. Boca recovered from his injuries, but could not remember any details of the trauma. This attack took place after the emergence of the infamous axeman letter.

 

Sarah Laumann

 

Sarah Laumann was attacked on the night of the 3rd. September 1919. Neighbors came to check on the young woman, who had lived alone, and broke into the home when Laumann did not answer. They discovered the 19-year-old lying unconscious on her bed, suffering from a severe head injury and missing several teeth.

 

The intruder had entered the apartment through an open window, and attacked the woman with a blunt object. A bloody axe was discovered on the front lawn of the building. Laumann recovered from her injuries, yet couldn't recall any details from the attack.

 

Mike Pepitone

 

Mike Pepitone was attacked on the night of the 27th. October 1919. His wife was awakened by a noise and arrived at the door of his bedroom just as a large, axe-wielding man was fleeing the scene. Mike Pepitone had been struck in the head, and was covered in his own blood.

 

Blood splatter covered the majority of the room, including a painting of the Virgin Mary. Mrs. Pepitone, the mother of six children, was unable to describe any characteristics of the killer. The Pepitone murder was the last of the alleged axeman attacks.

Case Study 113 : Warning, these are the raw, bare unusual occurrences as originally chronicled. Some names, times, places and some facts have been, of course, altered.

Name: Angelica D circa 192__

Subject: an unscrupulous light-fingered body thief

Event: Posh Wedding Reception

Place: Upstate New York

Time: Warm early Autumn Saturday

 

Angie Being Receptive

Story line:

 

Angie had heard about the affair, a wedding, from a list of prospective functions provided by a discreetly paid contact. It was being given for the only daughter of a wealthy politician (as if there were any non-wealthy ones!) Angie had happily invited herself to the affair, carefully dressing up in her best for the special occasion!

 

**

Wedding receptions were by far Angie’s favorite hunting grounds. During the season there could be anywhere from upwards of 20 high end affaires every weekend in the bigger cities, and always 2 or 3 in even the smallest of towns.

Wedding s were usually easy pickings: free food, drink and entertainment, and seldom worn jewelry made for a ready-made mix for Angie to ply her trade. For Angelica D. was a uniquely skilled pickpocket, specializing in the removal for profit of the expensive jewelry worn by the (usually be -gowned) women and young ladies’ who hauntingly dwelt in societies upper crust!

So Weddings, by their nature, were the desirable choice for Angie. One only had to avoid the Bride, her Bridesmaids, and their court, which were usually the major focus of any security present. However, there were plenty of opportunities to be had by employing her special bag of tricks on the outlaying fringe.

Angie had arrived early at the mammoth facility, to scout out the establishment and to scope out who was wearing what. Used to these affairs either being feast or famine, she could quickly tell that in this one there was cooking up a devouring banquet.

**

After Angie had entered the mammoth reception room it did not take her long to spy her first plump prospect, nicely loaded with possibilities. It was a lady, bearing a haughty look, who had been making a b-line through the crowd as way was parted for her. She was wearing a luxuriously long rusty coloured sable fur coat that hid most of her long crimson -red satin gown. What Jewels were visible, ears, fingers and wrist, were all flashing with pricy fire. In tow she held the hand of a young girl, obviously her daughter, wearing actual makeup, which, along with her fetching gown and brite jewelry, made her appear far older than she was. A handsome man , looking like the actor William Powell in a tux, followed behind the pair, husband and father, Angie presumed. She shadowed the little family as they swished their way to a corner table, conveniently located by a rear exit, for a better look over. Her fingers had started with an all too familiar tingle as she took it all in.

**

The husband helped his wife out of the sable, laying it carefully along a bench against the wall. Angie was not disappointed. A silver necklace of large matched diamonds gracefully encircled her throat. A dazzling blood ruby and diamond brooch held up the center of her gown, positioned just below the bust line. Brooches, like this one, were worth a lot once fenced, but its placement required a little more dexterity and skill than she was willing to risk. In actuality, Angie had only attempted twice before to take a brooch pinned to a gown in this fashion. She had only been successful one of those times, only to find out it was a pretty piece of paste.( Years later, as Angie’s talents became more polished, relieving ladies of their dangling brooches, like this blood ruby, became her specialty.. the Eds.) Angie’s eyes moved on. The rest of the snooty lady’s jewels matched her necklace. Long earrings, free clipped, dangling brightly from her earlobe s. A pair of wide ruby bracelets clasped tightly home around elegant red elbow length satin gloves, sparkled devastatingly, matching her brooch. Her long fingers were home to a pair of ruby and diamond rings and a third ring set with a gold band and a vulgarly large solitaire diamond.

**

Angie’s attention turned to the daughter, whom had been helped by her Father , squirming, from the chocolate coloured satin cape that she had been wearing. The youngster, all of about 10, was wearing a cream coloured long puffy sleeved dress with a brown satin sash encircling her waist that matched her Cape. The young lady possessed impossible large bright eyes. The only thing that held more shine than those doe like eyes had been the antique rhinestone diamond necklace that fell dripping ever so invitingly down the front of the precious little imp’s rich glossy gown. The rest of her matching rhinestones (obviously belonging to the child’s mother) consisted of an engaging display of a bracelet, pair of dangling, screwed on clasp earrings, and matching rings encircling a chubby finger one on each hand. It all gleamed brightly, invitingly from her svelte girlish figure. A large round pin held her sash up in place; it sparkled with what looked like a ring consisting of one caret diamonds, as unlikely as it was they could be real.

**

The two females of the family presented a pretty package indeed. Not one to pass up an invite that alluring, Angie walked by , with the pretext of heading to a back exit behind the table the little family had staked, just so she could get a closer peek.

**

Angie’s practiced eye took in a wealth of information during the few seconds it took her to walk up and pass the group, so involved with themselves they never even looked her way. Her attention focused upon the young mother first scoping head to toe.

**

Angie scrutinized the brooch; it was definitely worth the effort. In her mind’s eye, Angie envisioned the mother as a stumbling drunk “bumping into” Angie. Fingers whisking along the slippery lustrously softness of the gown, as the lady was steadied. Angie would accept the women apologies and the pair would part their ways, Angie from the young mother, and the magnificent brooch from the rich satiny red gown. But then the mother raised her head, looking up past Angie, towards a commotion being made behind her. Typical Angie thought, she doesn’t recognize me, so I don’t exist, like some sort of servant. But it was as she caught the young mother in full profile that she realized this lady looked strikingly similar to another woman who had been wearing an expensive dress of teal charmeuse that Angie had had been having a long conversation with, while relieving the woman’s finger of a costly diamond sapphire ring. It had happened only just last weekend at a formal function, and Angie figured she may have not recognized her in passing, but may if Angie were to use one of her approaches again with the intent of taking some of her jewelry, he memory may be jarred, and she may remember her missing ring. This was why Angie only allowed herself to ply her trade for no more than a month in any given place per year. This was from a lesson she had learned early on in her career. And so, for that reason alone, Angie decided to, at least temporarily, abandon any designs she had on the young mother’s brooch, allowing her devious intentions to evaporate from her mind like smoke on the wind. There were plenty more fish in the sea she told herself.

**

Angie still allowed herself a quick appraisal of the squirming 10 year old. She admired the glossy dress of slippery satin that her mother had conveniently dressed her daughter up in, as it fell spilling down to her black open toed shoes. Angie’s fingers started to tingle; this was a perfect tickling gown. Angie liked to think of any long dress or gown that swept down to a females heels as a” tickling gown”. All it took was a strategically placed foot timed with a well place nudge to send the chosen victim tumbling. During the ensuing diversion, Angie would use her long subtle fingers to swiftly probe along the gowned figure, tickling she like to call it due to the tingling sensation of the usually rich material of the victim’s attire. In this fashion, a pre-targeted piece of valuable jewelry could then be easily acquired, no matter what its placement had been on the unfortunate female. If only the chatty youngster had something on better than rhinestones. It was a crying shame to have a child that young dolled up like an adult, but not wearing adult jewels.

**

Angie continued to walk past, unseen, and went out the door. She found herself in a large serenity garden of roses and shrubs, surrounded by a 10 foot high well-trimmed hedge. The sort of garden one usually found in those days around upscale Churches. The only exit was a gate leading onto the parking lot on the side of the church. Here was positioned a solitary, lonely guard in a neat little guard hut. In the opposite, far corner was a statue of Cupid, arrow drawn, standing above a display of blooming moss roses at the end opposite to the gate. There was always potential in places like these.

**

Angie had started to walk over to the Cupid statue when she heard the exit door open. Turning, she saw the young girl, whose mother’s brooch Angie had been scoping out, looking out the door. She snuck through, running out alone, silky tickling gown swishing out behind her. Her heart leapt to her throat as she watched the girls rhinestones sparkle radiantly. She actually turned to head towards the path the unsuspecting child was running up, flexing her fingers as she contemplating a little warm up practice. Angie watched as the dolled up imps necklace flashed with pinpricks of coloure as it bounced to and fro as she ran happily up the path .Angie turned her back to the girl, waiting to hear the telltale click of her heels come up just behind her. She would then move, bumping into the girl as she passed, tripping her to the ground. After which Angie would help her up, removing the girl’s fancy necklace in the process. Come to Mama Angie whispered under her breath, waiting to make her move as the skipping heels grew ever louder.

**

But then Angie froze, hearing the clicking of the exit door again opening behind her. She checked her stride letting the daughter slither past without a glance. She headed again towards the statue, watching her prize move on ahead. Then she heard the father in the background calling out to his little princess. The youngster turned, and ran back, beaming at Angie as she passed. Angie smiled back, her eyes again traveling to the girls neckline, and the sparkling jewelry the outlined her throat. It had been a silly thought she chided herself, as the girl passed from view. If only the necklace had been real, and the father about ten minutes later in discovering his daughter absence. It would have been an unbelievably easy pluck and she could be out the gate before anyone was the wiser. And the best part was that they would probably believe the scampering girl had just lost it in the garden. And, while the parents were looking about, Angie would have been free to renter to ply her trade again. As it was, it was silly of Angie, risking her opportunity on a child’s bauble worth a mere pittance compared to some of the other offerings so readily being flaunted this evening by her adult counterparts.

**

Angie continued her casual stroll through the Garden, happily playing over in her mind some of the jewels that she would like to see adorning the female guests inside, and the scenarios she may be using to acquire them

**

Finding herself approaching the guard hut, she allowed herself a glance back. Jealously she watched the father, who had caught and was carrying his slippery attired daughter, heading back inside. How Angie wished she had been the one carrying the squirming little imp, it would have been like a smorgasbord, with jewels instead of food. Pity her mother had not put the good stuff on the daughter, she sighed to herself. Tonight she would have to work for her butter. She walked past the bored guard, nodding at him, receiving a rather lecherous look in return. A smile was forming across her cunning face, for now it was time to get down to the real business at hand.

**

The affair turned out to be quite a showcase for the very rich. Who were indiscreetly flaunting their riches, trying to outdo one another, probably for the benefit of the politicians’ attention? Certainly not for the attention of the designer satin gowned and flashy diamonded daughter, whom most of the guests hardly knew, or had ever met.

**

Angie always felt like a little kid in a candy shoppe at these lavish affairs.

She spent the first part of the reception mingling and thoroughly enjoying the show her the reception’s guests were u wittingly putting on. Angie, wearing no jewels herself, was something of an anomaly compared to her fellow guests.

**

There were over a thousand luxuriously coloured, squawking female birds and their young chicks pompously displaying valuable finery, oblivious of the cat amongst them waiting to pounce. Angie patently mingled, watching as the adult guests had their fill of food and drink.

Once their guard began to relax, Angie raised hers’, her probingly skillful fingers now more than prepared to begin and ply her trade. For the more they imbibed, the less guarded they were, both about themselves and their female offspring. Angie would start with the adults, 2 or 3 of the right pieces of jewelry, once acquired, and would mean she could call it a night and have enough to support her for a solid month. If she came up empty in that department, her back up would then center on the female off-spring, daughters and nieces.

Most of said offspring would be by then scattered about, aware that their parents were no longer paying them any heed, exploring and playing, sporting their fancy satin gowns, silken dresses, and their dainty jewelry, ripe for the picking. Giving pickpockets like Angie endless opportunity to ply their trade on them, once they had finished working through the adults. Or if the thieves were beginners, plenty of easy practice while “learning the ropes!”

**

Now, when Angie herself was just starting out as a young pickpocket, she stumbled across a treatise written by a man using the pseudonym “Gaston Monescu”. Written around 1826, entitled the Cutpurse: skilles, artes and Secretes of the Dip, it covered the various tactics and moves used by master pickpockets.

 

Angie had studied it religiously, especially a ploy called the “Necklace Flimp.” This tactic was primarily used for body thieves working alone. Angie had been surprised to learn that a pickpocket could raise his/her skill level above just acquiring wallets. Having the ability to lift a woman’s necklace amazed her, not to mention the profit that could be realized. With practice, Angie had found that not only was it a good technique for acquiring necklaces, but it worked for other pieces of worn jewelry as well.

 

It was relatively simple process, but took a long time to master.

First part was to employ psychology and watch the potential victim for the unique movements and quirks in their personality and actions that could provide an opportunity for her skills. Then observe the selected piece the victim wore, for value, type of clasp, make, and accessibility. The second part was to employ a bump, slip, or grasp, and in one motion, flick open the studied clasp and send the piece away from the body by either pulling and palming, or dropping it to the floor or ground for retrieval later. If she was noticed, it was “sorry, miss, very clumsy of me” “here let me get if for you, no harm done?” Then walk away and let the waters settle before trying yet again (sometimes even on the same person!)

 

Angie had practiced the jewelry flimp until she had the technique totally mastered. Starting out first on specially dressed up mannequins in her apartment, than trying it on small pieces of cheap baubles worn by real women in crowded streets and stores. Then on younger, less guarded, better jewelry wearing young girls attending proms and social dances. Young looking for her age at the time, Angie had fit right in amongst them. Then, finally, she graduated to lifting the better jewels of the older, wealthy women attending society’s finer parties and receptions. And it was this path that led her here today, and would also lead several unlucky females to report missing jewelry to their respective insurance companies.

**

See Album “Angie having a Ball” for additional background on our master thief with the light fingers.

**

Angie now eagerly employed those useful talents learned from monsieur Monescu’s little pamphlet at the wedding reception. She mingled freely, carrying around a drink that never touched her lips. She watched and learned, her trained eyes missing very little. Soon, like that hypothetical kid in a candy shoppe, Angie’s head was spinning from so much to choose from that she really could not make any easy choice. So, she waited and watched patiently, knowing opportunity would knock.

 

**

 

Then, like it usually happened with Angie, the first genuine opportunity unexpectedly presented herself. Angie literally was run into a rather awkward, spindly lady in thick glasses clad in a fetchingly expensive costume consisting of a thick silver satin blouse with hanging ruffles down its front, combined with a long rustling tiered skirt that swept down to the top of her open toed silver high heels. Her diamond jewelry shone with exuberant flames as they caught the light from the many chandeliers that hung from the vaulted ceiling. The lady expressed frantically her apologies, placing a hand with well ringed fingers on Angie’s shoulder, where they sparkled merrily. No worries Angie said smiling, her eyes taking it all in without appearing to move. She let the frazzled lady leave, allowing her a head start, it was only sporting to do so.

**

Angie shadowed her quarry for a while, seemingly rewarded for her efforts when the lady managed to spill a bit of her drink down on her skirt. In a show of flashing silvery satin and diamonds ,she retreated and disappeared into a nearby powder room, with Angie following eagerly, opportunity knocking.

**

As Angie grabbed onto the closing powder room door, a mid- twenty something girl in a deep green velvet gown came out. Her only jewelry was a wide diamond bracelet wrapped around a wrist of the matching long green gloves she wore. Angie caught it out of the corner of her eye, realizing that it was as expensive as it was bright. But it was her friend, a willowy short haired pretty young thing in a glamorous Chocolate Satin gown that made Angie’s jaw drop. Her jewels, like her friends, were also sparse, but enormously pricy. The long white satin gloves that graced her hands and arms also held matching bracelets, thin, but each one worth the effort. But her real eye catcher was the row of authentic, one caret white diamonds that were rippling exquisite fire along her throat. Angie held the door for them, nodding to as they passed. Noses in the air, they did not appear to notice Angie. Then, with the ladies backs to her, Angie abandoned Miss silver satin and turned to follow. Angie got in behind the two with the intention of getting a closure examination of the clasp of the fiery diamond necklace Miss Chocolate satin was wearing.

**

However, Angie never got her closer look. For at that moment the tossing of the bride’s boutique was announced and Angie was overwhelmed by a mad dash of single ladies heading for the bride. On a lark she allowed herself to be swept along, losing sight of Miss Chocolate satin, but found herself right smack behind Miss Green velvet and her cheerfully sparkling diamond bracelet, a beautifully expensive piece that would have cost someone a king’s ransom. Angie’s fingers began their all too familiar tingling, eager for a chance to acquire jewelry that valuable, but not for any king, just for herself!

**

Though the night was still relatively early, and Angie still had visions of those exquisite rippling diamonds of the pretty Miss in chocolate satin on her mind, she simply could not pass up this opportunity. Angie wedged herself close behind her chosen victim as the multitude of hopeful young women pressed forward to try their luck. As the Bride teased her guests before getting ready to toss her bouquet of white and red roses, Angie expertly scrutinized the bracelet as it dangled from the green velvet glove. When the bride finally turned her back and raised her arms every one of the richly clad single women’s eyes was focused on the bride’s bouquet, Angie’s eyes were fixated on the bracelet. With the music playing loud, the crowd giggling and laughing, and all eyes focused on the gorgeously outfitted young long haired bride, Angie again felt opportunity knocking. Her pulse beating in rhythm with the music, she made ready to seize the chance when it presented itself. The roses flew through the air and all the women raised their hands high, looking all for the world like being involved in a stick-up. Angie timed it perfectly, snapping the clasp, and snatching the bracelet easily away from the gloved wrist of its owner as she raised her arms high to grab at the boutique. In her excitement, shared by everyone, Miss Green velvet ( who did not catch the bouget of roses) never felt a thing. Angie had smirked as she left the giggling group, stowing securely the purloined diamonds, as she imagined what it would have been like to watch that group robbed in a mass stick-up. The money that some enterprising soul could have made from that haul would have been astronomical.

**

She went to the open bar, lighting her first cigarette; she ordered her first real drink of the night. She could feel the coolness of the weighty bracelet in its hiding spot, and Angie, pleased with herself, calmly sipped her drink as she relished in the moment. The toss of the Brides Boutique was, in Angie’s experienced opinion, one of the three common events occurring during a wedding reception that were fertilely prime times for pickpocketing. (Editor’s note.. Miss D. mysteriously never divulged what she considered the other two prime events to be….)

**

She looked about without a worry in the world, coolly watching the antics of some of the younger women on the dance floor. She spied the young miss in the green velvet gown over in a corner talking in an animated fashion with several other women. Green velvet gown’s now bare velvet glove, apparently not noticed by anyone but Angie. One of her group was displaying some bright emeralds peeking through the long silver fur she was wearing, obviously she was leaving, and she was talking excitedly about something to the group formed around her! Nowhere in sight was Miss chocolate satin, too bad, Angie would have loved another peek before leaving.

Angie watched around the room causally, as the cold bracelet pressed expensively against her figure from its hiding spot. She eventually lost track of green velvet and her friends while finishing her drink. Setting down the empty glass, she decided it was time to call it a night. The bracelet now in her possession was easily worth as much as the 2 or 3 separate pieces she usually acquired at functions like these, added together! And, she needed her rest, Angie had a couple of plans the next day, one revolving around the female guests who would be attending an upscale afternoon prom fashion show a, the other, an evening opera performance (invited guests only, and her contact had managed to supply a ticket, at a hefty price!) No rest for the wicked, Angie told herself.

**

On her way out of the main lobby, she found herself leaving behind the very lady in green velvet whose bracelet was now in Angie’s possession. She was with the same gaggle of her similarly dressed friends, including the one exhibiting the emeralds. However, miss chocolate satin was still not visible. They were laughing and joking as they collected their assorted pretty wraps, obviously heading for a nightclub. If she had not already relieved one of them of a bauble, Angie might have invited herself along, if only to have a go at some emeralds. Angie hesitated about leaving withy them, then shrugged, followed the group out the door past the pair of bored rent a cops.

**

She remembered thinking, as she followed the elegant young princesses ,their fluid gowns peeking from under their various furs and wraps, how shallow the very rich could be. She wondered if Miss Green velvets friends had even noticed that she had had diamonds around the wrist of her glove, let alone that they were now missing. She wondered how long it would be before the bracelets loss was discovered. She figured it would be several hours, long enough for its owner not to be sure what place they had been lost. As young Miss Green velvet fancy gown and her friends turned right outside the exit, Angie turned left, heading towards the guard hut at the entrance to the garden.

She decided not to follow them but rather circle around the outside of the garden to give her victim time to leave.

**

That simple decision to make a left turn proved to be a major turning point in Angie’s fortunes that evening.

**

As Angie passed the hut guarding the entrance to the serenity garden, she noticed it was deserted.

It was as she was looking it over, that she heard the sounds of clicking heels moving fast, followed by the sounds of a young girl giggling. On the alert she stole to the backside of the hut, soon spying a splash of something blue and silky between the gaps of a couple of large bushes. Her senses on their highest peak, she began to move cautiously in, hoping the female making the noise would be in need of aid and comfort perhaps.

**

She soon spotted a young lady of about 14 bending over, hands on her knees as she panted heavily. Her back was to Angie, and what pretty back it was. She was nicely attired in a long gown of shiny material dyed deep blue like an afternoon, cloudless summer sky. The gown cascaded down along her petite figure, spilling out on the ground around her feet. Her hair was pulled back, easily displaying a pair of small diamond and sapphire earrings, not rhinestones for this one, but the real McCoy. Around one finger was a gold ring with sapphires, and from her left wrist dangled a thin silver bracelet with a row of diamond chips, both pretty, both valuably real. But it was her last piece of visible jewelry that stole the show. It hung, swinging to and from her neck on a thick braided chain of solid silver. On its end, like a hypnotists prism, was a silver pendent in the shape of a flower, with 1 inch long, pear shaped real diamonds as petals and a fully 2 inch in circumference center stone of deep sea blue. Angie watched it, her eyes following it for a full minute, its expensive fire sealing its own fate as Angie began flexing her fingers. Angie took her eyes off of it and looked around to see why the princess had been running. But all was still as the girl continued to peek through the branches towards the back door leading into the hall. Angie silently approached, and walking up to the pretty miss she bent down and in a friendly tone, asked who she was running from.

**

I played a joke on my sister, and now I’m hiding from her, piped the girl breathlessly, as Angie placed a hand upon the girls shoulder in a conspiratorial fashion, said shoulder made silky soft by the gowns half sleeve.

**

I know a better place where you can hide from her, Angie whispered in the girl’s ear, the dangling earring ever so close to her lips. The girl looked up, smiling, and Angie pointed towards the guard hut, and as the girl looked, Angie’s fingers glided up along the silky shoulder and lifted the thick silver chain up from the back of the gowns’ scooped collar. Come Angie said, and as the girl rose Angie’s fingers nimbly flicked open the chains’ lobster clasp, holding onto the clasp as the other end of the chain slipped down, allowing the pendent to slide free and fall onto the grass at the girls feet, where it lay shimmering. Angie moved her hand to the girls shoulder, squeezing it, while slipping off the braided silver chain with her other hand, whisking it back and away from the guileless young girl. Angie led her princess away from the spot and walked with her to the guard’s hut, still empty, where she had her hide neath the counter.

**

Angie turned and went back to claim the pendent, there still was no sign of any sister. She secured the pendent, joining it with the chain and bracelet, and headed deeper into garden. Her plan was to watch the hut and see which way the girl went after getting bored waiting. But as she skirted the perimeter her plans were changed when, upon rounding a corner of the path at the far end, she saw yet another back belonging to a solitary lady in her late thirties, clad in a long slinky yellow coloured gown of expensively shiny taffeta, bending over to smell the yellow roses on a bush. Instinctively Angie knew two things about her. One was that whatever jewels this lady would be wearing, they would be expensive, and the other was that with an expensive gown like that; the lady would undoubtedly be wearing her jewels. Angie suddenly became aware that her fingers were tingling, as an all too familiar whelming feeling again delightfully washed over her.

**

Angie found herself automatically turning back onto the garden path. She headed around the women and went down to the cupid’s statue, where now out of sight, she carefully hid the purloined bracelet, and still warm fiery pendent and its ‘fancy silvery braided chain..

**

She then headed towards the unsuspecting flower admirer. The ladies’ long brunette hair had fallen, flowing down the backside of her shiny taffeta gown. Angie could see rings and a bracelet gleaming as she was holding up the rose to her face. A long double rope of pearls hung swaying deliciously from her throat. Coming up behind her Angie stood watching; calculating until the lady rose and with a start realized she was not alone.

**

Pretty Angie said, her eyes on the pearls now draping down the front of her marks yellow gown. They are lovely, are they not? The damsel responded thinking Angie was referring to the roses. Just like the ones in the park, my husband and I walked through on our way to catch a cab today. Actually, I meant your dress Angie said complimentary. Thank you the lady practically squealed, I love the way it flows, and she swirled it about to show Angie, who got an eyeful of sparkly jewelry for her efforts. As she continued engaging the women in conversation, Angie decided upon attempting for the woman’s necklace of pearl. Seeing opportunity knocking when Yellow Taffeta pulled her long hair forward so it hang down the front of her gorgeous gown, laying silkily over one shoulder, nicely exposing the pricy necklaces clasp. Angie looked around, they were alone, out of site of the opposite end of the garden where the inside door was, and the guards hut with it’s pretty occupant.

**

Angie, using the marks interest in roses to her advantage, managed to steer the capricious damsel in shiny yellow over to the cupid’s statue. There, she placed a hand upon a silky taffeta covered shoulder, and pointed down to the shrub of moss roses growing at the foot of the statue . When she stooped down to get a closer look, Angie’s fingers whisked from her marks shoulder to the clasp, in a single effort with two fingers, lifted it by the clasp, and snapped it open. At that moment the mark cried “spider” and jumped up, backing into Angie, who watched helplessly as the pearls fell down from the damsel’s throat and slipped along the front of the yellow taffeta gown. They fell with a soft plop unto the ground at their mistress’s feet. Angie tried to lead her away, hoping to come back and reclaim the necklace. But as Angie pointed to another rose bush some distance away, the lady took a step forward, instead of back, planting her feet right onto the pearl necklace. Hey she exclaiming, what’s that, looking down to her high heeled foot? Oh, my pearls the lady squealed again, a glittering hand shooting to feel around her throat. Angie reached down, and reluctantly retrieved them from the base of the rose bush for the squealing lady in yellow . My husband would not have been pleased if I had lost these, she said as Angie held them, feeling their pricey smoothness.

**

She asked if Angie could help her put them on, my maid usually does this sort of thing, you know. Angie reluctantly complied, re- hanging the pearls as the pretty damsel held up her hair, and reluctantly redid the clasp. The Damsel thanked Angie by embracing her in a full hug, her diamond and pearl earring hitting Angie’s cheek. But Angie’s arms were being held by the hugging woman, so Angie was able to only watch the tantalizingly close earring sway free. Angie left yellow-gowned damsel in the garden, getting nothing for her efforts other than the feel of an expensive gown of the likes she could probably never afford to own.

**

With the pretty damsel hovering around the cupid statue, Angie decided to go back into the reception hall until the coast was clear. She carefully looked towards the Guards hut, and seeing that the guard had returned, figured the girl, so fetchingly clad in blue, had been rousted out, so that loose end was probably tied up. She just had to keep a careful eye out. The quite valuable bracelet and pricy necklace with its pendent were well hidden; there was absolutely no danger of someone stumbling over it.

**

Truth was, Angie had found her appetite wetted and once again visions of a lady in chocolate brown satin exhibiting a row of flashy diamonds, teased her thoughts. An accomplished pickpocket like herself had a couple of well-practiced ploys she could utilize to obtain a tight fitting necklace from its mistress. In addition, Angie was now determined to find her and to risk a try. She had really nothing to lose.

**

It took almost an hour of hunting amongst the now well liquored, gaily mingling crowd before Angie could admit to herself that there was absolutely no sign of the willowy lady in the stunning chocolate satin gown. Damn she thought to herself, those diamonds were something special. She shrugged it off, reciting in her mind a wicked little mantra of hers, “Another one who got away, a chance to lose her jewels to Angie on another day!” She strolled about pondering on what her next course of action could be. There had been no sign of the pretty girl in blue whose necklace Angie now had hidden away, and Miss Green Velvet was definitely out of the picture, so she felt that it was still safe to try to pluck one last bird or chick. In her hunt for the brown, Angie had seen several inviting prospects; one lady(purple satin, diamonds), two girls( ivory silk, pearled pin; red satin, gold necklace set with chips of precious stones), and now was weighing the risks.

 

It was at that point she once again espied the thickly bespectacled awkwardly introverted young lady invitingly wearing the thick silver satin ruffled blouse, which she had been tailing much earlier. And as Angie watched here, she again accepted the invitation. Her prey had appeared on the dance floor, being led around by a rather charming young man. That would make a dandy consolation prize Angie drooled to herself happily as she took in the sparkling show put on by the dancers jewels.

**

Angie looked her over, reacquainting herself with the jewels she so nicely was displaying. A pair of long earrings cascaded down from her earlobes where they precariously held on by antique silver claps. Angie relished the opportunity to “flimp” pairs of earrings like these. Heavily jeweled, each one was worth a tidy sum. Angie mulled this as she continued to study the jewels of her appealingly dressed new target.

**

The girl’s only ring was a solitaire diamond of at least 3 carets on a thick solid gold band worn vulnerably loose on her un-gloved, bare ring finger. A wide silver cuff bracelet with what appeared to be at least seven rows of matching, shimmering diamonds was dangling around her left wrist (she was right handed Angie observed) . The bracelet had a habit of lying over her sleeve, and Angie could see that it was a costly tiffany piece, whose clasp was exceptionally easy to flick open. A diamond pendent hung swinging from her satiny ruffles, held by an extravagantly thick silver chain with a simple , small eye in hook clasp. The Diamonds in the pendent were as shimmery as stars plucked from the night’s sky.

Angie remembered reading that in a poem from a book she had picked up years earlier in a library, while stalking a young mother in a satin dress, wearing an authentic Gruen Watch on one wrist, and a bracelet of diamonds on the other, that had gone into the library in pursuit of her young son running inside. Like that young mother, It was obvious that this lady in silver satin was not accustomed to wearing jewels, and that set probably spent most of their days lying in a safe. Angie licked her lips as she imagined what the other contents of that safe might look like

**

Angie moved in to allow herself a much closer appraisal of her potential victim’s jewels.

The young lady was totally oblivious to anything but the rather surprisingly strikingly handsome man who to all appearances was her Fiancée, who was holding her ever so close. But Angie was able to see enough of what she wanted to. The young Ladies’ thick satin blouse shone richly in the lights, moving like glistening wet liquid silver, while from her waist spilled the long black skirt with satiny tiers that swished and swayed nicely along her figure as she uneasily danced. Her jewels were bursting with colour as they played hide and seek with Angie’s watchful eyes. From all appearances, they were a mismatched couple. He seemed to know everyone and moved with a confident air, she was just the opposite. It made an enticingly intriguing package indeed for someone with Angie’s skills.

**

Silver Satin was the perfect “Gaston Monescu” type of mark, a perfect combination of classic mannerisms, clothing and Jewels worth anyone’s efforts to take. This was the only fly in the ointment that Angie observed. For by the bar she could see that two other sets of eyes were watching the same young lady in shiny satin and blazing diamonds. Angie intuitively knew they were drooling over acquiring jewels she was wearing.

**

She had noticed the pair of young men in loose fitting suits when they had entered a little earlier about the same time as Angie’s reappearance. They were obviously casing the jewels of any woman, young, or old, who walked past them. Angie knew their type, simple thieves, with no real skills outside of holding a knife in a dark alley to the throat of their victim while they unceremoniously searched and stripped them of their treasures. Angie saw that they were whispering amongst themselves and instinctively knew they were watching and waiting for the fetchingly clumsy silver clad lady clad loaded with diamonds, to leave the “establishment”.

**

She is mine Angie whispered, possessively snarling the words under her breath. She looked around as she thought about how best to handle the situation. Her eyes opened wide as she saw a familiar woman waiting by the coat checkroom. Perfect she purred, placing an unlit a cigarette in her mouth and heading over the bar.

**

She sauntered up next to them and ordered a drink, catching their eyes she asked for a light. As they obliged she took a pull and puffed out smoke, asking in a casual tone, “how about my jewels? Boys!” They could see perfectly well that she was not wearing any, and one snarled, “What’s your game, sister?” Angie snarled back in her best cop like manner, “We know what you boys are up to, and we suggest you both call it a night!” “Yer no cop sister”, they challenged, calling her bluff,” what’s your angle!” Angie calmly looked towards the entrance, perfect she mused as she saw their eyes follow hers, “Maybe not” she stated, “but see that lady being helped into the black mink?” “The shiny yellow dame?” one of em asked? “ “yes”, Angie replied taking a puff on her cigarette before going on, “ well that man’s she’s with used to be mine .” “ Now, I aint one to hold a grudge, but, those pearls she’s waltzing around with are worth plenty. And her rings, they are an easy two grand alone.”

**

Angie could tell she had captured their interest, and that they were now paying rapt attention to the lady in the thick yellow taffeta gown whose necklace Angie had almost acquired in the serenity garden. One of them looked at Angie, a suspicious look crossing his mug, “What’s innit for you sister?!” He demanded. Angie looked at him, dripping with sarcastic innocence. “Nothing brother, other than to make sure the jewels of the dame who stole my husband get home safely .” “I just worry,’ Angie went on, “there is a park in front of their residence and that dame in yellow likes to stroll through it to smell the roses after their cab drops them off.” They watched the couple leave, her expensive yellow gown sweeping provocatively at her gold high- heeled shoed feet. Angie looked them in the eyes and said smoothly, “ Gentlemen such as yourselves may want to do a good deed and follow them home to make sure some miscreant doesn’t spot her in those valuable jewels and mink. Not to mention her man’s gold watch and three hundred sawbucks in his wallet!” Angie winked at the pair, “If you catch my drift.” She added.

**

Still not totally convinced about what Angie was selling them, but equally unsure over who Angie was, both men got up and quickly headed towards the main exit as the last slip of an expensive yellow taffeta gown disappeared through the door. Smugly, Angie puffed on her cigarette as she watched them leave.

**

It was then that a hand was placed on Angie’s shoulder from behind.

**

She froze for a split second, before becoming aware of the soft mummer of satin, and of a slender finger was home to a sparkling sapphire ring. Angie smiled and turned around, facing the girl. Pardon me ma’am, she says politely, but do you remember me? Of course dear, Angie gushes while beaming at the forlorn looking miss in the fetching blue gown; I met you in the garden. Yes she confirms, but I lost my necklace somewhere and I was wondering if you remember if I had it on when we met? Angie’s heart leapt, bless this babe in the woods, thinking her necklace had merely been lost, never suspecting that someone like, say, Angie could have been the cause. She absolutely adored the trusting nature of rich girls this age. For that aspect of their purity had allowed Angie, far too easily sometimes, to lift many a jewel from well attired unsuspecting young princesses like this one. Who was now standing before her, miserable, her desirable diamond and sapphire earrings dangling ever so beckoningly, her sad puppy eyes pleading ever so sweetly, and her missing necklace closer than she could ever imagine.

**

No dear, I did not see you with a necklace, Angie lied coolly, as she reached out and stroked the girl tenderly alongside her face, her fingers touching one of the earrings. Angie was looking her fully in the eye, you didn’t lose anything else, and did you dear she asked with a concerned tone. The girl checked her earrings, bracelet and ring (Angie smiled to herself, silently thinking thanks for the info kid!) But when she spoke, it was with hopeful words laced with honey, If you want, I can help you look, my dear. The girl’s eyes lit up for a second, thank you ma’am, I wanted to, but papa said to wait until tomorrow when the light is better.

Angie smiled winningly, don’t worry dear, I’m sure its somewhere in the garden. Someone will find it, she promised, thinking to herself maliciously, and keep it for their own profit!

**

Thank you Ma’am she chirped, at the encouraging words that had been spoken, luckily she could not hear the ones Angie was thinking to herself, and turning moved off, her scrumptious gown swishing pleasantly around her silver heels. Angie watched, as the girl disappeared in the crowd Angie marked her direction.

**

Angie Imagined if the girl had accepted her offer, and she had left with the vulnerable, unguarded princess to search in the garden, and in the process help relieve her of her remaining jewels. There would be enough light with the gas lamps that lined the paths in the garden. Enough light, so that as Angie helped the princess look, her fingers could slip ever so delicately slip in and search along her shiny sky blue gown.

**

Angie licked her lips slowly as she fantasied about the search. The girl bending down to look under a bush, Angie placing her knee sharply in a certain spot below the girl’s armpit, temporarily numbing her upper body. Allowing Angie enough time to pull off both her earrings without feeling it,( this also worked well on working off broaches placed in upper parts of gowns and dresses, not to mention necklaces!) The bracelet would be no problem; it would be the easiest and probably the first, snatched off while the rich girl’s attention was easily diverted away. Since she was not wearing silky gloves, her ring would be the trickiest, but manageable, by either having her walk too close to a water fountain and hopefully having her get her fingers wet, or by simple holding onto her hand and tripping her by stepping on her gowns hem. And just like that, Angie would become that much richer, the rich girl that much poorer. And it all would be done without giving the girl any additional stress, like say she had run into the two muggers Angie had chased off. They may not have been content with just the jewels of a girl dressed as she was that they had found wandering alone in the gardens at night.

**

As Angie excitedly thought about these things, she had trained her focus back upon her original meal ticket, whom for the second time that evening had almost been allowed to slip through Angie’s light fingers. Watching with half lidded eyes, the still dancing couple not unlike a wolf watches lambs, waiting for one to make an ill-fated move away from the flock. The lamb’s fate was sealed, when a vivacious blonde in a long wispy silken dress cut in on the dancing couple. Asking miss silver satin’s fiancé for a dance. He obliged, leaving his shimmering fiancée unaccompanied, nakedly exposed to the wolf that was Angie.

**

More than one way to skin a cat Angie thought, tingling from the thrill of the hunt her prey, now in a reachable situation. She happily headed towards the spot where Miss silver satin had moved off to. A small table, located conveniently by a powder room. One the way she grabbed a half full glass of red wine off a table. Angie circled around young miss silver satin, taking a position up about two table lengths behind her. She casually scoured the area; most of the nearby tables were deserted.

Knowing the band would stop playing soon for the evening; most of the couples were out on the dance floor. All in all, the situation presented the perfect opportunity for some one of Angie’s persuasion.

**

Angie watched as the young lady picked up a glittery silver clutch and opening it, started to search inside. Angie moved swiftly, catching up behind her , tripping intentionally into her, splashing some wine onto the front of the silver satin blouse as the unfortunate lady dropped her purse in surprise. Oh my gosh, I did not see you, miss silver satin pleaded apologetically to Angie, more concerned over Angie’s feelings than her soiled satin blouse. Angie accepted her apology and, producing a lacey silk handkerchief, began to wipe themselves both down.

Angie’s practiced eyes swiftly took it all in. Miss silver satin’s pretty earrings swaying out vulnerably from her long straggly hair as it fell into her face. The clasp of her necklace was also exposed and within easy grasp. A s she reached out for the floor to steady herself, Angie’s eyes took in the sparkling ring on her now wetted finger and then watched the wide bracelet with its’ easily open able clasp slip up glitteringly over her sleeve.

The girl, now thoroughly flustered, started to rise, tripping over her slippery long skirt( with no help from Angie) Angie caught her, taking advantage of the split second opening she had been waiting for and Angie took it, making her selection as she steadied the poor thing with one hand, as the other caressed along a slick silver satin back. Angie’s long supple fingers darted in and deftly did their trick, this time with no spiders interfering. She quickly removed her chosen glittery prize from the distracted lady, who never noticed so much as a prick as Angie removed the expensive piece from her person in the confusion.

**

Angie secreted he shiny jewel as she helped miss silver satin collect herself. Than they rose, and Angie happily accepted miss silver satin profuse and obviously well used, apology. Then, as she fumbled nervously with her thick glasses, Angie laid a calming hand upon her shoulder, her fingers relishing in the richness of her victims sleek ruffled blouse. Miss silver satin was by now so distracted and embarrassed that Angie was all but assured of a clean get away.

However, as an extra measure of caution Angie intentionally jarred silver satin’s elbow of the hand steadying her eye glasses. Thus sending her glasses falling from her face to the floor with a small clatter, then Angie kicked them under a table before the startled lady could react. Angie offered to help, but the lady implored that she was okay, just needed to find her glasses. Angie left as Miss silver satin started to frantically grope around for her glasses, her silver blouse and remaining jewels shimmering brightly along their miserable mistress..

Angie took her leave, knowing that once she found her glasses, Miss silver satin would flee for sanctuary into the ladies powder room, buying her more than enough time for Angie to make her escape. Taking one last look over the dance floor, she blithely saw that miss silver satins fiancé was still in the clutches of the vivacious blonde-haired girl, still safely out of the picture. Angie made her way with purpose to the rear exit leading to the garden that she had used earlier, intending to head out into the serenity garden to collect the hidden bracelet and pendent, adding them to her purloined plunder.

**

As she walked amongst the mostly deserted tables, her mind went to the woman in yellow taffeta and imagined that right about now she would be standing with raised arms and a forlorn look. Ruefully wincing as the man who was holding her mink busily stripped those luscious pearls from the neckline of her tight gown, as the shiny yellow material gleamed in the moonlight! Serves her right for being afraid of spiders, Angie thought unforgivingly.

***

Angie’s mind also went to the poor young princess in blue with the missing necklace. She looked towards the area she had headed, opposite of the back exit to the garden. She reluctantly decided not to push her luck, there was a sister and parents to contend with, and she really had no time left. So she decided to call it a day, a rather successful day, and made her way to retrieve her loot.

**

Angie had now reached the now deserted table by the back exit where the lady in the crimson gown and blood red rubies had been earlier, along with her rhinestone encumbered 10 year old daughter and handsome husband.

**

She paused between the table and the bench, something was not quite right, She eyed the area around the dance floor for any signs of trouble that may be centered on the quite valuable jewels now in her possession. All was quiet, except for a little murmur behind her. Turning she looked at the bench and was shocked to discover the soundly asleep ten year old, using the long rusty sable fur as a blanket. What have we here, Angie thought, licking her lips wickedly?

**

Angie pursed her lips, checking the coast; spotting the young girl’s parents, still on the dance floor, a safe distance away the other side of the room. No sign of miss silver satin. No one else was nearby. Perfect. She went over, bending down so the table hid her. The child looked so vulnerably innocent, sound asleep as she lay on her side, facing Angie. She was clutching an arm of the sable like a warm fuzzy teddy bear, her ring sparkling. Angie gently tugged the mink from the girl’s clasp, and gradually pulled until the fur swished away from along the inert silken figure on the bench, where it fell into a pile on the floor. The child looked very innocent, very vulnerable, like a sleeping princess. An earring lay exposed over one shoulder, her necklace dangled down slightly askew from her slender throat, the pin holding her sash, all of which shone brightly now that it was exposed to the low lights of the ballroom, still called out. Too bad, Angie thought to herself, too bad the mother had not dressed her little doll in real diamonds.

**

 

Angie again looked to the dance floor; she could see the mother’s jewelry twinkling brightly as the child’s parents danced close, very unaware of anything else but themselves. She looked back over the girl, contemplating. But the song was winding down, Angie stooped to pick up the sable, bird in hand she thought, and placing the rich fur over her arm, stood just as the song ended. Looking at the exit door, so near and yet so far, she started to hasten to it, but checked herself as the band immediately started another, rather slow song that Angie knew quite well.

**

She hesitated, incredibly, everyone was staying on the floor for the final dance, she looked back at the bench, and the sleeping imps exposed jewels still shined, tempting her to come for them. Angie knew that she would only have about four minutes. Always open to new challenges, Angie chose to answer that sweet little invite that the necklace was extending out to her. Checking once again to make sure the parents was still obliviously dancing; she laid the mink down by the door and eased back to the bench. Kneeling down, Angie began to perform the delicate operation.

**

Lifting up the necklace she gently tugged it loose from around the sleeping child’s neck until the clasp appeared. She subtly flicked open the clasp, then shamelessly slipped the necklace from around its perch on the little whelp’s throat. It flickered like some slithering shiny snake, glittering as it came away. Like taking candy from a baby, Angie drooled happily, as she let the necklace run along her fingertips while watching the sleeping princess for a few seconds.

**

Her fitted cream coloured dress shimmered with expensive richness in the shadowy light. The poor thing was so soundly asleep after her long exhausting day that Angie figured she could have peeled the dress off her without causing a stir. This for a pickpocket would be the ultimate test, the pinnacle of her criminal class. But, Angie thought; if she ever had the opportunity to do so, it would have to be worth her while, like a shiny gown, an appealing sky blue gown with half sleeves and scooped collar. And the jewels would be sapphire drop earrings, bracelet and ring, not plain rhinestones. She licked her lips at the enticing thought of such a perfect “coup fera”, than told herself to get back to work, time was money.

**

She slipped her hand along the satin cape being used as a pillow and felt under the girls head until she felt the cold earring she was laying upon. Deftly undoing the screw she pulled it free, watching with delight as it came out from underneath.

**

Angie than, gently lifted, and nimbly stroked back the girl’s ultra-soft hair, exposing her long silvery earring. She pulled the jewel out and laid it out upon the child’s shoulder, where it lay, shimmering vibrantly. Then she reached in with her fingers and began unscrewed its clasp. Pulling it free she added it to her growing collection. She next lifted the hand that had held the warm sable, gently prying open her clenched fingers. The sleeping child never stirred. Angie gently slipped off the glittering ring. She then peeled back a silky sleeve, checking for the bracelet, finding her wrist was bare. The rest of the jewels were hiding securely on the side she was laying upon. Smiling wickedly to herself, an idea popped into Angie’s head.

**

The music was now almost to the halfway point, and Angie thought for a brief second that she should leave . Another quick scan assured her the coast was still clear, and Angie decided to press her luck, eagerly going back to work, putting her idea into motion.

Angie fingers felt along the sleeping child’s waist until she located the brooch. Quickly unfastening the brooch from the chocolate satin sash, she pulled it out. Watching as the diamonds caught fire and burst into vibrant life, unusually vivid for plain rhinestones she thought contemplatively. Angie plopping it in with the growing pile of the sleeping girls purloined baubles. Again reaching in along the warm waist, Angie gradually tugged at the now undone sash. The sleeping girl, unconsciously obliged by turning over on her other side, as the sash was pulled away.

**

Her arm with the ring and bracelet was now exposed. Lifting the arm , and peeling back the puffy sleeve, Angie found and unclasped the bracelet, slipping it away, then allowing it to dangle in triumph before letting it join its purloined mates. Then lifting the child’s hand she pulled at the ring, it was a little tight. Angie licked her fingers, and moistened the girls finger, than began slipping the ring off ever so gently from the along her finger. Almost there, Angie thought, as the ring joined its abducted companions in her pocket.

 

**

As Angie finished pocketing the last of the girls jewels, her victim whimpers something discernible in her sleep, her small hand feeling to pull up the missing warm sable she had been using as a blanket. Angie quickly looked around, spying a cheap linen coat hanging on a nearby hook, she grasped it and laid it over the stirring girl, stroking her for a precious few seconds. Then rising, calmly Angie snatched a shiny purse from the table, and moved off, unbelieving of her luck. She reclaimed the sable fur, and strolled out the door without looking back.

**

As Angie closed the door she heard the last notes of the song waning from inside. She licked her lip, that was close, but her luck had held. Now all that remained was to visit the Cupid Statue In the garden to reclaim her other prizes. As she reached the statue, Angie realized that she still had the child’s satin sash in her hand.

She smiled as she tied it, blindfolding the cupid statues eyes. Retrieving and pocketing the now stone cold diamond bracelet, and the young Princess in blue’s necklace with its shimmering pendent, she slowly looked around, the cost was clear. Angie coolly made her way to the gate, the bored guard offering to help her with the mink she was carrying. , Angie stopped, and handed it to him. Then turning, allowed him to help her on with it. He puffed out his chest as Angie gave him a sweet smile; she thanked him, then turned and disappeared into the darkness of the night.

**

Angie disappeared from view into the foggy evening, relishing the warmth of the sensuous sable. Happily contemplating the small fortune in jewels it had been in contact with earlier that evening, and also the small fortune she had walked out of the reception with in her possession.

**

The guard watched the spot for some time where the pretty lady in the expensive fur had vanished in the mists. He fantasized for a good few minutes, wondered what had been behind the enchantingly secret smile she had given to him.

Excuse me, sir?, a female voice coming from the garden startles him, he had never heard anyone coming.

He turns, catching an eyeful of a long glamourous, brown satin gown, worn fetchingly by a willowy short haired pretty young thing. Diamonds blazed from around her throat, caught by the gas lights, and from around her white satin gloved wrists as she raised her hands in a pleading fashion.

She continues, pointing to a young girl in a smashing blue satin gown, bending over looking for something in the bushes. My sister lost her necklace and pendent while playing around here earlier, did you or anyone find it? She asked in a rather seductive tone of voice9 not a common, it was her regular voice)

No lady, no one turned in a necklace. Thank you sir, and she turns away, her gown flowing out behind her.

He watches for a minute as she and her sister both move elegantly down the path, continuing their search.

He sighed, and turns away, babysitting rich dames he mutters under his breath, what a dismal way to make a living. Why won’t this affair ever end he asked himself, as he reached for his silver pocket watch to check the time. Damnations he said, not finding it nor its chain and fob, must have dropped it in the alley earlier where I had gone for a nipper from his flask. He sauntered off quickly to the alley located in the direction Angie had disappeared, abandoning his post.

Soon after, a pair of dark figures who had been walking on the opposite side of the street, and had stopped to loiter when they spied the guard talking to some posh broad in a shiny brown dress, saw the guard leaving his post. They quickly stole with sinister intent across the road and entered into the gardens, disappearing into the darkness.

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This ended up being Angie’s first big score, She got more for the rhinestone set then she had imagined, the small brooch taken off the brown satin sash had proved to have real diamonds in its center! Also the princess in silky sky blue’s pendent and chain had fetched a nice tidy sum. The jewels lifted from the ladies in Green and Silver also realized quite a handsome profit, as did the sable and purse.

if one includes the real diamond ring slipped off the finger of a silky dressed debutante from the prom show and her rather nice haul of a slim pearl necklace and diamond pin from the Opera, the whole weekend was unimaginably successful.

**

From the profit realized, she had been able to spend a pleasant month away in Monte Carlo, even indulging in the purchase of a rich red wine coloured taffeta gown to wear.

Which she pleasantly found that, when paired with her deftly acquired collection of dripping rhinestone diamond jewelry, she attracted wealthy young males with expensive gold watches and fat wallets like honey bee drones to a bright moss rose.

**

She also enticed a long raven haired, Miss, richly clad in emerald silk, to enter into her snare.

But Angie did not make an entirely clean get away. For the last jewel to be taken was the girl’s brooch , and before Angie could hide it with the rest, the girl spotted its’ glitter in Angie’s hand, and with a gasp had looked down on her dress at the now vacant spot where it had been dangling ever so provocatively for Angie all evening.. Angie smiled at the girl as she had looked up in confusion. The girl had placed a hand to her throat, startled when feeling it bare of her necklace. She looked at Angie in hurt confusion, her eyes wide with fright. Angie placed a finger to the girl’s lips, hushing any fuss she may have been thinking of making over her missing jewelry, and turning her back to the forlorn miss, Angie left, not looking back….

**

But that was a story for another day, so we were promised by Angie, giving us an all too familiar look of devious satisfaction at making us wait.

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Editor’s Notes:

Our Thanks to Mr. J. Gardner for pointing out the existence of Mr. Monescu’s 1826 guide

If you enjoyed our little story, please like and leave a comment.

And if you wish, describe what intrigued you the most about it…

Thank You

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Courtesy of Chatwick University Archives

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.

We accept no responsibility

Faux Detective

Married Couple Ballroom Blitz

There is a certain upper class jewelle emporium with a branch located in a rather large shopping centre. Recently across the way a fancy dress shoppe opened that custom tailors one of a kind dresses and gowns and tuxes.

The managers of the two stores managers came up with the idea of on weekends having their male employees dress in tuxes, while the predominately female clerks would wear gowns, dresses and jewelry loaned prospectively from each store.

 

One weekend just after term, a female clerk in a long flowing gown of satin and lace, regally shimmering in the diamond pendent earrings and ring she wore with it, waited upon a long haired, smartly attired young lady in search of a dress to wear at a posh affair. As she tried on a satin number that made her look like a movie star(which she decidedly was not) she could not take her eyes off the clerks jewellery. The clerk let her have a closer look and informed her exuberantly that they could be purchased at the Jewelle Emporium across the way.

 

The lady soon had a far off look in her eyes…

 

A Married couple were out for an evening attending an upper end ( although the sponsor’s would never admit the it was that exclusive) Charity Ball. It was being held to help defray the costs for the charities’ good works( for which the family member’s holding offices, president ,vice prescient, treasurer etc, received Lordly salaries in range of six figures!)

 

It was a large affair, the cavernous ballroom filled to capacity. The wealthy couple in their ten year marriage(after a five year engagement) were used to partying and they had quite a time of it, mingling, dancing, drink and enjoying various other forms of social merriment.

 

An existing Photograph shows them to be a very handsome couple that evening( as they always were). Him in a pristine tuxedo, black with tails , top hat and real silver knobbed cane, he sported a thinly trimmed reddish beard and devilish look sprouting from his steel grey eyes. She was the epitome of elegance and fine breeding, her well-endowed figure elegantly encased in a stunning long, slickly “wet appearing ” satin gown of a rich shade of teal. It gracefully flowed along, literally pouring along down her figure, accentuating every suggestive curve of her body. Also along that figure, Jewels, alive with fiery rippling sparks as they peeked seductively from her ears, neckline and wrists! They were a valuably matched display, set with vibrant diamonds and deep green emeralds. Her long bare fingers were home to several diamond encrusted rings, including, of course, the much talked about emerald, ruby and diamond friendship ring that held court magnificently on her petite left ring finger. Her longish flaming red hair was held up by even more jewels, a dazzling pair of diamond and emerald encrusted green enameled clips.

 

At the end of the evening , a short time after the “witching hour” the couple retired to their suite in the upper floors of the posh five star hotel located near the royally named venue that held the Charity Ball .

They went by foot, walking along the mist filled streets to their hotel, reaching their destination with no upsetting incidents. A little surprising considering how the couple were decked out for the evening.

But such is the nature of the ultra--wealthy, they believe their station places them above such lowly deeds, such as being victims of a crime, until it actually happens right under their upturned noses, or when someone makes a statement that jolts them into the realty of such disdainful things occurring…

They entered their room, full of anticipation of the night’s activities that lay ahead of them. A vaise of fresh roses lay on an antique oak table in one corner of the room, next to a bottle of chilled champagne and an assortment of cheese ,shelled nuts and sweet meats. The wife turned to her husband and made a comment, she thought in jest; the crackers offered by the hotel were not the ones she fancied, like the ones at the Ball. Eager, as always, to please his rather innocent bride, the husband offered to dash out right away to the ballroom to see if he could commandeer some of them for her, he promised not to tarry.

He left before she could stop him, she being in the process of removing her wrap; she put it back on and went to the door to hail her husband back. Opening the door she called out down the hall to her departing husband. Immediately she realized her mistake as the man turned, and she let out a little squeal of alarm. It was not her husband, but a stranger in a dapper black suit and sporting a finely trimmed beard. She, clutching her wrap tightly about her, the end of her gown flowing out from beneath the satin cover, she apologized, and he came to her, no problems he said, smiling winningly. She noticed that his jovial eyes were looking her over, as had so seen so many men do that evening, it was a performance that she had gotten used to. Actually, He went on, I missed your door, and he held out an official card identifying himself as an agent of Interpol. We are warning everyone in this hotel about a suspected robbery to occur this evening. She gasped robbery? He went on; I would like to speak to you and your husband when he returns. He may be gone for a bit she informed him, but what do you mean by a robbery?

 

He motioned for her to step back inside her suite; she did so, her heart still pounding by his mention of a potential robbery. He explained they were after an international jewel thief known as “Le Sheppard” whose trail had led them to a charity ball being held close by the hotel this evening. She gasped again, we were there, a, a jewel thief was there also? Still flabbergasted by his words she closed and automatically locked the door behind him. He explained that he was working with hotel security to inform the guests of the danger of losing their valuables, particularly jewelry, that evening. Other agents were covering the other hotels in the area. It was believed that “Le Sheppard” would strike sometime that evening at one of them, and they wanted to catch him red handed in the act of lifting some pretty lady’s jewels, but did not want to risk him getting away with any.

 

His job was to suggest that the female guest of the hotel place their jewels either in the room’s private vault, or the hotels main vault that evening for safekeeping. If you wish, I could take your jewels down to the main vault for you, he offered politely, indicating a small pouch at his side that held several leather cases. She gulped, buying into his story, but she bulked at allowing them to be placed in the vault, saying she would feel better if they were locked safely away in her suite. He then told her that the hotel safe was more secure, that even a novice thief would have no trouble sneaking into a suite, than emptying a rooms vault of its valuables. She smiled demurely, he would have to deal with my husband first. Ah, he said, your husband, what an incredibly lucky man he is to have a wife as breathtakingly beautiful as you are.

  

She actually bought into the man’s eloquent charms, as he inflated her ego by continuing on by telling the lady she looked absolutely stunning in the gown she wore, and had her swirl around so he could admire it from all angles. As she did he caught her, steadying her, didn’t want you to fall young lady. She was sure he was lying, that he was “copping a feel” as her girlfriend’s would say, but strangely she did not care, and even found it rather nice.

 

He also went on to glowing offer a few remarks on her loveliness, which made her blush even deeper, setting off her gowns color even more so than she did already. And so, with her now putty in his hands, she quite willingly received his advice on locking up her jewels immediately, and graciously accepted offer to help her as she removed her bracelet’s, necklace and rings( except her friendship one) in preparation. Even the clips he had her removed, which she did, shaking her long hair so that it fell down in fetching curls alongside her beaming face. She was feeling very thankful for the charming gentleman’s obvious concern over her losing her jewels to some rotten miscreant.

 

My husband likes my hair down anyway she had said to him, what do you think, she asked, almost purring, as he accepted this stranger now as a kind friend. But than your beautiful earrings wouldn’t sparkle he said logically. Exactly she answered, giving one of them a flick, I’m glad you see it my way. Definitely, I always like a lady to display her jewels proudly; it’s what I tell my wife he added. Are those screw fastened he asked, lifting up the other earring, watching it sparkle. Yes she said, and began to undo them, the whole set is antique, very old fashioned she admitted, they have been in my husband’s family for generations. My wife won’t wear earrings that fasten that way; too afraid they will slip off, an vanish he said, showing concern. My husband worries also she said confidently, that’s why all of our jewels are insured to the hilt, she admitted in a practical voice.

 

After all of the shimmering jewelry she was wearing about her person had been removed and piled onto the small antique oak table, he looked her over, up and down. He then suggested removing the rhinestone brooch from her gown, which, when she reached down to her waist to do so, found it was missing, not even a tear was apparent in her fine shiny gown from where it had been dangling . She looked at him, deeply perplexed, he opened his palm, displaying the shimmery brooch, and said that “Le Sheppard” had twice the skill as he had. Still stunned, she watched him produced one of the leather cases from the pouch at his side, compliments of the hotel, he said, opening it up. She smiled winningly as he had her place her jewels carefully inside. All the while she thanked him so much for the hotels concern. Not feeling him take her brooch off of her very person had made her now jittery as to what a real thief could do. He told her to think nothing of it, and with a sharp bow, pointed to her room’s small vault, high in a corner, its steel door set with a combination wheel and metal handle.

 

She walked over and as she opened the safe he primly turned his back as to not witness the vaults combination. When she had it opened he turned and handed her the case, telling her it was compliments of the hotel. As she took it from him and placed it inside, nestling it amongst several other small black cases, he noticed her friendship ring, that’s very pretty miss, he complimented her. She raised her hand in front of him so he could receive a better view and appreciate the rings fiery brilliance.

He caught her hand, admiring the wickedly sparkling ring. They both admired it, the jewel feverishly exploding with firework like pinpricks of colour. You should place that in the safe also m’lady( she like him calling her that) No worries dear sir, I sleep with this one. He took hold of the ring, “Le Sheppard” is known for his ability to slip off ladies jewelry as she sleeps, especially pretty rings, and remember your brooch? She gave a small gulp as she remembered not even suspecting it had been taken, you right she said, why take chances. She moved it along her finger, but it held snug. I suggest you us a little soap and water, the ring should come right off and we can both sleep better knowing it is securely locked away. She obediently went into the bath and did as he suggested. When she came out he was waiting for her at attention next to the open safe, it appeared that he had not changed his position even the slightest. He pulled out a silk handkerchief and drying the her finger, then took the ring and wrapped it up, then handed it to her and she took it, feeling the rings weight in the wrapped handkerchief, and placed it on top of the case. He closed the vault and spun the combination and tried the door, it held fast. Then with a curt little bow, he let himself out , telling her to lock the door behind him, let no one else in but your husband.

Later when the husband returned she told him about the visitor. He thought that it was very wise for security to warn the guests, and have the ladies lock up all their jewels as a precaution for when the thief struck. Hope the catch the cheeky blighter. Nervy of him to break into peoples rooms as they slept and steal a ladies jewels. Happened to my Grand-mum once, though it was when she was staying at our country manor.

He than opened the vault, saw the new case and the handkerchief, added his silver watch to the pile , closed and relocked it securely.

They slept in late the next morning and it wasn’t until they were getting ready to head out for breakfast that the young wife opened the safe to retrieve her friendship ring that she discovered the silk handkerchief contained, not her valuable ring, but a small walnut from the assortment on the antique stand. Further, looking inside the case he had had her place her evening jewels, she discovered in was empty as were the small back cases that had held some more of her jewellery, not worn out the evening before. The only item of value in the vault was her husband’s silver watch.

The debonair faux detective had left the wife’s luxurious suite, vanishing into the night, with almost £63000 worth of fine jewelry.

  

Courtesy of Chatwick University Archives

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DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

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