+++ DISCLAIMER +++

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

  

Some background:

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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. The tail wheel was semi-retractable on the prototype, but it was 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 performance. Many aircraft were retrofitted with this update in the field workshops in the summer of 1940.

 

In parallel, production switched to the Swallow Mk. II: This new version, which reached the frontline 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement; as a benchmark, the contemporary Hurricane II achieved only 340 mph (547 km/h).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its model – is based on a profile drawing 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

Many donation parts for the Swallow, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

+++ DISCLAIMER +++

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

  

Some background:

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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. The tail wheel was semi-retractable on the prototype, but it was 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 performance. Many aircraft were retrofitted with this update in the field workshops in the summer of 1940.

 

In parallel, production switched to the Swallow Mk. II: This new version, which reached the frontline 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement; as a benchmark, the contemporary Hurricane II achieved only 340 mph (547 km/h).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its model – is based on a profile drawing 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

Many donation parts for the Swallow, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

Sidaway Bridge, Cleveland, OH

 

Cleveland's only suspension style bridge which was built in 1931. The area underneath the bridge is known as Kingsbury Run; the site of the unsolved "Torso" murders in the 1930's.

I took Sly and the Family Stone's "There's a Riot Goin' On" album to the capitol. As Wikipedia notes, "Stone's intention of a darker, more conceptual work was influenced by [...] political assassinations, police brutality, the decline of the civil rights movement and social disillusionment." People came despite an unsolved political murder this morning.

This is just for fun.For all of you who enjoy what I do,as a thank you,here it is.A capture of me being silly as always.You may see me through my captures here as a really dark person with a million problems and a huge unsolved emotional difficulties.But the truth is that I am a truly happy person with lots of humor.

This shot is also for me,to be positive and smiley again.

Spread the word and join

My Facebook Page

  

To Love a Scoundrel by Kristina Cook

 

HE'S NOTORIOUS FOR HIS WICKED WAYS...

Frederick Stoneham thoroughly enjoys the life he leads as one of London's most disreputable rogues. When his father arranges for him to wed Lady Eleanor Ashton, he believes his decadent lifestyle can carry on uninterrupted. After all, he remembers Eleanor to be plain and timid--not the kind of wife who will demand attention or insist he leave his mistress. But Frederick has change of heart when he sees the striking beauty Eleanor has become...

 

CAN SHE REFORM HIM?

Eleanor is stunned to discover she is to wed Frederick Stoneham--the man she has secretly pined after for years, despite his reputation. When Frederick's former mistress tells her a horrible lie, Eleanor feels betrayed. But Frederick's persistence--and a passion that refuses to be ignored--are slowly melting Eleanor's resolve. Now Frederick must prove to Eleanor that his days as a rake are in the past and that she is the only woman he will ever love...

 

April Greiman: You can't fake the Cha-Cha

  

April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. Museums and galleries were few and it was impossible to get a decent cup of coffee. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.

 

Soon after she settled in Los Angeles, a friend offered to take her to the desert. “Death Valley?” she said. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. “The desert is its own educational vehicle,” she says. “While most processes occur at an invisible or microscopic level, the desert reveals its evolution in its very existence. I felt as if, for the first time, my eyes were wide open to the process of evolution, to growth, to change.”

 

Ten years later, in 1984, the Macintosh was making an unsteady entry into the design market. Most designers were skeptical of — if not completely opposed to — the idea of integrating the computer into design practice, perhaps fearing an uncertain future wherein the tactility of the hand was usurped by the mechanics of bits and bytes. A visionary few, including April Greiman, recognized the vast potential of this new medium. An avid fan of tools and technologies since childhood, Greiman quickly established herself as a pioneer of digital communications design. “The digital landscape fascinates me in the same way as the desert,” she says. This fascination comes from the core of her being, a core of perpetual curiosity and questioning that fuels her desire to explore and inspires the cutting-edge design work that places her at the helm of integrated design at the close of the twentieth century.

 

Born during the baby boom and raised in New York, Greiman was endowed with a curious spirit from the beginning, and grew up in a house where questioning was encouraged and adventure was a part of life. Greiman had excellent role models in her father, mother, and her great aunt Kitty, a strong and independent woman who had danced with the Ziegfeld Follies and made excellence in her career a top priority. Greiman recalls her mother as a calm, grounding influence and her father as a curious, wandering explorer who was easily distracted by whatever interesting thing crossed his path; affectionately, they called him “the original astronaut” because he was perpetually lost in the space of his own imagination. Neighbors called her family “The Flying Greimans” because they were always looking up, searching for interesting phenomena, and traveling by air.

 

A professional dancer with the Fred Astaire Dance School in New York City, Renee Greiman performed on television and taught classes, often enlisting the young April as a dance partner. As a result, April relates, she still knows how to do the cha-cha, mambo, waltz, tango, merengue, fox trot, rumba, and limbo. But perhaps her most important lesson from her mother came from her often-repeated saying, “April, you can’t fake the cha-cha.” From an early age, Greiman learned that integrity and immersion were critical elements in one’s art.

 

Her formal design education began shortly after she settled on the idea of going to art school and applied to Rhode Island School of Design. Though she failed miserably on the part of the application that required her to draw a pair of old boots, the dean of admissions pointed out that her portfolio was very strong in graphics and suggested that she apply to the graphic design program at Kansas City Art Institute. Having no idea how one might define graphic design or what it meant, she nonetheless took his suggestion and was accepted into the program.

 

At KCAI, Greiman was introduced to the principles of Modernism by Inge Druckrey, Hans Allemann, and Chris Zelinsky, all of whom had been educated at the Basel School of Design in Switzerland. Inspired by this experience, she went to Basel for graduate school. As a student of Armin Hoffman and Wolfgang Weingart in the early 1970s, Greiman explored the Intermational Style in depth, as well as Weingart’s personal experiments in developing an aesthetic that was less reflective of the Modernist heritage and more representative of a changing, post-industrial society. Weingart introduced his students to what is now called the New Wave, a more intuitive, eclectic departure from the stark organization and neutral objectivity of the grid that sent shock waves through the design community. Wide letterspacing, changing type weights or styles within a single word, and the use of type set on an angle were explored, not as mere stylistic indulgences but in an effort to expand typographic communication more meaningfully. Within a decade, the impact of Weingart and the students who studied with him was evident everywhere: the aesthetic had been widely co-opted and imitated, with the original intent long forgotten or known to only a few.

 

Greiman was one of those who remembered. In her work, she continued to explore typographic meaning and began experimenting with ways to alter the two-dimensional space of the page and reimagine it as a more three- and four-dimensional continuum of time and space. In her first job after moving to Los Angeles, Greiman hired Jayme Odgers, who had previously worked as an assistant to Paul Rand, to shoot a series of photographs. This collaboration with Odgers would lead to two experiences that would greatly influence the direction that her life would take — he introduced her to the desert, a journey that would forever influence her way of thinking and being; and shortly after, they formed a creative partnership that was to last for four years and produce some highly visible work. Notable projects include a 1979 poster for California Institute of the Arts that Odgers art directed and photographed, the 1980 China Club Restaurant and Lounge advertisements, and a poster, designed in 1982, for the 1984 Olympics.

 

When CalArts invited her to direct its graphic design program in 1982, she committed herself to exploring design education and also gained access to state-of-the-art video and digitizing equipment. She immersed herself in being an educator as well as in the new media, spending her spare time traversing the digital terrain in a quest for image-making potential. She began using video and analogue computers to hybridize, combining different elements through the new media. Greiman knew intuitively that the field of graphic design was rapidly changing and that emerging technologies would soon be integrated into everyday design practice. In 1984 she lobbied successfully to change the department name to Visual Communications, feeling that the term “graphic design” would prove too limiting to future designers. Later that year, with her business booming, she decided to switch gears and become a student rather than an educator, to study the effect of technology on her own work. She returned to full-time practice and acquired her first Macintosh.

 

Also in 1984, Greiman also completed a poster for Ron Rezek titled “Iris Light” that was significant for its innovative use of video imagery and integration of New Wave typography with classical design elements. This work incorporated a still video image at a time when this meant shooting a traditional photograph off the monitor using a 35mm camera. “Iris Light” represented a turning point in Greiman’s work: it is the first hybrid piece incorporating digital technology that Greiman felt was conceptually and aesthetically successful. Of the video image, she says, “Instead of looking like a bad photograph, the image was gestural. It looked like a painting; it captured the spirit of light.” In this case, the video technology integrated with the concept of light: light from the video screen combined with light from the lamp resulted in an image wherein the form matched the content.

 

Greiman’s California New Wave typography and mixed-media design had been rocking the Modernist boat for a few years when she undertook a major assault upon the design community’s sensibilities and preconceptions of what constitutes design in 1986, in an issue of Design Quarterly. Published by the Walker Art Center, edited by Mildred Friedman, and directed toward an intermational design audience, each issue of Design Quarterly focused on a specific theme. Greiman was not only the focus of issue #133, she was invited to design it and show her own work.

 

Greiman saw Design Quarterly #133 as an opportunity not only to present her digital work but to ask a larger question of the work and the medium: Does it make sense? Reading Wittgenstein on the topic, she identified with his conclusion: “It makes sense if you give it sense.” She says, “I love this notion which exists in physics as well — that the observer is the observed, and the observed is the observer. The tools and technologies begin to dictate what and how you see something, or how the outcome is predictable. These ideas bring back the kid in me, that very pure curiosity.” Greiman’s piece challenged existing notions of what a magazine should be. Rather than the standard thirty-two-page sequence, she reformatted the piece as a poster that folded out to almost three by six feet. On the front is an image of Greiman’s digitized, naked body amid layers of interacting images and text. On the back, colorful atmospheric spatial video images are interspersed with thoughtful comments and painstaking notations on the digital process — a virtual landscape of text and image. Beyond considering whether digital technologies made sense, the Design Quarterly poster seemed to embody the disillusionment of a nation deeply wounded by the Vietnam war and shaped by the growth of feminism, spiritualism, Eastern religion, Jungian archetypes, and dream symbolism. “Does It Make Sense?” was also an astounding technical feat. The process of integrating digitized video images and bitmapped type was not unlike pulling teeth in the early days of Macintosh and MacDraw. The files were so large, and the equipment so slow that she would send the file to print when she left the studio in the evening and it would just be finished when she returned in the morning. One morning, after she had arrived and was assembling the tiled image, it was clear that something big was missing. For some reason, her body had not printed, though everything else was there. While the technical details of the mystery of the missing body remained unsolved, its later reappearance on the pages presented another problem — Greiman didn’t like the way her right breast looked. The reproduction process had flattened her and the light was strange. So, in what may well be the first MacDraw breast replacement; she cloned and flopped her left breast and placed it on the right side of her body.

 

Before the appearance of “Does It Make Sense?” designers widely considered bit-mapped type and imagery not only unorthodox but unacceptable, straying too far from the clean, crisp precision of the Intermational Style. The computer itself was viewed as cold and unfriendly, wildly expensive, and a harbinger of the demise of fine design. After the publication of Design Quarterly #133, many designers felt compelled to reconsider the role of the computer in design practice. Greiman’s willingness to ask the question, and to place it at the center of the design community, triggered countless debates about computers, context, and creativity.

 

Greiman warmly recalls receiving a phone call from Massimo Vignelli soon after he saw the poster. “I have just one question,” he said. “When do I get the other side?” A Modernist’s query? Perhaps, but more clearly an indicator of the departure Greiman had made from the coolly classical to the intensely personal, poetic, and digital, and in particular of the giant step that she had boldly taken into what had been very much a man’s world.

 

Greiman sees herself as a natural bridge between the Modernist tradition and future generations of designers. Given her classical education at KCAI and graduate studies with Hoffman and Weingart at Basel, she possesses the knowledge and skills of the Modernist tradition. And yet she is a vocal advocate of the new aesthetic, defending both the visual and conceptual aesthetics, as well as new technologies, to skeptics. “In the tradition of graphic design in the twentieth century, you had to be either a great typographer, a great designer/illustrator, or a great poster designer. Now we are confronted with motion graphics, the World Wide Web, and interactive applications. The world has changed and the field is changing to meet it.” Greiman is adamant that we must be open to new paradigms, to new metaphors, to a whole new spirit of design: “It’s not just graphic design anymore. We just don’t have a new name for it yet.”

 

New paradigms emerge in Greiman’s own studio including what may be a new model of the contemporary design studio, reflective of cultural shifts. Greiman acts as both a generalist and a specialist. “I don’t hire graphic designers anymore. The idea of many designers working in virtual isolation is no longer relevant. I hire collaborators who are specialists in their own fields — a web master, a researcher, a production artist — depending on the project.” As a generalist, she is involved in all phases of the projects. As a specialist, the concept and design are ultimately her own. In this new studio structure, each collaborator is an expert in his or her field, with Greiman as the tie that binds. In order to expand her research into new technologies and image generation, Greiman created Greimanski Labs as a conceptual offshoot of her studio. She describes the laboratory as a place for research and exploration in the development of non-commercial images and projects. Regardless of client, the lab works in a variety of media ranging from traditional photography to new tools and technologies.

 

One of the original Flying Greimans speaks with great enthusiasm of her newest large-scale project, “Inventing Flight,” originally titled “A Century of Flight.” Greiman worked with a team of experts to develop an active approach to the concept instead of fixing the notion of flight in the past. For the event — a celebration of 100 years of flying to take place in Dayton, Ohio, in 2003 — Greiman and her team are developing a total identity — motion graphics, website, collateral materials, exhibitions, and an interactive installation. Greiman has taken her passion for science and technology and immersed herself in every detail of the history of flight. The celebratory event is particularly significant to her because it addresses the early stages of bringing information into space and the information revolution. “I love it when things come full circle like this,” she says. “Everything is related, and makes this wonderful loop of interconnection.”

 

Further expanding the very broad scope of her work, Greiman often collaborates with architects on spaces and environments, with most of her contribution in the areas of color, finishes, and materials. She sees these three- and four-dimensional collaborations as yet another aspect of hybridizing, in which she considers ideas of integration of building and landscape, interior and exterior, inner and outer selves. Miracle Manor, a business and creative collaboration with architect Michael Rotondi, is an ideal forum for such explorations.

 

Greiman sees the site as an opportunity to explore her own personal interests in color, myth, symbolism, and space in real time. “The entire place is sort of a laboratory,” she notes, and one begins to realize that for Greiman, everything is a laboratory. From her investigations at the leading edge of the California New Wave to her pioneering work in digital media and hybrid processes, Greiman sets an example for future generations of designers to be willing to ask the questions that need to be asked.

 

Copyright 1998 by The American Institute of Graphic Arts.

The phenomenon of the female homicides in Ciudad Juárez, called in Spanish the feminicidios ("femicides") and las muertas de Juárez ("The dead women of Juárez"), involves the violent deaths of hundreds of women since 1993 in the northern Mexican city of Ciudad Juárez, Chihuahua, a border city across the Rio Grande from the U.S. city of El Paso, Texas. The estimated homicide toll is speculated by authorities to be about 400, but many local residents believe that the true count of los feminicidios stands at an estimated 5,000 victims. Most of the cases remained unsolved as of 2003, and are still unsolved today.

 

According to the Organization of American States's Inter-American Commission on Human Rights: The victims of these crimes have preponderantly been young women, between 12 and 22 years of age. Many were students, and most were maquiladora workers. A number were relative newcomers to Ciudad Juarez who had migrated from other areas of Mexico. The victims were generally reported missing by their families, with their bodies found days or months later abandoned in vacant lots, outlying areas or in the desert. In most of these cases there were signs of sexual violence, torment, torture or in some cases disfigurement

 

Despite past and current unsolved murders in August 2006 the federal government dropped its investigation, concluding that no federal laws had been violated. Source

+++ DISCLAIMER +++

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

  

Some background:

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 was a very modern and lightweight all-metal construction, its profile resembled the Hawker Hurricane but its overall dimensions were smaller, the Swallow appeared more squatted and streamlined, almost like a race version. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. Unlike the Spitfire, though, the Swallow’s main landing gear had a wide track and retracted inwards. The tail wheel was semi-retractable on the prototype, but it was 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 performance. Many aircraft were retrofitted with this update in the field workshops in the summer of 1940.

 

In parallel, production switched to the Swallow Mk. II: This new version, which reached the frontline 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement; as a benchmark, the contemporary Hurricane II achieved only 340 mph (547 km/h).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Being a very agile aircraft, the Swallow Mk. II became the basis for a photo reconnaissance version, too, the PR Mk. II. This was not a true production variant of the Swallow, though, but rather the result of field modifications in the MTO where fast recce aircraft were direly needed. The RAF Service Depot at Heliopolis in Egypt had already converted several Hurricanes Is for photo reconnaissance duties in January 1941, and a similar equipment update was developed for the nimble Swallow, too, despite its limited range.

The first five Swallow Mk. IIs were modified in March 1941 and the machines were outfitted with a pair of F24 cameras with 8-inch focal length lenses in the lower rear fuselage, outwardly recognizable through a shallow ventral fairing behind the cooler. Some PR Mk. IIs (but not all of them) were also outfitted with dust filters, esp. those machines that were slated to operate in Palestine and Northern Africa. For night operations some PR Mk. IIs also received flame dampers (which markedly reduced the engine’s performance and were quickly removed again) or simpler glare shields above the exhaust stacks.

 

The machines quickly proved their worth in both day and night reconnaissance missions in the Eastern Mediterranean theatre of operations, and more field conversions followed. Alternative camera arrangements were developed, too, including one vertical and two oblique F24s with 14-inch focal length lenses. More Swallow Mk. IIs were converted in this manner in Malta during April (six) and in Egypt in October 1941 (four). A final batch, thought to be of 12 aircraft, was converted in late 1941.

 

Even though the Swallow PR Mk. IIs were initially left armed with the wing-mounted light machine guns, many aircraft lost their guns partly or even fully to lighten them further. Most had their wing tips clipped for better maneuverability at low altitudes, a feature of the Swallow Mk. III fighter that had been introduced in August 1941. Some machines furthermore received light makeshift underwing shackles for photoflash bombs, enabling night photography. These were not standardized, though, a typical field workshop donor were the light bomb shackles from the Westland Lysander army co-operation and liaison aircraft, which the Swallow PR Mk. IIs partly replaced. These allowed a total of four 20 lb (9.1 kg) bombs or flash bombs for night photography to be carried and released individually through retrofitted manual cable pulls. The mechanisms were simply mounted into the former machine gun bays and the pilot could release the flash bombs sequentially through the former gun trigger.

 

For duties closer to the front lines a small number of Swallow PR Mk. IIs were further converted to Tactical Reconnaissance (Tac R) aircraft. An additional radio was fitted for liaison with ground forces who were better placed to direct the aircraft, and the number of cameras was reduced to compensate for the gain of weight.

 

However, by 1942, the Swallow had already reached its limited development potential and became quickly outdated in almost any aspect. Since the Supermarine Spitfire had in the meantime been successfully introduced 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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 381 mph (614 km/h) at 20,000 ft (6,096 m)

Range: 360 miles (580 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:

No internal guns

2x underwing hardpoints for a pair of 19-pound (8.6 kg) photoflash bombs each

  

The kit and its assembly:

This is the third incarnation of a whif that I have built some time ago for a Battle of Britain Group Build at whatifmodellers.com. This fictional machine – or better: its model – is based on a profile drawing 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 with RAF markings. It was IIRC a nameless design, so that I created my own for it: the Avro 675 Swallow, inspired by the bird's slender wing and body that somehow resonates in the clean B.35 lines (at least for me).

 

I’ve already built two of these fictional aircraft as early WWII RAF fighters, but there was still potential in the basic concept – primarily as a canvas for the unusual livery (see below). The basis became, once again, the vintage KP Models B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, though, especially on the exterior, you get a mix of engraved and raised surface details. But the kit’s fit is mediocre at best, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

Many donation parts for the Swallow, beyond the Merlin engine, propeller and (underwing) radiator, and pitot, were taken in this case from a Revell 1:72 Spitfire Mk. V. Inside of the cockpit I used more Spitfire donor material, namely the floor, dashboard, seat and rear bulkhead/headrest with a radio set. The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. 

 

New landing gear wells had to be carved out of the massive lower wing halves. Since the original drawn Swallow profile did not indicate the intended landing gear design, I went for an inward-retracting solution, using parts from the Spitfire and just mounted them these “the other way around”. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s acceptable and I stuck to this solution as I already used it on former Swallow builds, too. But now I know why the real-world B.135 prototype had its landing gear retract outwards – it makes more sense from an engineering point of view.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape are a very good match, even though there’s a small gap to bridge – but that’s nothing that could not be mended with a bit of 2C putty and PSR. A styrene tube inside of the donor engine holds a styrene pipe for a long metal axis with the propeller, so that it can spin freely. The large chin fairing for a dust filter is a transplant from an AZ Models Spitfire, it helps hide the ventral engine/fuselage intersection and adds another small twist to this fictional aircraft. From the same source came the exhaust stacks, Revell’s OOB parts are less detailed and featured sinkholes, even though the latter would later hardly be recognizable.

With the dust filter the Swallow now looks really ugly in a side view, it has something P-40E-ish about it, and the additional bulge behind the radiator for the cameras (certainly not the best place, but the PR Hurricanes had a similar arrangement) does not make the profile any better!

 

Further small mods include anti-glare panels above and behind the exhaust stacks (simple 0.5 mm styrene sheet), and the small underwing flash bombs were scratched from styrene profile material.

  

Painting and markings:

The livery was the true motivation to build this model, as a canvas to try it out: Long ago I came across a very interesting Hawker Hurricane camouflage in a dedicated book about this type, a simple all-over scheme in black blue, also known as “Bosun Blue”, together with very limited and toned-down markings. As far as I could find out this livery was used in the Middle East and later in India, too, for nighttime photo reconnaissance missions.

 

However, defining this color turned out to be very difficult, as I could not find any color picture of such an aircraft. I guess that it was not a defined color, but rather an individual field mix with whatever was at hand – probably roundel blue and black? Therefore, I mixed the obscure Bosun Blue myself, even though this took some sorting out and experiments. I initially considered pure Humbrol 104 (Oxford Blue) but found it to have a rather reddish hue. FS 35042 (USN Sea Blue) was rejected, too, because it was too greenish, even with some black added. I eventually settled on a mix of Humbrol 15 (Midnight Blue) and 33 (Flat Black), which appeared as a good compromise and also as a very dark variant of a cyan-heavy blue tone.

The cockpit interior and the inside of the landing gear wells were painted with RAF cockpit green (Humbrol 78), while the landing gear struts became aluminum (Humbrol 56) – pretty standard.

 

The decals/markings were puzzled together from various sources. Using a real-world RAF 208 Squadron MTO night photography Hurricane as benchmark I gave the aircraft a light blue individual code letter (decals taken from the Revell Spitfire Mk. V's OOB sheet, which has the letters’ Sky tone totally misprinted!). The spinner was painted in the same tone, mixed individually to match the letter.

Markings were apparently generally very limited on these machines, e. g. they did not carry any unit letter code) and the Type B roundels only on fuselage and upper wings. The latter were improvised, with wacky Type B-esque roundels from a Falkland era Sea Harrier placed on top of RAF roundels with yellow edges. The sources I consulted were uncertain whether these rings were yellow, white, or maybe even some other light color, but I went for yellow as it was the RAF's markings standard. Looks odd, but also pretty cool, esp. with the Type B roundels’ slightly off proportions.

The subdued two-color fin flash on the dark aircraft was/is unusual, too, and following real world practice on some PR Hurricanes I added a thin white edge for better contrast. The small black serial on a white background, as if it was left over from an overpainted former fuselage band, came from a Latvian Sopwith Camel (PrintScale sheet); in RAF service N8187 would have been used during the pre-WWII period and therefore a plausible match for the Swallow, even though it belongs to a batch of RN aircraft (It would probably have been a Fairey Fulmar)..

 

No black ink washing was applied to the model due to its dark overall color, just the cockpit and the landing gear were treated this way. Some light weathering and panel shading was done all over, and soot stains as well as light grey “heat-bleached” areas due to lean combustion around the exhausts were painted onto the fuselage. Finally, everything was sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) were added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during former builds of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and the all-blue livery suits the aircraft well! . At first glance, the Swallow looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. You might also think that it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match, it’s a quite subtle creation.

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines – even though the dust filter and the camera fairing strongly ruin the side profile. Maybe another one will join my RAF Swallow collection someday, this time in Irish Air Corps colors.

 

There was never any doubt I would go to Rob's funeral. Rob was born just two weeks before me, and in our many meetings, we found we had so much in common.

 

A drive to Ipswich should be something like only two and a half hours, but with the Dartford Crossing that could balloon to four or more.

 

My choice was to leave early, soon after Jools left for work, or wait to near nine once rush hour was over. If I was up early, I'd leave early, I said.

 

Which is what happened.

 

So, after coffee and Jools leaving, I loaded my camera stuff in the car, not bothering to program in a destination, as I knew the route to Suffolk so well.

 

Checking the internet I found the M2 was closed, so that meant taking the M20, which I like as it runs beside HS2, although over the years, vegetation growth now hides most of it, and with Eurostar cutting services due to Brexit, you're lucky to see a train on the line now.

 

I had a phone loaded with podcasts, so time flew by, even if travelling through the endless roadworks at 50mph seemed to take forever.

 

Dartford was jammed. But we inched forward, until as the bridge came in sight, traffic moved smoothly, and I followed the traffic down into the east bore of the tunnel.

 

Another glorious morning for travel, the sun shone from a clear blue sky, even if traffic was heavy, but I had time, so not pressing on like I usually do, making the drive a pleasant one.

 

Up through Essex, where most other traffic turned off at Stanstead, then up to the A11 junction, with it being not yet nine, I had several hours to fill before the ceremony.

 

I stopped at Cambridge services for breakfast, then programmed the first church in: Gazeley, which is just in Suffolk on the border with Cambridgeshire.

 

I took the next junction off, took two further turnings brought be to the village, which is divided by one of the widest village streets I have ever seen.

 

It was five past nine: would the church be open?

 

I parked on the opposite side of the road, grabbed my bag and camera, limped over, passing a warden putting new notices in the parish notice board. We exchange good mornings, and I walk to the porch.

 

The inner door was unlocked, and the heavy door swung after turning the metal ring handle.

 

I had made a list of four churches from Simon's list of the top 60 Suffolk churches, picking those on or near my route to Ipswich and which piqued my interest.

 

Here, it was the reset mediaeval glass.

 

Needless to say, I had the church to myself, the centuries hanging heavy inside as sunlight flooded in filling the Chancel with warm golden light.

 

Windows had several devotional dials carved in the surrounding stone, and a huge and "stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast" which caught my eye.

 

A display in the Chancel was of the decoration of the wooden roof above where panels contained carved beats, some actual and some mythical.

 

I photographed them all.

 

I programmed in the next church, a 45 minute drive away just on the outskirts of Ipswich, or so I thought.

 

The A14 was plagued by roadworks, then most trunk roads and motorways are this time of year, but it was a fine summer morning, I was eating a chocolate bar as I drove, and I wasn't in a hurry.

 

I turned off at Claydon, and soon lost in a maze of narrow lanes, which brought be to a dog leg in the road, with St Mary nestling in a clearing.

 

I pulled up, got out and found the air full of birdsong, and was greeted by a friendly spaniel being taken for a walk from the hamlet which the church serves.

 

There was never any doubt that this would be open, so I went through the fine brick porch, pushed another heavy wooden door and entered the coolness of the church.

 

I decided to come here for the font, which as you can read below has quite the story: wounded by enemy action no less!

 

There seems to be a hagioscope (squint) in a window of the south wall, makes one think or an anchorite, but of this there is little evidence.

 

Samuel and Thomasina Sayer now reside high on the north wall of the Chancel, a stone skull between them, moved here too because of bomb damage in the last war.

 

I drove a few miles to the next church: Flowton.

 

Not so much a village as a house on a crossroads. And the church.

 

Nothing so grand as a formal board outside, just a handwritten sign say "welcome to Flowton church". Again, I had little doubt it would be open.

 

And it was.

 

The lychgate still stands, but a fence around the churchyard is good, so serves little practical purpose, other than to be there and hold the signs for the church and forthcoming services.

 

Inside it is simple: octagonal font with the floor being of brick, so as rustic as can be.

 

I did read Simon's account (below) when back outside, so went back in to record the tomb of Captain William Boggas and his family, even if part of the stone is hidden by pews now.

 

I had said to myself, that if I saw signs for another church, I might find time to visit. And so it was with Aldham, I saw the sign pointing down a narrow lane, so I turned and went to investigate.

 

First it looked like the road ended in a farmyard, but then I saw the flint round tower of the church behind, so followed the lane to the church gate.

 

There was a large welcoming sign stating, proudly, that the church is always open.

 

St Mary stands on a mound overlooking a shallow valley, water stand, or runs slowly, in the bottom, and it really is a fine, fine location for a church.

 

I pushed through the gate and went up the path to the south porch, where the door swung open once again.

 

The coolness within enveloped me.

 

An ancient font at the west end was framed by a brick-lined arch, even to my untrained eyes, I knew this was unusual.

 

There were some carved bench ends, some nice fairly modern glass, but the simplicity of the small church made for a very pleasant whole.

 

I no longer watch TV much, so was unaware of the view and indeed church being used in the TV show, The Detectorists.

 

One of Suffolk's hidden treasures, for sure.

 

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

 

I cycle past this church often - or, at least, the top of the lane that leads down to it. Traffic rushes along the busy Ipswich to Sudbury road not far off, but there is a quieter, parallel road which not many people seem to know about. It leaves Ipswich through Sproughton and will take you all the way to Sudbury, visiting the likes of Burstall, Kersey and Little Waldingfield on the way. Aldham as a village is little more than a straggle of houses, but they lie along this road, and just beyond a cluster of houses you take a sudden turn to the left, on to a pretty track to Aldham Hall. Down through fruit trees you descend, until the walls become older, and there at the end are the farm buildings. Beyond them, is this pretty church.

 

If the church is pretty, the view from it is doubly so - to the south, the land drops away alarmingly, into a valley full of sheep. You may even think you recognise it, and you could well be right, for the second season of the popular TV series The Detectorists was filmed here, as a small display in the porch of the church reminds you. The church appeared in the opening credits of each programme, the two main characters searching for buried treasure in Aldham Vale below the churchyard.

 

This is lovely, and splendidly English. Nothing could be more peaceful. But beyond, the land rises to a dark sea of trees, the mysteriously named Wolves Wood, now an RSPB reserve. Looking along to the right, the other hilltop is where the Protestant preacher Roland Taylor was burned at the stake in the 1550s, a site of pilgrimage for his many American descendants. Whatever your reading of the English Reformation, Taylor's burning was a terrible event. One imagines the villagers gathered outside this church, watching the flames and smoke rise.

 

I remembered the first time I came here, back in the 1990s. We arrived on one of those humid, overcast summer days, on our way to the Bildeston Beer Festival. My young children scattered off to play hide and seek with their mother in the precipitous graveyard. An elderly man was pottering about, looking at 19th Century graves, so I apologised for my family (as you do). But he seemed genuinely pleased that they were running about like mad things. He was tracing his family, and had come down from Norfolk to look for a particular grave of an ancestor. And he'd found it. He was pretty pleased about that, too. He was also following up a theory that his ancestor had been a Rector of this parish. His address had been Aldham Rectory. Did I have any idea how he could find out? I suggested that the church might have a board of 'Rectors of this Parish'. Many do. These are a pleasant Victorianism, intended to overcome the 16th Century breach by claiming a history of the CofE that extended back before the Reformation. We could go inside, and take a look. And we did - the church was militantly open, the inner door wedged wide. We found the board - but the name wasn't there. So, the mystery remained unsolved.

 

This church was pretty well derelict by the mid 19th Century, and underwent a fairly late restoration, in 1883. The tower was rebuilt, as was the south wall of the nave. The roofs were replaced, giving an overwhelmingly Victorian appearance, although Sam Mortlock detected the Norman, and possibly Saxon, ancestor. The hill itself suggests a very early foundation, perhaps on a site of pagan worship.

 

The architect was WM Fawcett, and there was another restoration of the inside in the early 20th Century under the eyes of diocesan surveyor and renowned antiquarian H Munro Cautley. The resulting interior is one of those neat and shiny jobs that is certainly grand, and pleasant enough, but rather dated now. Our early 21st Century spirituality seems to respond more to dusty, ancient interiors than to these High Church ritualisations. But you get a sense of a church that is still much loved, well-cared for, and used regularly.

 

Aldham parish have gone one further than a wedged-open door, and a big sign has been erected at the bottom of the lane proclaiming that Our Church is Always Open, and so it is easy to step inside. And it is not without survivals, some of them fascinating. The benches are mostly Cautleys from the 1920s, but he incorporated a couple of earlier ones. These are unlike anything else I've seen in Suffolk, and their primitive quality suggests a local origin. The one to the west apparently shows a bear, or possibly a lion. My first impulse was that it was some kind of heraldic device, but what is the shaved off object it holds in its mouth, and is the pattern emerging from beneath the head really fur? Back in 1999, my six year old took one look at it and decided that the creature isn't eating the bird, but the bird is flying out of its mouth. Could it be a dove? And could the three objects issuing from beneath the head actually be tongues of fire? In which case, could this be some strange composition representing Pentecost, and the descent of the Holy Spirit?

 

In the spandrel above the bear, or whatever it is, there is a lily, the symbol of the Annunciation. But it is also a symbol of the crucifixion. It calls to mind the rare lily crucifixes, of which just two are known to survive in Suffolk, at Long Melford and Great Glemham. Could this be an unrecorded third? The other bench end is probably easier to read. The crown is obvious enough. The star and crescent are familiar from representations of the crucifixion. The pike is a familiar instrument of the Passion. And, if you look in the spandrel above, you'll see a crown of thorns, so this may well be a composition representing the Passion.

 

A third bench end, to the east, shows just a simple spiked tool, that looks as if it might have been used in thatching. So, what's it all about? They are all a bit of a mystery, really.

And what of the font? This is curious too. It appears to be Norman, but a second glance finds it too elegant, too finely detailed. The pillars are almost Classical in design, and the whole piece has a touch of the 18th Century about it. Was it brought here from somewhere else in the 1880s? Or is it a Victorian recutting of a Norman predecessor? Whatever, the revealed brickwork of the late medieval tower arch looks most fitting behind it.

 

To see Cautley's work in its full glory, step up into the chancel for the reredos and its flanking niches, as grand as a side-chapel in a French cathedral. Cautley was usually a safe pair of hands in these churches he loved so well, but I wonder what he had been thinking to impose this triumphalism on this pretty little country church. Alfred Wilkinson's contemporary glass above it suits it well, but even so it is rather hard to imagine the same thing happening today. Postdating it by a few decades is a set of arms for Elizabeth II above the south doorway. East Anglia has no more than half a dozen sets, and these ones are rather good.

 

Standing in the nave and looking east to the splendour of the reredos, it is hard to imagine the real glory that once was here. But John Nunn contacted me, to tell me about a will he has a copy of. In 1525, his ancestor Robert Clifford declared: I bequeath I will have the rood there upon the candlebeam set up higher and Mary & John and two new angels and the breast under the rood korvyn and when that is done I will have all this painted and guilt whatsoever the cost. I will have bought two standards of brass stand in the choir and I will my executors bestow therein 40/-. I will my executors shall buy four candlesticks of brass for the candlebeam, I give six kine unto the church of Aldham to keep my obit with as long as the world stand.

 

What does all this mean? Firstly, you have to remember that England was a devoutly Catholic country in 1525, and the fittings of the church were for the actions of the Catholic liturgy. In the late 15th and early 16th Centuries, all Suffolk churches had a rood in place. This was a representation of the crucifixion, set above the chancel arch. On the left hand side of the cross always stood the Virgin Mary, and on the other side stood St John. Often, the wall behind was painted. The rood either hung on the wall, or was supported by a beam. However, there was always a beam that ran below it for candles to be lit on. This was called the candlebeam, or rood beam. The candles were placed on it by individuals or guilds as part of the process of prayer, particularly prayer for the souls of the dead. A rood loft ran beside it for access, and the space beneath was infilled with a rood screen. To make the rood even more glorious, the roof above was panelled, and the panels were painted blue, with gold stars, and perhaps Marian monograms. This was called the canopy of honour, or more simply, the coving (rendered delightfully in Suffolk dialect as Korvyn above.)

 

Robert Clifford was paying for a simple rood to be made more glorious. He was going to have it placed higher, with a new canopy of honour. He was paying for brass candlesticks to replace wooden candlestocks.

 

Why? Simply, the medieval economy of grace depended upon the living praying for the dead, and the dead praying for the living. In donating glorious things to his church, Clifford was ensuring that he would be remembered. The roodscreen would have a dedicatory inscription with his name on. He was saying - I won't forget you, don't you forget me. The Catholic liturgy formalised prayers for the dead in the form of obit masses.These were said on the anniversary of someone's death in perpetuity. The proceeds of the sale of the six cows (kine) would be invested, probably in land to be rented, to pay a priest to say these masses - as long as the world shall stand; that is, for ever.

 

Unfortunately, 'for ever' didn't last very long. Prayers for the dead were declared illegal by the protestant reformers in the late 1530s. By 1547, every single rood in the land had been toppled and burned. The rood lofts were hacked down, along with many of the candle beams (although about ten beams survive in Suffolk) and most of the rood screens were also destroyed (about 50 survive in Suffolk).

 

Nothing of Robert Clifford's gifts survive at Aldham. All the gilt would have been stripped, the brass candlesticks melted down, and the proceeds sequestered by the King's commissioners. The collected glory of all the churches of England was squandered by Henry VIII on high living, and on the expensive and pointless siege of Boulogne. A sad thought.

 

When I first came here in 1999, I remember the graveyard was full of wild thyme and especially sorrel, which we gathered in handfuls and ate later in the day with fresh trout and new potatoes. Twenty years have passed since then, and it was too early for the sorrel this year. Instead I just stood, and looked out across the gentle valley, the sheep cropping their way slowly westward. It was easy to recognise the opening of The Detectorists in the vale below. And I looked beyond to Wolves Wood, and the site of Roland Taylor's martyrdom. Hard to imagine such history happening to such a modest little parish.

  

Simon Knott, March 2019

 

www.suffolkchurches.co.uk/aldham.htm

Narasimha (Sanskrit: नरसिंह IAST: Narasiṁha, lit. man-lion), Narasingh, Narsingh and Narasingha in derivative languages is an avatar of the Hindu god Vishnu and one of Hinduism's most popular deities, as evidenced in early epics, iconography, and temple and festival worship for over a millennium.

 

Narasiṁha is often visualised as having a human-like torso and lower body, with a lion-like face and claws. This image is widely worshipped in deity form by a significant number of Vaiṣṇava groups. Vishnu assumed this form on top of Himvat mountain(Harivamsa). He is known primarily as the 'Great Protector' who specifically defends and protects his devotees in times of need. Vishnu is believed to have taken the avatar to destroy the demon king Hiranyakashipu.

 

ETYMOLOGY

The word Narasimha means 'lion-man' which usually means 'half man and half lion'. His other names are:

- Agnilochana (अग्निलोचन) - the one who has fiery eyes

- Bhairavadambara (भैरवडम्बर) - the one who causes terror by roaring

- Karala (कराल) - the one who has a wide mouth and projecting teeth

- Hiranyakashipudvamsa (हिरण्यकशिपुध्वंस) - the one who killed Hiranyakashipu

- Nakhastra (नखास्त्र) - the one for whom nails are his weapons

- Sinhavadana (सिंहवदन) - the whose face is of lion

- Mrigendra (मृगेन्द्र) - king of animals or lion

 

SCRIPTURAL SOURCES

There are references to Narasiṁha in a variety of Purāṇas, with 17 different versions of the main narrative. The Bhagavata Purāṇa (Canto 7), Agni Purāṇa (4.2-3), Brahmāṇḍa Purāṇa(2.5.3-29), Vayu Purāṇa (67.61-66), Harivaṁśa (41 & 3.41-47), Brahma-Purāṇa (213.44-79), Viṣṇudharmottara Purāṇa(1.54), Kūrma Purāṇa (1.15.18-72), Matsya Purāṇa(161-163), Padma Purāṇa(Uttara-khaṇḍa 5.42), Śiva Purāṇa (2.5.43 & 3.10-12), Liṅga Purāṇa (1.95-96), Skanda Purāṇa 7 (2.18.60-130) and Viṣṇu Purāṇa (1.16-20) all contain depictions of the Narasiṁha Avatāra. There is also a short reference in the Mahābhārata (3.272.56-60) and a Gopāla Tapani Upaniṣad (Narasiṁha tapani Upaniṣad), earliest of Vaiṣṇava Upaniṣads named in reference to him.

 

REFERENCES FROM VEDAS

The Ṛg Veda contains an epithet that has been attributed to Narasiṁha. The half-man, half-lion avatāra is described as:

- like some wild beast, dread, prowling, mountain-roaming.

Source: (RV.I 154.2a).

 

There is an allusion to a Namuci story in RV.VIII 14.13:

- With waters' foam you tore off, Indra, the head of Namuci, subduing all contending hosts.

 

This short reference is believed to have culminated in the full puranic story of Narasiṁha.

 

LORD NARASIMHA AND PRAHLADA

Bhagavata Purāṇa describes that in his previous avatar as Varāha, Viṣṇu killed the asura Hiraṇayakṣa. The younger brother of Hirṇayakṣa, Hiraṇyakaśipu wanted revenge on Viṣṇu and his followers. He undertook many years of austere penance to take revenge on Viṣṇu: Brahma thus offers the demon a boon and Hiraṇyakaśipu asks for immortality. Brahma tells him this is not possible, but that he could bind the death of Hiraṇyakaśipu with conditions. Hiraṇyakaśipu agreed:

- O my lord, O best of the givers of benediction, if you will kindly grant me the benediction I desire, please let me not meet death from any of the living entities created by you.

- Grant me that I not die within any residence or outside any residence, during the daytime or at night, nor on the ground or in the sky. Grant me that my death not be brought about by any weapon, nor by any human being or animal.

- Grant me that I not meet death from any entity, living or nonliving created by you. Grant me, further, that I not be killed by any demigod or demon or by any great snake from the lower planets. Since no one can kill you in the battlefield, you have no competitor. Therefore, grant me the benediction that I too may have no rival. Give me sole lordship over all the living entities and presiding deities, and give me all the glories obtained by that position. Furthermore, give me all the mystic powers attained by long austerities and the practice of yoga, for these cannot be lost at any time.

 

Brahma said, Tathāstu (so be it) and vanished. Hiraṇyakaśipu was happy thinking that he had won over death.

 

One day while Hiraṇyakaśipu performed austerities at Mandarācala Mountain, his home was attacked by Indra and the other devatās. At this point the Devarṣi (divine sage) Nārada intervenes to protect Kayādu, whom he describes as sinless. Following this event, Nārada takes Kayādu into his care and while under the guidance of Nārada, her unborn child (Hiraṇyakaśipu's son) Prahālada, becomes affected by the transcendental instructions of the sage even at such a young stage of development. Thus, Prahlāda later begins to show symptoms of this earlier training by Nārada, gradually becoming recognised as a devoted follower of Viṣṇu, much to his father's disappointment.

 

Hiraṇyakaśipu furious at the devotion of his son to Viṣṇu, as the god had killed his brother. Finally, he decides to commit filicide. but each time he attempts to kill the boy, Prahlāda is protected by Viṣṇu's mystical power. When asked, Prahlāda refuses to acknowledge his father as the supreme lord of the universe and claims that Viṣṇu is all-pervading and omnipresent.

 

Hiraṇyakaśipu points to a nearby pillar and asks if 'his Viṣṇu' is in it and says to his son Prahlāda:

O most unfortunate Prahlāda, you have always described a supreme being other than me, a supreme being who is above everything, who is the controller of everyone, and who is all-pervading. But where is He? If He is everywhere, then why is He not present before me in this pillar?

 

Prahlāda then answers,

He was, He is and He will be.

 

In an alternate version of the story, Prahlāda answers,

He is in pillars, and he is in the smallest twig.

 

Hiraṇyakaśipu, unable to control his anger, smashes the pillar with his mace, and following a tumultuous sound, Viṣṇu in the form of Narasiṁha appears from it and moves to attack Hiraṇyakaśipu. in defence of Prahlāda. In order to kill Hiraṇyakaśipu and not upset the boon given by Brahma, the form of Narasiṁha is chosen. Hiraṇyakaśipu can not be killed by human, deva or animal. Narasiṁha is neither one of these as he is a form of Viṣṇu incarnate as a part-human, part-animal. He comes upon Hiraṇyakaśipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disembowels and kills the demon.

 

Kūrma Purāṇa describes the preceding battle between the Puruṣa and demonic forces in which he escapes a powerful weapon called Paśupāta and it describes how Prahlāda's brothers headed by Anuhrāda and thousands of other demons were led to the valley of death (yamalayam) by the lion produced from the body of man-lion avatar. The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasiṁha advent.

 

It is said that even after killing Hiraṇyakaśipu, none of the present demigods are able to calm Narasiṁha's wrath.So the demigods requested Prahlada to calm down the Lord,and Narasimha,who had assumed the all-powerful form of Gandaberunda returned to more benevolent form after that. In other stories,all the gods and goddesses call his consort, Lakṣmī, who assumes the form of Pratyangira and pacifies the Lord. According to a few scriptures, at the request of Brahma, Shiva took the form of Sharabha and successfully pacified him. Before parting, Narasiṁha rewards the wise Prahlāda by crowning him as the king.

 

NARASIMHA AND ADI SANKARA

Narasiṁha is also a protector of his devotees in times of danger. Near Śrī Śailaṁ, there is a forest called Hatakeśvanam, that no man enters. Śaṅkarācārya entered this place and did penance for many days. During this time, a Kāpālika, by name Kirakashan appeared before him.

 

He told Śrī Śaṅkara that he should give his body as a human-sacrifice to Kālī. Śaṅkara happily agreed. His disciples were shocked to hear this and pleaded with Śaṅkara to change his mind, but he refused to do so saying that it was an honor to give up his body as a sacrifice for Kālī and one must not lament such things. The Kāpālika arranged a fire for the sacrifice and Śaṅkara sat beside it. Just as he lifted his axe to severe the head of Śaṅkara, Viṣṇu as Narasiṁha entered the body of the disciple of Śaṅkarācārya and Narasiṁha devotee, Padmapada. He then fought the Kāpālika, slayed him and freed the forest of Kapalikas. Ādi Śaṅkara composed the powerful Lakṣmī-Narasiṁha Karāvalambaṁ Stotram at the very spot in front of Lord Narasiṁha.

 

MODE OF WORSHIP

Due to the nature of Narasiṁha's form (divine anger), it is essential that worship be given with a very high level of attention compared to other deities. In many temples only lifelong celibates (Brahmācārya) will be able to have the chance to serve as priests to perform the daily puja. Forms where Narasiṁha appears sitting in a yogic posture, or with the goddess Lakṣmī are the exception to this rule, as Narasiṁha is taken as being more relaxed in both of these instances compared to his form when first emerging from the pillar to protect Prahlāda.

 

PRAYERS

A number of prayers have been written in dedication to Narasiṁha avatāra. These include:

- The Narasiṁha Mahā-Mantra

- Narasiṁha Praṇāma Prayer

- Daśāvatāra Stotra by Jayadeva

- Kāmaśikha Aṣṭakam by Vedānta Deśika

- Divya Prabandham 2954

- Sri Lakshmi Narasimha Karavalamba Stotram by Sri Adi Sankara

 

THE NARASIMHA MAHA-MANTRA

- oṁ hrīṁ kṣauṁ

- ugraṁ viraṁ mahāviṣṇuṁ

- jvalantaṁ sarvatomukham ।

- nṛsiṁhaṁ bhīṣaṇaṁ bhadraṁ

- mṛtyormṛtyuṁ namāmyaham ॥

- O' Angry and brave Mahā-Viṣṇu, your heat and fire permeate everywhere. O Lord Narasiṁha, you are everywhere. You are the death of death and I surrender to You.

 

NARASIMHA PRANAMA PRAYER

- namaste narasiṁhāya,

- prahlādahlāda-dāyine,

- hiraṇyakaśipor vakṣaḥ,

- śilā-ṭaṅka nakhālaye

- I offer my obeisances to Lord Narasiṁha, who gives joy to Prahlāda Mahārāja and whose nails are like chisels on the stone like chest of the demon Hiraṇyakaśipu.

- ito nṛsiṁhaḥ parato nṛsiṁho,

- yato yato yāmi tato nṛsiṁhaḥ,

- bahir nṛsiṁho hṛdaye nṛsiṁho,

- nṛsiṁhaṁ ādiṁ śaraṇaṁ prapadye

- Lord Nṛsiṁha is here and also there. Wherever I go Lord Narasiṁha is there. He is in the heart and is outside as well. I surrender to Lord Narasiṁha, the origin of all things and the supreme refuge.

 

DASAVATARA STOTRA BY JAYADEVA

- tava kara-kamala-vare nakham adbhuta-śrṅgaṁ,

- dalita-hiraṇyakaśipu-tanu-bhṛṅgam,

- keśava dhṛta-narahari-rūpa jaya jagadiśa hare

- O Keśava! O Lord of the universe. O Hari, who have assumed the form of half-man, half-lion! All glories to You! Just as one can easily crush a wasp between one's fingernails, so in the same way the body of the wasp-like demon Hiraṇyakaśipu has been ripped apart by the wonderful pointed nails on your beautiful lotus hands. (from the Daśāvatāra-stotra composed by Jayadeva)

 

KAMASIKHA ASTAKAM BY VEDANTA DESIKA

- tvayi rakṣati rakṣakaiḥ kimanyaiḥ,

- tvayi cārakṣāti rakṣākaiḥ kimanyaiḥ ।

- iti niścita dhīḥ śrayāmi nityaṁ,

- nṛhare vegavatī taṭāśrayaṁ tvam ॥8॥

- O Kāmaśikhā Narasiṁha! you are sarva śakthan. When you are resolved to protect some one, where is the need to seek the protection of anyone else? When you are resolved not to protect some one, which other person is capable of protecting us?. There is no one. Knowing this fundamental truth, I have resolved to offer my śaraṇāgatī at your lotus feet alone that rest at the banks of Vegavatī river.

 

DIVYA PRABANDHAM 2954

- āḍi āḍi agam karaindhu isai

- pāḍip pāḍik kaṇṇīr malgi engum

- nāḍi nāḍi narasingā endru,

- vāḍi vāḍum ivvāl nuthale!

- I will dance and melt for you, within my heart, to see you, I will sing in praise of you with tears in joy, I will search for Narasiṁha and I am a householder who still searches to reach you (to attain Salvation).

 

SYMBOLISM

Narasiṁha indicates God's omnipresence and the lesson is that God is everywhere. For more information, see Vaishnav Theology.

 

Narasiṁha demonstrates God's willingness and ability to come to the aid of His devotees, no matter how difficult or impossible the circumstances may appear to be.

 

Prahlāda's devotion indicates that pure devotion is not one of birthright but of character. Prahlāda, although born an asura, demonstrated the greatest bhakti to God, and endured much, without losing faith.

 

Narasiṁha is known by the epithet Mṛga-Śarīra in Sanskrit which translates to Animal-Man. From a philosophical perspective. Narasiṁha is the very icon of Vaiṣṇavism, where jñāna (knowledge) and Bhakti are important as opposed to Advaita, which has no room for Bhakti, as the object to be worshipped and the worshipper do not exist. As according to Advaita or Māyāvāda, the jīva is Paramātma.

 

SIGNIFICANCE

In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṁha is one of the most chosen themes and amongst [[Avatar]|Avatāra]]s perhaps next only to Rāma and Kṛṣṇa in popularity.

 

Lord Narasiṁha also appears as one of Hanuman's 5 faces, who is a significant character in the Rāmāyaṇa as Lord (Rāma's) devotee.

 

FORMS OF NARASIMHA

There are several forms of Narasiṁha, but 9 main ones collectively known as Nava-narasiṁha:

- Ugra-narasiṁha

- Kroddha-narasiṁha

- Vīra-narasiṁha

- Vilamba-narasiṁha

- Kopa-narasiṁha

- Yoga-narasiṁha

- Aghora-narasiṁha

- Sudarśana-narasiṁha

- Lakṣmī-narasiṁha

 

In Ahobilam, Andhra Pradesh, the nine forms are as follows:

- Chātra-vata-narasiṁha (seated under a banyan tree)

- Yogānanda-narasiṁha (who blessed Lord Brahma)

- Karañja-narasiṁha

- Uha-narasiṁha

- Ugra-narasiṁha

- Krodha-narasiṁha

- Malola-narasiṁha (With Lakṣmī on His lap)

- Jvālā-narasiṁha (an eight armed form rushing out of the pillar)

- Pavana-narasiṁha (who blessed the sage Bharadvaja)

 

Forms from Prahlad story:

- Stambha-narasiṁha (coming out of the pillar)

- Svayam-narasiṁha (manifesting on His own)

- Grahaṇa-narasiṁha (catching hold of the demon)

- Vidāraṇa-narasiṁha (ripping open of the belly of the demon)

- Saṁhāra-narasiṁha (killing the demon)

 

The following three refer to His ferocious aspect:

- Ghora-narasiṁha

- Ugra-narasiṁha

- Candā-narasiṁha

 

OTHERS

- Pañcamukha-Hanumān-narasiṁha, (appears as one of Śrī Hanuman's five faces.)

- Pṛthvī-narasiṁha, Vayu-narasiṁha, Ākāśa-narasiṁha, Jvalana-narasiṁha, and

- Amṛta-narasiṁha, (representing the five elements)

- Jvālā-narasiṁha (with a flame-like mane)

- Lakṣmī-narasiṁha (where Lakṣmī pacifies Him)

- Prasāda/Prahlāda-varadā-narasiṁha (His benign aspect of protecting Prahlad)

- Chatrā-narasiṁha (seated under a parasol of a five-hooded serpent)

- Yoga-narasiṁha or Yogeśvara-narasiṁha (in meditation)

- Āveśa-narasiṁha (a frenzied form)

- Aṭṭahasa-narasiṁha (a form that roars horribly and majestically strides across to destroy evil)

- Cakra-narasiṁha, (with only a discus in hand)

- Viṣṇu-narasiṁha, Brahma-narasiṁha and Rudra-narasiṁha

- Puṣṭi narasiṁha, (worshipped for overcoming evil influences)

 

EARLY IMAGES

In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṁha. Standing cult images of Narasiṁha from the early Gupta period, survive from temples at Tigowa and Eran. These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṁha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta-period temples: one at Madhia and one from a temple-doorway now set into the Kūrma-maṭha at Nachna, both dated to the late fifth or early sixth century A.D.

 

An image of Narasiṁha supposedly dating to second-third century AD sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṁha as yet known". This figure depicts a furled brow, fangs, and lolling tongue similar to later images of Narasiṁha, but the idol's robe, simplicity, and stance set it apart. On Narasiṁha's chest under his upper garment appears the suggestion of an amulet, which Stella Kramrisch associated with Visnu's cognizance, the Kauṣtubha jewel. This upper garment flows over both shoulders; but below Hiranyakasipu, the demon-figure placed horizontally across Narasiṁha's body, a twisted waist-band suggests a separate garment covering the legs. The demon's hair streams behind him, cushioning his head against the man-lion's right knee. He wears a simple single strand of beads. His body seems relaxed, even pliant. His face is calm, with a slight suggestion of a smile. His eyes stare adoringly up at the face of Viṣṇu. There is little tension in this figure's legs or feet, even as Narasiṁha gently disembowels him. His innards spill along his right side. As the Matsya purana describes it, Narasiṁha ripped "apart the mighty Daitya chief as a plaiter of straw mats shreds his reeds". Based on the Gandhara-style of robe worn by the idol, Michael Meiste altered the date of the image to fourth century AD.

 

Deborah Soifer, a scholar who worked on texts in relation to Narasiṁha, believes that "the traits basic to Viṣṇu in the Veda remain central to Viṣṇu in his avataras" and points out, however, that:

- we have virtually no precursors in the Vedic material for the figure of a man-lion, and only one phrase that simply does not rule out the possibility of a violent side to the benign Viṣṇu.

 

Soifer speaks of the enigma of Viṣṇu's Narasiṁha avatāra and comments that how the myth arrived at its rudimentary form [first recorded in the Mahābhārata], and where the figure of the man-lion came from remain unsolved mysteries.

 

An image of Narasiṁha, dating to the 9th century, was found on the northern slope of Mount Ijo, at Prambanan, Indonesia. Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.

 

CULTURAL TRADITION OF PROCESSION (SRI NRSIMHA YATRA)

In Rājopadhyāya Brahmins of Nepal, there is a tradition of celebrating the procession ceremony of the deity Narasiṁha avatar, in Lalitpur district of the Kathmandu Valley in Nepal. The Lunar fifth day of the waning phase of the moon, in the holy Soli-lunar Śrāvaṇa month i.e. on Śrāvaṇa Kṛṣṇa Pañcamī of the Hindu Lunar Calendar is marked as auspicious day for the religious procession, Nṛsiṁha Yātrā. This tradition of the holy procession has been held for more than a hundred years. This is one of the typical traditions of the Rājopadhyāya Bramhins, the Hindu Bramhans of the locality.

 

In this Nṛsiṁha Yātrā, each year one male member of the Rājopadhyāya community gets the chance to be the organizer each year in that particular day. He gets his turn according to the sequence in their record, where the names of Rājopadhyāya bramhins are registered when a brahmāṇa lad is eligible to be called as a Bramhan.

 

WIKIPEDIA

AR-Tetradrachme, Jahr 2 (= 37/38), Antiochia (Syria); 15.04 g. Kopf r. mit Lorbeerkranz//Drapierte Büste r. Prieur 64; RPC 4165.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com

 

Related Articles of Caligula from American Numismatic Society Library Search

 

Library Catalog Search (Preliminary Version)

Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)

Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)

Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)

Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.

Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)

Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)

Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)

Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)

Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)

Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.

Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)

Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)

Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)

Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)

Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.

Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.

Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)

Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)

Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)

Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)

Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)

Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)

Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)

Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)

Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)

Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)

Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.

Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).

Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.

Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)

Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)

Full Record: Julian, R. W. The coins of Caligula. (1994)

Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)

Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)

Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)

Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)

Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)

Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)

Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)

Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)

Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)

Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)

Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)

Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)

Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)

Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)

Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)

Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)

Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)

Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)

Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)

Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)

Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)

Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)

Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)

Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)

Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)

Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)

Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)

Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)

Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)

Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)

Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)

Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)

Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)

Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)

Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)

Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)

Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)

Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)

Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)

 

What is Johnny Kitties? See Johnny Kitties: Celebrating Johnny Depp for all the details. Visit the Johnny Kitties page for a full list of Johnny Depp's filmography and links to all previous Johnny Kitties blog posts.]

 

I really only wanted Johnny Depp for this role. I know there was a version of Russ Poole in someone else's hands that was just potentially boring, and uninteresting – and I knew in Johnny's hands, that would never be the case. – Director Brad Furman

 

This is the guy you want on the case.

Based on true events, City of Lies presents the intricate unsolved mystery around the murder of rapper Christopher Wallace – better known as the Notorious B.I.G. or Biggie Smalls – who was gunned down at a stop light after leaving an event in Las Vegas in 1997, just months after the similar death of rapper Tupac Shakur. Based on the nonfiction book LAbyrinth by Randall Sullivan, this film follows Detective Russell Poole (Johnny Depp) as he seeks and becomes obsessed with the truth – at the cost of his family, health and faith in the Los Angeles Police Department.

 

Why is everyone shooting each other?

City of Lies was a surprise release in 2021 that I found out about from Johnny himself when he publicized it on his Instagram account. (I could get used to this.) The movie was actually ready in 2018 but shelved days before it was supposed to be released. There are many theories why, but none provide a definitive explanation, so I will just take this sudden treat and forget about the drama around it.

 

This is a fast-paced, intense movie that presents plenty of theories of its own about the murder of Biggie Smalls. Detective Russell Poole was hot on the trail but hit roadblock after roadblock as he discovered involvement and cover-up activities by several of his fellow police officers in the Los Angeles Police Department. He became so obsessed with cracking the case that he studied it for more than 20 years, until his death in 2019.

 

The film was originally called LAbyrinth, after the book on which it's based, because that's what this investigation became. There are so many people involved, it took me a few viewings to track who they all were and why and how they took part. (I'm not sure I fully get it yet, but it doesn't matter.)

 

To help us along, Forest Whitaker plays an invented character, Darius "Jack" Jackson, a journalist who reported wrongly on the murder when it happened and is now trying to correct his past mistakes. He seeks out Detective Poole, hoping to figure things out together. "Jackson is a made-up character, but he's the kind of made-up character that's necessary because Poole's going through something very serious and very intense, and he's got no one to turn to," Johnny says.

 

This is not a spoiler: The murders of Biggie Smalls and Tupac Shakur remain unsolved. Despite the subject matter being more than 20 years old, the topic is extremely relevant today. Director Brad Furman hopes City of Lies will peak enough curiosity to keep the investigation going.

 

Was this one worth the wait?

Of course, my answer is yes!

 

City of Lies is like a mix of documentary and film noir styles. Director Brad Furman strove to give it a more realistic feel, and I think he succeeds. It starts off with a bang, literally – a case of seemingly unrelated L.A. road rage – and doesn't let up. It's dark, gritty and uses footage of actual news reports and interviews about Christopher Wallace's murder. In fact, his mother Voletta participated in one of the movie's scenes. The director read LAbrynth years ago and wanted to make the movie but wouldn't do so without the approval of both Wallace and Shakur families. He got it. And, with the untimely death of Russell Poole before production began, everyone involved with this film was committed to getting the message and story right for the real families involved. They still seek resolution and peace.

 

I was also really excited about Johnny and Forest Whitaker working together in City of Lies, so many years after their first movie together, Platoon. Apparently, they were keen about this chance, 32 years later! Most of their scenes were tense, argumentative and confrontational, as they pushed each throughout the investigation. "For me, Jackson is the alter ego of Poole, but mostly the pessimistic side. Mostly, Poole is facing a side of him that he is not and refuses to be, and Jackson is looking at a version of himself that he could never be," Johnny says. "He doesn't have that purity, that belief that you can make a difference – one man."

 

These two actors also work differently, as the director explains, "Forest had a lot of questions and wanted a lot of things from me that Johnny just wasn't asking. They have very different approaches and my hope and goal was that that would create some time of energy on screen that would be exciting for us to watch." The rest of the cast is full of fantastic character actors, who matched their energy and created a fitting murky, volatile atmosphere for them. Two standouts for me are Glen Plummer as Psycho Mike and Rockmond Dunbar as Dreadlocks. (They both have good hair.)

 

These days (and, really, always), I love seeing Johnny work without any accent or elaborate costume or disguise. It's in these kinds of roles that his talent as an actor really comes through clearly. Writer Randall Sullivan knows what I'm talking about: "When I watched the film, it really struck me more than it ever has that film actors have to be masters of such subtle expression. I mean, a lot of acting is done with the eyes. Johnny was really able to convey a lot of deep emotion that brought Russ back to me with a pretty stoic – apparently stoic – demeanor."

 

Here, Johnny plays an average, good guy whose work has taken over his life. I can see why he connected to this role of someone who will go to extremes to get to the truth. As the director explains, "I felt, in getting to know Johnny, there was a real innocence...He's a big believer in just truth and justice, simplicity. And, when you take all that, and you understand that he looks at it through this innocent lens, I felt that the role of Russell Poole fit just like a glove...I believe Johnny felt a real deep connection to the material and his fight for truth and justice. That was something we talked a lot about on Day 1."

 

True to form, Johnny did exhaustive research and met with the director for hours that day, during which they connected on everything from the book and character to life and music, in general. As usual, he added his own personal touches to this project, including friends Joe Perry on the soundtrack and activist Killer Mike in a scene.

 

Russell Poole steadfastly believed in the Homicide Investigator's Creed, which he taped to his desk: "No greater honor will ever be bestowed on an officer than when he is entrusted with the investigation of the death of a human being. It is his duty to find the facts regardless of color and creed." After being shut out by his fellow officers during the investigation, he quit weeks before his retirement, but continued the work on his own. He lost his family over his obsession with the truth and worked at it until the day he died. "It's shocking that the truth can actually be buried if a couple of powerful institutions want to collaborate to do it, but it leaves the people who know the truth in an unbearable situation because they can't unknow that truth," Writer Randall Sullivan says. "To live with the fact that it's being buried, in Russel Poole's case, it just sort of killed him day by day."

 

The Kitties are on the case now.

In this movie, I loved watching Forest Whitaker and Johnny in their tense scenes and how thoroughly Russell Poole worked to put the pieces together to solve his case. Here, our Kitties, Walter and Gordon, depict one of their fights, an argument that questions Detective Poole's integrity. That's not the right thing to question because you can see how his apartment was consumed by his work, everywhere you look. He was connecting the dots all over the walls.

 

What's next?

I'm still waiting to see Johnny as war photographer W. Eugene Smith in Minamata, which was supposed to be released last February 5 but wasn't. Is this some strange new Hollywood publicity tactic? It's okay. I'm game for another surprise movie treat. Minamata won't be any happier than City of Lies, but I'll be happy to see it whenever it shows up. Stay tuned....

In late 1945, mobster Bugsy Siegel and his "partners" came to Las Vegas.

Siegel opened The Flamingo Hotel & Casino at a total cost of $6 million on December 26, 1946.

The Flamingo's gaming tables were $275,000 in the red and the entire operation shut down in late January 1947. Bugsy promised profit from the Flamingo but the mob ran out of patience. On the night of June 20, 1947 in Beverly Hills Ca. an unknown assailant fired at him through the window with a .30-caliber military M1 carbine, hitting him many times, including twice in the head. No one was charged with the murder, and the crime remains officially unsolved.

Friday night deflation. Three picture mash-up. Doing my midnight 10,000 steps on Friday when I heard the unmistakable sound of air escaping from a lawn Santa. Turned on my camera, pulled out my duct tape, and rushed towards the noise. Too late. In the time it took to take these three pictures (4-seconds) Santa was just a pile of plastic mush on this North Toronto front lawn. Put the tape away and beat it out of there before the owners could accuse me of this heinous, but all too common, crime. Mid-town Toronto. Street photography with cell

 

Queensland State Archives Item ID ITM294496 Dept No.44

The murder of siblings Michael, Norah and Ellen Murphy near Gatton on Boxing Day 1898 sparked intense interest and speculation. All three were killed between 10pm and the early hours of the following morning on their way home from a dance that had been cancelled and the case remains unsolved to this day.

Contained within the QSA archived police files are pages of handwritten letters from across Queensland sent from members of the community convinced they could help solve the case using their spiritual gifts. Some are simply a few words on a scrap of paper, others take up many pages and go into lengthy detail about possible conspiracies. The police called the correspondence files ‘Astrologers, Dreamers, Theorists, etc’.

One of the more popular talks at TED 2012, I caught his glance as he was just starting.

 

And the ending:

 

"Between 2010 and 2020, 3 billion minds will come online and join the global conversation. These are voices you have never heard. What will they create and consume in this global economy? They will represent tens of trillions of annual purchasing power.

 

Consider the Fold It game from the University of Washington, where humans minds compete to figure out the difficult task of protein folding, outperforming supercomputers. What was unsolved in 15 years was solved in 15 days. Who is the best protein folder in the world? A Manchester woman who works as an EA in a rehab clinic by day and at night, she is the world’s best protein folder. That could only happen in our modern, connected world."

 

(Here is his video and a TED blog summary)

Set: Unsolved cases (Helsinki, Finland)

+++ DISCLAIMER +++

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

  

Some background:

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 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 in the summer of 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s 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).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Nevertheless, Avro kept on working 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 aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.

 

This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and 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 for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.

 

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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 366 mph (590 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:

2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG

4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG

  

The kit and its assembly:

This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing 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.

 

I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, 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 (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

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

 

New landing gear wells had to be carved out of 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, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.

 

Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.

 

The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L

 

Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.

Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.

 

Finally, I installed 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:

Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.

The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.

 

The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.

 

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 (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.

Long before the vampires of the Twilight trilogy captured the suspense seeking minds of audiences across America, MGM was thrilling the public with bloodsucking baddies, such as Carroll Borland in Mark of the Vampire. Complete with spidery eyelash and a vampy pout, the actress is perfectly captured by famed photographer Clarence S. Bull.

 

Starring Bela Lugosi, Lionel Barrymore, Elizabeth Allan, Lionel Atwill, Jean Hersholt, and Michael Visaroff. Directed by Tod Browning.

youtu.be/irNxN9PmE58 Trailer

synopsis

Mark of the Vampire is Tod Browning's remake of his own 1927 thriller London After Midnight, which unfortunately no longer exists. The sudden appearance of ghostly vampires in a remote mittel-European community is seemingly tied in with an old, unsolved murder case. Police inspector Neumann (Lionel Atwill) and occult expert Prof. Zelen (Lionel Barrymore) investigate, with the full cooperation of leading citizen Baron Otto (Jean Hersholt). For awhile, it looks as though the vampires -- Count Mora (Bela Lugosi) and his chalky-faced daughter Luna (Carroll Borland) -- will continue to hold the community in thrall, but the truth behind their mysterious activities is revealed midway through the film, whereupon the story concentrates on identifying the well-concealed murderer. In the original London After Midnight, Lon Chaney played both Count Mora and Prof. Zelen, which should provide a clue as to the film's incredible outcome.

review

 

Director Tod Browning's 1935 murder mystery Mark of the Vampire is essentially a lesser remake of two of his earlier films: 1927's Lon Chaney silent London After Midnight and 1931's Dracula with Bela Lugosi. Originally titled The Vampires of Prague, the film is most notable for its stunning conclusion, which reveals that the various murders being blamed on the supernatural have been committed by a more natural source. The bloodsucker father and daughter, played by Lugosi and Carol Borland, are given minimal screen time, but provide the film's best chills and appear to be the inspiration for Ed Wood's Plan 9 From Outer Space. This picture originally insinuated that Lugosi's vampire had an incestuous affair with Borland that resulted in a murder-suicide, leaving them both undead. This explains the mysterious bullet wound on the side of Lugosi's head throughout the film. However, MGM was wary after Browning's Freaks spawned great controversy, so cuts were made to ensure that Mark of the Vampire was safe for public consumption. The barely feature-length production looks rather stagey and the special effects are typical of the time (bats on strings, fake rats, etc.), but Browning's atmospheric style and the great cast, including Lionel Barrymore, Elizabeth Allan, and Lionel Atwill, makes this good entertainment. Cinematographer James Wong Howe shot test footage of Rita Hayworth for Borland's part.

 

+++ DISCLAIMER +++

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

  

Some background:

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 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 in the summer of 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s 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).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Nevertheless, Avro kept on working 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 aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.

 

This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and 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 for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.

 

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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 366 mph (590 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:

2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG

4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG

  

The kit and its assembly:

This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing 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.

 

I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, 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 (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

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

 

New landing gear wells had to be carved out of 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, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.

 

Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.

 

The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L

 

Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.

Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.

 

Finally, I installed 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:

Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.

The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.

 

The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.

 

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 (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.

+++ DISCLAIMER +++

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

  

Some background:

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 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 in the summer of 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s 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).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Nevertheless, Avro kept on working 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 aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.

 

This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and 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 for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.

 

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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 366 mph (590 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:

2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG

4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG

  

The kit and its assembly:

This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing 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.

 

I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, 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 (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

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

 

New landing gear wells had to be carved out of 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, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.

 

Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.

 

The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L

 

Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.

Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.

 

Finally, I installed 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:

Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.

The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.

 

The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.

 

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 (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.

КИЕВ 19 + Helios-81H MC 50mm ƒ/2 | Kodak ColorPlus 200 | Kuala Terengganu, Terengganu, MY.

the kitchen table.

 

and yes there is enough space for us to eat on it.

but I guess I do need to clean.

 

[if you want to see the stuff, the dremel for dog toenail grinding, leon's spinner camera and film, the coupon can, the flea stuff [in plastic], the pencil holder granddaughter cup, newspapers holding unsolved crossword puzzles, the box quiz's rock came in, the toothpick holder, etc, click on the L and then the big picture on of the 'view all sizes'.]

Photos: Me

 

"Faces masked, identities concealed,

In this asylum, reality's unsealed.

A labyrinth of visions, a puzzle unsolved,

Where truth and illusion intertwine, evolved."

 

Presented to you by Infinite Productions and The Freakout Group

 

Location: Lynch Psychiatric Asylum

Taxi: maps.secondlife.com/secondlife/Pearl%20Coast/187/146/43

 

Dresscode: Sinister Ensemble

 

3-4 pm HAZE

4-5 pm TRACI

5-7 pm Dj Talullah

7-8 pm Becka Blackrain LIVE

8-10 pm DJ Aisling

10pm-12 pm Shiny Starchild

After Party - ISYA

 

Visual FX and Poster: Myrdin Sommer

It's an ill wind that blows no one any good, at least not in Leaside. Walked past the house this morning and the owners had righted Santa's gift train and tightened up the guy wires. Midtown Toronto, Ontario CANADA

“Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

― Rainer Maria Rilke

www.kirtecarterfineartphotography.com

The Danube is Austria's principal river and the longest in Europe after the Volga. Although barely more than 300km/185mi of the river's total course of some 2,900km/1,800miles - from its source in South Germany to its outflow into the Black Sea in Romania - lie within Austria, the names of Austria and the Danube are so closely linked that it is difficult to think of the one without the other. As the only major European waterway flowing from west to east, the Danube has for thousands of years played an important part in the history of the many peoples through whose territory it flowed. It marked out the route of the great military highway which ran from the Rhine to the Black Sea; the Romans built a series of fortified camps such as Vindobona and Carnuntum along the valley; the legendary Nibelungs came this way; and here, too, passed the Celts, Charlemagne's Franks, Frederick Barbarossa's Crusaders and finally Napoleon. In the opposite direction, going upstream, Attila led his Huns towards France and the Avars and Hungarians pressed into western Europe. Great battles which decided the fate of Europe have been fought on the banks of the Danube: twice the West withstood Turkish assaults at Vienna, and at Aspern (now within the city limits of Vienna) Napoleon suffered his first defeat in 1809. The Danube and the regions along its banks have become threatened by attack from chemical waste and by the power stations which affect the water-balance. As a result, in recent years the idea of making the area below Vienna a protected national park has attracted considerable support; however, the problem of finance is as yet unsolved. Between the German frontier at Passau and the Upper Austrian town of Linz the Danube describes a series of great loops in the forest-fringed valley between the Mühlviertel to the north and the Innviertel to the south. Below Linz lies the Strudengau, a wooded defile between Ardagger and Ybbs, and beyond this, extending to Melk, stretches the Nibelungengau, with the conspicuous pilgrimage church of Maria Taferl. The best-known stretch is perhaps the Wachau, with a series of ancient little towns between Melk and Krems. Just beyond this, through the Tullner Basin, lies Vienna, and the low-lying area which extends eastward to Hainburg and Bratislava (the Czech Republic) begins to take on the aspect of the Hungarian puszta.

www.planetware.com/austria/danube-a-o-danu.htm

 

m/austria/danube-a-o-danu.htm

Dutch book about unsolved real crime by Bram Brakel (doden spreken niet), published by Kruseman, The Hague in 1968.

. . . 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

GWR 5700 Class 0-6-0PT No. 9768 at Birmingham (Snow Hill) on a warm and sunny 2nd July 1962 with a train of mineral wagons - disposal location still to be verified.

 

Photograph by Peter Hands

+++ DISCLAIMER +++

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

  

Some background:

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 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 in the summer of 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 redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s 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).

 

However, 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, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.

 

Nevertheless, Avro kept on working 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 aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.

 

This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and 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 for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.

 

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 Swallows were 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: 28 ft 1 in (8.57 m)

Wingspan: 33 ft 7 in (10.25 m)

Height: 8 ft 6 in (2.60 m)

Wing area: 153 ft² (16.40 m²)

Empty weight: 3,722 lb (1,720 kg)

Gross weight: 5,100 lb (2,315 kg)

 

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: 366 mph (590 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:

2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG

4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG

  

The kit and its assembly:

This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing 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.

 

I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, 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 (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.

 

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

 

New landing gear wells had to be carved out of 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, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.

 

The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.

 

Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.

 

The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L

 

Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.

Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.

 

Finally, I installed 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:

Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.

The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.

 

The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.

 

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 (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.

  

A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!

I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.

Look to the Lady

GyrthChaliceMystery.jpg

Penguin UK

 

Author

Margery Allingham

 

Country

United Kingdom

 

Language

English

 

Series

Albert Campion

 

Genre

Crime novel

 

Publication date

1931

 

Media type

Print (hardback & paperback)

  

Preceded by

Mystery Mile

 

Followed by

Police at the Funeral

 

Look to the Lady is a crime novel by Margery Allingham, first published January 1931, in the United Kingdom by Jarrolds Publishing, London, and in the United States by Doubleday, Doran, New York, as The Gyrth Chalice Mystery. It is the third novel featuring the mysterious Albert Campion, accompanied once more by his butler/valet/bodyguard Magersfontein Lugg.

  

Plot introduction[edit]

 

Albert Campion rescues Val Gyrth from the streets of London, to help him save a family heirloom, the Gyrth Chalice, from a band of devious criminals. In Suffolk, he reunites the son with his family, but soon one of them is found dead, and preventing the theft of the chalice must be combined with solving the mysterious death.

 

Plot summary[edit]

 

Val Gyrth, heir to the Gyrth family and their traditional vocation of guarding the famous Gyrth Chalice, is homeless and wandering the streets. After a mysterious chain of events, he is plucked out of danger by Albert Campion, who explains that a conspiracy of art collectors and criminals hopes to steal the treasure his family is charged with protecting.

 

Returning Gyrth to his family, in the village of Sanctuary in Suffolk, Campion is shocked when Val's aunt Di, a bohemian who upset the family by being photographed with the chalice, is found lying dead in a spooky forest clearing, apparently frightened to death.

 

With Val's 25th birthday, at which a great secret will be revealed to him, fast approaching, Campion and the Gyrths smuggle the chalice to London, evading ruthless crooks. There, they find it is a fake, a replacement made a few hundred years ago, while the genuine, thousand-year-old chalice remains out of sight. A crook informs them that someone named "Daisy" is behind the chalice thieves; Val is left in the safety of Campion's flat, protecting the decoy chalice.

 

Back in Sanctuary, Lugg has been frightened by a monster in the woods, perhaps the same thing that scared Aunt Di to death. Accompanied by the Gyrths' neighbour, a historian friend of Campion's, and a local woodsman, they trap the monster, revealed to be an aged witch of the village, protecting her slow-witted poacher son. They further learn that she was encouraged to frighten Aunt Di by someone named Daisy, and the local tells Campion that a local stable owner, whom Campion has met a few times already, is called Daisy.

 

Awaking after his long night in the woods, Campion learns that his flat has been attacked, the chalice taken and Val Gyrth vanished in pursuit. He rushes off, leaving instructions that a pouch be delivered to Gypsies staying nearby. Later, the chalice arrives by post, and Penny and Beth find Val in a field, bedraggled and exhausted but alive, with a White Campion in his buttonhole.

 

Campion strolls up to Mrs Shannon's stables, where he finds her playing cards with a band of well-known crooks, including a cat-burglar. Campion is locked in a room above the stables for a day, and visited by Mrs Shannon on the night of Val's birthday. Realising he knows too much, she pushes him through the floor into a stable with a wild, angry horse; he hides in a hay-feeder until rescued by Professor Cairey, who heard Daisy's name from the Munseys too. A gang of Gypsies, summoned by Campion's message, arrive and scatter Shannon's gang, but she escapes in a car. Campion follows on the wild horse, temporarily tamed by a gypsy.

 

Arriving at the Gyrth's Tower, he finds Mrs Shannon lowering herself from the roof to see into the window of a secret room, only lit up on the heir's birthday and rumoured to contain a fearsome secret that protects the chalice. Looking in, she goes white with fear and falls from her rope to her death.

 

Campion reveals that he had found Val, knocked out by the crooks he pursued in London, and sent him home before heading to the stables. Next day a representative of royalty arrives to inspect the chalice, and Campion and the Professor are permitted to join the party; taken to the secret room, they see the chalice guarded by the skeleton of a giant, clad in armour, and the chalice, a beautiful bowl of red gold and rubies.

 

Characters in Look to the Lady[edit]

Albert Campion, a mysterious adventurer of noble blood

Magersfontein Lugg, Campion's servant, an ex-criminal

Percival St. John Wykes Gyrth, known as Val, a young man of ancient family

Colonel Sir Percival Christian St John Gyrth, Val's father, bearer of the Gyrth secret

Penelope "Penny" Gyrth, Val's sister

Diana Gyrth, Lady Pethwick, Val's aunt, "Maid of the Cup" and friend to bohemians

Branch, their capable butler, an old cohort of Lugg

Professor Cairey, their neighbour, an expert in archaeology and folklore

Beth Cairey, the professor's charming daughter

Mrs Dick Shannon, a loud-voice, tactless local stable-owner

Percy Peck, a knowledgeable local woodsman

Mrs Munsey, hairless old crone of the village

Sammy Munsey, her son, the village idiot

Israel Melchizadek, a jeweller

 

+++ 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

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

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.

  

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

 

Chronicles of lifting Light B (Bridesmaids)

The alternate version of Chronicles of lifting Light C (The Reception Game)- Album

 

“ The wedding was a little over the top. The bride wanted her girl’s dresses to be something they would wear out again. A nice thought, but the gowns she found were a little too long for anything but formal evening wear, according to our girls who were asked to be part of the bridal party. The maid of honor wore a red satin version; midnight black satin was selected for the 6 bridesmaids.”

 

“A few years ago, “Ginny” was watching some type of show when I heard her squeal out. Our Golden Retriever ‘Sam’ meandered back in to see what all the fuss was about? I obediently followed. She pointed out to me an actress ( Emma Watson at the premier for NOAH) , That’s M’gown she exclaimed with enthusiasm, you remember, The ones your sister and I first wore for “Shiela’s” brides party, the one where your sister thought she had been ro… but she broke it off as something caught her attention on the telly.”

 

“Squirrel I thought, as Sam and I both looked. It was a black satin gown very strikingly similar in colour, cut, and material ( but Ginny’s version lacked a dangling train behind) to the one worn by Ginny ( and me sister) at thier chums wedding years before ( and winningly worn several times hence I might add). It is a pretty thing to behold my charming Ginny wearing it, and in its time, it has born witness to a few goings on that most ladies wearing a gown like that would most likely never encounter…….”

 

Chronicles of lifting Light B

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

This story is true, and is really pretty much told as it happened, but in writing it down for the first time ever I found I could not resist the temptation to embellish and expand some of the scenarios. It makes for a much better story I believe.

 

It is long, so here goes it….

 

My twin sister and our friend “Ginny” were invited to join in a school chums bridal party. The groom didn’t have enough to go around so my sister’s boyfriend “Brian” and I were pressed into service.

 

At the reception Ginny made a comment about the flimsy clasps on the longish rhinestone earrings they were wearing. My sister, touching an earring, told her, “ no worries, luv, no one would nick them anyways, they are only rhinestones”. I wasn’t sure what was going on in my sister’s head that made her come out with that reply. But as I watched her pull at an earring, a seed was planted in my head about something I myself had seen in an old TV show (An episode that first wakened an interest in pickpocketing).

 

Much later that evening found Brian and I alone, and a little drunk (always a precarious time with us). I had been enjoying watching our girls on the dance floor. “Ginny” was dancing a slow dance with the brides Groom ( an awkward chap with the sometimes unfortunate name of Cecil), Sis was dancing with some boorish banker bloke whose name I choose not to remember. As I watched the girl’s swishing gowns move and flutter about in quite an interesting exhibition, I found meself mesmerized by the manner in which their display of jewels were sparkling. Not being able to shake Ginny’s earlier comment, nor its answer, out of my head, my mind began to drift and wander in some very deep waters; pulled about in some strong personal currents.

 

Suddenly, I had an epiphany, and I started to tell Brian about the show that had vexed me all these years past. It was an old Gilligan’s Island episode ( The Kidnapper). Ginger was dancing in formal wear with the thief they were trying to reform. He lifted up her long hair, exposing these long diamonded earrings she was wearing. When he let her hair back down, gone went Ginger’s diamond Earrings.( he also nicked another ladies diamond necklace in a similarly devious fashion).

 

I had been thinking about it, and saw that this may be a prime opportunity to try and mimic what I had found so intriguing in my younger day’s ( is what happened to Ginger possible in real life?) and so I drew Brian’s attention to where my sister was dancing and intentionally pointed out her healthy collection of rhinestones ( the lot of matching sets the bride had picked out for her girls to wear with their silky gowns was a bit overkill in Brian’s opinion, a view not shared by me).

 

I decided then to plant my own seed, so I questioned out loud if it was possible to pickpocket jewelry in the manner the thief in Gilligan’s Island had so cunningly carried out? We discussed it for bit, ending the friendly dispute that ensued by daring that the other couldn’t pull it off. I focused on my sister, because I figured that would be more of a tantalizing bait to dangle in front of Brian, who was horribly smitten with her, and I was right on the money! So my twin sister in the black satin gown and her rhinestones ended up being the preferred guinea pig for the goad.

 

Brian lost the toss and danced with her first,( happily cutting in on the banker fella) and was surprisingly as successful as he was swift. I watched as he swirled sis around the dance floor. For such a gig guy, “Brian” is surprisingly light on his feet, which is why in school he was an outstanding rugby player. I was watching eagerly, trying to guess what he was going after. His large hands began inching down her satin gown’s sleeves, so I was sure he was going for one of her dangling rhinestone bracelets.

 

He must have said something funny, for my sister raised her head back laughing, her long straight hair falling charmingly back, baring her throat to him. Brian’s hands moved back up, and in behind her throat. Then in a manner quite graceful for fingers that large, unclasped and slipped away the thin necklace from around her sweat glistened throat and pocketed it before she had finished her spurt of laughter. The song soon ended, and the pair of ‘em came back, Brian with a very smug grin on his bearded mug. He then took “Ginny” (who had just rejoined us after shaking off a seedy looking bloke who had wanted her to dance) by the hand and led her off dancing, his eyes taunting me to make my attempt.

 

Not to be outdone, I immediately led Sis back onto the floor before she had time to catch a breath. We danced to a rather Latin type beat. My sister turned her backside into me, and sort of did this gyrating move up and down my front side, with her hands held high above her head. As her warm, sweaty figure, slipped up and down slickly against mine, I looked things over, deciding on which of her remaining jewelry to target.

 

I started by placing my hands at her waist and let them slither up the silky sides of her satin gown, as I made my choice, one of her shimmering bracelets that were winking at me from her wrists waving above my head. With the prize within my grasp, I made my move. I found meself trembling a bit, as I moved my hands to her shoulders , with the thought bring down her arms in order to work my fingers down her gowns’ sleeve, where just below would be lying my objective. But just as I did, Sis pulled her arms behind me head, and laid her head back on my shoulder and closing her eyes, getting into the music’s deep beat. Her longish rhinestone earrings just hung there, like Gingers, ripe for the picking.

 

Without really putting any thought into it, I reached up and placed my hands gently alongside her ears, her eyes still shut, my victim smiled. The rest of the maneuver was surprisingly easy, as I glided my fingers down and slipped it off the pair of em in one effortless motion. The sparkling beauties came away from her sweaty ears as smoothly as an ice cube moves along a steaming hot grill ( I actually did have a thought like that). I held them in one fist for a bit, relishing in my success, before securing them away. We finished out the song, me basking in the fact that she was innocently unaware that her shiny earrings were now in her dance partners vest pocket.

 

But, not willing to be satisfied with the initial success of our experiment, we found that the dares kept coming out. Becoming so competitive between us, that by the time we left for the evening, the score was 5 pieces of jewelry to 4, with Brian winning the bragging rights, and my sister out all of the rhinestone pieces she had started out wearing about on her person.

 

Of course this is sounding like a masterful bit of pickpocketing, but our efforts were aided by keeping our pretty victim plied with alcohol ( wondering all the while if that is a technique is used by pickpockets working over their victims in real life?). Using that as an edge; another turn on the dance floor, a compliment induced hug, and the victim falling into deep sleep in a lounge armchair, enabled us vultures to eventually part my twin from all of her sparkling jewelry.

 

Also, as a side note here, all four of us had a discussion later about what it said of us as a society that none outside our group seemed to notice or bother pointing out to my sister about her slowly disappearing baubles!

 

We left the reception well after midnight and started walking the ten city blocks back to the hotel where Ginny and my sister shared a joining room with Brian and meself. As were making our way through a wooded Provincial park, we stopped in a small, isolated clearing and circling around her ,finally asked my sister about her missing jewels. Her reaction was absolutely, rewardingly priceless.

 

Her startled response was to the effect of: “Gasping, My God” as she fruitlessly felt about for them, her rustling gown glistened dark in the moon light. “My jewels, where did they go!, who took them, I’ve been robbed, mugged?” she pleaded helplessly, her thought patterns and speech a little slurred by her rather intoxicated condition. She looked desperately around at us, then seeing the look on upon our faces, and upon noticing that Ginny was still adorned with her jewels, Sis froze with the realization that we had all been up to something no good. As the silliness of her conjectures came home, she blushed, and told us to spill it out.

 

Here, we had all thought she had eventually caught on to what we had been up to all evening and was just humoring us, but in reality she had been utterly clueless. Ginny ( who had soon caught on to our little game but played dumb) was merciless in her teasing of my sister, rubbing it all in as she helped my twin place back on the Rhinestones that Brian and I dug from our pockets. I didn’t add any fuel to the fire, but I noticed that when Sis had uttered the word mugged, Ginny had automatically held onto her necklace and pendent!

Sis ended up taking it all with her usual good humor, or so we thought.

 

This next bit is my favorite.

 

We went up to the boys room, as the girls called our room, where we drank beer, danced to music and talked a bit. About two hours later found Brian passed out on the couch, and me sitting next to him in kind of a hazy stupor while holding onto a beer. Ginny and my sister were standing directly in front of me, holding beers of their own and giggling over some girlish nonsense, the swaying of their long glossy black satin gowns slowly putting me to sleep.

 

Ginny started giggling at one of sis jokes, and turned her figure so the brooch at the center of her gowns’ waistline almost hit me on the nose. Half asleep I reached up and lifted it. Looking up at the girls I saw that Ginny was paying no never mind towards me, my sister however, did notice (this is why I like the Sonia clip) and she laid a hand on Ginny’s shoulder, drawing her close so she could whisper a secret. I was able to undo the brooch, and slip it carefully off without notice. I held it up to my sister’s hand, which closed over it, and then she turned and plopped down next to me on the couch.

 

We both started talking to Ginny, now standing in front of us, as if nothing was going on. Puzzled I waited for my sister to flaunt the brooch in Ginny’s face. Instead, as she got Ginny into another giggling fit, she leaned over and whispered the word pendant in my ear, her hand holding out her own for added emphasis. I knew then she had thought up some grand plan.

 

Now wide awake, I got into fully my sister’s game. As I watched the giggling Ginny, my eyes took careful inventory of all her finer points (not just her jewels I will admit) . Now role playing that I was a professional pickpocket, and my twin was the spotter, pointing out whose jewels were worth taking. Ginny stopped, and caught my eyes looking her over, she blushed, and not knowing what was really going through my mind, smiled at me, as I smiled back, my eyes drinking her fetchingly attired figure up. I was imagining that all of Ginny’s collection of rhinestones was real diamonds. And that I was an actual thief after her lovely sparklers.

 

Thinking for a moment, I rose to my feet, and feeling like the real thing, I took Ginny’s hand and led her across to the window the couch was facing. We were on the 14th floor with a grand sweeping view of the great cities skyline. I asked her if she knew what the pink lights were about (there were no pink lights) and as she looked and kept asking where, I saw in the windows reflection that behind me my sister was pinning Ginny’s brooch onto the Brian’s passed out figure. Smiling, I got to the task at hand.

 

Using my hands I got Ginny to bend over more to help in her search, watching her dangling “diamond “ chain with its’ oval “diamond” pendent swinging an enticingly beckoning reflection in the window. I reached around with one hand and easily undid the clasp to poor befuddled Ginny’s chain. Using the pendants reflection in the window as a focal point, I subtly lowered my other hand underneath it, and as I caught it, let go of the chain. Pendent and chain slithered into a nice little pile in my palm, which I immediately closed up around it, hiding it from my victim’s possible notice.

 

I turned and nodded to my sister, who rose, tipsily, and slinked across the room to us. She brushed up against me with the pretense of seeing what we were up to. I felt her arm go around my waist, and handed Ginny’s necklace off. Sis than circled around us, giving Ginny a squeeze, and looked at me meaningfully, her fingers brushing an earring. She went back to the couch and began draping the shimmery chain and pendent on poor Brian.

 

A slow song had been playing, so I told Ginny to no never mind pink lights, and taking her hand, asked “madameswell” if she cared to dance. I tried it in an accent, failed miserably, and got Ginny to giggling as she accepted. I lead her the long way around the couch to where we had cleared out a little bit of a dancing floor. As I took her into my arms I found it exciting that she was oblivious to my intentions. Innocently unaware, that in indifference to my sisters words earlier, someone did now want to nick the earrings so merrily sawing from her ears.

 

I bided my time, appearing to look into Ginny’s eyes, my mind was working on something else. When I made my first move it was as subtle as could be, and it paid off. Raising me hand, I lifted her hair above an ear, and an let my fingers run back down through. One of her earrings vanished into my hand, and reaching around, was neatly tossed into another. As my sister placed it on Brian’s ear,( by now he was looking quite comical, and it was all we could do to keep from bursting out laughing), I leaned in and whispered something into Ginny’s now bare ear, while my other hand reached around and plucked the other earring away, and tossed the sparkler gracefully over to my sisters waiting hands.

 

Needing no more direction from sis now that I knew her plan ( It was her way of getting back at Brian for our game, and at Ginny for her teasing, it never occurred to me to wonder what my punishment would be!), I carried on alone.

 

Employing the same method that the thief had used in the Gilligan’s Island episode to remove his dance partners necklace, I began to compliment Ginny on how devastating she looked ( no lies), slowly moving my one hand up the slick material of the gown covering her back until I reached the dangling part of her hook and eye necklace with its’ glittering row of single “diamonds”. Lifted it up as she fawned over my words of (not false) praise, holding her ever so her tightly around the waist with my free hand, I unhooked the clasp, and let the necklace fall over one shoulder. Ginny never felt it hanging, or noticed it as I slipped it off her chest and over her gown’s satin shoulder till it slipped sparkling down behind her. I held it hanging behind her back for a few turns, still pouring out the compliments, until I was close enough to neatly toss her necklace over the couch to my waiting partner in crime.

 

Sis was waiting, and as the necklace sailed over the couch, I saw her raise a hand, and pull at one of her rings. How?, I mouthed, and she held up a finger motioning me to wait a sec. I continued to dance with Ginny, who was growing ever heavier in my arms, as sis placed the necklace around poor Brian’s throat.

 

I watched as me twin got up and passed us , her satin gown whispering as she walked, heading to get a beer from the fridge. She stood for a moment then gave me a signal to twirl our victim around.

 

I lifted her hand, and spun Ginny around in a pirouette . The poor thing, already more than a little tipsy, fell hard against me, giggling. I did it again, and as she stared to lose her balance, my sister walked past and faking a trip, bumped into Ginny and both girl’s went down in a heap of black swishing satin. As I bent over to help the pair of giggling dolls untangle, I manage to slip off a ring off from over the sweaty knuckles of Ginny’s left pinky finger.

 

I helped them both up, and as my sister helped straighten Ginny’s gown while giggling over the incident, Ginny placed her hands behind her back, exposing her bracelets. I pocketed the ring, and moving up against Ginny from behind, attempted to remove the first “Diamond” bracelet from around her wrist. It came away with absolutely no resistance, or notice, and I moved off, and went to stand next to my sister, hands crossed behind me back. She put her arm around me, hugging me against her, I felt her fingers go to my hand, and I opened my fingers and let her take the ring and bracelet. Keeping her fist closed, she coolly left us, retrieving her unopened beer from the floor, and headed back smoothly to the couch.

 

I will admit I was now getting overly confident. I asked Ginny if she wanted a beer and we went over to the kitchenette to get them. As we walked, I placed my hands on her slick waist and led her there, as she giggled tipsily the whole way. I held the door open, and as she was bending down to get them, she laid her arm along the top of the drawer. I then made my seventh attempt, on her other “Diamond” bracelet

 

I had undone the clasp, and was getting ready to take it when I made the fatal error at looking over her shoulder at the couch. My sister was inwardly laughing at her handiwork, and to see a person like Brien, who takes his masculinity with pride, now decked out like some bearded floozy, was too much. I chuckled, and the bracelet fell, clanking against the door, landing at Ginny’s feet. I was caught red handed and my attempt at any more thievery was thwarted. Ginny smirked; here now lad, don’t try yer games on me.

 

Behind her, Ginny head my sister snort, and looking at my smirk, demanded to know what we had found so funny. So I grabbed her, spun her around, and led her back around the couch until she caught sight of the still snoring Brian! We both joined my sister in busting a gut laughing. Then, come to find that poor innocent Ginny thought that it was my sister’s rhinestones plastered all over poor Brian. When we pointed out the errors of her conclusion, it was my sister’s turn to laugh and tease the poor girl over her dumbfounded expression as now it was her hands failing to find her missing pieces of jewelry. Then Brian woke and he became the new center of the joke.

 

Ginny had reclaimed her rhinestones and had disappeared into the ladies room to replace them to their rightful perch and rejoin in with their remaining companions, which I thought, being so late, why bother? And Brain and Sis were on the couch still teasing the other. Suddenly I felt a hand softly placed on my shoulder, and looking up found myself trapped in a “come hither” look, emanating from Ginny’s twinkling green eyes, a look that I have come since to know very well.

 

We left the pair of gigglers on the couch, and went out into the evening, just the two of us, meeting nary another living soul at that early morning hour. The only exceptions were a weary desk clerk with a nose buried in her book, and a curious short blue-haired lady wearing a grey pant-suit, carrying a large handbag, who came upon Ginny in the lobby, while I was absent using its restroom . The odd thing here is, that until I showed up after doing my business, the lady appeared to be trying to lead good hearted Ginny outside to help search for some lost keys or such, at 2:30 Am! I suggested her to wait until light.

 

After managing to pry Ginny away, receiving the now disapproving look from purse –lipped blue haired lady for my efforts, we otherwise were not held up in our progress. The world was now ours, as my richly attired lady and her tuxedoed (handsome?)Escort made their journey together hand in hand. We ended up making a very long stroll in the Provincial park, and reentering the same isolated, secret clearing, proceeded to acting out our own role playing game, ala the movie “to Catch a Thief”, complete with fireworks of our own making.

 

And I still remember feeling pretty bloody cocky as Ginny and I left our room and rode the elevator down. And why not, I ask? Cause now , not only was I out strolling about with the most captivating ginger haired lass, sparkling in fancy dress around, but I had totally creamed Brian’s score in the jewelry lifting department, and that’s what life is all about for us boys, winning the game, isn’t it?

 

So ends my story, of which I have written 2 versions.

My question is now this:

Which version, if one reads both, do you believe to be the truer?

Please leave a comment at the end of the story you believe is..

In appreciation,

Thank You

 

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In Appraisal

This story may be unique in its nature, but if not we would love to hear about it. Please leave a comment or drop an email ( or both) about you own experience.

Thank You

 

The Sonia clip shortcut ( recommended viewing)

youtu.be/HAZdjhNVjxk

 

Ps. Check out Chronicles of lifting light C for a less embellished telling this particular event

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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.

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

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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

no lead masks here....

 

+++ 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

press L pleaseeeeee!

Ikat, or ikkat, is a dyeing technique 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, from 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. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.

 

TYPES

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 or 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. ouble 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.

 

ETYMOLOGY

Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. 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. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.

 

DISTRIBUTION

Ikat is a weaving style 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 Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.

 

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 production.

 

Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.

 

HISTORY

As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.

 

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

 

Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.

 

PRODUCTION

WARP IKAT

Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson 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 to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.

 

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 refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.

 

Patterns result from a combination of the warp dye and the weft thread colour. 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 weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.

 

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 Urdu script in weft ikat. In Thailand, weavers make very fine 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 commonly a continuous strand, aberrations or variation in coloration 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.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 Gujarat (Cambay). 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 Sari, 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 5 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.

 

OSHIMA

Oshima ikat is a uniquely Japanese ikat. In Oshima, 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 oshima cloth.

 

The Oshima 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. 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 old lady 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 ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.

 

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.

 

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

. . . 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

The Hope Diamond

 

•Catalog Number: NMNH G3551-00

•Locality: India

•Weight: 45.52 ct

 

Gift of Harry Winston, Inc in 1958.

 

Over 100 million visitors have experienced the beauty of the Hope Diamond since Harry Winston donated it to the Smithsonian Institution in 1958. Learn more about this remarkable gem using the tiles below.

 

Timeline

 

The French Kings: 1668-1792

 

1668-1669: Tavernier’s Diamond

 

King Louis XIV was fond of beautiful and rare gems, especially diamonds. In December of 1668, the explorer Jean-Baptiste Tavernier met with the king to share a collection of diamonds collected on his recently completed trip to India. In February of 1669, King Louis XIV purchased the lot of diamonds, including a large blue diamond weighing 112 3⁄16 old French carats (approximately 115 modern metric carats) for 220,000 livres (Bapst 1889). In recognition of this transaction, the king honored Tavernier with the rank of nobleman (Morel 1988).

 

It is commonly assumed that Tavernier acquired the diamond on his last journey to India (1664-1668) and that it came from the Kollur Mine of the Golconda region. However, evidence for both source and timing is circumstantial, as Tavernier makes no mention of the acquisition of the diamond in the published accounts of his journeys. The Kollur Mine is considered a likely source because it was known for producing large and colored diamonds (Post and Farges 2014), but there were several diamond mines throughout India during the time of Tavernier’s voyages, and the diamond could have come from any one of them. The diamond must at least have originated in India, as India was the only commercial source of diamonds in Tavernier’s time.

 

1669-1672: Creating the French Blue

 

King Louis XIV ordered one of his court jewelers, Jean Pittan the Younger, to supervise the recutting of the 115-carat blue diamond. The king likely ordered the stone recut because of differences between Indian and European tastes in diamonds: Indian gems were cut to retain size and weight, while Europeans prized luster, symmetry and brilliance. It is not known who actually cut the diamond, but the job took about two years to complete. The result was an approximately 69-carat heart-shaped diamond referred to as “the great violet diamond of His Majesty” in the historic royal archives. At that time, “violet” meant a shade of blue. Today, the diamond is most commonly known as the “French Blue” (Post and Farges 2014).

 

An inventory of the French Crown Jewels from 1691 reveals that the French Blue was “set into gold and mounted on a stick.” In 2012, a computer simulation revealed that eight central facets on the pavilion of the French Blue were cut so as to be visible when one looked through the face of the gem (Farges et al. 2012). When the stone was set in gold, the effect would be the appearance of a gold sun in the center of the blue diamond. Post and Farges (2014) proposed that the stone was cut this way to show the colors of the French monarchy, blue and gold, symbolizing the divine standing and power of King Louis XIV, the Sun King. The diamond was not worn as a piece of jewelry or kept with the French Crown Jewels, but rather was stored in the King’s cabinet of curiosities at Versailles, where he could show it to special guests.

 

1749: The Order of the Golden Fleece

 

Louis XIV’s great-grandson, Louis XV, inherited the royal jewels when he ascended to the throne. Around 1749, King Louis XV tasked the Parisian jeweler Pierre-André Jacqumin with creating an emblem of knighthood of the Order of the Golden Fleece. The finished emblem featured a number of spectacular gems, including the French Blue Diamond, the 107-carat Côte de Bretagne spinel (carved into the shape of a dragon and originally thought to be a ruby), and several other diamonds. It was rarely worn, functioning instead as a symbol of the king’s power (Post and Farges 2014).

 

1791: The Capture of Louis XVI

 

Amidst the turmoil of the French Revolution, King Louis XVI and Marie Antoinette attempted to escape France, but were apprehended and returned to Paris. The French Crown Jewels, including the French Blue Diamond in the Order of the Golden Fleece, were turned over to the revolutionary government and moved to the Garde-Meuble, the Royal Storehouse, where they were put on view for the public once a week until 1792. On visiting days, the doors of the armoires would be opened and a selection of mounted and unmounted jewels could be viewed in special display cases.

 

1792: The Theft of the French Crown Jewels

 

On the night of September 11th, 1792, a group of thieves climbed through the first-floor windows of the Garde-Meuble into the room where the French Crown Jewels were stored and escaped with some of the jewels. At the time, no one in the storehouse even realized that a theft had taken place: The seal on the door to the room had not been broken, and no guards were stationed inside of the room. The thieves returned over the following nights to steal more of the jewels. By the evening of September 17th, the group of thieves had grown to about fifty. Acting loudly and carelessly, they attracted the attention of the patrol, putting an end to one of the most curious thefts in history (Morel 1988).

 

By then, the Order of the Golden Fleece was gone. The French Blue Diamond has not been seen since.

 

From Europe to America: 1812-1958

 

1812: A Blue Diamond Appears in London

 

It is now clear that the French Blue resurfaced in London nearly 20 years later, although no one seems to have recognized it at the time. It had by then been recut to a smaller (though still spectacular) gem, which we know today as the Hope Diamond.

 

The first reference to this diamond is a sketch and description made in 1812 by the London jeweler John Francillon:

 

The above drawing is the exact size and shape of a very curious superfine deep blue Diamond. Brilliant cut, and equal to a fine deep blue Sapphire. It is beauty full and all perfection without specks or flaws, and the color even and perfect all over the Diamond. I traced it round the diamond with a pencil by leave of Mr. Daniel Eliason and it is as finely cut as I have ever seen in a Diamond. The color of the Drawing is as near the color of the Diamond as possible.

Francillon does not mention where the diamond came from or who had cut it, nor does he connect it to the French Blue.

 

Intriguingly, the Francillon Memo is dated just two days after the twenty-year statute of limitations for crimes committed during the French Revolution had passed. The diamond may have resurfaced at this time because the possibility of prosecution and of France reclaiming the diamond was eliminated, making the owner comfortable enough to share the diamond with others (Winters and White 1991).

 

1813-1823: Mr. Eliason’s Diamond

 

Several other British naturalists and gem experts made note of a large blue diamond in London in the years following Francillon’s memo. In the 1813 and 1815 editions of his book, A Treatise on Diamonds and Precious Stones, mineralogist and gem connoisseur John Mawe writes that “there is at this time a superlatively fine blue diamond, of above 44 carats, in possession of an individual in London, which may be considered as matchless, and of course of arbitrary value.” Similarly, James Sowerby, a naturalist known for his illustrations of minerals and other objects, wrote that “Daniel Eliason, Esq. has in London, a nearly perfect blue Brilliant, of 44½ carats, that is superior to any other coloured diamond known” (Sowerby 1817).

 

By 1823, the diamond was no longer in Eliason’s possession. Mawe returned to the subject of the blue diamond in the 1823 edition of his book, writing that:

 

“A superlatively fine blue diamond weighing 44 carats and valued at £30,000, formerly the property of Mr. Eliason, an eminent diamond merchant, is now said to be in the possession of our most gracious sovereign… The unrivaled gem is of a deep sapphire blue, and from its rarity and color, might have been estimated at a higher sum. It has found its most worthy destination in passing into the possession of a monarch, whose refined taste has ever been conspicuous in the highest degree” (Mawe 1823)

 

According to Mawe, then, Eliason had parted with the diamond and it had come into the possession of George IV, the King of England. However, no evidence linking the Hope Diamond to the king has been found in the British royal archives, and we do not know whether George IV ever possessed it as either owner or borrower (Post and Farges 2014).

 

1839: Henry Philip Hope’s Gem Collection

 

Henry Philip Hope (1774-1839) was a wealthy British banker with an affinity for fine art and precious gems. An 1839 catalogue of his gem collection mentions a large blue diamond weighing 45.5 carats. The diamond would take his name, becoming known as “Hope’s Diamond” or the “Hope Diamond.” The catalogue describes the diamond as “a most magnificent and rare brilliant, of a deep sapphire blue, of the greatest purity, and most beautifully cut” (Hertz 1839). It was set in a medallion with smaller, rose-cut, colorless diamonds surrounding it and a pearl that dropped from the bottom of the medallion as a pendant. Unfortunately, Hope does not record when or where he acquired the diamond in his 1839 catalogue.

 

Henry Philip Hope died in 1839, leaving his possessions to his three nephews: Henry Thomas, Adrian, and Alexander. In his will, Henry Philip Hope divided his money and property amongst the brothers, but did not leave instructions for the division of his gem collection. Given the immense value of his collection, the Hope brothers argued for years over who would inherit it. In 1849, after ten years of dispute, the brothers reached an agreement: the property went to Adrian, the Hope Pearl and around 700 precious gemstones went to Alexander, and the Hope Diamond and seven other gems went to Henry Thomas (Kurin 2006).

 

1851: The Great London Exhibition

 

Henry Thomas Hope loaned the Hope Diamond for display at the Crystal Palace during the Great London Exhibition. According to a catalogue from the exhibition, 28 diamonds from the Henry Philip Hope Collection were exhibited. This suggests that the brother of Henry Thomas, Alexander, must have contributed diamonds to the display effort since Henry Thomas had only inherited eight gems from his uncle and Alexander had inherited the rest (Kurin 2006).

 

1858: The French Blue Connection

 

Today, we are certain that the Hope Diamond is the recut French Blue. However, it took 46 years after Francillon described the modern Hope for someone to connect the two diamonds. The French gemologist Charles Barbot was first, speculating in his 1858 book, Traité Complet de Pierres Précieuses, that the Hope Diamond was cut from the French Blue (Post and Farges 2014).

 

Later authors continued in this track. In 1870, Charles W. King wrote about a likely connection between the two blue diamonds in his book, The Natural History of the Precious Stones and of the Precious Metals. On the subject of “Hope’s Blue Diamond” King writes “suspected to be that of the French Regalia (stolen in 1792), and then weighing 67 car., and afterwards re-cut as a brilliant to its present weight of 44½ carat.”

 

In 1882, Edwin Streeter wrote about the diamond’s provenance in his book, The Great Diamonds of the World: Their History and Romance:

 

The disappearance of Tavernier’s rough blue from the French regalia, followed by the unexplained appearance of a cut gem of precisely the same delicate blue tint, and answering in size to the original after due allowance made for loss in cutting, leaves little or no room for doubting the identity of the two stones… It thus appears that the rough un-cut Tavernier, the French “Blue,” lost in 1792, and the “Hope,” are one and the same stone. (Streeter 1882, p. 214).

 

1887: The Extravagant Life of Lord Francis Hope

 

Henry Thomas Hope left his possessions, including the Hope Diamond, to his wife Anne Adéle Hope when he passed away in 1862. Anne, in turn, decided to leave the family treasures not to her daughter, Henrietta (whose husband was careless with money and often on the verge of bankruptcy) but to her grandson, Francis Hope. In her 1876 will, Anne named Francis as heir to the family treasures, stipulating that the estates and heirlooms were to be used during his lifetime and then passed on to another Hope descendant. Anne passed away in 1884, and Francis Hope claimed his inheritance when he turned 21, three years later (Kurin 2006).

 

Lord Francis Hope was less prudent than his grandmother might have hoped. He lived extravagantly, quickly spending his inheritance on traveling, entertainment, and gambling and sinking into tremendous debt. In 1892, he met a showgirl in New York City named May Yohé, a glamorous and charming actress from Pennsylvania. Hope and Yohé married in 1894 and continued to live well beyond their means. To avoid bankruptcy, Hope appealed to his relatives for permission to sell a portion of the family art collection, claiming that he could no longer afford to care for the paintings. After years of litigation, the family finally agreed to allow Hope to sell a selection of the paintings, but the sale was not enough to save him from financial crisis. In 1901, after more litigation with his family, Lord Francis offered the Hope Diamond for sale (Patch 1999).

 

1901-1907: Crossing the Atlantic

 

In 1901, Lord Francis Hope sold the Hope Diamond to London diamond merchant Adolf Weil, who sold the diamond to Joseph Frankel’s Sons & Co. of New York shortly thereafter. Simon Frankel sailed to London from New York to finalize the purchase. One source reported that Frankel paid $250,000 (~6.7 million 2014 dollars) for the diamond (Patch 1999).

 

Frankel brought the Hope Diamond back to New York to try to sell it in America, but received no reasonable offers. By 1907, the market for diamonds had sharply declined due to a slow economy, and Frankel’s company faced the possibility of bankruptcy (Kurin 2006). The Hope Diamond sat locked away in a New York safe deposit box while Frankel tried to find a buyer.

 

1908-1909: Selim Habib and Rumors of a Curse

 

Joseph Frankel’s Sons & Co. finally found a buyer for the Hope Diamond in 1908: Selim Habib, a Turkish diamond collector and merchant who purchased the Hope Diamond for a reported $200,000 (~5 million 2014 dollars). According to the New York Times, Selim Habib soon had financial troubles, and in 1909, he sold his gem collection, including the Hope Diamond (Kurin, 2006). His financial difficulties and a later, incorrect report of his death at sea contributed to the growing myth of a curse on the Hope Diamond.

 

Habib’s collection was put up for auction at the Hotel Drouot in Paris, France on June 24, 1909. Jeweler and gem expert Louis Aucoc oversaw the auction, withdrawing the Hope Diamond from the sale before selling it to jeweler C. N. Rosenau for 400,000 francs (Kurin 2006).

 

1910: Cartier acquired the Hope Diamond

 

Cartier, a French jewelry house, purchased the Hope Diamond from jeweler C.N. Rosenau in 1910. The Hope Diamond arrived in the U.S. on November 23, 1910, where it was valued at $110,000 for customs plus the $10,000 duty for an unmounted gem (Patch 1999).

 

Pierre Cartier took on the responsibility of selling the Hope Diamond. Pierre was a talented salesman: Charming, smooth-talking, and sophisticated, he was experienced in the art of selling to wealthy customers, Americans in particular, having worked at Cartier’s New York office.

 

By this time, the art of developing colorful narratives for famous gems was already well established. Intriguing histories helped with gem sales, and in turn, gave the purchaser an interesting tale to tell admirers at various events. Cartier thus began to fabricate a fanciful story around the Hope Diamond that included a curse, which he would pitch to potential buyers (Kurin 2006).

 

1912: The McLeans buy the Hope Diamond

 

In 1912, Pierre Cartier sold the Hope Diamond to an American couple, Ned and Evalyn Walsh McLean. The sale was the result of two years of work.

 

Pierre identified the McLeans as potential buyers shortly after Cartier purchased the Hope Diamond. Both Evalyn and Ned were heirs to American fortunes, Evalyn’s from mining and Ned’s from newspapers. They were previous, big-spending clients of Cartier, having purchased the 94.8-carat Star of the East Diamond from Cartier in 1908 while they were on their honeymoon. Pierre arranged to meet with them in 1910 while they were on vacation in Paris. He presented his embellished tale of the Hope Diamond’s extraordinary provenance to the McLeans, including the curse that brought bad luck to all who owned it. Evalyn was fascinated with the story and told Pierre that she believed objects that brought bad luck to others would bring good luck to her. Despite her interest, she initially declined to purchase the blue diamond because she did not like its setting (McLean 1936).

 

Pierre, a persistent man, did not let an old-fashioned setting prevent him from securing the sale. He took the Hope Diamond to New York, where he had it reset into a contemporary mounting. In the new mounting (essentially the same mounting it is in today), the Hope was framed by 16 colorless diamonds and could be worn as part of a head ornament or a diamond necklace. Pierre returned to Washington and left the newly set Hope with Evalyn and Ned over a weekend.

 

Pierre’s strategy was successful—Evalyn adored the Hope Diamond, and several months later agreed to purchase it from Cartier, settling on a price of $180,000 (Patch 1999) plus the return of an emerald and pearl pendant with diamond necklace that she no longer wanted (McLean 1936). The Hope Diamond became Evalyn Walsh McLean’s signature in the high society of Washington, D.C. She wore it frequently, layered with her other important gems and jewelry, to events and the lavish parties she hosted. Evalyn would even let her Great Dane, Mike, wear the Hope Diamond on his collar.

 

1947-1949: Evalyn Walsh McLean Passes Away

 

Evalyn Walsh McLean died from pneumonia on April 26, 1947. She dictated in her will that all of her jewelry be held in trust until her youngest grandchild turned twenty-five, at which point her jewels were to be divided equally by all of her grandchildren. Two years after her death, however, the court ordered the sale of her jewelry collection to pay off debts and claims against her estate (Patch 1999). The Hope Diamond, the Star of the East Diamond, and the rest of her jewelry collection were purchased by jeweler Harry Winston of New York.

 

1949-1958: Winston and the Court of Jewels

 

In 1949, Harry Winston purchased the Hope Diamond along with the rest of the Evalyn Walsh McLean’s jewelry collection. Winston incoporated McLean’s jewelry into the Court of Jewels, a traveling exhibition of gems supplemented by a jewelry fashion show. Large and famous diamonds, including the Hope Diamond, the Star of the East Diamond, and the 127-carat Portuguese Diamond (now also part of the Smithsonian’s collection), were featured as part of the show. The exhibit travelled throughout America from 1949 to 1953 to teach the public about precious gems and raise money for civic and charitable organizations (Harry Winston, Inc.). Harry Winston once stated: “I want the public to know more about precious gems. With so much expensive junk jewelry around these days, people forget that a good diamond, ruby, or emerald, however small, is a possession to be prized for generations” (Tupper and Tupper 1947).

 

At the Smithsonian: 1958-Present

 

1958: The Hope Diamond comes to the Smithsonian

 

In 1958, Harry Winston donated the Hope Diamond to the Smithsonian Institution. On November 10th, the Hope arrived at the Smithsonian in a plain brown package shipped by registered mail (and insured for a sum of one million dollars). Mrs. Harry Winston presented the Hope Diamond to Dr. Leonard Carmichael, Secretary of the Smithsonian, and Dr. George S. Switzer, Curator of Mineralogy. The Hope Diamond was exhibited in the Gem Hall at the National Museum of Natural History and almost immediately became its premier attraction.

 

1962: A Visit to France

 

With the encouragement of First Lady Jacqueline Kennedy, the Hope Diamond was loaned for a month to the Louvre Museum for the exhibition “Ten Centuries of French Jewels.” It was displayed with two famous diamonds, the Regent (a 140.50-carat brilliant cushion cut diamond) and the Sancy (a pale yellow 55.23-carat pear-shaped diamond). Also on display was the Côte de Bretagne, a red spinel carved in the shape of a dragon that, along with the French Blue Diamond, had been part of Louis XV’s elaborate emblem of the Order of the Golden Fleece. This exhibition marked the reunion of these two gems after 170 years. In return, the Louvre’s masterpiece, Leonardo da Vinci’s Mona Lisa, was loaned to the National Gallery of Art in Washington, D.C. from January 8 to February 3, 1963.

 

1965: At the Rand Easter Show in South Africa

 

The Hope Diamond was loaned to DeBeers and traveled to Johannesburg, South Africa for the Rand Easter Show, one of the largest consumer exhibitions in the world. The Hope Diamond was the main attraction in the jewel box in the Diamond Pavilion. Surrounded by a cluster of diamonds, it was exhibited on a finely woven spider’s web supported by the bare branches of a rose bush and illuminated from above.

 

1982: At the Metropolitan Museum of Art

 

In November 1982, Ronald Winston, son of Harry Winston, hosted 1,200 guests in the Metropolitan Museum of Art’s Engelhard Court. (Kurin 2006) For the glittering gala, the Hope Diamond was reunited with the Star of the East (a 94.80-carat pear-shaped diamond previously owned by Evalyn Walsh McLean) and the Idol’s Eye (a 70.21-carat rounded pear-shape diamond exhibited at the Rand Easter Show in 1965).

 

1997: The New Harry Winston Gallery

 

The Hope Diamond was put on display in the Harry Winston Gallery of the newly completed Janet Annenberg Hooker Hall of Geology, Gems and Minerals in the National Museum of Natural History. The diamond is mounted on a rotating pedestal so that it can be viewed from all four sides of the vault.

 

2009-2010: Celebrating 50 years at the Smithsonian

 

In September 2009, the Hope Diamond was removed from its setting and exhibited unmounted for the first time ever. To celebrate the 50th anniversary of the Hope Diamond at the Smithsonian, an online contest was used to select a commemorative necklace from one of three designs submitted by Harry Winston, Inc. The winning entry, “Embracing Hope”, was designed by Maurice Galli. This modern design consisted of three-dimensional ribbons set with baguette-cut diamonds wrapping the Hope Diamond in an exquisite embrace. The Hope Diamond was set in the Embracing Hope necklace and displayed for over a year before being returned to its original Cartier mounting.

 

2017: The Hope Diamond Today

 

Today, the Hope Diamond remains one of the most popular objects at the Smithsonian, attracting millions of visitors every year. Even now, the Hope retains much of its mystery, and Smithsonain scientists continue to study it to better understand its eventful history and rare beauty.

 

Grading the Hope

 

For many years, the weight of the Hope Diamond was not precisely known, with reports of its weight ranging from 44 carats to 45.5 carats. On November 13, 1975, the Hope Diamond was removed from its setting and found to weigh 45.52 carats.

 

Gemologists from the Gemological Institute of America (GIA) visited the Smithsonian in 1988 to grade the Hope Diamond. They observed that the gem showed evidence of wear, that it had a remarkably strong phosphorescence, and that its clarity was slightly affected by a whitish graining that is common to blue diamonds. They described its color as fancy dark grayish-blue and its clarity as VS1 (Crowningshield 1989).

 

In 1996, the Hope Diamond necklace was sent to Harry Winston, Inc. for cleaning and minor restoration work. The diamond was removed from its setting and re-examined by the GIA. In this report, the Hope’s color was described as a a natural fancy deep grayish-blue (reflecting a change in GIA’s nomenclature for grading, not a change in the assessment of the diamond).

 

How much is the Hope Diamond worth?

 

We at the Smithsonian like to say that the Hope Diamond is priceless. Its size, color, and eventful history, as well as its long tenure at the heart of the Smithsonian’s gem collection, make it a true American treasure. In any case, it’s not for sale!

 

What can we say about the value of a gem like the Hope, if we’re not going to commit to a specific number? A large part of a gem’s value comes from its physical properties: color, clarity, cut, and carat weight. But other, less tangible factors can also increase the value of a gem. For example, as Pierre Cartier recognized a hundred years ago, an eventful, well-documented history is important, as are the tastes and means of an individual buyer. The price of an individual stone reflects the confluence of these and other factors.

 

Blue diamonds like the Hope are very rare, and the money being spent to purchase them is enormous. Several large blue diamonds have fetched tens of millions of dollars at auction in recent years:

 

•The 9.75 carat, Fancy Vivid Blue Zoe sold at Sotheby’s in 2014 for $32.6 million

•The 13.22 carat, Fancy Vivid Blue Winston Blue sold at Christie’s in 2014 for $24.2 million

•The 35.56 carat, Fancy Deep Grayish Blue Wittelsbach-Graff sold at Christie’s in 2008 for $24.3 million

 

Less well-documented are private sales, where famous stones such as the Heart of Eternity and the Wittelsbach-Graff may have fetched even higher prices.

 

Computer Modeling

 

A computer modeling study of the Tavernier, French Blue and Hope diamonds was conducted. The results support the long-held theory that the diamonds are in fact the same stone, concluding that the Hope Diamond is likely the only surviving piece of the diamond originally sold to King Louis XIV–the rest having been ground away during the various recuttings. This research, conducted by Jeffrey Post, Smithsonian curator of the National Gem Collection, Steven Attaway, engineer and gem cutter, and Scott Sucher and Nancy Attaway, gem cutting experts, was featured on the Discovery Channel. The film, “Unsolved History: Hope Diamond,” premiered Feb 10, 2005.

 

In 2007, a lead cast of the French Blue diamond was discovered in the mineral collection of the Museum National d’Histoire Naturelle in Paris, permitting additional refinements to the modeling study.

 

Boron in Blue Diamonds

 

The blue color in the Hope Diamond and others like it is caused by trace amounts of boron. The Hope Diamond was tested to measure its chemical composition and determine the concentration of boron. This study used various spectroscopic methods and time-of-flight secondary ion mass spectroscopy to analyze for boron in natural type IIb blue diamonds, including the Hope Diamond and the Blue Heart Diamond (also a part of the Smithsonian’s National Gem Collection). The study found that, on average, the Hope Diamond contains about 0.6 parts per million boron.

 

Phosphoresence of the Hope Diamond

 

Curator Dr. Jeffrey Post led a team from the Smithsonian and the U.S. Naval Research Laboratory to investigate the intense, red-orange phosphorescence exhibited by the Hope Diamond after exposure to ultra-violet light. They discovered that all type IIB blue diamonds exhibit similar phosphorescence behaviors and that the specific phosphorescence spectral properties might be unique to each individual blue diamond, enabling the researchers to essentially “fingerprint” each stone.

The Hope Diamond

 

•Catalog Number: NMNH G3551-00

•Locality: India

•Weight: 45.52 ct

 

Gift of Harry Winston, Inc in 1958.

 

Over 100 million visitors have experienced the beauty of the Hope Diamond since Harry Winston donated it to the Smithsonian Institution in 1958. Learn more about this remarkable gem using the tiles below.

 

Timeline

 

The French Kings: 1668-1792

 

1668-1669: Tavernier’s Diamond

 

King Louis XIV was fond of beautiful and rare gems, especially diamonds. In December of 1668, the explorer Jean-Baptiste Tavernier met with the king to share a collection of diamonds collected on his recently completed trip to India. In February of 1669, King Louis XIV purchased the lot of diamonds, including a large blue diamond weighing 112 3⁄16 old French carats (approximately 115 modern metric carats) for 220,000 livres (Bapst 1889). In recognition of this transaction, the king honored Tavernier with the rank of nobleman (Morel 1988).

 

It is commonly assumed that Tavernier acquired the diamond on his last journey to India (1664-1668) and that it came from the Kollur Mine of the Golconda region. However, evidence for both source and timing is circumstantial, as Tavernier makes no mention of the acquisition of the diamond in the published accounts of his journeys. The Kollur Mine is considered a likely source because it was known for producing large and colored diamonds (Post and Farges 2014), but there were several diamond mines throughout India during the time of Tavernier’s voyages, and the diamond could have come from any one of them. The diamond must at least have originated in India, as India was the only commercial source of diamonds in Tavernier’s time.

 

1669-1672: Creating the French Blue

 

King Louis XIV ordered one of his court jewelers, Jean Pittan the Younger, to supervise the recutting of the 115-carat blue diamond. The king likely ordered the stone recut because of differences between Indian and European tastes in diamonds: Indian gems were cut to retain size and weight, while Europeans prized luster, symmetry and brilliance. It is not known who actually cut the diamond, but the job took about two years to complete. The result was an approximately 69-carat heart-shaped diamond referred to as “the great violet diamond of His Majesty” in the historic royal archives. At that time, “violet” meant a shade of blue. Today, the diamond is most commonly known as the “French Blue” (Post and Farges 2014).

 

An inventory of the French Crown Jewels from 1691 reveals that the French Blue was “set into gold and mounted on a stick.” In 2012, a computer simulation revealed that eight central facets on the pavilion of the French Blue were cut so as to be visible when one looked through the face of the gem (Farges et al. 2012). When the stone was set in gold, the effect would be the appearance of a gold sun in the center of the blue diamond. Post and Farges (2014) proposed that the stone was cut this way to show the colors of the French monarchy, blue and gold, symbolizing the divine standing and power of King Louis XIV, the Sun King. The diamond was not worn as a piece of jewelry or kept with the French Crown Jewels, but rather was stored in the King’s cabinet of curiosities at Versailles, where he could show it to special guests.

 

1749: The Order of the Golden Fleece

 

Louis XIV’s great-grandson, Louis XV, inherited the royal jewels when he ascended to the throne. Around 1749, King Louis XV tasked the Parisian jeweler Pierre-André Jacqumin with creating an emblem of knighthood of the Order of the Golden Fleece. The finished emblem featured a number of spectacular gems, including the French Blue Diamond, the 107-carat Côte de Bretagne spinel (carved into the shape of a dragon and originally thought to be a ruby), and several other diamonds. It was rarely worn, functioning instead as a symbol of the king’s power (Post and Farges 2014).

 

1791: The Capture of Louis XVI

 

Amidst the turmoil of the French Revolution, King Louis XVI and Marie Antoinette attempted to escape France, but were apprehended and returned to Paris. The French Crown Jewels, including the French Blue Diamond in the Order of the Golden Fleece, were turned over to the revolutionary government and moved to the Garde-Meuble, the Royal Storehouse, where they were put on view for the public once a week until 1792. On visiting days, the doors of the armoires would be opened and a selection of mounted and unmounted jewels could be viewed in special display cases.

 

1792: The Theft of the French Crown Jewels

 

On the night of September 11th, 1792, a group of thieves climbed through the first-floor windows of the Garde-Meuble into the room where the French Crown Jewels were stored and escaped with some of the jewels. At the time, no one in the storehouse even realized that a theft had taken place: The seal on the door to the room had not been broken, and no guards were stationed inside of the room. The thieves returned over the following nights to steal more of the jewels. By the evening of September 17th, the group of thieves had grown to about fifty. Acting loudly and carelessly, they attracted the attention of the patrol, putting an end to one of the most curious thefts in history (Morel 1988).

 

By then, the Order of the Golden Fleece was gone. The French Blue Diamond has not been seen since.

 

From Europe to America: 1812-1958

 

1812: A Blue Diamond Appears in London

 

It is now clear that the French Blue resurfaced in London nearly 20 years later, although no one seems to have recognized it at the time. It had by then been recut to a smaller (though still spectacular) gem, which we know today as the Hope Diamond.

 

The first reference to this diamond is a sketch and description made in 1812 by the London jeweler John Francillon:

 

The above drawing is the exact size and shape of a very curious superfine deep blue Diamond. Brilliant cut, and equal to a fine deep blue Sapphire. It is beauty full and all perfection without specks or flaws, and the color even and perfect all over the Diamond. I traced it round the diamond with a pencil by leave of Mr. Daniel Eliason and it is as finely cut as I have ever seen in a Diamond. The color of the Drawing is as near the color of the Diamond as possible.

Francillon does not mention where the diamond came from or who had cut it, nor does he connect it to the French Blue.

 

Intriguingly, the Francillon Memo is dated just two days after the twenty-year statute of limitations for crimes committed during the French Revolution had passed. The diamond may have resurfaced at this time because the possibility of prosecution and of France reclaiming the diamond was eliminated, making the owner comfortable enough to share the diamond with others (Winters and White 1991).

 

1813-1823: Mr. Eliason’s Diamond

 

Several other British naturalists and gem experts made note of a large blue diamond in London in the years following Francillon’s memo. In the 1813 and 1815 editions of his book, A Treatise on Diamonds and Precious Stones, mineralogist and gem connoisseur John Mawe writes that “there is at this time a superlatively fine blue diamond, of above 44 carats, in possession of an individual in London, which may be considered as matchless, and of course of arbitrary value.” Similarly, James Sowerby, a naturalist known for his illustrations of minerals and other objects, wrote that “Daniel Eliason, Esq. has in London, a nearly perfect blue Brilliant, of 44½ carats, that is superior to any other coloured diamond known” (Sowerby 1817).

 

By 1823, the diamond was no longer in Eliason’s possession. Mawe returned to the subject of the blue diamond in the 1823 edition of his book, writing that:

 

“A superlatively fine blue diamond weighing 44 carats and valued at £30,000, formerly the property of Mr. Eliason, an eminent diamond merchant, is now said to be in the possession of our most gracious sovereign… The unrivaled gem is of a deep sapphire blue, and from its rarity and color, might have been estimated at a higher sum. It has found its most worthy destination in passing into the possession of a monarch, whose refined taste has ever been conspicuous in the highest degree” (Mawe 1823)

 

According to Mawe, then, Eliason had parted with the diamond and it had come into the possession of George IV, the King of England. However, no evidence linking the Hope Diamond to the king has been found in the British royal archives, and we do not know whether George IV ever possessed it as either owner or borrower (Post and Farges 2014).

 

1839: Henry Philip Hope’s Gem Collection

 

Henry Philip Hope (1774-1839) was a wealthy British banker with an affinity for fine art and precious gems. An 1839 catalogue of his gem collection mentions a large blue diamond weighing 45.5 carats. The diamond would take his name, becoming known as “Hope’s Diamond” or the “Hope Diamond.” The catalogue describes the diamond as “a most magnificent and rare brilliant, of a deep sapphire blue, of the greatest purity, and most beautifully cut” (Hertz 1839). It was set in a medallion with smaller, rose-cut, colorless diamonds surrounding it and a pearl that dropped from the bottom of the medallion as a pendant. Unfortunately, Hope does not record when or where he acquired the diamond in his 1839 catalogue.

 

Henry Philip Hope died in 1839, leaving his possessions to his three nephews: Henry Thomas, Adrian, and Alexander. In his will, Henry Philip Hope divided his money and property amongst the brothers, but did not leave instructions for the division of his gem collection. Given the immense value of his collection, the Hope brothers argued for years over who would inherit it. In 1849, after ten years of dispute, the brothers reached an agreement: the property went to Adrian, the Hope Pearl and around 700 precious gemstones went to Alexander, and the Hope Diamond and seven other gems went to Henry Thomas (Kurin 2006).

 

1851: The Great London Exhibition

 

Henry Thomas Hope loaned the Hope Diamond for display at the Crystal Palace during the Great London Exhibition. According to a catalogue from the exhibition, 28 diamonds from the Henry Philip Hope Collection were exhibited. This suggests that the brother of Henry Thomas, Alexander, must have contributed diamonds to the display effort since Henry Thomas had only inherited eight gems from his uncle and Alexander had inherited the rest (Kurin 2006).

 

1858: The French Blue Connection

 

Today, we are certain that the Hope Diamond is the recut French Blue. However, it took 46 years after Francillon described the modern Hope for someone to connect the two diamonds. The French gemologist Charles Barbot was first, speculating in his 1858 book, Traité Complet de Pierres Précieuses, that the Hope Diamond was cut from the French Blue (Post and Farges 2014).

 

Later authors continued in this track. In 1870, Charles W. King wrote about a likely connection between the two blue diamonds in his book, The Natural History of the Precious Stones and of the Precious Metals. On the subject of “Hope’s Blue Diamond” King writes “suspected to be that of the French Regalia (stolen in 1792), and then weighing 67 car., and afterwards re-cut as a brilliant to its present weight of 44½ carat.”

 

In 1882, Edwin Streeter wrote about the diamond’s provenance in his book, The Great Diamonds of the World: Their History and Romance:

 

The disappearance of Tavernier’s rough blue from the French regalia, followed by the unexplained appearance of a cut gem of precisely the same delicate blue tint, and answering in size to the original after due allowance made for loss in cutting, leaves little or no room for doubting the identity of the two stones… It thus appears that the rough un-cut Tavernier, the French “Blue,” lost in 1792, and the “Hope,” are one and the same stone. (Streeter 1882, p. 214).

 

1887: The Extravagant Life of Lord Francis Hope

 

Henry Thomas Hope left his possessions, including the Hope Diamond, to his wife Anne Adéle Hope when he passed away in 1862. Anne, in turn, decided to leave the family treasures not to her daughter, Henrietta (whose husband was careless with money and often on the verge of bankruptcy) but to her grandson, Francis Hope. In her 1876 will, Anne named Francis as heir to the family treasures, stipulating that the estates and heirlooms were to be used during his lifetime and then passed on to another Hope descendant. Anne passed away in 1884, and Francis Hope claimed his inheritance when he turned 21, three years later (Kurin 2006).

 

Lord Francis Hope was less prudent than his grandmother might have hoped. He lived extravagantly, quickly spending his inheritance on traveling, entertainment, and gambling and sinking into tremendous debt. In 1892, he met a showgirl in New York City named May Yohé, a glamorous and charming actress from Pennsylvania. Hope and Yohé married in 1894 and continued to live well beyond their means. To avoid bankruptcy, Hope appealed to his relatives for permission to sell a portion of the family art collection, claiming that he could no longer afford to care for the paintings. After years of litigation, the family finally agreed to allow Hope to sell a selection of the paintings, but the sale was not enough to save him from financial crisis. In 1901, after more litigation with his family, Lord Francis offered the Hope Diamond for sale (Patch 1999).

 

1901-1907: Crossing the Atlantic

 

In 1901, Lord Francis Hope sold the Hope Diamond to London diamond merchant Adolf Weil, who sold the diamond to Joseph Frankel’s Sons & Co. of New York shortly thereafter. Simon Frankel sailed to London from New York to finalize the purchase. One source reported that Frankel paid $250,000 (~6.7 million 2014 dollars) for the diamond (Patch 1999).

 

Frankel brought the Hope Diamond back to New York to try to sell it in America, but received no reasonable offers. By 1907, the market for diamonds had sharply declined due to a slow economy, and Frankel’s company faced the possibility of bankruptcy (Kurin 2006). The Hope Diamond sat locked away in a New York safe deposit box while Frankel tried to find a buyer.

 

1908-1909: Selim Habib and Rumors of a Curse

 

Joseph Frankel’s Sons & Co. finally found a buyer for the Hope Diamond in 1908: Selim Habib, a Turkish diamond collector and merchant who purchased the Hope Diamond for a reported $200,000 (~5 million 2014 dollars). According to the New York Times, Selim Habib soon had financial troubles, and in 1909, he sold his gem collection, including the Hope Diamond (Kurin, 2006). His financial difficulties and a later, incorrect report of his death at sea contributed to the growing myth of a curse on the Hope Diamond.

 

Habib’s collection was put up for auction at the Hotel Drouot in Paris, France on June 24, 1909. Jeweler and gem expert Louis Aucoc oversaw the auction, withdrawing the Hope Diamond from the sale before selling it to jeweler C. N. Rosenau for 400,000 francs (Kurin 2006).

 

1910: Cartier acquired the Hope Diamond

 

Cartier, a French jewelry house, purchased the Hope Diamond from jeweler C.N. Rosenau in 1910. The Hope Diamond arrived in the U.S. on November 23, 1910, where it was valued at $110,000 for customs plus the $10,000 duty for an unmounted gem (Patch 1999).

 

Pierre Cartier took on the responsibility of selling the Hope Diamond. Pierre was a talented salesman: Charming, smooth-talking, and sophisticated, he was experienced in the art of selling to wealthy customers, Americans in particular, having worked at Cartier’s New York office.

 

By this time, the art of developing colorful narratives for famous gems was already well established. Intriguing histories helped with gem sales, and in turn, gave the purchaser an interesting tale to tell admirers at various events. Cartier thus began to fabricate a fanciful story around the Hope Diamond that included a curse, which he would pitch to potential buyers (Kurin 2006).

 

1912: The McLeans buy the Hope Diamond

 

In 1912, Pierre Cartier sold the Hope Diamond to an American couple, Ned and Evalyn Walsh McLean. The sale was the result of two years of work.

 

Pierre identified the McLeans as potential buyers shortly after Cartier purchased the Hope Diamond. Both Evalyn and Ned were heirs to American fortunes, Evalyn’s from mining and Ned’s from newspapers. They were previous, big-spending clients of Cartier, having purchased the 94.8-carat Star of the East Diamond from Cartier in 1908 while they were on their honeymoon. Pierre arranged to meet with them in 1910 while they were on vacation in Paris. He presented his embellished tale of the Hope Diamond’s extraordinary provenance to the McLeans, including the curse that brought bad luck to all who owned it. Evalyn was fascinated with the story and told Pierre that she believed objects that brought bad luck to others would bring good luck to her. Despite her interest, she initially declined to purchase the blue diamond because she did not like its setting (McLean 1936).

 

Pierre, a persistent man, did not let an old-fashioned setting prevent him from securing the sale. He took the Hope Diamond to New York, where he had it reset into a contemporary mounting. In the new mounting (essentially the same mounting it is in today), the Hope was framed by 16 colorless diamonds and could be worn as part of a head ornament or a diamond necklace. Pierre returned to Washington and left the newly set Hope with Evalyn and Ned over a weekend.

 

Pierre’s strategy was successful—Evalyn adored the Hope Diamond, and several months later agreed to purchase it from Cartier, settling on a price of $180,000 (Patch 1999) plus the return of an emerald and pearl pendant with diamond necklace that she no longer wanted (McLean 1936). The Hope Diamond became Evalyn Walsh McLean’s signature in the high society of Washington, D.C. She wore it frequently, layered with her other important gems and jewelry, to events and the lavish parties she hosted. Evalyn would even let her Great Dane, Mike, wear the Hope Diamond on his collar.

 

1947-1949: Evalyn Walsh McLean Passes Away

 

Evalyn Walsh McLean died from pneumonia on April 26, 1947. She dictated in her will that all of her jewelry be held in trust until her youngest grandchild turned twenty-five, at which point her jewels were to be divided equally by all of her grandchildren. Two years after her death, however, the court ordered the sale of her jewelry collection to pay off debts and claims against her estate (Patch 1999). The Hope Diamond, the Star of the East Diamond, and the rest of her jewelry collection were purchased by jeweler Harry Winston of New York.

 

1949-1958: Winston and the Court of Jewels

 

In 1949, Harry Winston purchased the Hope Diamond along with the rest of the Evalyn Walsh McLean’s jewelry collection. Winston incoporated McLean’s jewelry into the Court of Jewels, a traveling exhibition of gems supplemented by a jewelry fashion show. Large and famous diamonds, including the Hope Diamond, the Star of the East Diamond, and the 127-carat Portuguese Diamond (now also part of the Smithsonian’s collection), were featured as part of the show. The exhibit travelled throughout America from 1949 to 1953 to teach the public about precious gems and raise money for civic and charitable organizations (Harry Winston, Inc.). Harry Winston once stated: “I want the public to know more about precious gems. With so much expensive junk jewelry around these days, people forget that a good diamond, ruby, or emerald, however small, is a possession to be prized for generations” (Tupper and Tupper 1947).

 

At the Smithsonian: 1958-Present

 

1958: The Hope Diamond comes to the Smithsonian

 

In 1958, Harry Winston donated the Hope Diamond to the Smithsonian Institution. On November 10th, the Hope arrived at the Smithsonian in a plain brown package shipped by registered mail (and insured for a sum of one million dollars). Mrs. Harry Winston presented the Hope Diamond to Dr. Leonard Carmichael, Secretary of the Smithsonian, and Dr. George S. Switzer, Curator of Mineralogy. The Hope Diamond was exhibited in the Gem Hall at the National Museum of Natural History and almost immediately became its premier attraction.

 

1962: A Visit to France

 

With the encouragement of First Lady Jacqueline Kennedy, the Hope Diamond was loaned for a month to the Louvre Museum for the exhibition “Ten Centuries of French Jewels.” It was displayed with two famous diamonds, the Regent (a 140.50-carat brilliant cushion cut diamond) and the Sancy (a pale yellow 55.23-carat pear-shaped diamond). Also on display was the Côte de Bretagne, a red spinel carved in the shape of a dragon that, along with the French Blue Diamond, had been part of Louis XV’s elaborate emblem of the Order of the Golden Fleece. This exhibition marked the reunion of these two gems after 170 years. In return, the Louvre’s masterpiece, Leonardo da Vinci’s Mona Lisa, was loaned to the National Gallery of Art in Washington, D.C. from January 8 to February 3, 1963.

 

1965: At the Rand Easter Show in South Africa

 

The Hope Diamond was loaned to DeBeers and traveled to Johannesburg, South Africa for the Rand Easter Show, one of the largest consumer exhibitions in the world. The Hope Diamond was the main attraction in the jewel box in the Diamond Pavilion. Surrounded by a cluster of diamonds, it was exhibited on a finely woven spider’s web supported by the bare branches of a rose bush and illuminated from above.

 

1982: At the Metropolitan Museum of Art

 

In November 1982, Ronald Winston, son of Harry Winston, hosted 1,200 guests in the Metropolitan Museum of Art’s Engelhard Court. (Kurin 2006) For the glittering gala, the Hope Diamond was reunited with the Star of the East (a 94.80-carat pear-shaped diamond previously owned by Evalyn Walsh McLean) and the Idol’s Eye (a 70.21-carat rounded pear-shape diamond exhibited at the Rand Easter Show in 1965).

 

1997: The New Harry Winston Gallery

 

The Hope Diamond was put on display in the Harry Winston Gallery of the newly completed Janet Annenberg Hooker Hall of Geology, Gems and Minerals in the National Museum of Natural History. The diamond is mounted on a rotating pedestal so that it can be viewed from all four sides of the vault.

 

2009-2010: Celebrating 50 years at the Smithsonian

 

In September 2009, the Hope Diamond was removed from its setting and exhibited unmounted for the first time ever. To celebrate the 50th anniversary of the Hope Diamond at the Smithsonian, an online contest was used to select a commemorative necklace from one of three designs submitted by Harry Winston, Inc. The winning entry, “Embracing Hope”, was designed by Maurice Galli. This modern design consisted of three-dimensional ribbons set with baguette-cut diamonds wrapping the Hope Diamond in an exquisite embrace. The Hope Diamond was set in the Embracing Hope necklace and displayed for over a year before being returned to its original Cartier mounting.

 

2017: The Hope Diamond Today

 

Today, the Hope Diamond remains one of the most popular objects at the Smithsonian, attracting millions of visitors every year. Even now, the Hope retains much of its mystery, and Smithsonain scientists continue to study it to better understand its eventful history and rare beauty.

 

Grading the Hope

 

For many years, the weight of the Hope Diamond was not precisely known, with reports of its weight ranging from 44 carats to 45.5 carats. On November 13, 1975, the Hope Diamond was removed from its setting and found to weigh 45.52 carats.

 

Gemologists from the Gemological Institute of America (GIA) visited the Smithsonian in 1988 to grade the Hope Diamond. They observed that the gem showed evidence of wear, that it had a remarkably strong phosphorescence, and that its clarity was slightly affected by a whitish graining that is common to blue diamonds. They described its color as fancy dark grayish-blue and its clarity as VS1 (Crowningshield 1989).

 

In 1996, the Hope Diamond necklace was sent to Harry Winston, Inc. for cleaning and minor restoration work. The diamond was removed from its setting and re-examined by the GIA. In this report, the Hope’s color was described as a a natural fancy deep grayish-blue (reflecting a change in GIA’s nomenclature for grading, not a change in the assessment of the diamond).

 

How much is the Hope Diamond worth?

 

We at the Smithsonian like to say that the Hope Diamond is priceless. Its size, color, and eventful history, as well as its long tenure at the heart of the Smithsonian’s gem collection, make it a true American treasure. In any case, it’s not for sale!

 

What can we say about the value of a gem like the Hope, if we’re not going to commit to a specific number? A large part of a gem’s value comes from its physical properties: color, clarity, cut, and carat weight. But other, less tangible factors can also increase the value of a gem. For example, as Pierre Cartier recognized a hundred years ago, an eventful, well-documented history is important, as are the tastes and means of an individual buyer. The price of an individual stone reflects the confluence of these and other factors.

 

Blue diamonds like the Hope are very rare, and the money being spent to purchase them is enormous. Several large blue diamonds have fetched tens of millions of dollars at auction in recent years:

 

•The 9.75 carat, Fancy Vivid Blue Zoe sold at Sotheby’s in 2014 for $32.6 million

•The 13.22 carat, Fancy Vivid Blue Winston Blue sold at Christie’s in 2014 for $24.2 million

•The 35.56 carat, Fancy Deep Grayish Blue Wittelsbach-Graff sold at Christie’s in 2008 for $24.3 million

 

Less well-documented are private sales, where famous stones such as the Heart of Eternity and the Wittelsbach-Graff may have fetched even higher prices.

 

Computer Modeling

 

A computer modeling study of the Tavernier, French Blue and Hope diamonds was conducted. The results support the long-held theory that the diamonds are in fact the same stone, concluding that the Hope Diamond is likely the only surviving piece of the diamond originally sold to King Louis XIV–the rest having been ground away during the various recuttings. This research, conducted by Jeffrey Post, Smithsonian curator of the National Gem Collection, Steven Attaway, engineer and gem cutter, and Scott Sucher and Nancy Attaway, gem cutting experts, was featured on the Discovery Channel. The film, “Unsolved History: Hope Diamond,” premiered Feb 10, 2005.

 

In 2007, a lead cast of the French Blue diamond was discovered in the mineral collection of the Museum National d’Histoire Naturelle in Paris, permitting additional refinements to the modeling study.

 

Boron in Blue Diamonds

 

The blue color in the Hope Diamond and others like it is caused by trace amounts of boron. The Hope Diamond was tested to measure its chemical composition and determine the concentration of boron. This study used various spectroscopic methods and time-of-flight secondary ion mass spectroscopy to analyze for boron in natural type IIb blue diamonds, including the Hope Diamond and the Blue Heart Diamond (also a part of the Smithsonian’s National Gem Collection). The study found that, on average, the Hope Diamond contains about 0.6 parts per million boron.

 

Phosphoresence of the Hope Diamond

 

Curator Dr. Jeffrey Post led a team from the Smithsonian and the U.S. Naval Research Laboratory to investigate the intense, red-orange phosphorescence exhibited by the Hope Diamond after exposure to ultra-violet light. They discovered that all type IIB blue diamonds exhibit similar phosphorescence behaviors and that the specific phosphorescence spectral properties might be unique to each individual blue diamond, enabling the researchers to essentially “fingerprint” each stone.

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.

. . . 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

I keep a bust of Mao Zedong in my office, perched atop a copy of his Little Red Book. It sends an appropriately ambiguous workplace message while also acting as an antidote to overwrought corporate gobbledygook and groupthink.

 

Many of Mao’s quotations in the LRB can be read as his solutions to practical management problems, and while (in hindsight) they’re not necessarily sustainable ideas -- or even good ideas -- they were, at one point at least, reasonably effective.

 

The fact that they also come with creepy historical baggage counts as a bonus — in one of my previous jobs, I enjoyed noting the eerie parallels between the memos sent out by our CEO and passages from the Quotations of Chairman Mao. Needless to say, the CEO did not find this amusing.

 

Some off-the-cuff examples of Management Mao...

 

One the importance of proper employee training:

”Cadres are a decisive factor, once the political line is determined. Therefore, it is our task to train large numbers of new cadres in a planned way."

-- "The Role of the Chinese Communist Party in the National War" (October 1938), Selected Works, Vol. II

 

On teamwork and meeting established goals:

”Place problems on the table. This should be done not only by the "squad leader" but by the committee members too. Do not talk behind people's backs. Whenever problems arise, call a meeting, place the problems on the table for discussion, take some decisions and the problems will be solved. If problems exist and are not placed on the table, they will remain unsolved for a long time and even drag on for years. The "squad leader" and the committee members should show understanding in their relations with each other. Nothing is more important than mutual understanding, support and friendship between the secretary and the committee members, between the Central Committee and its regional bureaus and between the regional bureaus and the area Party committees.”

-- "Methods of Work of Party Committees" (March 13, 1949), Selected Works, Vol. IV, p. 377.

 

On our anticipated quarterly results and the need for future cost-cutting:

"To win country-wide victory is only the first step in a long march of ten thousand li.... The Chinese revolution is great, but the road after the revolution will be longer, the work greater and more arduous. This must be made clear now in the Party. The comrades must be helped to remain modest, prudent and free from arrogance and rashness in their style of work. The comrades must be helped to preserve the style of plain living and hard struggle."

-- "Report to the Second Plenary Session of the Seventh Central Committee of the Communist Party of China (March 5, 1949), Selected Works, Vol. IV

 

On employee empowerment and bottom-up leadership:

”Ask your subordinates about matters you don't understand or don't know, and do not lightly express your approval or disapproval.... We should never pretend to know what we don't know, we should "not feel ashamed to ask and learn from people below" and we should listen carefully to the views of the cadres at the lower levels. Be a pupil before you become a teacher; learn from the cadres at the lower levels before you issue orders.... What the cadres at the lower levels say may or may not be correct, after hearing it, we must analyse it. We must heed the correct views and act upon them.... Listen also to the mistaken views from below, it is wrong not to listen to them at all. Such views, however, are not to be acted upon but to be criticized.”

-- "Methods of Work of Party Committees" (March 13, 1949), Selected Works, Vol. IV

  

. . . 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

Opened in 1895, the Saddle and Cycle Club near the lake is the nation's only country club located in a major city, featuring a boathouse, golf course and horse stable.

 

On February 3, 1935, Helen Straub arrived at the club to pick up her bartender husband Louis at 2:00 AM. She found his body in a basement washroom, having been shot seven times with a .38.

 

A taxi driver said that he dropped off Ellen Edin, a known associate of Mrs. Straub, at the club. After 15 minutes she ran back to the cab and ordered the driver to "get the hell out of here." A futher investigation revealed that Louis Straub was a womanizer and that Helen Straub had been intimate with Ellen Edin, leading to an almost certain divorce.

 

Although suspicions ran heavy, no charges were ever filed and the murder remains officially unsolved.

 

Located at 900 W. Foster Ave.

. . . in Double Ikat not only the warp gets a 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