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Operators from the Victorian Special Operations Group training soldiers of the Greater Middle Eastern Coalition Forces (GMECFOR).
Note: Both the country Victoria and the Greater Middle Eastern Coalition are fictional.
Thorn, Duke mk. 44, The Devil You Know, Duke mk. 10, The Last Word, Hawkmoon.
Impact Props Feat. Zprops & Vector Sigma Creations
Model, clothes, hair and make-up: Kiera Gould Thomas
Strobist info: Canon 600EX-RT at 24mm camera left through umbrella. Triggered via on-camera flash (not part of the exposure). Dropped the ambient by about 2 stops.
The Cross of Sacrifice is a Commonwealth war memorial designed in 1918 by Sir Reginald Blomfield for the Imperial War Graves Commission (now the Commonwealth War Graves Commission). It is present in Commonwealth war cemeteries containing 40 or more graves. Its shape is an elongated Latin cross with proportions more typical of the Celtic cross, with the shaft and crossarm octagonal in section. It ranges in height from 18 to 24 feet (5.5 to 7.3 m).
A bronze longsword, blade down, is affixed to the front of the cross (and sometimes to the back as well). It is usually mounted on an octagonal base. It may be freestanding or incorporated into other cemetery features.
The Cross of Sacrifice is widely praised, widely imitated, and the archetypal British war memorial. It is the most imitated of Commonwealth war memorials, and duplicates and imitations have been used around the world.
The Imperial War Graves Commission
The First World War introduced killing on such a mass scale that few nations were prepared to cope with it. Millions of bodies were never recovered, or were recovered long after any identification could be made. Hundreds of thousands of bodies were buried on the battlefield where they lay. It was often impossible to dig trenches without unearthing remains, and artillery barrages often uncovered bodies and flung the disintegrating corpses into the air.
Many bodies were buried in French municipal cemeteries, but these rapidly filled to capacity. Due to the costs and sheer number of remains involved, Australia, Canada, India, Newfoundland, New Zealand, South Africa, and the United Kingdom barred repatriation of remains.
Fabian Ware, a director of the Rio Tinto mining company, toured some battlefields in as part of a British Red Cross mission in the fall of 1914.
Ware was greatly disturbed by status of British war graves, many of which were marked by deteriorating wooden crosses, haphazardly placed and with names and other identifying information written nearly illegibly in pencil. Ware petititoned the British government to establish an official agency to oversee the locating, recording, and marking of British war dead, and to acquire land for cemeteries. The Imperial War Office agreed, and created the Graves Registration Commission in March 1915. In May, the Graves Registration Commission ceased to operate an ambulance service for the British Red Cross, and in September was made an official arm of the military after being attached to the Royal Army Service Corps.
During its short existence, the Graves Registration Commission consolidated many British war dead cemeteries. Ware negotiated a treaty with the French government whereby the French would purchase space for British war cemeteries, and the British government assumed the cost of platting, creating, and maintaining the sites. Over the next few months, the Graves Registration Commission closed British war dead cemeteries with fewer than 50 bodies, disinterred the bodies, and reinterred them at the new burying grounds. The Graves Registration Commission became the Directorate of Graves Registration and Enquiries in February 1916.
As the war continued, there was a growing awareness in the British Army that a more permanent body needed be organized to care for British war graves after the war. In January 1916, the prime minister H. H. Asquith appointed a National Committee for the Care of Soldiers' Graves to take over this task. Edward, Prince of Wales agreed to serve as the committee's president. The committee's membership reflected all members of the British Commonwealth (with a special representative from India).
Over the next year, members of the National Committee for the Care of Soldiers' Graves began to feel that their organization was inadequate to the task, and that a more formal organization, with a broader mandate, should be created. The idea was broached at the first Imperial War Conference in March 1917, and on 21 May 1917 the Imperial War Graves Commission (IWGC) was chartered . Lord Derby was named its chair, and the Prince of Wales its president.
The same month he was appointed to the senior architects' committee, Blomfield accompanied Lutyens and Baker on a tour of French and Belgian battlefields.
Designing the Cross of Sacrifice
Kenyon, Baker, and Blomfield all submitted cross designs to the senior architects' committee. Kenyon submitted two draft designs, one for a Celtic cross and one for a medieval Christian cross (both typically found in old English cemeteries). Baker, who had advocated the cemetery theme of "crusade" since July 1917 and (according to Goebel, was "obsessed" with the idea), submitted the design of a stone Christian cross with a bronze longsword (called a Crusader's sword by Baker) on the front. His design, which he called the "Ypres cross", also included a bronze image of a naval sailing ship, emblematic of the Royal Navy's role in winning both the Crusades and the First World War.
Blomfield, on the other hand, took a different approach to the cross. He rejected Kenyon's design, arguing that "runic monuments or gothic crosses had nothing to do with the grim terrors of the trenches." Blomfield wanted a design that reflected the war, which had stripped away any notions about glory in combat and nobility in death on the battlefield. "What I wanted to do in designing this Cross was to make it as abstract and impersonal as I could, to free it from any association of any particular style, and, above all, to keep clear of any sentimentalism of the Gothic. This was a man's war far too terrible for any fripperies, and I hoped to get within range of the infinite in this symbol..." His design featured an elongated cross of abstract design, on the front of which was a bronze longsword, blade pointed downward. It was intended to be an overtly Christian symbol, in contrast to Lutyen's Stone of Remembrance (which was purposefully stripped of any such associations). Blomfield drew the inspiration for the sword from a sword which hung in his home in Rye.
The senior architects' committee quickly endorsed the Blomfield design. The committee considered adding text to the base or steps of the cross, but rejected this idea.
In order to ensure that the architects' ideas for Commonwealth cemeteries worked well in the field, the IWGC decided to fund the construction of three experimental cemeteries Le Tréport, Forceville, and Louvencourt. The goal was to determine how expensive the cemeteries were likely to be.
The model cemeteries were designed by Baker, Lutyens, and Blomfield, and began construction in May 1918. Due to problems with construction, none were complete until early 1920, six months later than planned. Each model cemetery had a chapel and shelter, but no Stone of Remembrance or Cross of Sacrifice. Nevertheless, even without these major additions, the cemeteries were too expensive.
The model cemeteries experiment changed the way the Stone of Remembrance was placed in cemeteries, and almost changed the design of the Cross of Sacrifice itself. To reduce costs, Blomfield offered to design a wide variation of Crosses, many of which were less costly than the original design. But the committee of senior architects rejected his offer. What became apparent with the experimental cemeteries is that a full-size Cross or Stone was appropriate only for the largest cemeteries. Mid-size and smaller cemeteries needed smaller memorials. Blomfield quickly designed two smaller-sized Crosses to accommodate this need. But Lutyens refused to allow anything but a full-sized War Stone (12 feet (3.7 m) in length and 5 feet (1.5 m) in height) to be used.
Subsequently, and partly as a cost-saving measure, no Stone of Remembrance was erected in a cemetery with fewer than 400 graves. Budgetary issues also led the committee to agree that shelters should be forgone in any cemetery with fewer than 200 graves.
The model cemeteries experiment also helped the architects decide where to place the Cross of Sacrifice. As early as 1917, Lutyens and Kenyon had agreed that the War Stone should be in the east, but facing west. (All graves were supposed to face east, facing the enemy, although many of the earliest cemeteries had graves facing in other [sometimes in many different] directions.)
The initial idea was to have the Cross of Sacrifice be in opposition to the Stone. In practice, however, the placement of the Cross of Sacrifice varied widely.
The model cemeteries experiment also had one other effect, and that was to make Blomfield's design for the cross the only one ever used by the IWGC. The original intent of the senior architects had been to allow each junior architect to design his own cross for his own cemetery. But Blomfield's design proved so wildly popular that the decision was made to implement it as a standard feature in all cemeteries.
The formal adoption of Blomfield's Cross of Sacrifice, and the concepts regarding its placement, position, and use, were outlined by Kenyon in a report, A Memorandum on the Cross as Central Monument, submitted in January 1919 as an addendum to his November 1918 main report.
About the Cross of Sacrifice
Cross of Sacrifice at Eindhoven, Netherlands.
According to Fabian Ware, the name "Cross of Sacrifice" arose spontaneously from an unknown source, and attached itself to the cross.
The Cross of Sacrifice is carved from white stone.[61][58] This is usually Portland stone,[62] but it is sometimes granite[63] or any type of white limestone commonly found in France or Belgium. In Italy, Chiampo Perla limestone was used.[65] The proportions of the cross, with short arms close to the top of the shaft are similar to some Celtic crosses, the crossarm being one-third the length of the shaft (as measured from the point where the shaft emerges from the base).
The cross consists of three pieces: The shaft, from base to crossarm; the crossarm; and the upper shaft, above the crossarm. The crossarm is fastened to the lower and upper shaft by two bronze dowels. A joggle (a portion of the shaft which extends into the base, acting as a joint) about 6 inches (15 cm) long extends into the base, where it is secured by another bronze dowel. The shaft and crossarm are both octagonal in shape, and the shaft tapers slightly as it rises to give the cross entasis.
On the large size version, there are three plain mouldings on the shaft near the base, often reduced to one in smaller sizes, and the three extremities of the cross finish at a plain moulding projecting sideways from the main element. The crossarms are sometimes irregular octagons in section, with four wide faces at front, back, top and bottom, and four shorter faces in between them.
A stylized bronze longsword, point down, is fastened to the front of the cross.[66] The cross is designed so that a second bronze sword may be fastened to the rear as well. The sword is positioned so that the crossguard on the sword matches where the cross' shaft and crossarm meet.
The Cross of Sacrifice originally came in four heights: 14 feet (4.3 m), 18 feet (5.5 m), 20 feet (6.1 m), and 24 feet (7.3 m).[43] Sizes up to 30 feet (9.1 m) are now permitted,[67] although sometimes even larger versions are allowed. As of 2012, the largest Cross of Sacrifice in the world was the 40-foot (12 m) high marker at the Halifax Memorial in Halifax.
The Halifax Memorial's Cross of Sacrifice
The shaft is fastened to an octagonal base. The size of the base varies, according to the height of the shaft, but the 24-foot (7.3 m) high cross has a base 15 feet 6 inches (4.72 m) in diameter.[69] This largest base weighs 2 short tons (1.8 t).[58] The base usually sits on three octagonal steps.[58] This can vary, however, depending on the height of the cross, its placement in the cemetery, and whether it is part of some other cemetery element.
The position of the Cross of Sacrifice in Commonwealth war cemeteries varies depending on a wide range of factors. Many cemeteries were laid out haphazardly during the war. The role of the junior designing architect was to determine the position of the Cross (and Stone of Remembrance) in relationship to the graves.[57] Most cemeteries had two axes—a main axis and an entrance axis, or a main/entrance axis and a lateral axis. An overriding guiding principle was that the War Stone should be the focus of the cemetery.
The Cross of Sacrifice, however, usually functioned as the primary orienting feature of the cemetery for visitors, due to its height. In hilly areas, the architect had to ensure that the cross was visible from the road or path. (This was far less important in flat areas, obviously.) When a road passed directly by the cemetery, the cross usually was placed near the road and the entrance to the cemetery associated with the cross. These design considerations meant that the Cross of Sacrifice could be placed in a wide variety of places. Sometimes it was situated next to the War Stone, and sometimes in opposition to it. In some cases, the Cross of Sacrifice was placed in a distant corner of the cemetery, so that its relationship to the Stone of Remembrance was not clear.
It was not necessary for the Cross of Sacrifice to stand alone, either. In some cases, it was incorporated into a wall or benches.
The placement of the Cross of Sacrifice affected other elements of the cemetery. The architect's choice of buildings to erect—double shelters, galleries, gateways, pergolas, sheltered alcoves, or single shelters—depended on the location of the War Stone, the Cross of Sacrifice, and the size of the cemetery.
The cross at Tyne Cot Cemetery near Ypres, Belgium, was incorporated into a pillbox.
A Cross of Sacrifice was erected in almost every Commonwealth war cemetery. Subsequent Commonwealth War Graves Commission policy has erected the cross Commonwealth war cemeteries with 40 or more graves.
There were only a handful of exceptions. No cross was erected in cemeteries which held a majority of Chinese or Indian graves.[76] In Turkey, no cross was erected in order to accommodate local Muslim feelings. Instead, a simple Latin cross was carved into a stone slab, which was placed at the rear of the cemetery. In Macedonia, a cairn was used in place of a cross to reflect the local custom.
In the several Commonwealth cemeteries in the mountains of Italy, Blomfield's design was replaced with a Latin cross made of rough square blocks of red or white stone.
It is unclear how much it cost to manufacture a Cross of Sacrifice. Generally speaking, however, the cost of building a cemetery was borne by each Commonwealth nation in proportion to number of their war dead in that cemetery.
While generally considered a beautiful design, the Cross of Sacrifice is not a robust one. The artwork is susceptible to toppling in high wind, as the shaft is held upright only by a 6-inch (15 cm) long piece of stone and a single bronze dowel. Should the stone joggle or dowel break, the shaft topples. This problem quickly became apparent in Europe, where a large number of the crosses fell in high winds in the 1920s and 1930s. At one point, the Imperial War Graves Commission considered suing Blomfield for under-designing the artwork, but no lawsuit was ever filed.
Vandalism has also been a problem. Crosses of Sacrifice have been smashed or the bronze swords stolen, with the vandalism being particularly bad in the 1970s.
The Cross of Sacrifice is considered one of the great pieces of war-related art. Its enduring popularity, historian Allen Frantzen says, is because it is both simple and expressive, its abstraction reflecting the modernity people valued after the war.
Fabian Ware argued that its greatness was because its symbolism is so purposefully vague: To some, it is a Christian cross; to others, the stone is irrelevant and the sword itself is the cross; and to others, the artwork symbolizes those who sacrificed their lives to the sword.
The theme of sacrifice is commonly seen in the piece. Jeroen Geurst points out that Lutyens' War Stone unsettlingly brings to mind images of soldiers sacrificed on the altar of war, while Blomfield's cross speaks about self-sacrifice and the saving grace of Jesus Christ's sacrifice.
The sword has drawn praise as well. Frantzen notes that the sword can be both an offensive and defensive weapon, which mitigates against an interpretation of the Cross of Sacrifice as a glorification of war. The sword also incorporates elements of chivalry, which was an important value to officers and men during the war.
Historian Mark Sheftall agrees that the sword evokes chivalric themes, and argues that by combining the religious and the chivalric with the classical Blomfield created "a single powerful image".But
the military element has also been criticized. Geurst argues that one may interpret the sword as implying that the Great War was a religious crusade—which it most certainly was not.
The impact of the Cross of Sacrifice on war memorialization is difficult to underestimate. The IWGC considered the artwork a "mark of the symbolism of the present crusade". Cemetery historian Ken Worpole argues that the Cross of Sacrifice "became one of the most resonant and distinctive artefacts in British and Commonwealth war cemeteries, following the end of World War One."
First World War historian Bruce Scates observes that its symbolism was effective throughout the Commonwealth, despite widely disparate cultural and religious norms.
Historians agree it is the most widely imitated of Commonwealth war memorials,and Sheftall concludes that it has become the archetypal example of Great War commemoration in Britain.
"Weapons free! I repeat, all weapons free!"
EV Heavy Industries are proud to announce the introduction of their latest war vehicle: the Villetta class VT! A VT is a Vertical Tank, and the Villetta class is a top of the range example! Based on the Armoured Regalia frame, the Villetta is a 2nd Generation heavy weapons VT designed to take down even the largest of enemy VTs. The frame has been heavily modified to encompass the specified role, the most significant change being the removal of the standard pilot pod. Weapons can also be stored on the knee armour.
Builder's notes:
-Photo isn't brilliant... I blame the accursed colour black! XP
-Wrecked both Wizards and a Cavalier to finish this... :(
-Based off an Armoured Core model I found online.
-By some miracle, I've actually managed to fit a full minifig and control panel inside the torso... >.<
-The end result of talking to Freedom01... except the mech I said I was going to build never happened... I'm getting a sense of deja vu....
Pictured is the new SA80 A3 Assault Rifle.
The current issue SA80 A2 assault weapon is being upgraded into the A3 spec under the Mid Life Improvement (MLI) project, which will ensure the rifle has the enhancements needed to remain in service until 2025 and beyond.
This multi-million-pound upgrade will give British troops a lighter, more hardwearing, better-camouflaged combat rifle so our personnel can perform on the frontline of some of the most dangerous locations across the world.
The changes to the rifle include a more durable hardwearing coating in a “Flat Dark Earth” colour offering better camouflage in a range of environments.
A weight saving of 100g over the A2, and a more streamlined fore grip making the weapon easier to handle.
The A3 rifle has a bracket to secure new innovative low light sights which can clip on or in front of the day sight without the need to remove it.
These sights are smaller, lighter and require fewer batteries whilst operating just as effectively in low light/night conditions.
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© Crown Copyright 2014
Photographer: Graeme Main
Image 45163883.jpg from www.defenceimages.mod.uk
Use of this image is subject to the terms and conditions of the MoD News Licence at www.defenceimagery.mod.uk/fotoweb/20121001_Crown_copyrigh...
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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Left (top to bottom)
Drum Fed Submachinegun
Pistol -- A variant of one of Soren's designs.
Battle Rifle
Sniper Rifle -- A variant on the one in this picture
Right (top to bottom)
Bullpup Anti-Material Rifle -- This has been back and forth through a couple of variations. I think this is the final one.
Assault Rifle -- A variant of one of Soren's designs. I took out the tap in the middle and added a heavier stock.
Assault Rifle w/Scope -- Mechaton scale assault rifle, note the bayonet lug.
Energy Rifle -- Based on the one carried by this miniature.
"This Night Raven is equipped for a dedicated interception mission, with four medium range air to air missiles. Other internal weapons loads can include six smaller missiles, or various munitions for attacking targets on the ground."
The main weapons bay isn't quite as large as I wish it were, but it has been expanded from the tiny one on the original (which held just two small missiles).
The weapons are Brick Warriors that I customized. Ocrist is a Scimitar that I cut/filed down (www.brickwarriors.com/Scimitar.aspx) Bailin's sword/mace is a Greatsword (www.brickwarriors.com/Greatsword.aspx) The handle was cut down, the blade cut of and flipped, then I cut/chiseled out the points. Finally, Dwalin's axe is the easiest (and coolest IMO). The head is a Skull Crusher (www.brickwarriors.com/SkullCrusher.aspx) that I cut right below the head , then used a black telescope and short rod to finish it out. Let me know what you think!
Left (top to bottom)
Double Barrel Blaster
Magazine-Fed Grenade Launcher -- Inspired by Zizy's work.
Heavy Pistol
Energy Cannon -- Based off something I saw in an Armored Core trailer.
Right (top to bottom)
Mega-Bazooka
Assault Rifle w/Scope -- Uses the speargun as a base.
Bullpup Battle Rifle
Box Missile Launcher
Weapons I made a few months ago along with those blue and white troopers. The turret and sniper are new though.
On Feb. 16, 2012, the first external weapons test mission was flown by an F-35A Conventional Takeoff and Landing (CTOL) aircraft at Edwards Air Force Base, Calif.
So I recently got time to sneak in some Lego and I made some new Mods. Along with that, I made the sickest MW3 figs ever! I finished Soap and Price, and Sandman and Nikolai are in the making. Another week and I'll reveal them. They all have extremem detail. But basically here are mods and credit for the M14 EBR goes to Kalskirata. Enjoy :)
If you use, please give credit :)
Author: Hayward, William Stephens
Title: Ran Away From Home: A Life of Adventure
Publisher: C.H. Clarke
Publication Date: 1881
URL: archive.org/details/24789443.2187.emory.edu
Description and Synopsis:
In this novel, the narrator, a New Englander, describes his travels at sea after he runs away from home. The cover of the novel depicts one of the narrator’s many encounters with the native people of the places he travels.
Further Notes:
William Stephens Hayward wrote novels that fed off of the public’s interest in adventure, crime and detection (Higgins 103). Some scholars attribute authorship of much of the scandalous “Anonyma Series” to Hayward; however, Bracebridge Hemyng and E. L. Blanchard also sometimes credited with these novels (Sadleir 8).
Works Cited:
Higgins, Ellen F.. “Revelations of a Lady Detective.” Clues 32.1 (2014): 103-105
Sadleir, Michael. XIX Century Fiction: A Bibliographical Record Based on His Own Collection. Vol. 2. Cambridge: University Press, 1951.
Photos taken at Engage Armament LLC in Rockville MD.
Copyright (C) 2020. Ryan S Burkett. All Rights Reserved.
@Truthcanbebought
@EngageArmamentLLC
Canadian Armed Forces members deployed on Operation IMPACT zero their weapons at a shooting range outside of Camp Canada, Ali Al Salem Airbase, Kuwait, on November 14, 2022.
Photo: Corporal Mitchell Paquette, Canadian Armed Forces Photo
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Des membres des Forces armées canadiennes en déploiement dans le cadre de l’opération IMPACT pointent leurs armes dans un champ de tir situé à l’extérieur du Camp Canada, à la base aérienne Ali Al Salem, au Koweït, le 14 novembre 2022.
Photo : Caporal Mitchell Paquette, Forces armées canadiennes
A B.A.T. Tech activates one of the new "Inferno" upgrades.
Honestly, I don't know what I'll use this guy for yet. But like the flashy B.A.T. Tech, I love it! My kid calls it the "Flamas B.A.T." Maybe it runs on Doritos?
Gear triggers >=D
My entry for the Build your own weapons contest.
Inspired by the gunblades from Final Fantasy.
Yup, see there's an old Russian adage, that I just made up, that says: "If something has a lot of guns, that's all the reason to add more!"
This here is the T-120 MkIII Scout model. On those dangerous missions, they can blast out anyone that comes their way with a 130mm gun, four ATGMs, one 12.7mm coax, one 12.7mm minigun, and one 7.62mm manned MG. It's a rolling arsenal, alright! Of the 1,500 T-120s ordered, 100 of these will be Mk IIIs, the rest will be Mk IIs.
Explore: # 228 thanx! 11.18.2008
Several years ago, I had the privilege of visiting Old Jerusalem. And as I walked through the city, I saw this curious sight. I saw some Israeli soldiers who appeared to be on a holiday because they had their arm around their girls and they were laughing and shopping. The curious part was that they each had a gun strapped over their shoulder, an UZI, with a full clip of ammunition. Those Israeli soldiers know they always need to be prepared for war, even when they're taking a day off. So, they always carry their weapon.
Those Israeli soldiers are respected all over the world for their military ability. That day in Jerusalem, I saw one reason why. They know something every follower of Christ has to remember. We have to always be prepared for war, and it doesn't stop because you're relaxing. Always carry your weapon - the artillery of God's words loaded in your heart.
-Ron Hutchcraft
Left Side (top to bottom)
Machine Pistol --Inspired by Zizy's work.
Light Assault Rifle -- Uses the speargun as a base.
Heavy Blaster -- Uses the speargun as a base.
Heavy Pistol -- I was never happy with this and it ended up being split into parts for two different weapons.
Center (top to bottom)
Pistol -- A variant of one of Soren's designs.
Vortex Rifle -- Uses the speargun as a base.
Energy Bow
Snub Battle Rifle -- Inspired by Zizy's work.
Right (top to bottom)
50's Style Zap Gun
Rifle
Energy Rifle -- This a another variation on the weapon carried by this miniature.
Pepperbox Revolver B -- I came up with two different ways to make this, hence the A and B. Currently I'm leaning toward the A version.
Hey guys, someone kindly asked me to show what camo weapons we have left that have never been listed and here is what remains. Not a whole lot but some cool stuff none-the-less. I miss getting to tinker around with the camo weapons, but with the prototypes and all I've not had any time. I have no immediate plans for these pieces. -JD