View allAll Photos Tagged capability
EU Dr of Military Planning and Concept Capability (DMPCC) visits Rwanda Security Forces HQs | Cabo Delgado, 15 February 2023
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The house on this side houses the Victorian Kitchen, Servant's Hall Shop and Charlecote Pantry.
Servant's Hall
servant's bells
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
From the garden.
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The house on this side houses the Victorian Kitchen, Servant's Hall Shop and Charlecote Pantry.
Servant's Hall
servant's bells
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
From the garden.
Broadway Tower is a folly on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second-highest point of the Cotswolds (after Cleeve Hill). Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 65 feet (20 metres) high.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillipps, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s. William Morris was so inspired by Broadway Tower and other ancient buildings that he founded the Society for the Protection of Ancient Buildings in 1877.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee, as well as a gift shop and restaurant. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village.
Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A look around the inside of the house / hall.
Bedrooms on the first floor.
Servant's Bedroom
Raven - Mach 8-10 Hypersonic Plane - Single Stage to Orbit (STO) - Iteration 7
IO Aircraft www.ioaircraft.com
Drew Blair www.linkedin.com/in/drew-b-25485312/
Raven - B Model (Iteration 7)
Single Stage To Orbit Fixed Wing Aircraft
Length: 100'
Span: 45' 8"
Thermals: 6,000+ Fahrenheit
Turn Around Time: 3-6 Hours (No Ablative/Ceramic Tiles)
Airframe: 90% Advanced Composites, 10X Stronger then if it were Titatanium
Propulsion: U-TBCC (Unified Turbine Based Combined Cycle + Zero Atmosphere Mod)
Empty Weight: Apx 40,000 LBS
Fuel: 8,000-12,000 PSI Compressed Hydrogen and Oxygen
Fuel Weight Total: 5,000 LBS
Capability: Max Load, 170 Mile Parking Orbit
(W/O Assist) Half Load, Geo Stationary Orbit (Or Moon Orbit)
Payload Bay: 15' X 7' X 7'
Payload Max: 15,000 LBS
Costs Per Launch: Apx $2.5 Million
space plane, single stage to orbit, sto, hypersonic plane, hypersonic aircraft, tbcc, unified turbine based combined cycle, scramjet, dual mode ramjet, scramjet physics, scramjet engineering, darpa, mda, afrl, diu, supersonic business jet, hypersonic business jet, boeing phantom express, lockheed skunk works, hypersonic fighter, hypersonic weapon, hypersonic missile, scramjet missile, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air Launched Rapid Response Weapon, ARRW, hypersonic tactical vehicle, turbine based combined cycle, ramjet, onr, navair, air force research lab, office of naval research, defense advanced research project agency, defense science, missile defense agency, aerospike, hydrogen, hydrogen storage, hydrogen fueled, hydrogen aircraft, virgin airlines, united airlines, sas, finnair ,emirates airlines, ANA, JAL, airlines, military, physics, airline, british airways, air france, phantom works, skunk works, united launch alliance, spaceship company, virgin galactic, bigalow space, reaction engines, skylon, aerion supersonic, spike aerospace, boom supersonic, boeing phantom works, 3d printing, additive manufacturing, titatanium 3d printing, graphene 3d printing,
spaceplane #singlestagetoorbit #sto #hypersonicplane #hypersonicaircraft #tbcc #unifiedturbinebasedcombinedcycle #scramjet #dualmoderamjet #scramjetphysics #scramjetengineering #darpa #mda #afrl #diu #supersonicbusinessjet #hypersonicbusinessjet #boeingphantomexpress #lockheedskunkworks #hypersonicfighter #hypersonicweapon #hypersonicmissile #scramjetmissile #boostglide #tacticalglidevehicle #BoeingXS-1 #htv #AirLaunchedRapidResponseWeapon #ARRW #hypersonictacticalvehicle #turbinebasedcombinedcycle #ramjet #onr #navair #airforceresearchlab #officeofnavalresearch #defenseadvancedresearchprojectagency #defensescience #missiledefenseagency #aerospike #hydrogen #hydrogenstorage #hydrogenfueled #hydrogenaircraft #virginairlines #unitedairlines #sas #finnair #emiratesairlines #ANA #JAL #airlines #military #physics #airline #britishairways #airfrance #phantomworks #skunkworks #unitedlaunchalliance #spaceshipcompany #virgingalactic #bigalowspace #reactionengines #skylon #aerionsupersonic #spikeaerospace #boomsupersonic #boeingphantomworks
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
All-new 2015 Jeep® Renegade: Most Capable Small SUV Expands the Brand's Global Portfolio
- All-new 2015 Jeep® Renegade marks the brand's first entry in the small SUV segment
- Renegade Trailhawk model delivers best-in-class 4x4 Trail Rated capability with class-exclusive Jeep Active Drive Low, which includes 20:1 crawl ratio and Jeep Selec-Terrain system
- Designed to expand the Jeep brand globally, the all-new 2015 Renegade combines the brand's heritage with fresh new styling to appeal to youthful and adventurous customers
- Nothing else like it: Renegade displays a powerful stance with aggressive wheel-to- body proportions, plus the freedom of two My Sky open-air roof systems
- Renegade's all-new interior exudes an energetic appearance with rugged and functional details, crafted in high-quality materials and inspired colors
- All-new "small-wide 4x4 architecture" combines best-in-class off-road capability with world-class on-road driving dynamics
- Designed for global markets – with 16 fuel-efficient powertrain combinations for different markets around the world – including the world's first nine-speed automatic transmission in a small SUV
- Renegade will offer a best-in-class combination of fuel efficiency and off-road capability
- Technology once limited to premium SUVs: award-winning Uconnect Access, Uconnect touchscreen radios and the segment's largest full-color instrument cluster
- Loaded with up to 70 available advanced safety and security features
- Designed in America, crafted in Italy, the 2015 Renegade highlights the Jeep brand's global resources and dedication to meeting customer needs in more than 100 countries
The all-new 2015 Jeep® Renegade expands the brand's global vehicle lineup, entering the growing small SUV segment, while staying true to the adventurous lifestyle Jeep is known for. Renegade delivers a unique combination of best-in-class off-road capability, open-air freedom and convenience, a segment-first nine-speed automatic transmission that contributes to outstanding on- road and off-road driving dynamics, fuel-efficient engines, world-class refinement, and a host of innovative safety and advanced technology offerings. The result is an efficient vehicle created to attract youthful and adventurous customers around the world to the Jeep brand.
The all-new 2015 Jeep Renegade expands the brand's product portfolio and targets the rapidly expanding small SUV segment around the globe with benchmark levels of efficiency and driving dynamics, while at the same time delivering best-in-class 4x4 capability that customers expect from Jeep,‖ said Mike Manley, President and CEO - Jeep Brand, Chrysler Group LLC. ―Renegade symbolizes the brand's renowned American design, ingenuity and innovation, marking the Jeep brand's first entry into the small SUV segment in more than 100 markets around the globe.
Best-in-class off-road capability thanks to two all-new 4x4 systems
Leveraging 4x4 technology from the all-new Jeep Cherokee, the all-new 2015 Jeep Renegade offers two of the most advanced and intelligent 4x4 systems in its class, all to deliver best-in-class off-road capability. Both systems can provide up to 100 percent of the engine's available torque to the ground, through any wheel, for optimal grip.
- Jeep Active Drive – full-time 4x4 system
- Jeep Active Drive Low – class-exclusive full-time 4x4 system with 20:1 crawl ratio
Innovation is also at the forefront of any new Jeep vehicle, and the Renegade is the first small SUV to feature a disconnecting rear axle and power take-off unit (PTU) – all to provide Jeep Renegade 4x4 models with enhanced fuel economy. The system instantly engages when 4x4 traction is needed.
Both Jeep Active Drive and Active Drive Low 4x4 systems include the Jeep Selec-Terrain system, providing up to five modes (Auto, Snow, Sand and Mud modes, plus exclusive Rock mode on the Trailhawk model) for the best four-wheel-drive performance on- or off-road and in any weather condition.
Trail Rated: Renegade Trailhawk 4x4 model
For customers who demand the most off-road capability from their Jeep vehicles, the Renegade Trailhawk model delivers best-in-class Trail Rated 4x4 capability with:
- Standard Jeep Active Drive Low (20:1 crawl ratio)
- Selec-Terrain system with exclusive Rock mode
- Increased ride height 20 mm (0.8 inches)
- Skid plates, and red front and rear tow hooks
- Unique fascias deliver 30.5 degree approach, 25.7 degree breakover and 34.3 degree departure angles
- 17-inch all-terrain tires
- Up to 205 mm (8.1 inches) of wheel articulation
- Hill-descent Control
- Up to 480 mm (19 inches) of water fording
- Up to 1,500 kg (3,300-lb.) towing capability with MultiJet II diesel engine and 907 kg (2,000- lb.) towing capability with 2.4-liter Tigershark engine, with available tow package
A global Jeep design for a rapidly growing global brand
From the start, Jeep designers knew the Renegade would need to deliver best-in-class off-road capability with city-sized proportions that exuded the brand's rugged style while at the same time enhancing versatility, maneuverability and style. Additionally designers were tasked to create an all- new SUV that would symbolize the brand's renowned American design and ingenuity, as it would mark the Jeep brand's first entry into the small SUV segment in more than 100 markets around the globe. Last, Renegade had to offer the open-air freedom that dates back to its 1941 roots with the Willys MB Jeep.
The result is the all-new 2015 Renegade, a vehicle that builds on the Jeep Wrangler's powerful stance, and features fresh new styling with rugged body forms and aggressive proportions that enable best-in-class approach and departure angles purposely designed to deliver best-in-class off- road capability. And for segment-exclusive panoramic views, two available My Sky open-air roof panel systems conveniently stow to provide passengers open-air freedom with ease.
All-new interior exudes a rugged and energetic appearance
The all-new Jeep Renegade interior features a rugged and energetic appearance that builds upon Jeep's legendary brand heritage. Its precisely crafted detail, innovative and high-quality color and material appointments, state-of-the-art technology, and clever storage features draw inspiration from contemporary extreme sports gear and lifestyles.
The interior of the all-new 2015 Jeep Renegade has a distinctive form language which Jeep designers have titled ―Tek-Tonic.‖ This new design theme is defined by the intersections of soft and tactile forms with rugged and functional details. Major surfaces such as the sculpted soft-touch instrument panel are intersected with bold functional elements like the passenger grab handle – indispensable for off-road adventures and borrowed from its big brother, the legendary Jeep Wrangler. Unique ―protective clamp fasteners,‖ anodized design accents and inspired colors are derived from extreme sports equipment, while the newly familiar ―X‖ shapes inspired by its roof and tail lamps add to Renegade's Tek-Tonic interior look. And to make sure all of the needed passenger gear fits, the Renegade is designed with an efficient and flexible interior package that includes a removable, reversible and height-adjustable cargo floor panel and fold-forward front-passenger seat.
My Sky: continuing Jeep open-air freedom since 1941
Keeping the tradition of the legendary 1941 Willys MB Jeep, the all-new 2015 Renegade offers open-air freedom with two available My Sky open-air roof systems. With a manual removable, or removable with premium power tilt/slide feature, the segment-exclusive My Sky roof-panel systems quickly bring the outdoors inside. Designed for convenience, the honeycomb fiberglass polyurethane roof panels are lightweight and stow neatly in the rear cargo area. For added design detail, both My Sky roof systems feature a debossed ―X‖ stamped into the roof that exude strength and play on the brand's utilitarian history.
Best-in-class off-road capability with world-class on-road driving dynamics
Designed and engineered to first and foremost deliver legendary Jeep 4x4 capability, the all-new 2015 Renegade is the first small SUV from Chrysler Group to use the all-new ―small-wide 4x4 architecture.‖
With its fully independent suspension capable of up to 205 mm (8.1 inches) of wheel articulation and 220 mm (8.7 inches) of ground clearance (Trailhawk), Renegade raises the bar in the small SUV segment with best-in-class off-road capability. Extensive use of advanced steels, composites and advanced computer-impact simulations enable the all-new 2015 Renegade's architecture to deliver world-class torsional stiffness and Jeep brand's durability required for Trail Rated adventures.
The all-new Renegade is the first Jeep to integrate Koni's frequency selective damping (FSD) front and rear strut system. This damping system enables the Jeep Renegade to deliver world-class road-holding and handling characteristics.
Designed for global markets: 16 powertrain combinations
True to the Jeep brand, the all-new Renegade will offer customers in global markets maximum off- road capability and fuel efficiency. The Renegade will offer up to 16 strategic powertrain combinations – the most ever in a Jeep vehicle – customized to markets around the world to meet a range of performance and efficiency needs. Powertrain options include:
- Four MultiAir gasoline engine offerings
- Two MultiJet II diesel engine offerings
- Efficient and flex-fuel capable E.torQ engine
- Emissions and fuel-saving Stop&Start technology
- Segment-first nine-speed automatic transmission
- Two manual and one dual-dry clutch transmission (DDCT) offerings
World's first small SUV with nine-speed automatic transmission
Like the new Jeep Cherokee, the all-new 2015 Jeep Renegade has raised the bar - this time in the small SUV class - with the first available nine-speed automatic transmission. When paired with either the 2.0-liter MultiJet II diesel engine, or 2.4-liter MultiAir2 gas engine, the nine-speed transmission delivers numerous benefits customers will appreciate, including aggressive launches, smooth power delivery at highway speeds and improved fuel efficiency versus a six-speed automatic transmission.
Segment-exclusive technologies once found only on higher classed SUVs
The all-new 2015 Jeep Renegade offers technology features once found only in upper-segment vehicles, and makes them attainable to customers in the growing small SUV segment – including award-winning Uconnect Access, Uconnect touchscreens and the segment's largest full-color instrument cluster.
- Uconnect Access: Utilizes embedded cellular technology to allow Jeep Renegade occupants to get directly in contact with local emergency-service dispatchers – all with the push of the 9-1-1 Assist button on the rearview mirror. Uconnect Access applies the same logic to roadside assistance. One push of the ―ASSIST‖ button summons help directly from Chrysler Group's roadside assistance provider, or the Vehicle Customer Care Center. Further peace of mind comes from the system's ability to receive text messages, announce receipt of texts, identify senders and then ―read‖ the messages aloud with Bluetooth-equipped cell phones. AOL Autos named Uconnect Access its ―Technology of the Year for 2013.‖ (Uconnect services may vary in different markets)
- Uconnect touchscreen radio systems: Award-winning in-vehicle handsfree communication, entertainment and available navigation. Key features available on the Uconnect 5.0 and 6.5AN systems include a 5.0-inch or 6.5-inch touchscreen display, Bluetooth connectivity, single or dual-turner, radio data system capability (RDS), digital audio broadcast (DAB), HD Radio, digital media broadcasting (DMB), SiriusXM Radio, SiriusXM Travel Link, SiriusXM Travel Link, USB port and auxiliary audio jack input. (Uconnect services may vary in different markets)
- Segment's largest full-color instrument cluster display: Filling the Jeep Renegade's gauge cluster in front of the driver is an available 7-inch, full-color, premium multiview display, featuring a reconfigurable function that enables drivers to personalize information inside the instrument cluster. The information display is designed to visually communicate information, using graphics and text, quickly and easily.
Renegade features up to 70 advanced safety and security features
Safety and security were at the forefront in the development of the all-new 2015 Jeep Renegade, setting the stage for up to 70 available safety and security features – including the availability of Forward Collision Warning-Plus and LaneSense Departure Warning-Plus.
In addition, engineers added both active and passive safety and security features, including Blind- spot Monitoring; Rear Cross Path detection; ParkView rear backup camera with dynamic grid lines; electronic stability control (ESC) with electronic roll mitigation and seven standard air bags.
Jeep brand's global resources
Designed in America and crafted in Italy, the 2015 Renegade continues the Jeep brand's dedication to the global marketplace and demonstrates the depths of its available resources. The final assembly location for the Renegade will be at the Melfi Assembly Plant. The Renegade's global portfolio of powertrain production includes the United States, Italy and Brazil.
Members of 16 Air Assault Brigade prepare to jump from a RAF C130 aircraft onto Salisbury Plain.
The largest military parachute drop in the UK in more than decade has demonstrated the airborne capability jointly provided by 16 Air Assault Brigade and the Royal Air Force.
Some 200 Regular and Reserve soldiers from 16 Air Assault Brigade jumped from four RAF C-130J Hercules transport aircraft onto Salisbury Plain today (Tue 8 Dec).
Up Park Camp, Kingston, Jamaica 25 August 2011
Search-and-rescue (SAR) capability training in Jamaica
Sergeant (Sgt) Eric Soubrier and Master Corporal (MCpl) Bruno Robitaille, Search and Rescue (SAR) Technicians) give a familiarization briefing to members of Task Force (TF) Jamaica and the Jamaica Defence Force (JDF) in a Canadian Forces SAR CH-146 Griffon helicopter at the Jamaican Air Field at Up Park Camp in Kingston, Jamaica on August 25, 2011.
Operation JAGUAR is Canada's contribution of military aviation and search-and-rescue (SAR) capability to support the Jamaica Defence Force (JDF) and to conduct essential training for Canadian Forces search-and-rescue teams.
Task Force (TF) Jamaica is responsible for flying life-saving missions such SAR and medical evacuations in support of JDF operations. The SAR teams deployed with TF Jamaica will also conduct training activities required to ensure the long-term availability of SAR aircrew for operations in Canada. Deploying in August, the aircraft and personnel of TF Jamaica will return to Canada when the JDF search-and-rescue capability is sufficiently developed to meet the operational requirement.
Canadian Forces Image Number VL2011-0190-05
By Corporal Roxanne Shewchuk with Imagery Section Valcartier
_____________________________Traduction
Camp Up Park, Kingston, Jamaïque 25 août 2011
Le Sergent (Sgt) Eric Soubrier et le Caporal-chef (Cplc) Bruno Robitaille, techniciens en recherche et sauvetage (SAR), donnent une séance d’information à des membres de la Force opérationnelle en Jamaïque et de la Force de défense de la Jamaïque (FDJ) depuis un hélicoptère de recherche et de sauvetage (SAR) CH146 Griffon des Forces canadiennes, au terrain d’aviation du Camp Up Park, à Kingston (Jamaïque), le 25 août 2011.
L’opération Jaguar est la contribution du Canada aux efforts en vue de mettre en place une capacité d’aviation militaire et de recherche et sauvetage dans la Force de défense de la Jamaïque (FDJ). Il s’agit aussi d’une occasion de tenir des exercices essentiels pour les équipes canadiennes de recherche et sauvetage.
La Force opérationnelle (FO) en Jamaïque est responsable de missions aériennes de recherche et sauvetage et d’évacuation de blessés ayant pour but d’appuyer les opérations de la FDJ. Les équipes de SAR de la FO Jamaïque prendront également part à des exercices essentiels pour assurer leur disponibilité opérationnelle à long terme. Partis en août, les aéronefs et le personnel de la FO Jamaïque rentreront au Canada lorsque la capacité de recherche et sauvetage de la FDJ sera prête à satisfaire à ses exigences opérationnelles.
Image des Forces canadiennes numéro VL2011-0190-05
Par le Caporal Roxanne Shewchuk avec Section de l’imagerie – Valcartier
A visit to Berrington Hall near Leominster in Herefordshire.The dome was being restored so part of the building was under scaffolding inside and out (including up the main staircase).
Berrington Hall is a country house located about 3 miles (4.8 km) north of Leominster, Herefordshire, England. During the 20th century it was the seat of the Cawley family.
It is a neoclassical country house building that Henry Holland designed in 1778-81 for Thomas Harley. It has a somewhat austere exterior, but the interiors are subtle and delicate. Berrington Hall is home to the Elmar Digby furniture collection, paintings by, amongst others, Thomas Luny (1759–1837), and the Charles Paget Wade costume collection from Snowshill, which can be viewed by appointment. The 'below stairs' areas and servants' quarters that are open to the public include a Victorian laundry and Georgian dairy. Berrington has been in the care of the National Trust since 1957 and is, along with its gardens, open to the public.
Berrington features Capability Brown's last landscape design. A notable feature is the ha-ha wall, which was subject to extensive renovation in the late 20th century by local craftsmen. Berrington Pool, a lake and island, is a Site of Special Scientific Interest.
Berrington had been in the possession of the Cornewall family since 1386, but was sold in 1775 to Thomas Harley, a banker and government contractor who in 1767 had been Lord Mayor of London. He commissioned the rebuilding in 1778-1781 of the present Berrington Hall in place of the previous old house. He made it available to his daughter Anne and her new husband George Rodney, the son of Admiral Rodney. After Harley's death the house descended in the Rodney family for 95 years.
In 1901 the Manchester businessman Frederick Cawley MP, later Baron Cawley, purchased the estate. In 1957 the 3rd Lord Cawley transferred it to the Treasury, which passed in on to the National Trust. Lady Crawley was allowed to remain in occupation until her death in 1978.
It was classified as a Grade I listed building in 1959.
Grade I Listed Building
Berrington Hall and Adjoining Outbuildings
Listing Text
EYE, MORETON &
SO 56 SW ASHTON CP
7/2 Berrington Hall and
adjoining outbuildings
11.6.59
GV I
Country house. 1778 - 1781 by Henry Holland for Thomas Harley. Alterations
of c1890 - 1900 involved the addition of a tower at the rear of the house,
this was removed in 1968 and the pediment to this face was reinstated. Set
in parkland laid out by Capability Brown. Brick core, faced with sandstone
ashlar with dressings of the same material, hipped Welsh slate roofs.
Rectangular plan main house with central entrance and stairwell, axial
stacks. Main entrance faces south-west, quadrant walls connect the main
block with the three outbuildings which form a courtyard to the rear (these
adjoining walls have been altered and one has been removed). Main house:
two storeys, attics and basements, south-west entrance front: seven bays
with plinth, dentilled cornice, blocking course and balustraded parapet,
steps up to central projecting tetrastyle Ionic portico; frieze is decorated
only to central part by a floral type design which replaces the original one
of putti, ox heads and garlands, pediment has a lunette window. Dormer windows
to attics with glazing bar sash windows, glazing bar sash windows to first
floor with semi-circular heads and decorative glazing to those flanking the
portico. Square-headed glazing bar sash windows to ground floor, the semi-
circular headed basement windows have rusticated surrounds. Central tall
and narrow semi-circular headed doorway with panelled door has keystone
depicting Roman head flanked by narrow side lights with reliefs depicting
urns above. The north-west front is of five bays with a pediment over the
central three bays. The north-east front to the courtyard entrance is of
2:3:2 bays with central pedimented slightly forward break, semi-circular
headed glazing bar sash windows to upper floor, square-headed windows to
ground floor with central three openings set in semi-circular headed surrounds,
right-hand opening now forms a doorway and has a six-panelled door. The out-
buildings enclosing the courtyard are of two storeys. The range to the north-
east is of nine bays with central pedimented archway flanked by pairs of Doric
pilasters, clock face in pediment, string course to flanking bays with 6-pane
square-headed windows to upper floor and semi-circular headed windows with
decorative glazing to ground floor. The ranges enclosing the courtyard to
the north-west and south-east are also of nine bays, each with similar windows
to the upper and lower floors, the central window to each range having a moulded
architrave, semi-circular headed window and doorway openings to ground floors.
To the outer walls of these flanking ranges (ie facing the gardens) are central
niches with coffered semi-domes with ball cresting above. The south-western
ends of both ranges have a blank semi-circular headed arch flanked by oculi.
Interior: the main house retains many of its original features on both main
floors, with decorative surrounds to doorways, decorative plastered ceilings
and marble fireplaces. The entrance hall has trophies in roundels above the
doors and a central circular ceiling panel is carried to the corners on spandrels,
pedimented surround to doorway opposite the entrance; polychrome marble patterned
floor. The Drawing Room retains original elaborate pelmets above the three
windows, marble fireplace with caryatids and griffon frieze. Delicately patterned
ceiling with painted roundels depicting scenes and characters from classical
mythology and with putti and sea horses; entwined roundels to outer border
which flank central theme. The boudoir has an alcove with segmental arch and
a screen of two blue scagliola columns. The Dining Room has a good marble
fireplace with carved panels to the jambs, decorative plastered and painted
ceiling with central painted roundel and swagged and wreathed plastered
surround. Pedimented bookcases to the library with continuous "greekkey"
type frieze. Decorative painted panels to ceiling depicting authors from
Chaucer to Addison. Central staircase hall is lit by delicately iron ribbed
glass domed lantern, opposite the staircase is a coffered archway; staircase
and landings carried on screens of scagliola columns, decorative dolphin
frieze to the entablature. The staircase has bronze lyre-shaped balustrading.
The outbuilding to the north-west formed the laundry and retains many of its
fittings. A tiled dairy has been restored in the south-east range and the
north-east range contains part stabling. (National Trust, 1986, Berrington Hall:
BoE, p 72).
Listing NGR: SO5093063660
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Heading down through the parkland towards the Berrington Pool and back. The path goes through fields. Electric fences keep the sheep away from the visitors.
Former astronaut Bob Cabana, director of NASA's Kennedy Space Center in Florida, speaks during a news conference where it was announced that Boeing and SpaceX have been selected to transport U.S. crews to and from the International Space Station using the Boeing CST-100 and the SpaceX Crew Dragon spacecraft, at NASA’s Kennedy Space Center in Cape Canaveral, Fla. on Tuesday, Sept. 16, 2014. These Commercial Crew Transportation Capability (CCtCap) contracts are designed to complete the NASA certification for a human space transportation system capable of carrying people into orbit. Once certification is complete, NASA plans to use these systems to transport astronauts to the space station and return them safely to Earth. Photo Credit: (NASA/Bill Ingalls)
Croome Park was Lancelot ‘Capability’ Brown’s first complete landscape design. He was brought to Croome in 1752 by George William Coventry, the 6th Earl of Coventry, who had just inherited Croome Court and its deer parks together with 15,000 acres of Worcestershire.
Croome Park has a man made lake and river, statues, temples and other buildings with the Court as the central focus. The other buildings around the park include Gatehouses, a Grotto, a Church and buildings termed "eye-catchers". These are Pirton Tower, Panorama Tower, Dunstall Castle and Park Seat. They are set away from the core of the Park and are intended to draw the eye into the wider landscape.[citation needed] Croome and Hagley Hall have more follies and other similar features than any estate in the England.
The National Trust own and have restored the core of the original 18th century parkland and it is open to visitors throughout the of the year. To visit many of the features below, you have to enter the pay for entry National Trust parkland. Some areas, however, are accessible via public footpaths.
U.S. Air Force tactical air control party specialists from the 169th Air Support Operations Squadron, Illinois Air National Guard, fast rope down from a CH-47 Chinook during Exercise Forward Reach 23-1 in Danvers, Illinois, Dec. 3, 2022. The TACPs used the exercise to demonstrate their new Mobile Response Team domestic operations capability, which will quickly extend the reach of first responders during natural disasters. (U.S. Air National Guard photo by Staff Sgt. Wynndermere Shaw)
The SEPECAT Jaguar was one of the first multinational aircraft programs, and, like many cooperative programs, went through a long process of compromise and production before emerging to its end form. The Jaguar has its origins in a British requirement in the early 1960s for a fast jet trainer to replace the Folland Gnat and two-seat versions of the Hawker Hunter. At the same time, France was also looking for a fast jet trainer, with a good secondary attack capability, to replace the T-33 Shooting Star, the Mystere IV, and the Magister.
Eventually, BAC and Breguet submitted the winning designs, with the French providing the basic airframe (the Breguet Br.121) and landing gear, and BAC providing the wings and tail. Even the engines were to be a cooperative venture: since the British requirement was for a supersonic aircraft, the Br.121’s Turbomeca Tourmalet engine was not powerful enough, and Turbomeca cooperated with Rolls-Royce to produce the superb Adour engine. To produce the Jaguar, BAC and Breguet formed SEPECAT (Européenne de Production de l'Avion d'École de Combat et d'Appui Tactique), and the aircraft was well on its way. The first Jaguar prototype flew in September 1968, with the first French Jaguar A and the first British Jaguar S following in 1969.
The situation abruptly changed in 1971 with Breguet’s acquisition by Dassault. Dassault had no interest in the Jaguar, and attempted to cancel the entire program in favor of the Mirage F.1 and Super Etendard. With the Jaguar in danger, it would be Germany that would rescue it. Germany had expressed an interest in the Jaguar, as the Luftwaffe lacked a supersonic strike aircraft. The Jaguar S was modified to meet this requirement, and although Germany would decide not to buy the Jaguar, the RAF suddenly had the tactical strike aircraft they had needed. The role for the Jaguar was changed, with RAF Jaguar S (redesignated Jaguar GR.1) replacing the Phantom FGR.2 in the strike role; the trainer role would eventually be given to the British Aerospace Hawk. For the French, the Jaguar A was sufficiently advanced enough, and coupled with the failure of the Mirage G, the Jaguar A would eventually go into production as well.
Both the RAF and the Armee de l’Air intended to use the Jaguar to deliver tactical nuclear bombs, where its high speed, smooth handling at low level, and range would be advantages. (For a comparatively small aircraft, the Jaguar had excellent range for a tactical fighter, with only the much larger F-111 having longer loiter time.) As NATO strategy shifted away from nuclear warfare, the Jaguar GR.1 would be used as a strike aircraft, especially against airfields, while the French adapted it to the SEAD Wild Weasel role. As the Jaguar International, the aircraft was marketed abroad, leading to the air forces of Oman, Nigeria, Ecuador, and India adopting it; India would field the unique Jaguar IM, which was equipped with a Agave radar for the antishipping role.
By the time of the First Gulf War of 1991 against Iraq, neither the Jaguar GR.1s nor the Jaguar As still could drop precision weapons, forcing them to be escorted by either Buccaneers or Mirage F.1s; they still excelled in the tactical and antishipping role, and no Jaguars were lost, though a French Jaguar A was heavily damaged. The RAF upgraded its Jaguars to GR.3 standard in 1993, finally giving them the laser designators they needed, as well as other upgrades. The Bosnia and Kosovo wars turned out to be the Jaguar’s swan song: the RAF withdrew its Jaguars in 2007 in favor of the Typhoon, while France retired its aircraft in 2005 in favor of the Rafale. India, Ecuador, and Oman still fly their Jaguars, with India embarking on an update to keep their Jaguars in service until 2015.
(That part was real, the next few paragraphs aren't:)
With Germany’s withdrawal from the Jaguar project in 1973, the newly-formed FIRAF expressed an interest in the project. Minister of Defense Akela Canis was planning the long-term formation of the FIRAF, and the Jaguar looked like a good choice in the tactical strike role. At the same time, Intelani Aeronautics had been formed at Twin Peaks, and wanted to “ease into” production of advanced aircraft before attempting their own. With Dassault only reluctantly producing Jaguars, the relative simplicity of the aircraft once more seemed like a good “starter kit,” as Canis put it, for IA.
However, Canis had second thoughts about the Jaguar: while a good aircraft, he already had plans for the tactical strike role to be fufilled either by the Saab Viggen or the F-16 Falcon, both of which had radar and true multirole capability, which the Jaguar lacked. One area that the FIRAF lacked, however, was a tactical reconnaissance aircraft, as Canis did not want to buy the more costly RF-4E Phantom II at the time. IA, in response to a request from Canis, produced a mockup Jaguar nose with cameras. Given the Jaguar’s ability at low level and its range, this satisfied Canis’ desire for reconnaissance, though he was concerned about the Jaguar’s lack of a radar. IA solved this problem by obtaining a license to build the Elta M-2021 ranging radar used on the Kfir C.2; while nowhere near the standard of radars used on more advanced aircraft, the M-2021 was small enough to fit in the Jaguar’s nose without a major redesign.
With full approval, IA first produced two SA-81A Jaguar prototypes (which were essentially French Jaguar As), then began production of the baseline SA-81B, with the FIRAF placing an order for 33 SA-81Bs and three SA-81C two-seat trainers. In the end, it was decided that the two-seat trainer was not needed, and the three two-seaters were converted to SA-81Bs on the production line. Overall, the SA-81B was based closely on the Jaguar GR.1, but with a redesigned nose section equipped with two KA-87 low-altitude cameras, a KA-91 panoramic camera, and a KS-87 oblique camera. The M-2021 radar took the place of the laser ranger on the Jaguar GR.1, though the SA-81B still retained the former’s “chisel-nose” profile. With the success of the Jaguar International’s overwing Sidewinder rails, these were retrofitted to the SA-81B on the line.
The first SA-81B entered service with the FIRAF in September 1979. With the Third World War on the horizon in early 1984, the FIRAF placed an “emergency” order for an additional 24 Jaguars, so that the FIRAF would have five squadrons’ worth by 1985. War broke out before then, but the order was fufilled.
The SA-81B formed the backbone of the FIRAF’s tactical reconnaissance squadrons during the war, supplemented by the RF-4CS Phantom II. Considered elite units, the SA-81B squadrons were often called upon for the highly dangerous post-strike reconnaissance missions against alerted targets, and likewise operated at night and in bad weather. Unlike the USAF’s RF-4Cs, the FIRAF’s Jaguars went on their missions fully armed, with Sidewinders and occasionally rocket pods; the SA-81B retained the twin Aden 30mm cannon of the Anglo-French Jaguars.
Faced with a choice of using the SA-81B or the RF-4CS at the end of the war, the FIRAF chose to remain with the SA-81B despite the design being slightly older, as it was cheaper and more popular. As part of postwar drawdowns and the arrival of the SR-71A Blackbird, the Jaguar force was rationalized at two squadrons of 24 aircraft, with the retirement of high-time aircraft and storage of the remainder. The First Gulf War of 1991 showed that 24 SA-81Bs was inadequate for the FIRAF’s needs, and so 12 aircraft were brought out of storage and refurbished to form a third squadron.
The other lesson of Operation Desert Storm was that the Jaguar was beginning to show its age, and Intelani Aeronautics offered an upgrade. The proposed SA-81C was to have integrated GPS (Jaguar pilots had used handheld GPS sets during Desert Storm), HOTAS, and a wide-angle HUD to replace the narrow one hurriedly retrofitted during the Third World War. The biggest addition, however, was an underfuselage pallet that carried additional fuel, a combined datalink/fax (allowing for instantaneous downloading of images taken in real-time by the SA-81C), and the enormous LR-1 LOROP camera. This had a minor impact on the Jaguar’s performance, but the tradeoff was considered worth it. All surviving SA-81Bs underwent the C upgrade, which also formed the basis for the RAF’s Jaguar GR.3 upgrade. SA-81Cs were used over Bosnia.
Despite the upgrade, however, the Jaguar was simply getting old, and intensive use were starting to lead to fatigue cracks; the last SA-81B had left the production line in 1988, and replacement parts were getting scarce. The decision was made to retire the venerable and well-loved Jaguar in 1995, to be replaced by the RF-18C Hornet over a period of three years. The last four Jaguars left the FIRAF in March 1998, to be retired to museums, gate guards, and AMARC for scrapping.
(Back in the real world...)
This "SA-81B" was slightly modified from the Academy 1/144 Jaguar GR.1--"camera windows" were added to the nose, and overwing missile rails were kitbashed as well. Its armament consists of two drop tanks, two Matra rocket pods, and two AIM-9L Sidewinders. It is painted in a desert scheme of overall light gray and medium brown, with the insignia of my fictional "Free Intelani Air Force" and the "4th Reconnaissance Squadron's" flying bee on the tail. It also carries the name "Pink Cadillac" on the nose. All of these markings were done with a ballpoint pen, which is less fun than it sounds.
"The Hardest Hit" March & Parliamentary Lobby - 11.05.2011
Part (1) The Prelude to the March
Between 8,000 and 10,000 disabled people with long-term conditions, their families, carers and many trade union supporters assembled on London's Victoria Embankment to protest against the punitive cuts to welfare spending implimented by David Cameron's "Caring Conservatives", which are specifically aimed at the sick and the disabled. Using French IT company ATOS Origin to do the government's dirtiest work, the disabled are being summoned to "Work Capability Assessments" at ATOS Regional offices up and down the country, and are then subjected to a twenty minute examination by often medically unqualified staff who ask a series of questions and then try fill in tick boxes on their completely inflexible computerised forms, which are inadequate for coping with the very serious complexities which go with long-term disabilities. These accumulated scores then form that disabled person's Work Capability score. Input from Doctors, Carers and Senior Consultants is not allowed to be considered when going through this sham exercise designed to force people off Disablity benefits and mobility allowances - crucial to many working disabled people, many of whom have had to stop work because they cannot get there any more thanks to this incompetent process. Instead they become trapped in their homes, unable to shop for themselves or socialise.
The ATOS assessors are paid a bounty of around £70 for every person they instruct the Department of Work and Pensions to be thrown off their benefits, and those assessors with medical qualifications are instructed by the government when they sign contracts to do assessment work with ATOS that the normal medical code of conduct regarding their innate responsibility for the well-being of the patient is waived!
Since the introduction of this punitive and intensely cruel process several disabled people have committed suicide, having had their support ripped away from them, with many disabled people becoming homeless. There are also many instances where people with terminal illnesses have been told they are fit for work, their benefits stopped, and have died within weeks in absolute abject misery because the State has treated them monstrously.
Many previously independent disabled people in their own homes have had to be institutionalised in homes run by private comanies who are egging the government forward because they make a huge profit from running these homes. The sickest irony is that it costs around £10,000 per year to keep a disabled person living in their own home, independent and contributing to society, yet it costs the taxpayer between £30/40,000 to put them in a care home where they may be neglected or even worse abused.
Assaults and threats against the disabled has increased sharply over the last year as a direct result of the government's insulting press campaigns which have painted the sick and disabled as workshy scroungers. Nothing could be further from the truth, but as long as those in power have the ability to behave so appallingly towards the very weakest and most vulnerable members of our society just to score cheap political points, then that is what an increasing number of people in this country want to believe.
In December of last year Iain Duncan Smith, the minister for Work and Pensions, said of the disabled in Rupert Murcoch's Sun Newspaper interview:
"It embarrasses me. I think this is the greatest country on earth.
“What I cannot bear is the idea that this country was the workshop of the world. It gave everybody the free market, the industrial revolution. You think what we did to change the world. This was the place that everyone looked to.
“Yet we have managed to create a block of people in Britain who do not add anything to the greatness of this country.
“They have become conditioned to be users of services, not providers of money. This is a huge part of the reason we have this massive deficit. We have had to borrow vast sums of money. We went on this inflated spending spree."
Ever since that statement by Iain Duncan Smith the Sun, the Daily Express and the Telegraph have run continual lie-filled campaigns in their pages stating that around 75% of the disabled are fully able to work but because they are little more than complaining parasites who just want to sit at home enjoying themselves at "Our" expense. The rapid consequence of this disgusting, immoral slur which could be easily mistaken for the propaganda campaigns of the National Socialist Party in pre-war Germany.
Because the government has picked on the Disabled first, they are getting away with it. Most people in this country are unable to even begin to understand what it is like living with a severe disability. Most people in this country are too stupid and dull to have the intelligence to question what they are being told to think by the right-wing press who serve the Global Capitalists hiding 'round the curtain waiting to get the nod to start taking over huge parts of our National Health Service using the appalling American model which is all about profit and not about the patient's actual needs.
This is what David Cameron has planned for Great Britain, and he's starting with the disabled because disability makes most people uncomfortable because they're so self-obsessed and shallow that human empathy is too rich an emotion for them to grasp. Instead they are turning against the disabled, and talking to many disabled people it is very clear that a lot of them are now living in a climate of fear, hounded by bullies in their local communities, taunted in the streets, often physically abused or spat at, their homes broken into, their meagre possessions stolen.
And all this human misery because David Cameron's Conservatives will not punish the banks and hedge funds which caused the recession which has wrecked our economy, and he will not close down the corporate tax loopholes, shut down the tax havens and start throwing corrupt, greedy financiers in prison where they belong. All this human pain because Conservatives think that the State should stop providing services cheaply and reasonably efficiently, and instead services should be run by completely unaccountable private comanies whose only masters are the shareholders. This is all about profit, nothing else. profit at the expense of human pain and fear.
On appeal following an ATOS assessment around 70% of people win their cases, proving how incompetent ATOS' system is, but the cruellest part is that an appeal can take a year, during which that disabled person's mental and physical health has deteriorated. Many are driven to desperation and suicidal thinking. The government is just about to make it much, much harder to appeal against an ATOS decision by making it impossible to get any form of Legal Aid which would pay for a solicitor armed with the Law to represent you. It seems unbelievably wicked and cruel to me.
All photos © 2011 Pete Riches
Do not reproduce or reblog my images without my permission.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
The Imperial Japanese Army Air Force's fighter force, especially the Nakajima Ki-43, had been underestimated in its capability, numbers and the strategy of its commanders. Within a few months, Japanese forces had conquered vast areas of the Pacific and South East Asia. During these campaigns, the ill-prepared Allied air forces in the Pacific suffered devastating losses.
Because of political and cultural ties between the United Kingdom and Australia, British manufacturers were the main source of RAAF aircraft. However, the British aircraft industry had long been hard-pressed to meet the needs of the RAF. Although United States companies had enormous aircraft manufacturing capacity, their output was now intended first and foremost for US air units. Even if aircraft built overseas did become available, they would be shipped long distances in wartime conditions, with consequent delays and losses. As a consequence, CAC came into its own with the development of the Boomerang fighter, which was not operational before late 1942.
Following the outbreak of war with Japan, 51 Hurricane Mk IIs were sent as a stop-gap in crates to Singapore, with 24 pilots, the nucleus of five squadrons. They arrived on 3 January 1942, by which time the Allied fighter squadrons in Singapore, flying Brewster Buffalos, had been overwhelmed in the Malayan campaign. Even though the Hurricanes were a significant progress, they suffered in performance.
Because of inadequate early warning systems, Japanese air raids were able to destroy 30 Hurricanes on the ground in Sumatra, most of them in one raid on 7 February. After Japanese landings in Singapore, on 10 February, only 18 serviceable Hurricanes remained out of the original 99. After Java was invaded, some of the pilots were evacuated by sea to Australia. 31 Hurricane airframes, which had been on the wayby ship, not been assembled and lacked Merlin engines, were directed to Australia in the wake of events.
From these unfinished machines, the Hurricane Mk. VI was quickly devised: the airframes were mated with P&W Twin Wasp engines, which were produced under license at the CAC plant in Lidcombe, Sydney, for the RAAF's Boomerang and Bristol Beaufort. It was clear from the start that these Twin Wasp-powered machines would rather be stop-gaps and no true fighters, rather fighter bombers and more suited for the ground attack role. Hence, like the latest fighters at the time, planning for the Mk. VI included automatic cannons. As no such weapons were manufactured locally, a British-made Hispano-Suiza 20 mm which an Australian airman had collected as a souvenir in the Middle East was reverse engineered – and four of them replaced the eight and partly twelve 0.303 machine guns of the original Mk. IIB machines. Additionally, the pilot received extra armor plating, and the wings were reinforced for external ordnance.
The RAAF Mk. VI Hurricanes carried A60-02 through -32 registrations. As a side note, A60-01 was a single Hurricane Mk.I serialled V-7476. This aircraft served with No.2 and 3 Communications Flights RAAF and was used on occasion for experimental work at RAAF Base Laverton on the outskirts of Melbourne. The aircraft was scrapped in 1945.
The Hurricane Mk. VIs actively took part in Pacific operations with RAAF’s No. 4 Squadron and No. 5 Squadron, being joined by Boomerangs in early 1943. They were operated in New Guinea and during the Solomon Islands Campaign as well as the Borneo Campaign, mostly in the close support role and with marked success.
Flying in pairs (one to observe the ground, the other to observe the air around them), their tasks included bombing, strafing, close infantry support and artillery spotting. When attacking larger enemy formations, the Hurricanes often operated in conjunction with the smaller and much more agile Boomerang fighter. In this role, a Boomerang would get in close to confirm the identity of the target and mark it with a 20 lb (9 kg) smoke bomb with the "cooperating" Hurricane, Beaufort or Havoc delivering the major ordnance in a quick run and from a safer distance. The partnership between RAAF planes and Royal New Zealand Air Force Corsair fighter bombers during the Bougainville Campaign was said to be particularly effective.
The Australian Hurricane Mk. VIs soldiered on until early 1945, when they were finally retired. The Twin Wasp engines were used for spares, all airframes were scrapped, no plane survived the war.
General characteristics:
Crew: 1
Length: 32 ft 3 in (9.84 m)
Wingspan: 40 ft 0 in (12.19 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 257.5 ft² (23.92 m²)
Empty weight: 5,745 lb (2,605 kg)
Loaded weight: 7,670 lb (3,480 kg)
Max. takeoff weight: 8,710 lb (3,950 kg)
Maximum speed: 331 mph (531 km/h)
Range: 650 mi (1.045 km)
Service ceiling: 36,000 ft (10,970 m)
Rate of climb: 2,303 ft/min (11.7 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.15 hp/lb (0.25 kW/kg)
Engine: 1× Pratt & Whitney R-1830 Twin Wasp radial engine, 1,200 hp (895 kW)
Armament: 4× 20 mm (0.787 in) Hispano or CAC cannons; 2x 45-gallon (205 l) drop tanks or 2× 250 or 500 lb (110 or 230 kg) bombs
The kit and its assembly
The Hurricane Mk. VI is a whif, even though with little effort but a good story behind it. The original idea to mate a Hurricane with a radial engine came when I found a drawing of a Russian Hurricane, mated with a Schwezow ASch-82 engine. It looked… interesting. Not certain if this had been done for sure, but a great inspiration.
While browsing through the scrap heap I later found a Twin Wasp engine – that fueled the idea of a respective conversion. The Russian option was dead, but when I checked contemporary planes I came across the small Boomerang, and the historical facts were perfect for an obscure Australian Hurricane variant.
The rest was quickly done: the basic kit is a Hurricane Mk. IIC (Trop) from Hobby Boss, the Twin Wasp comes from a wrecked Matchbox PB4Y Privateer. The original Merlin was simply cut away and replaced by the "new" and relatively small radial engine. A surprisingly easy task, even though I had to widen the area in front of the cockpit by about 1mm to each side. With some putty and a new exhaust pipe with flame dampers, the surgical part was quickly done. A pilot was added, too, in order to distract from the rather bleak cockpit.
To make the plane look more interesting and suitable for a display on the ground, the flaps were lowered (scratch-built) and vertical and horizontal stabilizer were moved away from OOB neutral position. Additionally, the cooler under the fuselage was omitted, what creates together with the radial engine a very different side view. This "Aussie'cane" looks stout but disturbingly realistic, like a Boomerang’s big brother!
Only other changes/additions are a pilot figure and two wing hardpoints, holding bombs. The rest is OOB.
Painting
I have always been a fan of all-green RAAF WWII planes, so I chose such a simple livery. Inspiration came from real-life 4. Squadron Boomerangs, so I adopted the “QE” code and tried to mimic the overall look.
Interior surfaces were kept in Humbrol 78 ('Cockpit Green', dry-painted with light grey). The plane was painted with “Foilage Green” on all outer surfaces - a tone which seems to be heavily debated. Most sources claim FS 34092 (Humbrol 149) as a nowaday's replacement, but to me, this color is just too green and blue-ish. IMHO, “Foilage Green” has a rather yellow-ish hue - Humbrol 75 ("Bronze Green") would be better, if it wasn't too dark.
After some trials I settled for Humbrol 105 ("Army Green"). I think it is a sound compromise. It resembles FS 34096, but is (much) less grey-ish and offers that yellow hue I was looking for. Heavy weathering was done, esp. at the panel lines with dry-painted FS 34096 (Testors) and some panels "bleached" with Humbrol 86 ("Light live Green"). After deacls had been applied, some dry brushing with olive drab and light grey added to the worn and faded look, as well as flaked paint around the engine and the wings' leading egdes and soot stains at exhausts and guns. I wanted to emphasize the harsh climate conditions and duties of this fictional machine.
Only other colors are typical white quick recognition markings on tail and wings, painted with a mix of Humbrol 130 and 196 for a very light grey, with some white dry painting on th eleading edges.For a final clear coat, I used a matte varnish which still has a light gloss to it - “Foilage Green” and RAAF finishes were AFAIK supposed to be semi-matte and of higher quality that USAF paintjobs.
Markings come mostly from the scrap box. The RAAF insignia were taken from a Vultee Vengeance aftermarket sheet by Kanga Decals, which also provided the mid sea grey codes. The Australian registration numbers were improvised with single white letters from TL Modellbau decal sheets.
All in all I am happy with the result - a simple measure, a good story and even a very simple livery that allows room for imagination and painting effects. A nice lil' whif, the "Aussie'cane" Mk. VI.
In June 1938, Lockheed began design work on an airliner to satisfy a Transcontinental Western & Air (later Trans-World Airlines) (TWA), requirement for a non-stop transcontinental airliner with a 3,500-mile range and 6,000 lb. payload capability. Construction of a prototype began in 1940. The U.S. was soon involved in the Second World War and all transport production was directed to military needs and consequently the prototype first flew on January 9, 1943, as a military aircraft. Hydraulic-powered controls were used, full feathering and reversing propellers were also installed. First known by its civil designator as Model 049, it soon became better known during wartime by its military designation, the C-69 Constellation. Improvements were steadily made, beginning with the L-649, which was the first Constellation built as a commercial type and the L-749 which was the long-range version of the 649.
The next stage in development led to the L-1049 Super Constellation. The first prototype Super Constellation was a "stretched" version of the original Model 049 (C-69), modified by lengthening the fuselage from 95’ 2" to 113’ 7", adding more fuel capacity, more powerful engines, higher gross weight, and increasing its tourist-class seating from 69 to 92. These L-1049 aircraft were powered by four 2700 hp Wright engines. The prototype aircraft was first flown on October 13, 1950. The production version of the Model L-1049, of which fourteen were built for Eastern Airlines, and ten for TWA, ended up with a strengthened fuselage, stiffened outer wing panels and rectangular windows instead of the Constellation’s round ones. This production version was first flown on July 14, 1951, and the type entered service on December 7, 1951, with Eastern Airlines (EAL). The last Model 1049 produced was delivered in September 1952. Passenger accommodations on the 1049 varied - 88 for Eastern; 65 over water or 75 domestic for TWA, with adaptation to 102 in high density configuration. The flight crew consisted of three, with two cabin attendants.
The Model 1049 was followed by an A version (military WV-2, WV-3, and RC-121D) the B version (USN R7V-1, USAF RC-121C, the presidential VC-121E), and the C version, the first commercial transport certificated with turbo-compound engines. These Double Cyclone Wright engines had three "blow-down" turbines, which converted the heat energy of exhaust gases into additional power, with a 20% reduction in fuel consumption.
The engine produced 3,250 h.p. for take-off for which the aircraft weight had been increased to 133,000 lb. The Model 1049C, Turbo-Cyclone-powered Super Constellation began flight trials on February 17, 1953. A convertible model, the 1049D was built for Seaboard and Western Airlines in 1954. They were fitted with reinforced flooring and they had main deck cargo loading doors on the part side of the fuselage, fore and aft of the wings. They could carry either 18 tons of freight or up to 104 passengers. Maximum take—off weight was 135,400 lb. A Model 1049E was delivered between May 1954 and April 1955 which was identical to the 1049C but with the increased take-off and landing weight of the 1049D. Next on the model list was the Model 1049F, which was Lockheed’s designation for 33 C-121C cargo/personnel transports built for the USAF and fitted with stronger landing gear. The F was followed by a "G" model which was determined to be the most successful version of the Super Constellation. It was powered by 3,400 h.p. engines, it had longer range than the E, and the maximum take-off weight was increased to 137,500 lb. with some models modified to 140,000 lb. Often known as Super Gs, 42 of these aircraft were delivered to domestic carriers (20 to TWA, 10 to EAL, and 4 to NW), and 50 to foreign carriers. The final version to the Super Constellation was the Model 1049H, a combination of Model 1049D, and the convertible and improved Model 1049G.
The Super Constellation and its derivatives represent, along with the Douglas DC-7, the ultimate step in the development of longer range, more capacity and more powerful piston-engined aircraft to meet the needs of both commercial and military aviation. Eastern Air Lines, the first airline to order Super Constellations, introduced the type on its New York-Miami route on December 15, 1951. It was able to take advantage of the 1049s additional capacity to absorb an increased holiday seasonal demand. A decade later on April 30, 1961, Eastern inaugurated its revolutionary air shuttle, no-reservation service, Washington-New York-Boston with Super Constellations. Incidentally, as it turns out, the last use of the Super Constellations by a major U.S. domestic airline was a backup for the shuttle until February 1968.
TWA, a co-sponsor with EAL on the design of the Super Constellation, first used the Model 1049 on its domestic network in September 1952, and when it received the higher performance "C" version, it began scheduled non-stop transcontinental service on October 19, 1953, a first for the industry. On its trans-Atlantic routes, TWA made use of its early Super Constellation models, but on November 1, 1955, it could offer improved service, using its newer Model l049Gs which enabled it to operate non-stop most of the time, at least in the eastbound direction.
Over the Atlantic and other long distance routes, the Super Constellation was also operated by several former Constellation operators, until Lockheed was again challenged by Douglas and its DC-7C, the first aircraft capable of flying non-stop in both directions over the North Atlantic. To compete, Lockheed responded by mating the Super Constellation’s fuselage and tail surfaces with an entirely new wing, resulting in a major redesign. The outcome, the Model 1649A Starliner, which entered service on June 1, 1957, it was the most attractive of the Constellation series, but its success was short lived for in six months it was overtaken in 1958 by the faster, turbine-powered (Bristol Britannia) and jet aircraft (the Boeing 707-120) which finally made all propeller-driven aircraft obsolescent in October 1958. A total of 44 Lockheed L-1649As were built, 29 went to TWA, 10 to Air France, 4 to Lufthansa.
When the age of piston-powered passenger transport aircraft was coming to a close, Lockheed offered to carriers a convertible Model 1049H, suggesting that when they were no longer competitive in the passenger market they could convert to carrying cargo. This second hand market did materialize briefly with the H model but the market for 1049s soon dried up as they were becoming too expensive to operate and maintain. The engines were giving problems not only in the Lockheed Super Connies, but also in the Douglas DC-7s, and the aircraft were becoming known as the "world’s best trimotors." A total of 579 Super Constellations were built but by the end of 1980 only four Super Constellations remained in airline service..
The Museum’s Lockheed C-121C (1049F-55-96), with former Air Force serial number 54-177, and now registered N-1104W, is one of the thirty-three C-l2lCs delivered to the USAF and the Atlantic Division of the Military Air Transport Service at Charleston AFB, South Carolina. This airplane arrived there in March 1956 and was assigned to the 1608th Air Transport Wing. Its original configuration was that of an over-water cargo/passenger transport, having eight crew members and accommodations for up to 80 passengers.
While with the 1608th ATW, the "Super Connies" flew throughout the Caribbean, made crossings of the North and South Atlantic to Europe, the Mediterranean, the Middle East and as far east as India. They participated in the Hungarian airlift during 1956-57, carrying refugees from Eastern Europe to the U.S. and flew troops to Lebanon during the crisis there in 1958. In general, this "Connie" and others of the unit flew a variety of transport missions including cargo, passenger, medical evacuation, and humanitarian support.
On October 30, 1962, the Museum’s C-121C left the regular USAF and was transferred to the 183rd Air Transport Squadron of the Mississippi Air National Guard. This unit was re-designated the 183rd Military Airlift Squadron as of January 1, 1966. While with the 183rd, it flew transport, evacuation, and support missions across the North Atlantic. It remained with the Guard unit until April 19, 1967, at which time it was transferred to the West Virginia ANG and the 167th Military Airlift Squadron. This and other C-l2lCs of this unit flew across the Atlantic and Pacific Oceans, the Caribbean, and to South America, taking part in operation "Creek Guardlift" in Europe from June 1971 to March 1972.
This Super Constellation served with the 167th until 1972 and was again transferred, this time to the 193rd Tactical Electronic Warfare (TEW) Squadron, Pennsylvania ANG, at Olmstead AFB, Middletown, Pennsylvania. This squadron had one other C-121, an electronic countermeasure configured aircraft. Together they took part in many exercises and training missions such as "Reforger VI," "Flintlock" and "Northern Merger" in 1974. While operating out of Ramey AFB in Puerto Rico, they took part in "Gallant Shield" and "Solid Shield," both in 1975.
This "Connie" remained with the 193rd and operations with the ANG until November 1977, when it was retired after 21½ years of military service, thousands of flying hours, and countless ocean crossings, which for propeller driven aircraft were long endurance flights often exceeding 12 or 14 hours. When taken out of service, it was transferred to the Military Aircraft Storage and Disposition Center (MASDC), at Davis Monthan AFB, Arizona, for storage. It remained there until August 1981, at which time it was sold at auction to Ascher Ward of Classic Air Inc., and flown to Van Nuys Airport, California, where the new company was forming. As a civil aircraft in a hoped-for new career, it was assigned FAA registration number Nll04W. It retained its 193rd TEW paint scheme of a royal blue cheat-line outlined in gold, with a white cabin roof and empennage, and pale blue under surfaces. It carried its small serial number on the left side under the stabilizer and a U.S. flag on the center fin.
The newly formed company Classic Air Inc., which intended to operate two or three passenger—carrying "Connies" between Los Angeles and Reno, Nevada, failed to receive FAA approval and the airplanes remained dormant. At this time the National Air and Space Museum was seeking a Super Constellation. Mr. Darryl Greenameyer soon became a party to this transaction as he had acquired two of the Constellations from Air Classics. He negotiated a trade with NASM a C-121C, NllO4W in exchange for two Grumman HU-16 Albatrosses drawn from the remaining holdings of spare Albatross belonging to the Smithsonian, and which had been used in support of one Albatross that was operated by the Museum of Natural History.
The fallow deer (Dama dama) is a ruminant mammal belonging to the family Cervidae. This common species is native to western Eurasia, but has been introduced widely elsewhere.
Petworth House and Park in Petworth, West Sussex, England, has been a family home for over 800 years. The estate was a royal gift from the widow of Henry I to her brother Jocelin de Louvain, who soon after married into the renowned Percy family. As the Percy stronghold was in the north, Petworth was originally only intended for occasional use.
Petworth, formerly known as Leconfield, is a major country estate on the outskirts of Petworth, itself a town created to serve the house. Described by English Heritage as "the most important residence in the County of Sussex", there was a manorial house here from 1309, but the present buildings were built for the Dukes of Somerset from the late 17th century, the park being landscaped by "Capability" Brown. The house contains a fine collection of paintings and sculptures.
The house itself is grade I listed (List Entry Number 1225989) and the park as a historic park (1000162). Several individual features in the park are also listed.
It was in the late 1500s that Petworth became a permanent home to the Percys after Elizabeth I grew suspicious of their allegiance to Mary, Queen of Scots and confined the family to the south.
The 2nd Earl of Egremont commissioned Capability Brown to design and landscape the deer park. The park, one of Brownâs first commissions as an independent designer, consists of 700 acres of grassland and trees. It is inhabited by the largest herd of fallow deer in England. There is also a 12-hectare (30-acre) woodland garden, known as the Pleasure Ground.
Brown removed the formal garden and fishponds of the 1690âs and relocated 64,000 tons of soil, creating a serpentine lake. He bordered the lake with poplars, birches and willows to make the ânaturalâ view pleasing. A 1987 hurricane devastated the park, and 35,000 trees were planted to replace the losses. Gracing the 30 acres of gardens and pleasure grounds around the home are seasonal shrubs and bulbs that include lilies, primroses, and azaleas. A Doric temple and Ionic rotunda add interest in the grounds.
Petworth House is a late 17th-century mansion, rebuilt in 1688 by Charles Seymour, 6th Duke of Somerset, and altered in the 1870s by Anthony Salvin. The site was previously occupied by a fortified manor house founded by Henry de Percy, the 13th-century chapel and undercroft of which still survive.
Today's building houses an important collection of paintings and sculptures, including 19 oil paintings by J. M. W. Turner (some owned by the family, some by Tate Britain), who was a regular visitor to Petworth, paintings by Van Dyck, carvings by Grinling Gibbons and Ben Harms, classical and neoclassical sculptures (including ones by John Flaxman and John Edward Carew), and wall and ceiling paintings by Louis Laguerre. There is also a terrestrial globe by Emery Molyneux, believed to be the only one in the world in its original 1592 state.
For the past 250 years the house and the estate have been in the hands of the Wyndham family â currently Lord Egremont. He and his family live in the south wing, allowing much of the remainder to be open to the public.
The house and deer park were handed over to the nation in 1947 and are now managed by the National Trust under the name "Petworth House & Park". The Leconfield Estates continue to own much of Petworth and the surrounding area. As an insight into the lives of past estate workers the Petworth Cottage Museum has been established in High Street, Petworth, furnished as it would have been in about 1910.
All-new 2015 Jeep® Renegade: Most Capable Small SUV Expands the Brand's Global Portfolio
- All-new 2015 Jeep® Renegade marks the brand's first entry in the small SUV segment
- Renegade Trailhawk model delivers best-in-class 4x4 Trail Rated capability with class-exclusive Jeep Active Drive Low, which includes 20:1 crawl ratio and Jeep Selec-Terrain system
- Designed to expand the Jeep brand globally, the all-new 2015 Renegade combines the brand's heritage with fresh new styling to appeal to youthful and adventurous customers
- Nothing else like it: Renegade displays a powerful stance with aggressive wheel-to- body proportions, plus the freedom of two My Sky open-air roof systems
- Renegade's all-new interior exudes an energetic appearance with rugged and functional details, crafted in high-quality materials and inspired colors
- All-new "small-wide 4x4 architecture" combines best-in-class off-road capability with world-class on-road driving dynamics
- Designed for global markets – with 16 fuel-efficient powertrain combinations for different markets around the world – including the world's first nine-speed automatic transmission in a small SUV
- Renegade will offer a best-in-class combination of fuel efficiency and off-road capability
- Technology once limited to premium SUVs: award-winning Uconnect Access, Uconnect touchscreen radios and the segment's largest full-color instrument cluster
- Loaded with up to 70 available advanced safety and security features
- Designed in America, crafted in Italy, the 2015 Renegade highlights the Jeep brand's global resources and dedication to meeting customer needs in more than 100 countries
The all-new 2015 Jeep® Renegade expands the brand's global vehicle lineup, entering the growing small SUV segment, while staying true to the adventurous lifestyle Jeep is known for. Renegade delivers a unique combination of best-in-class off-road capability, open-air freedom and convenience, a segment-first nine-speed automatic transmission that contributes to outstanding on- road and off-road driving dynamics, fuel-efficient engines, world-class refinement, and a host of innovative safety and advanced technology offerings. The result is an efficient vehicle created to attract youthful and adventurous customers around the world to the Jeep brand.
The all-new 2015 Jeep Renegade expands the brand's product portfolio and targets the rapidly expanding small SUV segment around the globe with benchmark levels of efficiency and driving dynamics, while at the same time delivering best-in-class 4x4 capability that customers expect from Jeep,‖ said Mike Manley, President and CEO - Jeep Brand, Chrysler Group LLC. ―Renegade symbolizes the brand's renowned American design, ingenuity and innovation, marking the Jeep brand's first entry into the small SUV segment in more than 100 markets around the globe.
Best-in-class off-road capability thanks to two all-new 4x4 systems
Leveraging 4x4 technology from the all-new Jeep Cherokee, the all-new 2015 Jeep Renegade offers two of the most advanced and intelligent 4x4 systems in its class, all to deliver best-in-class off-road capability. Both systems can provide up to 100 percent of the engine's available torque to the ground, through any wheel, for optimal grip.
- Jeep Active Drive – full-time 4x4 system
- Jeep Active Drive Low – class-exclusive full-time 4x4 system with 20:1 crawl ratio
Innovation is also at the forefront of any new Jeep vehicle, and the Renegade is the first small SUV to feature a disconnecting rear axle and power take-off unit (PTU) – all to provide Jeep Renegade 4x4 models with enhanced fuel economy. The system instantly engages when 4x4 traction is needed.
Both Jeep Active Drive and Active Drive Low 4x4 systems include the Jeep Selec-Terrain system, providing up to five modes (Auto, Snow, Sand and Mud modes, plus exclusive Rock mode on the Trailhawk model) for the best four-wheel-drive performance on- or off-road and in any weather condition.
Trail Rated: Renegade Trailhawk 4x4 model
For customers who demand the most off-road capability from their Jeep vehicles, the Renegade Trailhawk model delivers best-in-class Trail Rated 4x4 capability with:
- Standard Jeep Active Drive Low (20:1 crawl ratio)
- Selec-Terrain system with exclusive Rock mode
- Increased ride height 20 mm (0.8 inches)
- Skid plates, and red front and rear tow hooks
- Unique fascias deliver 30.5 degree approach, 25.7 degree breakover and 34.3 degree departure angles
- 17-inch all-terrain tires
- Up to 205 mm (8.1 inches) of wheel articulation
- Hill-descent Control
- Up to 480 mm (19 inches) of water fording
- Up to 1,500 kg (3,300-lb.) towing capability with MultiJet II diesel engine and 907 kg (2,000- lb.) towing capability with 2.4-liter Tigershark engine, with available tow package
A global Jeep design for a rapidly growing global brand
From the start, Jeep designers knew the Renegade would need to deliver best-in-class off-road capability with city-sized proportions that exuded the brand's rugged style while at the same time enhancing versatility, maneuverability and style. Additionally designers were tasked to create an all- new SUV that would symbolize the brand's renowned American design and ingenuity, as it would mark the Jeep brand's first entry into the small SUV segment in more than 100 markets around the globe. Last, Renegade had to offer the open-air freedom that dates back to its 1941 roots with the Willys MB Jeep.
The result is the all-new 2015 Renegade, a vehicle that builds on the Jeep Wrangler's powerful stance, and features fresh new styling with rugged body forms and aggressive proportions that enable best-in-class approach and departure angles purposely designed to deliver best-in-class off- road capability. And for segment-exclusive panoramic views, two available My Sky open-air roof panel systems conveniently stow to provide passengers open-air freedom with ease.
All-new interior exudes a rugged and energetic appearance
The all-new Jeep Renegade interior features a rugged and energetic appearance that builds upon Jeep's legendary brand heritage. Its precisely crafted detail, innovative and high-quality color and material appointments, state-of-the-art technology, and clever storage features draw inspiration from contemporary extreme sports gear and lifestyles.
The interior of the all-new 2015 Jeep Renegade has a distinctive form language which Jeep designers have titled ―Tek-Tonic.‖ This new design theme is defined by the intersections of soft and tactile forms with rugged and functional details. Major surfaces such as the sculpted soft-touch instrument panel are intersected with bold functional elements like the passenger grab handle – indispensable for off-road adventures and borrowed from its big brother, the legendary Jeep Wrangler. Unique ―protective clamp fasteners,‖ anodized design accents and inspired colors are derived from extreme sports equipment, while the newly familiar ―X‖ shapes inspired by its roof and tail lamps add to Renegade's Tek-Tonic interior look. And to make sure all of the needed passenger gear fits, the Renegade is designed with an efficient and flexible interior package that includes a removable, reversible and height-adjustable cargo floor panel and fold-forward front-passenger seat.
My Sky: continuing Jeep open-air freedom since 1941
Keeping the tradition of the legendary 1941 Willys MB Jeep, the all-new 2015 Renegade offers open-air freedom with two available My Sky open-air roof systems. With a manual removable, or removable with premium power tilt/slide feature, the segment-exclusive My Sky roof-panel systems quickly bring the outdoors inside. Designed for convenience, the honeycomb fiberglass polyurethane roof panels are lightweight and stow neatly in the rear cargo area. For added design detail, both My Sky roof systems feature a debossed ―X‖ stamped into the roof that exude strength and play on the brand's utilitarian history.
Best-in-class off-road capability with world-class on-road driving dynamics
Designed and engineered to first and foremost deliver legendary Jeep 4x4 capability, the all-new 2015 Renegade is the first small SUV from Chrysler Group to use the all-new ―small-wide 4x4 architecture.‖
With its fully independent suspension capable of up to 205 mm (8.1 inches) of wheel articulation and 220 mm (8.7 inches) of ground clearance (Trailhawk), Renegade raises the bar in the small SUV segment with best-in-class off-road capability. Extensive use of advanced steels, composites and advanced computer-impact simulations enable the all-new 2015 Renegade's architecture to deliver world-class torsional stiffness and Jeep brand's durability required for Trail Rated adventures.
The all-new Renegade is the first Jeep to integrate Koni's frequency selective damping (FSD) front and rear strut system. This damping system enables the Jeep Renegade to deliver world-class road-holding and handling characteristics.
Designed for global markets: 16 powertrain combinations
True to the Jeep brand, the all-new Renegade will offer customers in global markets maximum off- road capability and fuel efficiency. The Renegade will offer up to 16 strategic powertrain combinations – the most ever in a Jeep vehicle – customized to markets around the world to meet a range of performance and efficiency needs. Powertrain options include:
- Four MultiAir gasoline engine offerings
- Two MultiJet II diesel engine offerings
- Efficient and flex-fuel capable E.torQ engine
- Emissions and fuel-saving Stop&Start technology
- Segment-first nine-speed automatic transmission
- Two manual and one dual-dry clutch transmission (DDCT) offerings
World's first small SUV with nine-speed automatic transmission
Like the new Jeep Cherokee, the all-new 2015 Jeep Renegade has raised the bar - this time in the small SUV class - with the first available nine-speed automatic transmission. When paired with either the 2.0-liter MultiJet II diesel engine, or 2.4-liter MultiAir2 gas engine, the nine-speed transmission delivers numerous benefits customers will appreciate, including aggressive launches, smooth power delivery at highway speeds and improved fuel efficiency versus a six-speed automatic transmission.
Segment-exclusive technologies once found only on higher classed SUVs
The all-new 2015 Jeep Renegade offers technology features once found only in upper-segment vehicles, and makes them attainable to customers in the growing small SUV segment – including award-winning Uconnect Access, Uconnect touchscreens and the segment's largest full-color instrument cluster.
- Uconnect Access: Utilizes embedded cellular technology to allow Jeep Renegade occupants to get directly in contact with local emergency-service dispatchers – all with the push of the 9-1-1 Assist button on the rearview mirror. Uconnect Access applies the same logic to roadside assistance. One push of the ―ASSIST‖ button summons help directly from Chrysler Group's roadside assistance provider, or the Vehicle Customer Care Center. Further peace of mind comes from the system's ability to receive text messages, announce receipt of texts, identify senders and then ―read‖ the messages aloud with Bluetooth-equipped cell phones. AOL Autos named Uconnect Access its ―Technology of the Year for 2013.‖ (Uconnect services may vary in different markets)
- Uconnect touchscreen radio systems: Award-winning in-vehicle handsfree communication, entertainment and available navigation. Key features available on the Uconnect 5.0 and 6.5AN systems include a 5.0-inch or 6.5-inch touchscreen display, Bluetooth connectivity, single or dual-turner, radio data system capability (RDS), digital audio broadcast (DAB), HD Radio, digital media broadcasting (DMB), SiriusXM Radio, SiriusXM Travel Link, SiriusXM Travel Link, USB port and auxiliary audio jack input. (Uconnect services may vary in different markets)
- Segment's largest full-color instrument cluster display: Filling the Jeep Renegade's gauge cluster in front of the driver is an available 7-inch, full-color, premium multiview display, featuring a reconfigurable function that enables drivers to personalize information inside the instrument cluster. The information display is designed to visually communicate information, using graphics and text, quickly and easily.
Renegade features up to 70 advanced safety and security features
Safety and security were at the forefront in the development of the all-new 2015 Jeep Renegade, setting the stage for up to 70 available safety and security features – including the availability of Forward Collision Warning-Plus and LaneSense Departure Warning-Plus.
In addition, engineers added both active and passive safety and security features, including Blind- spot Monitoring; Rear Cross Path detection; ParkView rear backup camera with dynamic grid lines; electronic stability control (ESC) with electronic roll mitigation and seven standard air bags.
Jeep brand's global resources
Designed in America and crafted in Italy, the 2015 Renegade continues the Jeep brand's dedication to the global marketplace and demonstrates the depths of its available resources. The final assembly location for the Renegade will be at the Melfi Assembly Plant. The Renegade's global portfolio of powertrain production includes the United States, Italy and Brazil.
Ickworth House, Horringer, Bury St Edmunds, Suffolk
The House was built between the years of 1795 and 1829 to the designs of the Italian Architect Mario Asprucci, his most noted work being the Villa Borghese. It was this work that Frederick Hervey, the then 4th Earl of Bristol and Bishop of Derry had seen.
Asprucci’s plans were then taken up by the brothers Francis & Joseph Sandys, English architects.
The Parkland, of which there is 1,800 acres in total, was designed by Capability Brown and was Italianate in style. This style much loved by the 4th Earl.
Most of the friezes running around the rotunda were based upon John Flaxman’s illustrations of The Iliad and The Odyssey although, within the entrance portico there are some panels designed by Lady Caroline, the Earl’s Granddaughter and are based upon the Roman Olympic Games.
There are many works of art inside the house and very much well worth the visit.
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the garden that is the Parterre.
chimneys
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-17-331
SOUTHWEST BORDER SECURITY: Additional Actions Needed to Better Assess Fencing's Contributions to Operations and Provide Guidance for Identifying Capability Gaps
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
From the garden.
View full size to read placards
The News Line Wednesday March 4 2015 page 2
THERE was a lively picket of St Mary's House in Norwich Monday lunchtime by disabled people against government policies and the inaccessibility of the assessment centre which has now been taken over by Maximus.
News Line spoke to Marion Fallon from Disabled People Against Cuts (DPAC), Norfolk, who said: 'I can't quite believe that we are here three years on from all the campaigns, all the protests.
'We've had letters back and forth to the MPs to the Minister For Disabled People; we're now on the second Minister For Disabled People who has taken over.
'We've had promises and promises that this St Mary's House ground floor rooms access would be resolved.
'Here we are 2nd March a new company, Maximus, has taken over from ATOS and it's still not been resolved; so it just looks like things are going on as they were before.'
Mark Harrison of the disabled people's charity 'Equal Lives' said 'Two reasons for this protest today. One is that today's the day that Maximus have taken over from ATOS the discredited and disgraceful Work Capability Assessments and they are another bastardoutsourcing company brought in to destroy disabled people's lives.
'Secondly because strangely enough we've got a disabled assessment centre in Norwich that is not accessible to disabled people and we've campaigned here for three years and the government has refused to close it or make it accessible.'
Asked about how government legislation has affected disabled people over the last five years Harrison said: 'Disabled people have lost their lives, have committed suicide as a result of their so-called "Welfare Reforms", the scrapping of the Independent Living Fund, the scrapping of DLA, the millions and millions of cuts to local authority care budgets and the £20 billion they cut out of the Health Service.
'The sooner we see the back end of this government the better. We need a government that is going to put the needs of disabled people, poor people, and the population first.'
The Strategic Airlift Capability (SAC)'s Boeing C-17 Globemaster III (03 F-211/SAC-3 C/N 50212) taxiing at the Swiss Air Force base at Payerne. The SAC is a consortium of 12 nations, 10 of which are member states of NATO and two of which are Partners For Peace, to pool resources to purchase and operate Boeing C-17 Globemaster III aircraft for joint strategic airlift purposes. Based at Papa in Hungary, they are operated and flown by members of the SAC's armed forces. However, the aircraft are maintained by Boeing as described by the European Aviation Safety Agency (EASA). specified European standards. Photo taken by my son.
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Charlecote Park House is a Grade I Listed Building
Listing Text
CHARLECOTE
SP2556 CHARLECOTE PARK
1901-1/10/19 Charlecote Park
06/02/52
(Formerly Listed as:
Charlecote Park House)
GV I
Formerly known as: Charlecote Hall.
Country house. Begun 1558; extended C19. Partly restored and
extended, including east range, 1829-34 by CS Smith;
north-east wing rebuilt and south wing extended 1847-67 by
John Gibson. For George and Mary Elizabeth Lucy.
MATERIALS: brick, that remaining from original building has
diapering in vitrified headers, but much has been replaced in
C19; ashlar dressings; tile roof with brick stacks with
octagonal ashlar shafts and caps.
PLAN: U-plan facing east, with later west range and south
wing.
EXTERIOR: east entrance front of 2 storeys with attic;
3-window range with long gabled projecting wings. Ashlar
plinth, continuous drip courses and coped gables with finials,
sections of strapwork balustrading between gables; quoins.
2-storey ashlar porch has round-headed entrance with flanking
pairs of Ionic pilasters and entablature, round-headed
entrance has panelled jambs, impost course and arch with lion
mask to key and 2 voussoirs, strapwork spandrels and stained
glass to fanlight over paired 4-panel doors; first floor has
Arms of Elizabeth I below projecting ovolo-moulded
cross-mullion window, with flanking pairs of Composite
detached columns; top balustrade with symmetrical balusters
supports Catherine wheel and heraldic beasts holding spears;
original diapered brick to returns.
3-light mullioned and transomed window to each floor to left,
that to first floor with strapwork apron. Large canted bay
window to right of 1:3:1 transomed lights with pierced
rosettes to parapet modelled on that to gatehouse (qv) and
flanked by cross-mullioned windows, all with moulded reveals
and small-paned sashes; C19 gables have 3-light
ovolo-mullioned windows with leaded glazing.
Wings similar, with 2 gables to 5-window inner returns,
ovolo-moulded cross-mullioned windows. Wing to south has much
diaper brickwork and stair window with strapwork apron.
East gable ends have 2-storey canted bay windows dated 1852 to
strapwork panels with Lucy Arms between 1:3:1-light transomed
windows; 3-light attic windows, that to north has patch of
reconstructed diaper brickwork to left.
Octagonal stair turrets to outer angles with 2-light windows,
top entablatures and ogival caps with wind vanes, that to
south mostly original, that to north with round-headed
entrance with enriched key block over studded plank door.
North side has turret to each end, that to west is wholly C19;
3 gables with external stacks with clustered shafts between;
cross-mullioned windows and 3-light transomed stair window on
strapwork apron; 2-light single-chamfered mullioned windows to
turrets.
Single-storey east range of blue brick has 2 bay windows with
octagonal pinnacles with pepper-pot finials and arcaded
balustrades over 1:4:1-light transomed windows; central panel
with Lucy Arms in strapwork setting has date 1833; coped
parapet with 3 gables with lights; returns similar with
3-light transomed windows.
Range behind has 3 renewed central gables and 2 lateral stacks
each with 6 shafts; gable to each end, that to south over
Tudor-arched verandah with arcaded balustrade to central arch
and above, entrance behind arch to left with half-glazed door,
blocked arch to right; first floor with cross-mullioned window
and blocked window, turret to right is wholly C19. South
return has cross-mullioned window to each floor and external
stack with clustered shafts.
South-west wing of 2 storeys; west side is a 7-window range;
recessed block to north end has window to each floor, the next
4 windows between octagonal pinnacles; gabled end breaks
forward under gable with turret to angle; rosette balustrade;
stacks have diagonal brick shafts, gable has lozenge with Lucy
Arms impaling Williams Arms (for Mary Elizabeth Lucy).
Cross-mullioned windows, but 2 southern ground-floor windows
are 3-light and transomed.
South end 4-window range between turrets has cross-mullioned
windows, but each end of first floor has bracketed oriel with
strapwork apron with Lucy/Williams Arms in lozenge and dated
1866, rosette balustrade with to each end a gable with 2-light
single-chamfered mullioned window with label, and 3 similar
windows to each turret, one to each floor.
East side has 3-window range with recessed range to right.
South end has Tudor-arched entrance and 3-light transomed
window, cross-mullioned window and 3-light transomed window to
first floor and gable with lozenge to south end; gable to
full-height kitchen to north has octagonal pinnacles flanking
4-light transomed window and gable above with square panel
with Lucy/Williams Arms to shield; recessed part to north has
loggia with entrance and flanking windows, to left a
single-storey re-entrant block with cross-mullioned windows;
first floor has 5 small sashed windows. South side of
south-east wing has varied brickwork with mullioned and
transomed windows, 2 external stacks and 2 gables with 3-light
windows.
INTERIOR: great hall remodelled by Willement with wood-grained
plaster ceiling with 4-centred ribs and Tudor rose bosses;
armorial glass attributed to Eiffler, restored and extended by
Willement; wainscoting and panelled doors; ashlar fireplace
with paired reeded pilasters and strapwork to entablature, and
fire-dogs; white and pink marble floor, Italian, 1845.
Dining room and library in west wing have rich wood panelling
by JM Willcox of Warwick and strapwork cornices, and strapwork
ceilings with pendants; wallpaper by Willement; dining room
has richly carved buffet, 1858, by Willcox and simple coloured
marble fireplace, the latter with bookshelves and fireplace
with paired pilasters and motto to frieze of fireplace, paired
columns and strapwork frieze to overmantel with armorial
bearings; painted arabesques to shutter backs.
Main staircase, c1700, but probably extensively reconstructed
in C19, open-well with cut string, 3 twisted balusters to a
tread, carved tread ends and ramped handrail;
bolection-moulded panelling in 2 heights, the upper panels and
panelled ceiling probably C19.
Morning room to south of hall has Willement decoration: white
marble Tudor-arched fireplace with cusped panels; plaster
ceiling with bands.
Ebony bedroom, originally billiard room, and drawing room to
north-east wing have 1856 scheme with cornices and
Jacobean-style plaster ceilings; white marble C18-style
fireplaces, that to Ebony Bedroom with Italian inserts with
Lucy crest. Drawing room has gilded and painted cornice and
ceiling, and large pier glasses.
Rooms to first floor originally guest bedrooms: doors with
egg-and-dart and eared architraves; C18-style fireplaces, that
to end room, originally Ebony Bedroom, has wood Rococo-style
fireplace with Chinoiserie panel; 1950s stair to attic.
South-east wing has c1700 stair, probably altered in C19, with
symmetrical balusters with acanthus, closed string; first
floor has wall and ceiling paintings: land and sea battle
scenes painted on canvas, male and female grisaille busts.
First floor has to west the Green Room, with Willement
wallpaper and simple Tudor-arched fireplace with
wallpaper-covered chimney board; adjacent room has marble
fireplace.
Death Room and its dressing room to east end have wallpaper of
gold motifs on white, painted 6-panel doors and architraves,
papier-mache ceilings; bedroom has fireplace with marble
architrave. Adjacent room has bolection-moulded panelling with
c1700 Dutch embossed leather. Stair to attic has c1700
balusters with club-form on acorn. Attics over great hall and
north-east and south-east wings have lime-ash floors and
servants' rooms, each with small annex and corner fireplace;
some bells.
South wing has kitchen with high ceiling and 2
segmental-arched recesses for C19 ranges; Tudor-arched recess
with latticed chamber for smoked meats over door.
Servants' hall has dark marble bolection-moulded fireplace and
cornice; scullery has bread oven, small range, pump and former
south window retaining glass.
First floor has to south end a pair of rooms added for Mary
Elizabeth Lucy in her widowhood; bedroom to east with deep
coved cornice and Adam-style fireplace, sitting room to west
similar, with gold on white wallpaper, white marble fireplace
with painted glass armorial panels and 1830s-40s carpet; door
to spiral timber turret staircase.
Nursery has fireplace with faceted panels and C19 Delft tiles;
probably 1920s wallpaper.
Other rooms with similar fireplaces and coloured glazed tiles.
While dating back to the C16, the house is one of the best
examples of the early C19 Elizabethan Revival style. Property
of National Trust.
(The Buildings of England: Pevsner, N & Wedgwood, A:
Warwickshire: Harmondsworth: 1966-: 227-9; The National Trust
Guide to Charlecote Park: 1991-; Wainwright C: The Romantic
Interior).
Listing NGR: SP2590656425
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The house on this side houses the Victorian Kitchen, Servant's Hall Shop and Charlecote Pantry.
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
Medallions portrait busts on the wall.
This magnificent informal landscape garden was laid out in the 18th century by 'Capability' Brown and further developed in the early years of the 20th century by its owner, Arthur G. Soames. The original four lakes form the centrepiece. There are dramatic shows of daffodils and bluebells in spring, and the rhododendrons and azaleas are spectacular in early summer. Autumn brings stunning colours from the many rare trees and shrubs, and winter walks can be enjoyed in this garden for all seasons. Visitors can now also explore South Park, 107 hectares (265 acres) of historic parkland, with stunning views.
A variety of material is employed for loading practice by Uganda People's Defense Force (UPDF) logisticians during a hands-on segment of Uganda ADAPT 2010, a mentoring program conducted in Entebbe, Uganda, that resulted in certifying 25 soldiers as C-130 aircraft load planners.
U.S. Army photo by Gordon Christensen
A U.S. Army Africa (USARAF) organized Africa Deployment Assistance Partnership Team (ADAPT) recently trained, and for the first time ever, certified 25 soldiers of the Uganda People’s Defense Force (UPDF) as C-130 aircraft load planners in Entebbe, Uganda.
A five-person team, led by Gordon Christensen of Army Africa’s G-4 Mobility Division, completed Phase III training with UPDF soldiers Aug. 27 in Entebbe, Uganda, said John Hanson, chief of the G-4 Policy and Programs Branch.
“This was the first actual air load certification we’ve done, of all the previous ADAPT engagements,” Hanson said. “That’s what makes it unique.”
Two weeks of classroom instruction and hands-on training enabled 25 of 31 students to earn U.S. Air Force Air Mobility Command Form 9 certification, significantly augmenting the Uganda land force’s air deployment capability, while developing greater interoperability with U.S. military forces, Hanson said.
The ADAPT program, developed to enhance the force projection capabilities of African militaries, is managed by the USARAF G-4 staff. Its aim is to bridge the gap between limited deployment capacity and the need to provide forces in support of peacekeeping or humanitarian relief operations, Hanson said.
“We’re building capacity for people to deploy, to do their own missions,” he said.
Even when the training doesn’t lead to actual U.S. Air Force certification, as it did this time in Uganda, it contributes to an enhanced deployment capacity for the land force involved, Hanson said.
“That’s the intent. They can’t do the certification, but they can continue to train their own people. Then we back off and they continue to do that,” he said.
The program is a Title 22 tactical logistics engagement funded by the U.S. Department of State, and focuses on African countries that contribute troops to peacekeeping operations, Hanson said.
Training is executed in four installments in order to create a long-term, phased approach to building deployment capacity, Hanson said. Instructors take students from a general orientation to tactical deployment principles to an advanced level of practical proficiency.
Instructors for the UPDF course were sourced using the Request For Forces (RFF) process, Hanson said.
Christensen was accompanied U.S. Army Capt. Jedmund Greene of 21st Theater Support Command’s 16th Sustainment Brigade, based in Kaiserslautern, Germany, and three Air Force noncommissioned officers: Tech. Sgt. Venus Washington, Robbins Air Force Base, Ga.; Tech. Sgt. Byran Quinn, Pope Air Force Base, N.C.; and Senior Master Sgt. Anthony D. Tate of the Illinois Air National Guard.
“The training helped to strengthen the relationship with our Ugandan partners, and also helped them build a self-sustaining deployment capacity,” Greene said. “I hope 21st TSC can increase its support to USARAF logistics theater security cooperation events in the future.”
Army Africa’s G-4 staff is presently working to synchronize ADAPT with the Africa Contingency Operations Training and Assistance (ACOTA) program. A proof of concept joint training was conducted with ACOTA in Rwanda earlier this year, combining tactical- and support-staff training in logistics with the more complex operational techniques of force deployment and mobility, Hanson said.
The Rwanda training demonstrated the feasibility of combining available U.S. government resources to achieve the most efficient and focused effort to advance common foreign policy objectives with U.S. partners in Africa, he said.
To date, ADAPT missions have been funded for eight African countries. Previous training sessions have been conducted in Rwanda, Ghana and Burkina Faso as well as Uganda, and the number is likely to grow in coming years, Hanson said.
“The programs were identified as being of interest to several other countries during the Army Africa Theater Army Security Cooperation Conference, held in Vicenza in August,” Hanson said.
The next planned ADAPT mission is for Phase I training in Botswana, scheduled for the first quarter of 2011, he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
A striking statue of Lancelot “Capability” Brown - the renowned landscape garden designer whose tercentenary has been celebrated throughout 2016 - has gone on show at Trentham Gardens. The bronze statue has been a part of an international sculpture exhibition at Doddington Hall near Lincoln, and is soon due to take up permanent residence beside the River Thames in Hammersmith close to where Brown lived for thirteen years.
Prior to its journey south, however, it has now gone on show until next spring at The Trentham Estate.
U.S. Navy engineers from Navy Mobile Construction Battalion 133, Gulfport, Mississippi, fill in an excavated hole during an Expedient and Expeditionary Airfield Damage Repair (E-ADR) Joint Capability Technology Demonstration at McEntire Joint National Guard Base, South Carolina, April 22, 2021. The demonstration field tests the “just enough, just-in-time” repair capability on a decommissioned runway at McEntire Joint National Guard Base. The Department of Defense’s E-ADR concept uses local materials and minimal personnel and equipment in order to expedite a temporary runway repair. (U.S. Air National Guard photo by Lt. Col. Jim St.Clair, 169th Fighter Wing Public Affairs)
Kenworth is offering integrated battery monitoring with engine auto start and stop capability in a new option available on the company’s flagship T680 sleeper trucks. The new option is available with or without the Kenworth Idle Management System. Engine auto start monitors the starting batteries. It also monitors auxiliary batteries used with the battery-based Kenworth Idle Management System, or batteries used to power hotel loads through an inverter. When batteries get to a critical level, the Kenworth T680 automatically turns on the engine to begin battery charging.
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
Entrance / way in.
Hulne Park, near Alnwick, Northumberland
Nature as man intended, crafted by Lancelot 'Capability' Brown in the 18th century.
A ceremony to commemorate the production, handover and acceptance of the first group of Mobile Surveillance Capability vehicles for enhanced situational awareness along our Nation's borders with Office of Border Patrol and FLIR Systems inc. photo by James Tourtellotte
A ceremony to commemorate the production, handover and acceptance of the first group of Mobile Surveillance Capability vehicles for enhanced situational awareness along our Nation's borders with Office of Border Patrol and the FLIR Systems Inc. photo by James Tourtellotte
A cured-in-place pipe (CIPP) is one of several trenchless rehabilitation methods used to repair existing pipelines. CIPP is a jointless, seamless, pipe-within-a-pipe with the capability to rehabilitate pipes ranging in diameter from 0.1–2.8 meter (4"–110").
Roche Abbey, near Maltby, showing the late twelfth century eastern gable of the Cistercian foundation's abbey church. The secluded site, partially landscaped by 'Capability' Brown during the 1700s, is in the care of English Heritage.
From the sand dunes of Essaouira to the peaks of the Atlas Mountains, the all-new Range Rover demonstrates its full breadth of capability in Morocco.
The house was built in the 1750s for the Coventry family and designed by Lancelot 'Capability' Brown and assisted by Sanderson Miller. Much of the interior work was undertaken by Robert Adam. Brown also landscaped the grounds and designed the estate church.
At Highcliffe Castle in Highcliffe near Christchurch, Dorset.
The Castle burnt down in the late 1960s. And since the late 1970s has been owned by Christchurch Borough Council, who have since restored it.
Highcliffe Castle is a Grade I listed building.
The following listing text dates to 1953. (so doesn't take into account the fire of 1967) and the restoration of 1977-1998.
Highcliffe Castle, Christchurch
ROTHESAY DRIVE
1.
5187 Highcliffe Castle
(formerly listed under
Lymington Road)
SZ 2093 13/51 14.10.53.
I
2.
The original house here was built about 1775 for the third Earl of Bute either
by Robert Adam or by Capability Brown, but it did not stand on the excat site of
the present building and was demolished in 1794. It was replaced by a nondescript
building which in its turn was demolished in 1830. The present Highcliffe Castle
was built by Lord Stuart de Rothesay in 1830-34. The architect was W J Donthorne
who collaborated with Lord Stuart de Rothesay. The design incorporated materials
from the Hotel des Andelys near Rouen in Normandy, where Antoine de Bourbon, the
father of Henri IV died in 1562. Lord Stuart de Rothesay when returning to England
on his retirement from the British Embassy in Paris in 1830, saw the house being
demolished, bought it and had it shipped down the Scine and across to this site,
where it was re-erected.
The building forms a large L. It is built of rosy-tinged ashlar and has 2 storeys
and basement. The north or entrance front is dominated by the great Gothic porte
cochere archway at least 30 ft high flanked by ribbed octagonal buttresses with
a gable between surmounted by a pierced parapet. Beneath the archway is a groined
vaulted roof an elaborate carved doorway and a tall 5-light pointed window over
it. The east wing which is to the left of this porte cochere has a terrace over
an enclosed forecourt containing the obtusely-pointed windows of the basement.
The ground floor of the wing has 5 casement windows of 3 tiers of 2 lights each
with depressed heads, the top tier of lights lighting an entresol. Cornice and
parapet above ground floor. The first floor is set back with a flat walk on the
roof of the ground floor in front of it, terminating at the east end in a rectangular
tower of 1 window with rectangular or octagonal buttress at the angles and parapet
between. Beyond the tower the ground floor only, without basement, projects and
has 6 more windows, the 3 easternmost ones in a canted bay. The west front is
made up of the hall at the north end. This has 4 buttresses and a narrow half-octagonal
oriel window at the north end, 4 lancet windows at first floor level, and a pierced
parapet surmounted by finials. At the south end of the front is a rectangular
projection at right angles, with one window on each front and parapet over with
octagonal corbel cupolas at the angles. Its west face has projecting oriel window
on ground floor and elaborate window of 2 tiers of 4 lights above. At the south
end of the south wing is an L-shaped projection on the ground floor only which
was a garden-room, or conservatory and chapel combined, Its south front is entirely
made up of windows with a huge bay in the centre approached by 7 steps. The south-east
side of the Castle shows its L-plan but the angle is partly filled in so that this
front gives somewhat the impression of 3 sides of octagon. The centre has 3 windows
with flat heads on both floors. Pierced parapet over containing the words "Suave
mari magno turbantibus aequora ventise terra magnum alterius spectare laborem"
in it. On each side of this is a tower at a slight angle to centre portion. The
east one is of 3 storeys flanked by octagmml buttresses with a 4-light window
on each floor. The west one has 2 storeys only, a round-headed archway forms a
porch on the ground floor and above the elaborate carved oriel window from the
Manoir d' Andelys in which Henri IV stood while he waited for his father Antoine
de Bourbon die. On each side of the oriel is tracery buttresses. On each side
of these east and south towers are wings of ground floor height only which are
again at an angle to the towers. These wings are alike and have 3 windows of 2
tiers of 2 lights. Pierced parapet over surmounted by finials above the angles
of the bays. All the windows in the Castle are casement windows with stone mullions
and transom. The interior contains French C18 panelling marble chimney-pieces.
The chief feature of the interior is the hall (the double staircase has now been
removed). This formerly led from the hall to the principal bedroom, in which the
Emperor William II of Germany slept when he rented the house during his "rest-cure"
in 1907.
Listing NGR: SZ2030693208
Entrance / way in.
Technical specifications of the sexy thin E71
Size Form: Monoblock with full keyboard
Dimensions: 114 x 57 x 10 mm
Weight: 127 g
Volume: 66 cc
Full keyboard
High quality QVGA display
Display and 3D Size: 2.36"
Resolution: 320 x 240 pixels (QVGA)
Up to 16 million colors
TFT active matrix (QVGA)
Two customisable home screen modes
Security features Device lock
Remote lock
Data encryption for both phone memory an microSD content
mobile VPN
Keys and input method Full keyboard
Dedicated one-touch keys: Home, calendar, contacts, and email
Speaker dependent and speaker independent voice dialling
Intelligent input with auto-completion, auto-correction and learning capability
Accelerated scrolling with NaviTMKey
Notification light in NaviTMKey
Colors and covers Available in-box colours:
- Grey steel
- White steel
Connectors Micro-USB connector, full-speed
2.5 mm Nokia AV connector
Power BP-4L 1500 mAh Li-Po standard battery
Talk time:
- GSM up to 10 h 30 min
- WCDMA up to 4 h 30 min
Standby time:
- GSM up to 17 days
- WCDMA up to 20 days
- WLAN idle up to 166 hours
Music playback time (maximum): 18 h
Memory microSD memory card slot, hot swappable, max. 8 GB
110 MB internal dynamic memory
Communication and navigation
Communication and navigation
Operating frequency E71-1 Quad-band EGSM 850/900/1800/1900, WCDMA 900/2100 HSDPA
E71-2 Quad-band EGSM 850/900/1800/1900, WCDMA 850/1900 HSDPA
E71-3 Quad-band EGSM 850/900/1800/1900, WCDMA 850/2100 HSDPA
Offline mode
Data network CSD
HSCSD
GPRS class A, multislot class 32, maximum speed 100/60 kbps (DL/UL)
EDGE class A, multislot class 32, maximum speed 296/177.6 kbps (DL/UL)
WCDMA 900/2100 or 850/1900 or 850/2100, maximum speed 384/384 kbps (DL/UL)
HSDPA class 6, maximum speed 3.6 Mbps/384 kbps (DL/UL)
WLAN IEEE 802.11b/g
WLAN Security: WEP, 802.1X, WPA, WPA2
TCP/IP support
Nokia PC Internet Access (capability to serve as a data modem)
IETF SIP and 3GPP
Local connectivity and synchronization Infrared, maximum speed 115 kbps
Bluetooth version 2.0 with Enhanced Data Rate
- Bluetooth profiles: DUN, OPP, FTP, HFP, GOEP, HSP, BIP, RSAP, GAVDP, AVRCP, A2DP
MTP (Multimedia Transfer Protocol) support
Bluetooth (Bluetooth Serial Port Profile. BT SPP)
Infrared
File
Network (Raw). Direct TCP/IP socket connection to any specified port (a.k.a HP JetDirectTM).
Network (LPR). Line Printer Daemon protocol (RFC1179).
Support for local and remote SyncML synchronization, iSync, Intellisync, ActiveSync
Call features Integrated handsfree speakerphone
Automatic answer with headset or car kit
Any key answer
Call waiting, call hold, call divert
Call timer
Logging of dialed, received and missed calls
Automatic redial and fallback
Speed dialing
Speaker dependent and speaker independent voice dialing (SDND, SIND)
Fixed dialing number support
Vibrating alert (internal)
Side volume keys
Mute key
Contacts with images
Conference calling
Push to talk
VoIP
Messaging SMS
Multiple SMS deletion
Text-to-speech message reader
MMS
Distribution lists for messaging
Instant messaging with Presence-enhanced contacts
Cell broadcast
E-mail Supported protocols: IMAP, POP, SMTP
Support for e-mail attachments
IMAP IDLE support
Support for Nokia Intellisync Wireless Email
Integrated Nokia Mobile VPN
Easy Email set-up
Web browsing Supported markup languages: HTML, XHTML, MP, WML, CSS
Supported protocols: HTTP, WAP 2.0
TCP/IP support
Nokia browser
- JavaScript version 1.3 and 1.5
- Mini Map
Nokia Mobile Search
Nokia PC Internet Access (capability to serve as a data modem)
GPS and navigation Integrated A-GPS
Nokia Maps application
Image and sound
Image and sound
Photography 3.2 megapixel camera (2048 x 1536 pixels)
Image formats: JPEG/EXIF
CMOS sensor
digital zoom
Autofocus
Focal length: 3.8 mm
Focus range: 10 cm to infinity
Macro focus: 10-60 cm
LED flash
Flash modes: Automatic, On, Red-eye reduction, Off
Flash operating range: 1 m
White balance modes: automatic, sunny, incandescent, fluorescent
Centre weighted auto exposure; exposure compensation: +2 ~ -2EV at 0.7 step
Capture modes: still, sequence, self-timer, video
Scene modes: auto, user defined, close-up, portrait, landscape, night, night portrait
Colour tone modes: normal, sepia, black & white, negative
Full-screen viewfinder with grid
Active toolbar
Share photos with Share on Ovi
Video Main camera
320 x 240 (QVGA) up to 15 fps
176 x 144 at 15 fps (QCIF)
digital video zoom
Front camera
- Video recording at up to 128 x 96 pixels (QCIF) and up to 15 fps
- Up to 2x digital video zoom
Video recording file formats: .mp4, .3gp; codecs: H.263, MPEG-4 VSP
Audio recording formats: AMR,AAC
Video white balance modes: automatic, sunny, incandescent, fluorescent
Scene modes: automatic, night
Colour tone modes: normal, sepia, black & white, negative
Clip length (maximum): 1 h
RealPlayer
Video playback file formats: .Flash Lite 3, mp4, .3gp; codecs: H.263, MPEG-4 VSP,RealVideo,H.264
Video streaming: .3gp, mp4, .rm
Customisable video ring tones
Music and audio playback Music player
Media player
Music playback file formats: .mp3, .wma, .aac, AAC+, eAAC+
Audio streaming formats: .rm, .eAAC+
FM radio 87.5-108 MHz
Visual Radio support. Read more: www.visualradio.com
2.5 mm Nokia AV connector
Nokia Music Manager
Nokia Music Store support
Nokia Podcasting support
Customizable ring tones
Synchronize music with Windows Media Player
NaviTM wheel support
Voice Aid
Voice and audio recording Voice commands
Speaker dependent and speaker independent voice dialling (SDND, SIND)
Voice recorder
Audio recording formats: AMR-WB, AMR-NB
Speech codecs: FR, EFR, HRO/1, AMR-HR, and AMR-FR
Text-to-speech
Personalization: profiles, themes, ring tones Customizable profiles
Customizable ring tones
Customisable video ring tones
Support for talking ring tones
Customizable themes
Customizable home screen content in Business and Personal modes
Software
Software
Software platform and user interface S60 3.1 Edition, Eseries
Symbian Os 9.2
Two home screens with customizable active standby views
Voice commands
FOTA (Firmware update Over The Air)
Personal information management (PIM): contacts, clock, calendar etc. Advanced contacts database: multiple number and e-mail details per contact, contacts with images
Support for assigning images to contacts
Support for contact groups
Closed user group support
Fixed Dialling Number support
Clock: analogue and digital
Alarm clock with ring tones
Reminders
Calculator with advanced functions
Calendar with week and month view
Converter
Active Notes
To-do list
PIM information viewable during call
Applications JavaTM MIDP 2.0
Flash Lite 3.0
Chat and instant messaging
Nokia browser
- JavaScript version 1.3 and 1.5
- Mini Map
Dictionary
Quickoffice (Quickword, Quickpoint, Quicksheet)
PDF Viewer
ZIP Manager
Download!
File Manager
Nokia Search
Nokia Maps
Adding more applications:
- Use the Download! client
- Over-the-air (OTA) downloads
Accessories
Accessories
Sales package contents Nokia E71
Nokia Battery (BP-4L)
Nokia Charger (AC-5)
Nokia Connectivity Cable (CA-101)
Nokia Headset (HS-47)
Nokia Eseries Lanyard
Nokia Eseries Pouch
User Guide, Quick Start Guide and other documentation
2GM microSD depending on market/channel
Recommended accessories Nokia Bluetooth Headset BH-602
Nokia Mobile Holder CR-106
Nokia 8 GB microSDHC Card MU-43
Compatible accessories Complete accessories for your Nokia E71
Support and related documents
Support and related documents
Related documents SAR certification information
Eco Declaration (.pdf, 52 KB)
Declaration of Conformity
Product legal notice
Product legal notice
Copyright © 2008 Nokia. All rights reserved.