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Size comparison. The middle tube is an 807, and the right one a 12AT7. The splash of blue in the middle of the 803 tube is the reflection of a book on my desk.
The system includes two alternate plywood components with very sharp spikes instead of the rubberized gasketing material. This is very similar to the spikes that are used on the Aigner X-Guide component.
Components of the descent module of the ExoMars 2020 mission.
The rear jacket, technological front shield, solar panels, the remaining ground support equipment, as well as other material to complete the assembly of the descent module and test program, arrived at Thales Alenia Space, Turin, Italy, from NPO Lavochkin JSC (part of the Roscosmos State Corporation) this week.
Credits: Roscosmos
PictionID:44723552 - Title:Atlas Program Component - Catalog:14_013260 - Filename:14_013260.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
PictionID:44025776 - Title:Atlas Component - Catalog:14_009121 - Filename:14_009121.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Church of St. Stephan
Tower of the parish church
The parish church of St. Stephen's is a Roman Catholic church and is on the eastern edge of the old city core (parish court) of Baden in Lower Austria. The tower with the characteristic Baroque onion dome is visible from far away and still dominates the cityscape.
History
The Church of Baden belonged to the diocese of Passau for centuries. This long ties recalled that the parish church of the Holy Baden Is dedicated to Stephen, the patron saint of Passau. Bathing was originally a branch of the mother parish churches of Traiskirchen.
In 1220 a priest in Baden was first documented. What position he had - he might have been chaplain to the castle Baden - was not mentioned. As Traiskirchen with all its branches to the Melk Abbey, it was assumed it was in 1312 for separation of Baden. It has now an independent parish under the patronage of Melk. After prolonged disputes between the bishops of Passau and Melk the Abbey Melk in 1693 handed over the right of patronage to Passau. When the dwarf Diocese of Vienna was founded in 1469 was elevated to archbishopric in 1729 , it came to assign the previously belonging to Passau area south of Vienna, including Baden. 1784 Baden is finally sovereign's parish.
From the original parish area of Baden several new parishes were created: Sooß (from 1783 parish ), St. Christopher (St. Helena in 1783 raised as to the parish) and St. Joseph (1990 applicable to the parish). The parish is about 6,000 Catholics today with one of the largest parishes of the Deanery Baden. Besides the parish church, also belong to other churches and chapels of the parish pastoral area .
Appearance
The architectural history of the church in front of the building at the end of the 15th Century can only being guessed based on the remaining components. Mentioned in documents is only the existence of a charnel house (charnel house) in 1258. But have worked in Baden before that time priests and Baden castle certainly had a church or chapel, one can assume that towards the end of the 12th Century a church was located on the present site .
The immediate predecessor dates back to the Romanesque period. This church was probably a three-nave building with two low towers between which the chancel and apse were. Around 1400 began the construction of a Gothic chancel, including the lower church, which was built in the Romanesque apse and this eventually replaced. The nave of the church was in the second half of the 15th century erected, thereby including the Romanesque exterior walls. This period also saw the establishment of the main tower over the existing two Romanesque towers fall. This work - probably made necessary by a partial destruction of the church during the Hungarian invasion - had to be interrupted again and again in these troubled times. The main tower was not completed and finally covered with a gable roof. Only in 1697, after the tower was damaged in the wars against the Turks, put it on the appearance typical baroque onion dome. The most northern Vorturm (ante-tower) still existing remains of a "murder Gallery" reminiscent of the involvement of the Church in the defenses of the city. Around the year 1480, the Gotisierung (gothification) to have been completed. Puzzles are on the tower located in the west over the main entrance. The so-called "shot- tower" once towered far beyond the roof and, like the main tower was heavily damaged in the wars against the Turks. In 1827 it received its present appearance. It is believed that this tower was built in the Gothic period.
The 67 meter high tower, incidentally, is the so-called parament chamber and the watchman's apartment, on which until the 20th Century the sacristan lived. The belfry holds five bells. Of them survived the two world wars: the "Great Bell" (2000 kg tone: H) from 1832 and the " litany bell " (950 kg Sound: s) from in 1764. The other three bells were cast in 1949 : "Marie Bell" (sound : fis ) , the " Joseph Bell" (sound : gis) and the " Urbaniglocke " (sound : h).
Interior Design
View from the gallery
View of the nave
Paul Troger: Stoning of St. Stephen
Furnishings from the Romanesque and Gothic periods are scarce. From the Romanesque still can be found animal heads that are immured in the vaults of the central nave. The Gothic remember especially the baptismal font and several angels on the church walls and at the south gate. The period after 1480 to 1683 is marked by the Ottoman wars and the Reformation, where the Baden ministers eagerly have been engaged. Therefore receive only grave monuments from the Renaissance period, some of which are attached to the pillars of the Church. Noteworthy is a grave slab in the chapel for the Baden minister Joseph Vincent Bauernfeind († 1517).
The Turkish wars of 1529 and 1683 brought with it severe damage. So had to be replaced in addition to the placement of the tower bulb especially the interior of the church in the Baroque style. During the 18th Century was the formation of several side altars in the nave of the church at the beginning of each side of the ship, the Lady altar to the pulpit, the altar and the Sebastian Anthony altar. Joseph's Chapel was also the Baroque style. Where today stands the main altar, were erected an altar in honor of the Holy Cross, but in 1758 in the former sacristy below the North Tower (Chapel of the Cross) was added. At the same time was finished the construction of the present sacristy. Also worthnoting is that the Sebastian altar was donated to the plague year of 1713 the Baden citizenship as a reminder. This is attested to by a votive tablet, which now hangs above the output in the sacristy. In the chancel, the windows were bricked up almost entirely and set a Baroque high altar. The altarpiece depicting the stoning of St. Stephen painted the famous Baroque artist Paul Troger. In the sacristy the Baroque has left its mark: the altar in honor of St. Francis Xavier and the valuable baroque sacristy cabinet from 1743.
In 1880 began extensive Regotisierungsarbeiten (re-gothification work). 1893, the Baroque high altar was replaced by the current. Only the high altarpiece remained in the church and got its present location on the output with the vestry. The walled-up windows in the chancel were re-opened. Similarly, the neo-Gothic paneling and the choir was built. Even the altars in the aisles and the St. Joseph's Chapel and the Chapel of the Cross were again re-gothicised. Is painful that in this course the original Gothic console statues on the walls have been replaced be new-gothic ones. Only one has been preserved and is on display in Baden Schiestl-Hof. With the transformation of the side entrances ended 1913 gothicised parish church.
In the 70 years the great interior and exterior renovation of the church took place. There were several rooms grown during the installation of a district heating at the north gate. The interior renovation of the main altar and today's session was established. The neo-Gothic altars in the aisles were removed, and only the remaining altar statues. Also, the defective Baroque pews were replaced by new ones. In 1989, the altar of the Chapel of the Cross was eventually transferred to the parsonage, and there set up a chapel.
Organ
The Hencke-Organ
The organ of the parish church was originally built for the Dorotheerkirche in Vienna in 1787 and brought here. It is a work of the famous organ builder Johann Hencke from the year 1744.
During the renovation in 1987 (organ building Gerhard Hradetzky Oberbergen in Lower Austria) the original keys have been re-installed, on which have probably already played Mozart and Beethoven. The organ has 28 stops on two manuals and pedal.
Mozart, who had assisted in the performance of several of his shows in Baden St. Stephen was a friend of the former choir director Anton Stoll in 1791 and dedicated to him his famous Ave Verum K. 618, probably in June 23rd of 1791 was premiered in the parish church .
It is scheduled as follows:
I. Main
1 Principal 8 '
2 Octav 4 '
3 Quint 3 '
4 Super Octave 2 '
5 Mixture V 2 '
6 Cymbals III 1 '
7 Bordon 16 '
8 Forest T Fleten 8 '
9 Quintadena 8 '
10th Pointed Fleten 4 '
II positive
11th Gamba 8 '
12th Principal 4 '
13th Octav 2 '
14th Quinta 11/2 '
15th Mixture IV 11/2 '
16th Copel 8 '
17th Fleten covered 4 '
18th Sesquialtera II
19th Krum Horn ( B / D ) 8 '
pedal
20th Contrabass 16 '
21, Principal Bass 8 '
22, Octave 4 '
23, Mixture III 3 '
24th Octav Bass 8 '
25th Quinta 6 '
26th Great Posaun 16 '
27th Posaun Octav 8 '
Measurements [ Edit]
Length 55 m
Width 20 m
67 m tower
PictionID:44808664 - Title:Atlas Payload Component - Catalog:14_014202 - Filename:14_014202.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
PictionID:44808627 - Title:Atlas Payload Component - Catalog:14_014199 - Filename:14_014199.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
This alternate pusher component is designed to secure to the sliding table with a lever actuated clamping post. The bumper component has the same rubberized gasketing material along one edge to help secure stock wedged between the two plywood components that make up the system. Also shown in this photo is an alternate plywood "bumper" component.
This is the "pusher" half the the RUWI component system. It is a plywood panel approximately 1-inch thick with a handle and rubberized gasketing applied to the front edge, and an adjustable mechanism for setting the angle of the panel and securing it to the sliding table. Unlike a Fritz & Franz design, this component pivots which I consider a disadvantage.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X (sometimes referred to as VF-X1) was strictly a conventional/non-transformable jet aircraft, even though it incorporated many structural components and several key technologies that were vital for the transformable VF-1’s successful development that ran in parallel. Therefore, the VF-X was never intended as an air superiority fighter, but rather a flight-capable analogue test bed and proof of concept for the VF-1’s basic layout and major components. In this role, however, the VF-X made vital contributions to systems’ development that were later incorporated into the VF-1’s serial production and sped the program up considerably.
VF-X production started in early 2006, with four airframes built. The flight tests began in February 2007. The first prototype (“01”) was piloted and evaluated by ace pilot Roy Fokker, in order to explore the aircraft’s flight envelope, general handling and for external stores carriage tests. The three other VF-Xs successively joined the test program, each with a different focus. “02” was primarily tasked with the flight control and pilot interface program, “03” was allocated to the engine, vectoring thrust and steering systems development, and “04” was primarily involved in structural and fatigue tests.
In November 2007, the successful VF-X tests and the flights of the VF-X-1 (the first fully transformable VF-1 prototype, which had been under construction in parallel to the VF-X program) led to formal adoption of the “Valkyrie” variable fighter by the United Nations Government.
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict.
Introduced in 2008, the VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha, even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements. These included the GBP-1S "Armored Valkyrie” external armor and infantry weapons pack, so-called FAST Packs for "Super Valkyries” for orbital use, and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Strike Valkyrie” with additional firepower.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68), and several upgrade programs were introduced.
The fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction.
General characteristics:
Accommodation: One pilot in a Marty & Beck Mk-7 zero/zero ejection seat
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
Performance:
Top speed: Mach 2.71 at 10,000 m; Mach 3.87 at 30,000+ m
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Armament:
None installed, but the VF-X had 4x underwing hard points for a wide variety of ordnance, plus a ventral hardpoint for a Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min or other stores like test instruments
The model and its assembly:
Another submission to the “Prototypes” group build at whatifmodelers.com in July 2020. Being a VF-1 fan (and have built maybe twenty o these simple Arii kits), adding a VF-X was, more or less, a must – even more so because I had a suitable Valkyrie Fighter kit at hand for the conversion. As a side note, I have actually built something quite similar from a VF-1D many years ago: a fictional, non-transformable advanced trainer, without knowing about the VF-X at all.
Thanks to the “Macross - Perfect Memory” source book, the differences between the transformable VF-1 and its early testbed were easy to identify:
- Fixed legs with faired ducts from the intakes on (thighs)
- Ankle recesses disappeared
- Less and slightly different panel lines on the back and on the nose
- ventral head unit deleted and a respective fairing installed instead
- Levelled underside (shoulder fairings of the folded arms were cut down)
- Leg attachment points on the nose deleted
- No small, circular vernier thrusters all around the hull
- Some new/different venting grills (created mostly with 0.5mm black decal stripes)
Beyond the changes, the VF-1A was basically built OOB. Thankfully, the VF-X already features the later VF-1’s vectored thrust nozzles/feet, so that no changes had to be made in this respect. A pilot figure was added to the cockpit for the beauty pics, and after the flight scenes had been shot, the canopy remained open on a swing arm for static display. For the same reason, the model was built with the landing gear extended.
As a test aircraft, the underwing pylons and their AMM-1 ordnance were left away and the attachment points hidden with putty. I also omitted the ventral gun pod and left the aircraft clean. However, for the flight scene pictures, I implanted an adapter for a display holder made from wire.
In order to emphasize the test vehicle character of the VF-X, I gave the model a scratched spin recovery parachute installation between the fins, using a real world F-22 testbed as benchmark. It consists of styrene profiles, quite a delicate construction. For the same reason I gave the VF-X a long sensor boom on the nose, which changes the Valkyrie’s look, too. Finally, some small blade antennae were added to the nose and to the spine behind the cockpit.
Painting and markings:
To be honest, I have no idea if there was only a single VF-X prototype in the Macross universe, or more. Just one appears in the TV series in episode #33, and lack of suitable information and my personal lack of Japanese language proficiency prevents any deeper research. However, this would not keep me from inventing a personal interpretation of the canonical VF-X, especially because I do not really like the original livery from the TV series: an overall light grey with some simple black trim and “TEST” written on the (fixed) legs. Yamato did an 1:60 scale toy of the VF-X, but it was/is just a VF-1 with a ventral fairing; they added some shading to the basic grey – but this does not make the aircraft more attractive, IMHO.
When I looked at the original conceptual drawing of the VF-X in the “Macross - Perfect Memory” source book, however, I was immediately reminded of the F-15 prototypes from the Seventies (and this program used a total of twelve machines!). These featured originally a light grey (FS 36375?) overall base, to which bright dayglo orange markings on wings, fins and fuselage were soon added – in a very similar pattern to the VF-X. I think the VF-X livery was actually inspired by this, the time frame matches well with the production of the Macross TV series, too, and that’s what I adapted for my model.
In order to come close to the F-15 prototype livery, I gave “my” VF-X an overall basic coat of RAL 7047 “Telegrau 4”, one of German Telekom’s corporate colors and a very pale grey that can easily be mistaken for white when you do not have a contrast reference.
The cockpit received a medium grey finish, the ejection seat became black with brown cushions; the pilot figure is a 1:100 seated passenger from an architecture supplies, painted like an early VF-1 pilot in a white/blue suit. The jet nozzles/feet were painted with Revell 91 (Iron) and later treated with grinded graphite for a more metallic finish. The landing gear became classic white (I used Revell 301, which is a very pure tone, as contrast to the RAL 7047 on the hull), the air intake ducts and the internal sections of the VG wings were painted with dark grey (Revell 77).
For some diversity I took inspiration from the Yamato VF-X toy and added slightly darker (Humbrol 166, RAF Light Aircraft Grey) areas to the hull and the legs. Next, the panel lines were emphasized through a thinned black ink wash, but I did no panel post shading so that the VF-X would not look too dirty or worn.
Onto this basis I applied the orange dayglo markings. On the wings and fins, these were painted – they were applied with spray paint from a rattle can, involving lots of masking. The leading edges on wings and fins were created with grey decal sheet material, too. At this stage, some surface details and more fake panel lines were added with a soft pencil.
The orange cheatline under the cockpit is a personal addition; I found that some more orange had to be added to the nose for visual balance, and I eventually went for the simple, trimmed stripe (TL Modellbau material) instead of trying to apply decal sheet material around the jagged air intakes (F-15 prototype style). The black “TEST”, “VFX” and “U.N. Spacy” markings were designed at the computer and printed on clear inkjet decal paper. Even though the “real” VF-X does not feature the UNS “kite” insignia, I decided to add them to the model. These come from the OOB sheet, which also provided most (slightly yellowed) stencils.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
A rather different VF-1 project (and it is – to my astonishment – #28 in my 1:100 VF-1 Fighter mode collection!!!), with more changes to the basic model kit than one might expect at first sight. VF-X and VF-1 differ considerably from each other, despite identical outlines! However, I like the outcome, and I think that going a different route from the canonical grey/black livery paid out, the bright orange markings really make this VF-X stand out, and it looks IMHO more like a testbed than the “real” aircraft from the TV series.
A technician with the John C. Stennis Space Center's Fluid Component Facility studies samples to determine cleanliness of valves and fittings used on pipes that transport liquid fuel and propellants. The clean room where the technicians work is similar to a hospital surgical room.
Credit: NASA
Image Number: 95-081-19
Date: 1995
PictionID:44808603 - Title:Atlas Payload Component - Catalog:14_014197 - Filename:14_014197.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
PictionID:44811627 - Title:Atlas Payload Component - Catalog:14_014445 - Filename:14_014445.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
not so grainy on larger size [all sizes]
constructive components made of paper tubes, rolls of aluminum (offset) rubber and some wire, exceeds of the press of a newspaper
sort of shigeru ban
English Electric Canberra tail and engines on the ground, showing the components that powered the iconic post-war jet bomber.
To my shock, I've been able to transfer all of my 650b components over to the Katakura Silk with NO MODIFICATIONS WHATSOEVER. Comparing measurements to my "made for 650b" bike frame, everything is exactly - and I mean EXACTLY - the same spacing. For the moment, I am as far along as I can be: fenders and rack can't be permanently installed until my brake calipers arrive sometime next week. I've run out of red housing; that, too, will arrive next week. Meanwhile, the wheels spin with more than adequate clearance for the 650b x 38 tires - ironic, because 25's were about the best I could do with 700c. Front and rear derailleurs are fine tuned and shifting perfectly on the stand. If I decide to keep the Brooks Pro rather than use a black Brooks Cambium C17 that I have, I'll need to add a pair of the VO bag loops for a saddle bag. Had I decided upon center-pulls rather than the dual pivots I chose, I would have installed a French mini-front rack for a small, lightweight, traditional front bag. Still not sure why I didn't go that route to be honest.
A westbound local led by classy standard cab power passes the ancient B&O cantilever at Leipsic on a dreary day in July 2015.
Bhusaval, India, 23 January 1980
We visited Bhusaval 3 days after landing at Delhi, our first steam shed bash on our trip. We'd ridden the Rajdhani from Delhi to Bombay the first night, spent the day in Bombay and then it was overnight on the Amritsar Express to Bhuasval.
The Rajdhanis were and are all air conditioned, but the Amritsar Express only non-AC cars. We were in 1st class and bedding is not included in the fare. We'd forgotten to book bedding, which would not have been a biggie, except as we climbed the ghat, it got cold. I'd left most of my luggage and spare clothing in left luggage in Delhi as we would be returning to Delhi in a couple of days, so tried to bundle up in what little extra clothes I had as I shivered in an upper berth. To make matters worse, I had bad heartburn and there was a mosquito buzzing around the compartment. Not my best night on a train!
We arrived early in the morning and watched, but did not photograph (our photo permits were not yet sorted out) a WG trying to get a roll on a heavy coal train on the dew covered rail. Quite the steam and smoke show with the engine losing its feet, but we didn't want to run afoul of the authorities by whipping out the cameras.
After breakfast, we walked to the shed to ask the foreman how we could get permission to take photos. He directed us to the division superintendent down the road. We walk to the superintendent's office, explained our situation, showed our passports and the superintendent gave us a letter saying we could take photos on the railway at Bhusaval and have access to the shed. He also gave us his car and driver for the day!
We rode back to the shed and the foreman welcomed us like long lost relatives with the permission letter. He, or an assistant showed us around and made us most welcome. At the time, there were over 100 steam locomotives assigned to Bhusval and a lot were on shed that day.
Something I only recently realized is that WP 7000, which was up on jacks with its wheels removed and whiting on the frame to check for cracks, was the first WP of over 700. I don't know that any of us remarked on this at the time.
The freight engines were coaled by small steam cranes. The passenger engines were coaled by people picking out lumps of coal, throwing them in a basket and then running up a ramp to the tender and throwing the contents of the basket in the tender.
A big hook with a painting of a tiger was being used to lift heavy loco components. A narrow gauge engine was in for repairs. Goats and school boys wandered through the yard.
After several hours at the yard, food and drink were in order. The shed foreman had fed us tea, so we'd stayed hydrated, but as we had the superintendent's car, and driver, we asked him to take us to the best bar in town. The food and beer were good.
At some point, we wandered around town. We spent the evening at the station, and I got some photos there with the 120 roll film camera that I still need to scan.
My camera case, and old briefcase, broke and I was trying to figure out how to fix it when a Railway Protection Force officer, with a bayonet fixed on his .303 Enfield saw my plight and found a piece of string. Nice young man, and ready in case he had to face down a riot with his .303. :-)
We left town late at night on the Punjab Mail, in AC 1st again and slept a lot better.
It was my 23rd birthday, and one of the most memorable.
I think I have a new addiction. These crusty, grungy Rustic Components are my latest creation. I'm having fun dreaming up new color combinations to try. I blogged about it here.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
PictionID:44808994 - Title:Atlas Payload Component - Catalog:14_014229 - Filename:14_014229.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Fountain and Theatre In the New Charles Center
Baltimore, Maryland
The Jacob France Memorial Fountain with its constantly changing water display and night illumination, the Morris A. Mechanic Theatre with its year-round schedule of legitimate theatre and other live productions and the Sun Life Building (right) are some of the outstanding components in Baltimore's great downtown redevelopment.
D.E. Traub
Plastichrome by Colourpicture
P75392
CAPA-016535