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I found this Disney Store Animator Mulan doll (16") at the thrift store this month for 2.99. She was a mess, but so cute and wearing a Marie Grace American girl dress so double score. I left behind Disney Store Animator Elsa and Anna before and I regret it now so there was no way I was leaving without Mulan.
She has had a thorough cleaning and had her hair restyled. I did not realize until later that her spit curl in the front center had been cut off so I cut it to the scalp and then covered it with some other hair.
Her hair was very, very tangled. It took me ages and lots of conditioner to detangle it. I used a fork, a doll brush, a wig pick, and a flea comb.
Dell Webb's Towne House, Market at Eighth
San Francisco's new, luxurious, fully air conditioned 400 room motor hotel. Distinguished Carriage Room restaurant and lounge, Coffee House, Garden Terrace dining area, heated pool, "do it yourself" services as ice cube dispensers on each floor, and ample free parking.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
A visit to our old Tullibody home area included a call-in to see what was going on at Boness. Well, this loco was in service that day - but things were not quite as they seemed....
The BR liveried J94 was actually an industrial look-a like WD that had been supplied to the WD in 1945 , transferred to
Comrie (Fife) NCB before being purchased for preservation .A good job of 'converting' it to BR condition had been done - BUT why number the loco as only the seventh of a class of at least 75 locos?
Disclaimer: Trespassing on the tracks is prohibited.
The railroad tracks are private property. The surrounding area is state park property and is protected by state regulations.
Preserve the past, do not touch or disturb cultural and historic structures and artifacts.
No person shall remove, injure, disfigure, deface, or destroy any object of archaeological, or historical interest or value.
Earlier bug-eye Multiplas are few and far between now; a definite future classic. This one is the rarer petrol engine model and it did look in decent condition. Other than the Honda FRV, this 3x3 configuration has never caught on, which I feel is a shame as they are HUGE inside considering the size of the car.
The owners of this example clearly are fond of theirs, having owned it since May 2004. Considering the condition of it, I really was surprised to see that the mileage was at the 134k mark as of April. It loves an MOT failure however failing its test every year for the last 7 years; so it's had some serious money spent on it.
A1minicoach.co.uk was a small operator based in Milton Keynes and running a handful of vehicles, mostly 16-seaters. The immaculate fleet won the Premier Operator Award at Showbus 2003 and the company returned the following year with vehicles proudly lettered to celebrate that achievement. Seen early in the morning as they took their places on the runway are fleet flagship Iveco Daily/Crest BU04 GVW, LDV Convoy LF02 UJO and Ford Transit 505 KVO, formerly Y904 LHU.
Company/Owner: Baliwag Transit, Inc.
Fleet/Bus Number: 1304
Classification: Air-conditioned Provincial Bus
Coachbuilder: Santarosa Motor Works, Inc./Columbian Manufacturing Corporation
Body Model: Santarosa Daewoo Bus BS106
Engine Model: Doosan Infracore DE08TIS
Chassis Model: Daewoo BS106 (PL5UM52HDCK)
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 3×2
Seating Capacity: 61
Route: Baliuag, Bulacan–Cubao, Quezon City via Old Cagayan Valley Road / N1 (Doña Remedios Trinidad Highway)
Municipalities/cities passing: Pulilan/Plaridel/Guiguinto
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Central Luzon (Region III)
Shot Location: Doña Remedios Trinidad Highway (Maharlika Highway), Barangay Cut-cot, Pulilan, Bulacan
Date Taken: July 20, 2015
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
Hwy. No 7
4256 King Street
900 ft. west of Rt. 350 (Shirley Hwy.) 4 1/2 miles to Washington. Large luxurious rooms; wall to wall carpeting; radiant heat; air-conditioned; room phones; TV; Continental Breakfast; quiet and restful; amongst wooded hills. Phone TE 6-7127.
Prince Lithograph Co.
PE-235
CAPA-022794
It has been an interesting couple of months in South Wales with much to be seen in connection with the 'Britannic Explorer', Belmond's luxury tours around England and Wales. Today (9 July 2025) was my fourth photographic foray in connection with these preparations. (See 'Emerging From The Forest', 'Token Exchange' and 'Right Time, Right Place' in my Photo-stream.).
The working I wanted to capture was 0Z95, the 09.46 Llandeilo Junction to Worcester TC, another route learning exercise, and this used a Britannic Explorer' liveried 66748 'St Michael's Mount', it is seen just departing from Llandeilo station having exchanged tokens. I am not too overkeen about the pale blue/grey livery, but it will be kept in pristine condition I am sure. Let me have your thoughts in the 'Comments'.
1974 Citroen DS23 Fuel Injection with optional Factory Air-condition. Seen at Citroen Conservatoire in Aulnay Sous Bois France
Miss Violet facing her interviewers, Myrtil, Jimmy, Petra, Becky, Emma and Zaida.
The urchins decided they wanted to hire a grown-up to deal with things they wanted done but couldn't do themselves, because of their child condition.
The interview for Miss Violet Solano was to be set inside the old Imperial Theatre, across from Loki’s Absinthe Café in Babbage Square, to avoid the whole process of blindfolding her before leading her to the hideout.
Becky, Jimmy and Myrtil arrived three minutes before the set time of the interview. Miss Solano was waiting for them, sitting in the front row.
[15:27] Myrtil Igaly: 'ello Miss Vi! You are early!
[15:27] VI : good afternoon Jimmy, Myrtil and Becky
[15:27] Jimmy Branagh: Hoy Miss Vi!
[15:27] Becky Blackcinder: Hullo ma'am!
[15:27] Myrtil Igaly: Good afternoon to you too and thank you for coming
[15:28] VI : so do you wish to interview me here? Or up in your rooms in the attic?
[15:28] Myrtil Igaly: Oh, so you know about those...
[15:28] VI : there is little I miss in this town
[15:28] Becky Blackcinder: I was gonna say, I thought that was a secret! But it's not that hard to find if you look.
[15:29] VI : not if you’re used to using the high road
[15:29] Myrtil Igaly: I had set up the interview here cause our hideout was to be kept a secret but if you know about it heh
[15:29] Becky Blackcinder: Observant is good.
[15:29] Myrtil Igaly: will be quieter up there
[15:29] Myrtil Igaly: Please lead the way!
[15:29] Myrtil Igaly grins
All four then took the dangerous way from the Imperial to the hideout and, once there, settled at the long table. Petra was already there, waiting for them.
[15:32] Myrtil Igaly: Hey Petra!
[15:32] Jimmy Branagh: Hoy Petra
[15:32] VI : very nice really reminds of the one you had in the gut
[15:32] Petra Flax : Hello!
[15:32] Myrtil Igaly: I don't actually remember that one!
[15:32] Myrtil Igaly: But thank you
[15:33] Petra Flax : The one in the gut?
[15:33] VI : hello petra
[15:33] Myrtil Igaly: Alright, so first of all thank you for coming to be interviewed, I know you are a very busy lady.
[15:34] VI : i have my moments of peace
[15:34] Myrtil Igaly: From your note, I gather you understand what we are looking for.
[15:34] Petra Flax lights her pipe
[15:34] Myrtil Igaly: And we will be asking you questions in turn to decide if you would be fit for the job.
[15:34] VI : yes a go between to work with the adults
[15:34] Myrtil Igaly nods
[15:35] Myrtil Igaly: So, if you are ready, I will start.
[15:35] VI : ask away
[15:35] Jimmy Branagh pulls out the notebook, rips a page off and hands to Myrtil
[15:35] Myrtil Igaly grins. "Thanks Jimmy!"
[15:35] Jimmy Branagh then hands blank pages to Petra and Becky
[15:35] Becky Blackcinder peers over the tops of her spectacles, trying to look interrogative.
[15:36] Myrtil Igaly glances seriously at Miss Solano
[15:36] Jimmy Branagh: Welcome!
[15:36] Myrtil Igaly: Miss Violet.
[15:36] Myrtil Igaly: In the note I sent you to ask you to come for an interview, I mentioned that I wanted an information from you, as a show of good will.
[15:37] VI : of course
[15:37] Myrtil Igaly: That would be the name of the urchin from whom you learnt about those interviews.
[15:37] Myrtil Igaly: Could you please provide us with their name?
[15:38] Jimmy Branagh waits, charcoal stick at the ready
[15:38] Myrtil Igaly raises an eyebrow, waiting for the reply
[15:38] VI : I would if I could. But it was Omig who told me about it and he got it from one of our ...... employees, but I’ll look into it
[15:38] Myrtil Igaly nods. "Thank you, that would be most appreciated."
[15:39] Jimmy Branagh scribbles
Emma arrived, running inside and a little short-breathed.
[15:39] Myrtil Igaly: Hey Emma! Glad you could make it!
[15:39] VI : hello emma
[15:39] Jimmy Branagh: Hoy Emma
[15:39] Emma Walsh : Hello
[15:39] Myrtil Igaly taps on Jimmy's shoulder. "Your turn, Jimmy."
[15:39] Jimmy Branagh: Awlroight.
[15:40] Jimmy Branagh: Miss VI, ifn we wos awl at a hoity-toity party, an' th' host offered us urchins Wiggyfish gruel, an' you 'ad a big stick in yer hand, wot would ya do?
[15:40] Myrtil Igaly grins
[15:40] Becky Blackcinder stifles a giggle.
[15:40] VI : that would depend
[15:41] Jimmy Branagh raises an eyebrow ominously
[15:41] VI : were you invited?
[15:41] Jimmy Branagh: Let's say we wos.
[15:41] Myrtil Igaly studies Miss Solano closely
[15:41] VI : than i would complain to our host about his ill treatment of you
[15:42] Jimmy Branagh: Awlroight.
[15:42] Myrtil Igaly nods with a smile
[15:42] Jimmy Branagh: Now let's say we wosn't invoighted
[15:42] Jimmy Branagh: Wot would ya do?
[15:42] VI : attacking him would not improve your, or my reputation with the people you wish to deal with
[15:43] Myrtil Igaly scribbles
[15:43] Jimmy Branagh: Thet wosn't th' question
[15:43] Jimmy Branagh: Wot would ya do?
[15:43] VI : i would offer to pay the host for better food for you
[15:43] Jimmy Branagh: Awlroight.
[15:43] Jimmy Branagh scribbles
[15:43] Jimmy Branagh: Petra?
[15:43] Becky Blackcinder scribbles too, although she might just be doodling.
[15:44] Emma Walsh doesn't have a paper again...
[15:44] Petra Flax : My turn?
[15:44] Jimmy Branagh makes a paper airship and sails it to Emma
[15:44] Myrtil Igaly: Yes Petra, we're asking questions in turn to Miss Violet
[15:44] Myrtil Igaly: But we can skip you for this round if you don't know!
[15:45] Petra Flax : Well my big question is pretty practical. Alligaters
[15:45] Emma Walsh gets her paper and starts drawing Miss Vi as a stick figure rabbit
[15:45] Myrtil Igaly: Oh
[15:45] Jimmy Branagh looks at Petra
[15:45] Myrtil Igaly leans on the table to take a better glance at Petra
[15:45] Petra Flax : How would you deal with a plague of alligators?
[15:45] Jimmy Branagh: Oh okay ....
[15:46] VI : Alligaters?
[15:46] Becky Blackcinder is also doodling.
[15:46] Myrtil Igaly turns to Miss Vi
[15:46] VI : really?
[15:46] Jimmy Branagh: Aligaters in th' sewers mybee
[15:46] Myrtil Igaly: Anything could happen in New Babbage!
[15:47] Emma Walsh : We had clockwork hippos attack once....
[15:47] Petra Flax : Yep… its happened before in other cities…
[15:47] Jimmy Branagh: Yesh
[15:47] VI : well that i think is a matter for public works not public relations
[15:47] Jimmy Branagh: They wos 'orrible
[15:47] Jimmy Branagh: It wos loike Attack of th' Popplefots
[15:47] Jimmy Branagh laughs
[15:48] Myrtil Igaly scribbles a few words and glances interrogatively at Petra
[15:48] VI : i could go to the city and complain
[15:48] Petra Flax pretends to write
[15:48] VI : but not much else
[15:48] Becky Blackcinder: You made that up!
[15:48] Becky Blackcinder: Popplefots I mean.
And finally the last urchin interviewer, Zaida, arrived.
[15:48] Myrtil Igaly: Hey Zaida!
[15:48] Jimmy Branagh: Hoy Zaida
[15:48] Myrtil Igaly: You're lucky Miss Violet, lots of interviewers for you!
[15:48] Jimmy Branagh sails a piece of paper to Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi jim
[15:48] VI : hello Zaida
[15:48] Zaida Gearbox (zaida.gearbox): hi miz vi!
[15:48] Zaida Gearbox (zaida.gearbox): me an' miz vi used to be neighbors in wheatstone waterways
[15:48] VI : yes
[15:49] Myrtil Igaly: Alright, try to stay unbiased Zaida!
[15:49] Jimmy Branagh: Nah, Popplefot runs the shoe black factory!
[15:49] Jimmy Branagh: 'ee's fat loike a hippo!
[15:49] Zaida Gearbox (zaida.gearbox) looks for the piece of paper
[15:49] Myrtil Igaly: Are you satisfied with the answer Petra?
[15:50] Petra Flax : Not really no
[15:50] Myrtil Igaly: Oh
[15:50] Petra Flax : but if that's her answer...
[15:50] Petra Flax : heh
[15:50] VI : i am not exactly a slayer of Alligators
[15:50] Jimmy Branagh: Awlrought then. Becky
[15:50] Myrtil Igaly: Well, we'll discuss about that later, let's hear Becky's question
[15:51] Becky Blackcinder: Hmmmm...
[15:51] Jimmy Branagh scribbles note, adding odd cryptic symbols
[15:51] Zaida Gearbox (zaida.gearbox): i gots a question
[15:51] Jimmy Branagh: Wait yer turn
[15:51] Zaida Gearbox (zaida.gearbox) sticks tongue out
[15:51] Myrtil Igaly me giggles
[15:51] Petra Flax snickers
[15:51] Jimmy Branagh chuckles
[15:51] Becky Blackcinder: You knew about the hideout. Which is pretty gear. So...d'you know anything else about the city that could be useful to somebody like me? An' will you tell it to us?
[15:52] Myrtil Igaly nods and turns to Miss Violet, interested
[15:52] Petra Flax scribbles loops, impressed that they actually look like writing
[15:53] VI : wouldn't that be beyond the scope of the proffered position?
[15:53] Myrtil Igaly takes a glance at the other urchins' papers and looks impressed at all the writing on there
[15:53] Emma Walsh draws some stick figure alligators underneath Vi and points arrows saying 'not alligator slayer'
[15:53] Jimmy Branagh shrugs
[15:53] Zaida Gearbox (zaida.gearbox) doodles a bunny with an arrow through its head
[15:53] VI : would be willing to make a full exchange of information?
[15:53] Myrtil Igaly: Yes that's not demanded for the position, but we're not against a few extras!
[15:54] Jimmy Branagh: We're jus' pickin' yer brain, Miss VI. It's perfectly safe!
[15:54] Becky Blackcinder has apparently done the following doodle of Vi:
www.flickr.com/photos/annalisa_shepherd/23449967259/in/da...
[15:54] Petra Flax relights her pipe, looking down at her page, and then to the pages of the others.
[15:54] Becky Blackcinder looks proud
[15:55] Myrtil Igaly: There's no right or wrong answer, Miss Violet, we'll discuss later and decide. We may not even agree with each other ya know
[15:55] VI : true
[15:55] Becky Blackcinder: 'S true. Urchins ain't all that organized.
[15:55] Myrtil Igaly: Your turn Emma!
[15:55] Emma Walsh : Okay, this one should be easy.
[15:56] VI : more here than most
[15:56] Myrtil Igaly smiles at the compliment
[15:56] Emma Walsh : If you weren't a bunny what animal would you be instead? Your inner not bunny?
[15:56] Zaida Gearbox (zaida.gearbox) rolls eyes and shakes head
[15:56] Myrtil Igaly smirks
[15:57] Becky Blackcinder giggles.
Miss Solano stood up abruptly.
[15:57] VI : well i think we're at an end here
[15:57] Myrtil Igaly looks surprised
[15:57] Becky Blackcinder blinks.
[15:57] Myrtil Igaly: Are we?
[15:57] Jimmy Branagh: Hmm?
[15:57] Petra Flax raises her eyebrows
[15:57] Myrtil Igaly: What do you mean Miss Violet?
[15:57] Zaida Gearbox (zaida.gearbox): miz vi don't want to work for us?
[15:57] Zaida Gearbox (zaida.gearbox) offers miz vi a cookie
[15:57] VI : there is nothing better for me to be than a rabbit
[15:58] Myrtil Igaly: Oh
[15:58] Myrtil Igaly: Please don't be offended by the question, it was very innocent.
[15:58] Petra Flax : touch-eeeee
[15:58] Myrtil Igaly: Shhhh Petra!
[15:58] VI : to say other wise is preposterous, and rude
[15:58] Becky Blackcinder: I wish I was somethin' besides a human sometimes.
[15:58] Petra Flax snaps her mouth shut
[15:58] Becky Blackcinder: An' I do know a surprising number of mad scientists, so...
[15:59] VI : very well
Miss Solano sat back on the bench, facing the urchins.
[15:59] Myrtil Igaly: Very true Miss Violet, please forgive us for even thinking you would think otherwise
[15:59] Zaida Gearbox (zaida.gearbox): this is babbage knowing a mad scientist or 10 isn't surprising
[15:59] Zaida Gearbox (zaida.gearbox): if i could be a animal i'd be daisy my dog
[15:59] Zaida Gearbox (zaida.gearbox): then i could lay around in my bed all day
[15:59] Myrtil Igaly whispers to the others. "Ok, avoid the bunny questions!"
[15:59] Petra Flax nods
[15:59] VI : i suppose it would be a badger
[16:00] Myrtil Igaly blinks
[16:00] Emma Walsh : Badgers are awful buggers...
[16:00] Petra Flax : Badgers are pretty great
[16:00] Jimmy Branagh: Okay Zaida?
[16:00] Myrtil Igaly: They're fierce for sure
[16:00] Becky Blackcinder: Opinion is divided on badgers!
[16:00] VI : the ruling family of my home land are badger
[16:01] Zaida Gearbox (zaida.gearbox): miz vi - you a boss lady outside of hear, an' you sometimes employ urchins to carry messages an' packages..... how are you goin' to feel about havin' urchins bossin' you instead of you bossin' us
[16:01] Petra Flax : Good question.
[16:01] Myrtil Igaly hides a smile and dives onto her piece of paper, pencil at the ready
[16:02] VI : well that would depend on whether the orders are in conflict with my business
[16:02] Myrtil Igaly nods slowly
[16:03] Myrtil Igaly: Which would come first in that case?
[16:03] VI : that would depend on your requested action
[16:03] VI : it it was not within the scope of the job your offering
[16:04] VI : i would decline
[16:04] Myrtil Igaly: Understood
[16:04] VI : for example
[16:04] Petra Flax : What’s decline mean?
[16:04] VI : if you asked me to talk to tenk about something fine
[16:05] Myrtil Igaly whispers : that she says "no"
[16:05] VI : if you asked me to kill tenk
[16:05] Petra Flax : Oh
[16:05] VI : well that’s different
[16:05] Myrtil Igaly: Oh of course
[16:05] Petra Flax : Well jeez lady
[16:05] Myrtil Igaly: That wouldn't be something we would ask you to do.
[16:06] VI : of course not
[16:06] Myrtil Igaly: We merely need someone to represent us to deal with other grown-ups
[16:06] Myrtil Igaly: without those grown-ups knowing they're actually dealing with urchins
[16:06] Petra Flax : I mean beat in a sack with a hammer, maybe... but kill is kinda extreme
[16:06] Petra Flax : And what Myrtil said
[16:06] Myrtil Igaly rolls her eyes at Petra
[16:06] VI : and in that capacity i would
[16:06] Myrtil Igaly nods
[16:07] Myrtil Igaly: Here's my second question then.
[16:07] Petra Flax readies her pencil
[16:08] Myrtil Igaly: If you were working for us and we asked you to go talk to Miss Book and get an information about some secret Militia documents. How would you do it?
[16:08] VI : with great difficulty
[16:08] Myrtil Igaly laughs
[16:08] VI : we are not on the best of terms
[16:09] Myrtil Igaly: That's why I asked this question
[16:09] Myrtil Igaly smiles
[16:09] Myrtil Igaly starts drawing circles on her paper
[16:10] VI : and as to getting the information by less than honest means
[16:10] VI : your urchins are as capable as me in that regard
[16:11] Zaida Gearbox (zaida.gearbox) whispers: she paid me a whole dollar to stand around and yell HELLO MIZ BOOK if i seen her once
[16:11] Jimmy Branagh chuckles
[16:11] Myrtil Igaly: Maybe, but I would like to know how you would do it as an indication of what you would be able to do to deal with difficult missions
[16:11] Petra Flax : Depends on the urchin. Tubby ain’t much good at nothin.
[16:12] Jimmy Branagh: 'ee's good at eatin'. Everythin'!
[16:12] Petra Flax : And it was probably him that spilled the beans about this gig
[16:12] Petra Flax : Good point Jimmy.
[16:12] Myrtil Igaly: Tubby you think?
[16:13] Petra Flax nods
[16:13] VI : i would send one of my employees to retrieve the information
[16:13] Myrtil Igaly nods and scribbles
[16:13] Zaida Gearbox (zaida.gearbox): i ain't seen tubby in a long time. i thought creaky got him
[16:14] Jimmy Branagh scribbles
[16:14] Zaida Gearbox (zaida.gearbox) whispers: she'd pay an urchin to do it
[16:14] Petra Flax : That’d keep him fed for a while.
[16:14] VI : sadly the man that would be best at that retrieval is no longer available
[16:14] Jimmy Branagh: Finished, Myrtil?
[16:14] Myrtil Igaly: Yup, go ahead
[16:15] Jimmy Branagh: Miss VI, wos you in Babbage when the Dark Aether fell?
[16:15] VI : no
[16:15] Jimmy Branagh: Awlroight. Never moind then. Petra?
[16:15] Myrtil Igaly chuckles
[16:15] Jimmy Branagh scribbles
[16:16] Petra Flax : Well, I guess it’s no secret you’re sort villainy type… what sorta guarantee can we have that you won’t just lie about all this and do something that is to our detri- detrimu- uh… is bad for us?
[16:17] Petra Flax draws out a hangman, then fills in all the spaces with Xs
[16:17] Myrtil Igaly squints at Miss Violet, waiting for her reply
[16:17] VI : hmmmmmm
[16:17] VI : well that’s the rub isn't it
[16:18] Myrtil Igaly: We could write something about it in the contract, but the question is, do you respect contracts...
[16:18] Petra Flax : The rub?
[16:18] VI : since you consider me a villain, would you trust any promises i made anyway
[16:18] Petra Flax : Like for ribs?
[16:18] Zaida Gearbox (zaida.gearbox): maybe she wants her ears rubbed?
[16:18] Myrtil Igaly smiles at Zaida
[16:19] Zaida Gearbox (zaida.gearbox): gilly like him ears scratched
[16:19] Becky Blackcinder: I've known some trustworthy villians an' some good guys who lie a lot.
[16:19] Myrtil Igaly: That was a good question Petra. This is to take into consideration but it could go both directions anyway
[16:19] Zaida Gearbox (zaida.gearbox) nods in agreement with Becky
[16:19] VI : like that counterfeit count?
[16:19] Myrtil Igaly: Heh
[16:19] Zaida Gearbox (zaida.gearbox): doc O was a villain but him would keep him promises
[16:20] Zaida Gearbox (zaida.gearbox): 'course him usually promised to do bad things
[16:20] Petra Flax : Baloney? He's crackers.
[16:20] Myrtil Igaly: He is, but who isn't in this town?
[16:20] VI : i am a business woman and i hold to contracts
[16:20] Myrtil Igaly: Oh, that's good to know!
[16:20] Myrtil Igaly scribbles
[16:21] Petra Flax pretends to write again, nodding.
[16:21] Myrtil Igaly: Becky, another question?
[16:21] Emma Walsh draws a piece of paper in Vi's hands
[16:21] Becky Blackcinder hmmms. "Okay..."
[16:21] Myrtil Igaly: That's if you have one
[16:21] Myrtil Igaly: not mandatory
[16:21] Becky Blackcinder: Why d'you wanna work for us? What do you like about us? Or is it just a business thing?
[16:21] Jimmy Branagh: Let's move along folks! Get snappy!
[16:22] VI : mostly?
[16:22] Myrtil Igaly nods and turns her head towards Miss violet
[16:22] VI : because it benefits both of us
[16:23] Myrtil Igaly: The question would then be, how does it benefit you?
[16:23] VI : you get someone who can deal with the adults
[16:23] Myrtil Igaly: Right
[16:24] VI : and i get an alliance with the biggest information gathering force in the city
[16:24] Myrtil Igaly: Oh I see * grins*
[16:24] Myrtil Igaly scribbles
[16:25] Jimmy Branagh: Emma
[16:25] Petra Flax nudges Becky to nudge Emma
[16:25] Jimmy Branagh: EMMA!
[16:25] Emma Walsh : Do you have any credi.....proof of your expertise? Things that the adults look for in this town fer respect.
[16:26] Myrtil Igaly glances at Emma
[16:26] Becky Blackcinder scribbles some stuff down.
[16:27] VI : i have a successful business, i have money, i have made considerable donations to the fire brigade, and the militia
[16:27] Myrtil Igaly looks up, wide-eyed
[16:28] Emma Walsh : Errr....I guess that means you look good on paper!
[16:28] VI : yes
[16:28] Emma Walsh guesses that's the right saying and starts doodling dollar signs under her
[16:29] VI : and i helped with the recent Prometheus incident
[16:29] Jimmy Branagh: Zaida has the final question
[16:29] Zaida Gearbox (zaida.gearbox): you gave money to the militia even though miz book don't like you?
[16:29] Jimmy Branagh scribbles
[16:29] Myrtil Igaly scribbles too and starts to regret drawing circles as she's running out of space
[16:30] Zaida Gearbox (zaida.gearbox): ummmmm---- i guess that was my question
[16:30] VI : yes to give to the widows and orphans left by the Militia men that were murdered
[16:30] Zaida Gearbox (zaida.gearbox): oh ok
[16:30] Emma Walsh : Ohhhhh...
[16:30] Petra Flax : Huh.
[16:30] VI : i think she declined to pass it on
[16:30] Myrtil Igaly: That was your question Zaida?
[16:31] Zaida Gearbox (zaida.gearbox): how will you represent us as our embassador
[16:31] VI : well really that depends on what you have in mind
[16:32] VI : have you fully considered what you wish me to do?
[16:32] Petra Flax : Imagine a suit of armor filled with kids
[16:32] Myrtil Igaly starts to wonder what they got themselves into
[16:32] Zaida Gearbox (zaida.gearbox): i mean in helping us with our urchin grow'd up relations
[16:33] Zaida Gearbox (zaida.gearbox): we need a urchin grow'd ups relations office
[16:33] Myrtil Igaly: Yes, that's what we need, except secret one, not official
[16:33] VI : but are you expecting a person to foster better relations with the adults?
[16:33] VI : or just a bigger urchin?
[16:34] Zaida Gearbox (zaida.gearbox): isn't that what a embassador does?
[16:34] Jimmy Branagh: You would be representin' our interests.
[16:34] Petra Flax blinks
[16:34] Myrtil Igaly: To deal with adults who don't want to have nothing to do with us
[16:34] Myrtil Igaly: Have them think they're dealing with you except they're dealing with us
[16:35] Petra Flax : Yeah
[16:35] Jimmy Branagh: We figger 'avin' a representative would be better'n burnin' the' city down
[16:35] Myrtil Igaly chuckles
[16:35] VI : and that’s the thing, for me to do that job i'd need to show a proper front
[16:35] VI : so no activity's that could be seen as dishonest
[16:36] Myrtil Igaly: I s'pose we could be having business with both honest and dishonest grown-ups
[16:36] VI : you need what amounts to a business manager
[16:36] Myrtil Igaly: Hmmm
[16:37] Zaida Gearbox (zaida.gearbox) starts day dreaming about the new buffet at brunel as her tummy rumbles
[16:37] Myrtil Igaly: We're the business managers. What we need is someone willing to do what we tell them to do but also be crafty enough to find how to get the high hand in deals with other people
[16:38] Jimmy Branagh nods
[16:38] Petra Flax nods
[16:38] VI : in short a business manager
[16:38] VI : someone to manage your business with others
[16:39] Myrtil Igaly: Well yes, can call it like that.
[16:38] Myrtil Igaly looks at the other urchins. "Does anyone have another question?"
[16:39] Emma Walsh : Err...no...but I have one for you Myrt when we're done...
[16:39] Myrtil Igaly nods to Emma
[16:38] Petra Flax : Yeah, I got one more… gonna seem silly, but I got my reasons fed asking it. Ok… what’s yer favorite thing about Mayor Tenk?
[16:39] Zaida Gearbox (zaida.gearbox): is likin' tenk a job requirement?
[16:39] Petra Flax : Nope.
[16:39] Myrtil Igaly: won't be in the contract, but Petra has her reasons
[16:39] Petra Flax : Just a question.
[16:39] VI : my favorite thing about tenk
[16:39] Zaida Gearbox (zaida.gearbox): my favorite thing about tenk is him don't take no bullpoo
[16:40] VI : he stays out of other people’s business
[16:40] Myrtil Igaly smirks
[16:40] Petra Flax : Not you Zaida, Miss Vi
[16:40] Petra Flax : And thank you
[16:40] Becky Blackcinder: I like how he's not taller'n me.
[16:40] Myrtil Igaly giggles
[16:40] Zaida Gearbox (zaida.gearbox): imma shorter dan mr. tenk
[16:41] Myrtil Igaly: It's cause you're a shrimp Zaida!
[16:41] Zaida Gearbox (zaida.gearbox) makes rude gesture at myrtil
[16:40] Myrtil Igaly nods. "Thank you Miss Violet. Now would YOU have questions for us?"
[16:41] VI : well i do wonder if you have thought this position through?
[16:41] Myrtil Igaly: Oh yes, are you concerned about it Miss violet?
[16:41] VI : if you know what you need, over what you think you want
[16:42] Myrtil Igaly: We've talked about it, and will talk some more after the interviews. We'll decide as a group so there's always gonna be someone to say if they don't agree and why
[16:43] Jimmy Branagh writes more, and the number 423 next to it
[16:43] Myrtil Igaly: Which will make us think more and more until it's all good
[16:43] VI : if you hire a Representative to deal with the adults they will need to be very public
[16:43] Myrtil Igaly: Not necessarily.
[16:44] Zaida Gearbox (zaida.gearbox): we could hire two people
[16:44] Myrtil Igaly: Just have to look respectable enough or know how to make themselves look that way
[16:44] Zaida Gearbox (zaida.gearbox): someone to be our public face an' someone to be sneaky
[16:44] VI : no they will need to be public any interaction will become known
[16:44] Myrtil Igaly: And yes, we can also do that Zaida
[16:44] Petra Flax : That’s true
[16:45] VI : the action may not be seen to be connected to you but it will be seen by someone
[16:45] Zaida Gearbox (zaida.gearbox) looks confused
[16:45] Myrtil Igaly: Maybe what we would need is a few agents, or a master of disguise
[16:46] Myrtil Igaly: Or someone who can stay veeery discreet
[16:46] Petra Flax : I think she means the Great Builder....
[16:46] Zaida Gearbox (zaida.gearbox): can we hire miz book?
[16:46] Myrtil Igaly raises an eyebrow at Petra
[16:46] Zaida Gearbox (zaida.gearbox): nobody would ever suspect her
[16:46] Myrtil Igaly: Noooo Zaida, she'd never agree
[16:46] VI : take the Count i can see him bragging about every sneaky thing he does for you
[16:46] Emma Walsh laughs
[16:47] Zaida Gearbox (zaida.gearbox): yeah her all noble an' shi--stuff
[16:47] Myrtil Igaly: Well that's for us to judge Miss Violet.
[16:47] VI : as you wish
[16:47] Jimmy Branagh: We need a person capable of bein' both public, an' subtley behoind the scenes. Our shadow hand, as it were.
[16:47] Myrtil Igaly: I understand your concern and thank you for worrying, but we'll manage.
[16:47] Myrtil Igaly smiles
[16:48] Myrtil Igaly: Well I guess we're done if it's good for everyone?
[16:48] Zaida Gearbox (zaida.gearbox) whispers, "i think her right about the Count. him not rowin' wid both oars..."
[16:48] Becky Blackcinder smiles and nodnods.
[16:48] Jimmy Branagh nods
[16:48] Jimmy Branagh: Pass yer papers in please
[16:48] Petra Flax : Yep
[16:48] Emma Walsh : Well with Miss Vi yeah
[16:48] Myrtil Igaly: Miss Violet, thank you again for your time!
[16:48] Jimmy Branagh: Thenks Miss VI
[16:48] Jimmy Branagh smiles
[16:48] Myrtil Igaly: We will let you know our decision after we've made it.
[16:48] Emma Walsh : But need ter talk to you about Mr. Hyde.
[16:48] VI : you’re welcome
[16:48] Becky Blackcinder hands Jimmy her notes, which are mainly doodles.
[16:48] VI : but think well on what you really need
[16:48] Myrtil Igaly nods
[16:48] Myrtil Igaly: We will.
[16:49] Jimmy Branagh collects the sheet, wads them in the notebook and shoves the notebook into his coat
[16:49] Myrtil Igaly: Do you need to be walked back outside?
[16:49] VI : i think i can find my way
[16:49] Myrtil Igaly: Alright! Take care!
[16:49] Jimmy Branagh: 'Ave a good evenin' Miss!
[16: 49] VI : stands on the boards and waves and the men hiding on the roofs move off
[16: 49] Jimmy Branagh whistles, signalling the armed urchins watching from hidden position to stand down
[16:49] Emma Walsh : Hyde blabbed.
[16:49] Myrtil Igaly: Hyde?
[16:50] Emma Walsh : Mr. Hyde
[16:50] Emma Walsh : When we had our big meeting
[16:50] Becky Blackcinder: He would, wouldn't he?
[16:50] Emma Walsh : Discussing Creaky
[16:50] Emma Walsh : And the interviews
[16:50] Emma Walsh : He wasn't sworn to secrecy
[16:50] Myrtil Igaly: Oh yes, he totally would
[16:50] Myrtil Igaly: Dang it
[16:51] Emma Walsh : So he probably told his friends, who told everyone
[16:51] Myrtil Igaly: We gotta have a little chat with Mister Hyde...
[16:51] Becky Blackcinder: He has friends?
[16:51] Myrtil Igaly: hehe
[16:51] Emma Walsh : Err....must have some runnin mates
[16:51] Becky Blackcinder: I mostly only see him when he's passed out on Dr. Jekyll's couch.
[16:52] Myrtil Igaly: Yes not sure he's got many friends
[16:52] Emma Walsh : He's got enough drinking buddies
[16:53] Emma Walsh : And he was sharing some stuff when I stopped by the other night.
[16:53] Myrtil Igaly: Hah!
[16:53] Myrtil Igaly: you're probably right Emma
[16:54] Myrtil Igaly: and if that's him, we need to talk with him, for one, and never to allow him to our secret meetings anymore again
[16:54] Emma Walsh nods
And thus ended the third interview the urchins held to find a “grown-up ambassador”.
New series about my feelings of seasons changes. And first one with gold topic «Lost summer».
Acrylic and spray at canvas. 40x50 cm. Varnished. 2020
See this locomotive in the video here: www.youtube.com/watch?v=UDFypCuTeTg
Making a spectacular return working on its first run to the South West is preserved Class 55 Deltic number D9009 (55009) 'Alycidon', seen opening up its throttles at Parson's Tunnel whilst heading the 'Mazey Day Cornishman' from Penzance to Tame Bridge Parkway.
I give you my favourite diesel locomotive of all time, bar none, the Class 55 'Deltic'! A locomotive that has gone down in history as one of those iconic designs, with a classic noise being delivered by engines originally meant for placement in boats.
Planning of the Deltic locomotives goes back to the beginning of the 1950's, where newly nationalised British Rail intended to replace the ageing fleet of former London & North Eastern Railway steam locomotives with a brand new fleet of diesels. The primary targets for replacement were the famous Gresley Pacifics, including the A3's and A4's, but latterly the Peppercorn A1's also came into the scope even though they were brand new engines. As a result, English Electric were commissioned to design a brand new locomotive that was capable of carrying out the extensive and heavy passenger operations on the East Coast Mainline, including famous services such as the Flying Scotsman and the Highland Chieftan. Designer George Nelson and his son (also George Nelson) saw potential in the highly reliable and successful Deltic engine being built by Napier, which had been tried and tested for use in the new Dark Class Fast Patrol Boats of the Royal Navy.
Designed to emulate the great American Carbody E & F-Units of the American Railroads, the prototype Deltic known as DP1 was released from the Dick, Kerr works in Preston in 1955, being powered by two Deltic engines with 3,000bhp available. Immediately the engine started trials on the Midland and Eastern Regions out of London Euston and King's Cross, and became the first Diesel Locomotive to run at over 100mph in the UK. This locomotive however had a relatively short lifespan, being taken out of service in 1961 after suffering a major engine failure, but was able to rack up an impressive 450,000 miles during its 6 years of trials. However, although DP1's life was ending, the life of the Deltics was just beginning, with British Rail ordering a fleet of 22 production locomotives to replace 55 LNER express steam locomotives. This was later complimented by the smaller bodied Class 23 'Baby Deltic' locomotives, of which 10 were built but suffered heavily from reliability problems.
Before the production locomotives could enter service though, several design changes had to be made from the prototype. For starters, the locomotives had to be much thinner, a problem which was made apparent during the trials of DP1 when it dislodged platform edgings at Newcastle, and even lost its cab steps at Darlington. Another change was the removal of the large American style headlamp in place of a standard headcode box.
Numbered D9000 to D9021, the first locomotives entered service in 1961 working express services out of London King's Cross on the East Coast Mainline to Edinburgh. Complimented by other passenger diesels such as the Class 47 and the Class 40, this fleet was able to destroy the former steam locomotives of the LNER, which eventually saw withdrawal in 1966. The Deltic names were a mixture of both British Army Regiments and Racehorses, with locomotives based at Gateshead (Newcastle) and Haymarket (Edinburgh) depots being named after Regiments, whilst the remainder of the fleet at Finsbury Park depot in London were named after Racehorses, a tradition of the LNER.
In 1966, the fleet was repainted from its original BR Two-Tone Green to Corporate Blue, with repaints occurring when the locomotives had their original Vacuum Brakes replaced with Air Brakes. This was later added to by Electric Train Heating to work with later builds of generator powered air conditioned coaches. During the 1970's, the new TOPS (Total Operations Processing System) computer system was introduced, and the class was renumbered Class 55, with the not uncommon anomaly of first built locomotive D9000 becoming last number of the fleet 55022, as there could not be a 55000.
During their tenure on the East Coast, the locomotives were renowned for their speed and performance. With the best part of 3,000bhp at their disposal, the Deltics could rocket between London and Edinburgh in 5 hours and 55 minutes, but later upgrades of the line resulted in this time dropping to 5 hours and 30 minutes, practically light speed compared to the 6 hour journey times achieved by the A4 Pacifics. The fastest run of a Deltic came on the 2nd February 1978, when a Deltic from York to London did the journey in 137 mins and 15 seconds, and reached speeds of 113mph on the flat, and 125mph descending Stoke Bank, the same location that Mallard had broken the record for fastest steam locomotive 40 years earlier.
However, the clouds of progress were on the horizon for the Class 55's as throughout the 1970's British Rail attempted to create the ultimate speed machine to compete with motorcars and domestic airlines. The result was launched in 1976 as the Class 43 and its High Speed Train (HST) set, capable of a steady 125mph in service, and a top speed of 148mph. This revolutionary machine was the beginning of the end for the Deltics, and very soon the HST's had taken over on the top express workings on the East Coast Mainline. Whilst the remainder of the sets were being constructed, the Deltics were reduced to semi-fast workings and secondary passenger services. Gone were the days of the Flying Scotsman, now stuck with the humdrum, ho hum stopping trains. This was hastened too by British Rail's stance on not maintaining small fleets of non-standard locomotives, which meant that very soon the Deltics would run out of spare parts. The end of the 1970's saw the first withdrawal of locomotives for use as spares donors, stripped for parts in order to keep the other class members going. In a final attempt to provide morale to the engine crews, Finsbury Park (which had been threatened with closure), painted the cabs of their Racehorse Deltics with white paint to give them something of a speedy look (my personal favourite of the Deltic liveries).
But this could not prolong the inevitable, and as the years continued to roll on the Class 55's were worked to death, being withdrawn once they'd suffered major faults due to lack of maintenance. The end came on the 31st December 1981, with the final service train, the 16:30 Aberdeen to York, being operated by 55019 'Royal Highland Fusilier'. Later on the 2nd January 1982 there were two enthusiast specials, with 55015 'Tulyar' hauling the northbound leg from King's Cross to Edinburgh, and class premier 55022 'Royal Scots Grey' hauling the return leg, with 55009 'Alycidon' shadowing the tour in case of breakdown. Upon arrival at King's Cross, these three locomotives, together with the rest of the fleet, where withdrawn to Doncaster Works and their mainline certificates revoked. Prior to scrapping though the engines were displayed for enthusiasts until the end of February 1982.
However, 6 locomotives, including the prototype, managed to survive into preservation. After its failure in 1961, plans were made to send DP1 to Canada for further trials, but these eventually fell through, and the locomotive was donated to the Science Museum in London, before being delivered to the National Railway Museum in York in 1993. Since then it was moved to the new Locomotion exhibit in Shildon, but as of 2012 it has resided in its home town of Preston on the Ribble Steam Railway.
As for the production locomotives, 55002 'Kings own Yorkshire Light Infantry' was immediately preserved, and carried out the audacious task of running its final journey from Doncaster to York's National Railway Museum in spite of being banned from mainline operation. The other locomotives to be preserved include 55009 'Alycidon', 55015 'Tulyar', 55016 'Gordon Highlander', 55019 'Royal Highland Fusilier', and 55022 'Royal Scots Grey'. In 1997, 55022 returned to the mainline for the first time with the 'Deltic Reunion' tour between King's Cross and Hull, heralding the spectacular reappearance of these mighty machines to their home ground. Since then all of the Deltic's have been mainline registered, but today only 55002, 55022 and 55009 are allowed to work on the mainline. But when these locomotives do make their way along the railways, their twin Napier Deltic engines resonating and rumbling, there is no finer sound than classical British engineering at work.
It warms the cockles of my heart! :D
Ludlow Castle
Heritage Category: Scheduled Monument
List Entry Number: 1004778
More information can be found on the link below:-
historicengland.org.uk/listing/the-list/list-entry/1004778
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Ludlow Castle the standing structural remains
Heritage Category: Listed Building
Grade: I Listed
List Entry Number: 1291698
Summary
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
Reasons for Designation
The standing structural remains of Ludlow Castle are listed at Grade I for the following principal reasons:
Historical: as one of England's finest castle sites, clearly showing its development from an enclosure castle into a tower keep castle in the C12; the castle played an important historical role particularly as seat of the President of the Council of the Marches; Architectural: the castle remains illustrate significant phases of development between the C11 and the C16; Survival: the buildings are in a ruinous condition, but nonetheless represent a remarkably complete multi-phase complex.
History
An enclosure castle is a defended residence or stronghold, built mainly of stone, in which the principal or sole defence comprises the walls and mural towers bounding the site. Enclosure castles, found in urban and in rural areas, were the strongly defended residence of the king or lord, sited for offensive or defensive operations, and often forming an administrative centre. Although such sites first appeared following the Norman Conquest, they really developed in the C12, incorporating defensive experience of the period, including that gained during the Crusades. Many enclosure castles were built in the C13, with a few dating from the C14, and Ludlow Castle is not alone in having begun as an enclosure castle and developed into a tower keep castle. At Ludlow, the large existing gate tower was converted into a tower keep in the early C12, providing more domestic accommodation, as well as defence.
Ludlow Castle occupies a commanding position at the steep-sided western end of a flat-topped ridge overlooking the valleys of the River Teme and the River Corve. The adjacent town of Ludlow, which was established by the mid-C12, lies to the south and east of the castle. The defences surrounding the medieval town are designated separately. The castle was probably founded by Walter de Lacy in about 1075 and served as the ‘caput' (the principal residence, military base and administrative centre) of the de Lacy estates in south Shropshire until the mid-C13. During the Anarchy of King Stephen's reign the castle was for Matilda until 1139, when it was besieged and captured by Stephen. The de Lacy family recovered the castle in the C12 and retained it, apart from occasional confiscations, until the death of Walter de Lacy in 1241. Ludlow Castle features in an ‘ancestral romance’ called ‘The Romance of Fulk FitzWarren', written in the late C13 about the adventures of a C13 knight. Other documentary sources indicate that when the castle was in royal control it was used for important meetings, such as that held in 1224 when Henry III made a treaty with the Welsh prince, Llewellyn. Following the death of Walter de Lacy in 1241 the castle came into the possession of the de Genevilles, and in the early C14, the castle passed through marriage to Roger Mortimer. Between 1327 and 1330 Roger Mortimer ruled England as Regent, with Edward II's widowed queen, Isabella. Mortimer had himself made Earl of March in 1328. In 1425 the Mortimer inheritance passed to Richard Plantagenet, Duke of York, who made Ludlow a favoured residence. His eldest son, who assumed the title of Earl of March, claimed the crown as Edward IV in 1461. Edward IV's son Edward was created Prince of Wales in 1471, and in 1473 was sent to Ludlow, where the administration of the principality known as the Council in the Marches was established. Both Edward and the Council remained at Ludlow until Edward IV's death in 1483. Ludlow Castle continued as an important royal residence and in 1493 the Council was re-established at Ludlow with Henry VII's son and heir, Prince Arthur as Prince of Wales. In 1501 Arthur was installed at Ludlow with his bride, Katherine of Aragon, and it was at Ludlow that Arthur died in 1502. In 1534 the Council in the Marches received statutory powers both to hear suits and to supervise and intervene in judicial proceedings in Wales and the Marches, and from that time until 1641, and again from 1660 to 1689, Ludlow's principal role was as the headquarters for the Council and, as such, the administrative capital of Wales and the border region. Milton’s mask, ‘Comus’, was first performed here in 1634 before John Egerton, 1st Earl of Bridgewater, in celebration of the earl’s new appointment as Lord President of Wales. On the dissolution of the Council the castle was abandoned and left to decay. Lead, window glass and panelling were soon removed for reuse in the town. In 1771, when the castle was leased to the Earl of Powis, many of the buildings were in ruins.
Since the late C18, the buildings have undergone repair and restoration at various times, as well as some further deterioration, with some rebuilding and replacement of stonework. Extensive archaeological excavations were undertaken by William St John Hope between 1903 and 1907. The castle is now open to the public.
Details
The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.
MATERIALS: the castle is constructed of a variety of local stones; it appears that the greenish-grey flaggy calcerous siltstones that underlies the castle was used in its initial phase, with local sandstones being used thereafter.
PLAN: the castle consists of an elliptical INNER BAILEY, in the north-west corner of the site, representing the earliest area of development, with the OUTER BAILEY, created in the second half of the C12, to the south and east.
BUILDINGS:
The curtain wall of the inner bailey incorporates four mural towers and the former gatehouse, all thought to have been constructed by 1115. Three of the four towers are open at the back and would originally have contained wooden scaffolding supporting look-out and fighting platforms. The fourth tower, known as the POSTERN TOWER, on the western side of the enclosure, has small ground-floor postern doorways on its north and east sides. The former gatehouse, situated at the south-eastern part of the enclosure, is rectangular in plan and was originally three storeys in height. Remaining in the ground-floor of the building is part of a wall arcade, thought to be late-C11, with ornamented capitals. In the early C12 a fourth storey was added to provide more domestic accommodation, thus converting the gatehouse into a tower keep, known as the GREAT TOWER. In the later C12 the original gatehouse entrance passage was blocked (the location of the former arch remains visible on the south elevation) and an archway was cut through the adjacent part of the curtain wall to the north-east, reached by a stone bridge. This archway was partially infilled and a smaller arch constructed in the C14. Access to the upper floors of the tower is by a spiral stair to the east, reached by an ornamented doorcase, the Tudor arch having a trefoiled lintel flanked by cusped panelling and trefoiled lintel, which also gives access to rooms in the Judges’ Lodgings (see below). On the first floor is the hall, with a chamber and garderobe to the west. In the second half of the C15 the north wall of the Great Tower was rebuilt and internal floors added to create new rooms lit by enlarged windows. Adjoining the Great Tower, in the south-west section of the inner bailey, is the INMOST BAILEY, a walled enclosure constructed in the C12 and C13 to provide greater security and privacy to those living in the Great Tower. There is a well within this enclosure surrounded by a low stone wall.
Located in the north-eastern sector of the elliptical enclosure of the inner bailey are the remains of the CHAPEL OF ST MARY MAGDALENE. This was built in the first half of the C12, probably by Gilbert de Lacy, and was remodelled in the C16, probably in two phases. In the first phase, thought to have been undertaken circa 1502 for the installation of Arthur, Prince of Wales, a first floor was inserted in the circular nave, together with additional openings, including a first-floor doorway which gave access to a passage linking the chapel with the Great Chamber Block to the north. In the second phase, during the presidency of the Council in the Marches of Sir Henry Sidney (1560-86), the original presbytery and chancel were taken down and a new chancel, or chapel, built, stretching as far as the curtain wall. The crenellated circular nave, which measures 8.3m in diameter internally, survives to its full height as a roofless shell, and contains much original carving to the round-headed order arches of the door openings, with chevron and billet mouldings, and to the internal blind arcade with a variety of capitals and moulded arches.
Since the late C12, the castle site has been entered through the two-storeyed GATEHOUSE within the eastern part of the curtain wall of the outer bailey. The wall originally had two adjoining rectangular mural towers of which the one to the north of the gatehouse survives as a standing structure; this, together with the adjacent section of the curtain wall form part of the CASTLE HOUSE built in the C18 (listed separately at Grade I). Protruding from the curtain wall defining the western side of the outer bailey are the remains of a semi-circular tower known as MORTIMER'S TOWER, possibly built in the early C13; this originally consisted of a ground-floor entrance passage, with two floors above, and was used as the postern entrance to the outer bailey until the C15. In the south-west corner of the outer bailey are the remains of ST PETER’S CHAPEL, originally a free-standing rectangular structure, founded by Roger Mortimer to celebrate his escape from the Tower of London in 1324, following his rebellion against Edward II. The chapel served as the Court House and offices of the Council in the Marches, for which an adjacent building to the west was constructed. The south-east corner of the chapel is now attached to a wall which completes the enclosure of the outer bailey’s south-west corner. In the north wall of the chapel is a blocked two-light window, enlarged at the bottom when a floor was inserted for the court house; a second original window towards the eastern end now contains a first-floor blocked doorway.
At the end of the C13 or in the early C14 an extensive building programme was initiated, replacing existing structures within the inner bailey with a grand new range of domestic buildings, built along the inside of the north section of the Norman curtain wall. The construction of these new buildings indicates the changing role of Ludlow Castle from military stronghold to a more comfortable residence and a seat of political power, reflecting the more peaceful conditions in the region following the conquest of Wales by Edward I. The first buildings to be completed were the GREAT HALL and the adjoining SOLAR BLOCK (private apartments). The Great Hall, which was used for ceremonial and public occasions, consisted of a first floor over a large undercroft, reached through a moulded pointed arch in the south elevation. The Hall was lit on both south and north sides by three pointed-arched windows with sunk chamfers and ‘Y’ tracery formed of paired cusped trefoil-headed lights, under hoodmoulds; these originally had seats, now partially surviving. The central south window was converted to a fireplace, replacing the louver which formerly covered the open fire towards the east of the Hall, its position indicated by elaborate corbels. At the west end, a series of openings lead into the Solar Block, only one of these (that to the north) being of the primary phase. Within the Hall, at the western end, is a timber viewing platform, which is not of special interest.* The Solar Block is thought to have been begun as a two-storey building, and raised to three storeys shortly afterwards, at which time the adjacent NORTH-WEST TOWER was raised, with the new CLOSET TOWER being built in the angle between the two. Each of the three floors of the Solar Block extended into the North-West Tower, with each being linked to a room in the Closet Tower. All three floors of the Solar were heated, the ground floor having a fireplace which originally had a stone hood; the first-floor room has hooded fireplace, on nearly triangular-sectioned jambs; the room above has a plainer hooded fireplace. The windows include original openings with ‘Y’ tracery and trefoil-headed lights, similar to those in the Hall, and a ground-floor mullioned window probably dating from the late C16.
In the early C14 two additional buildings containing more private apartments were constructed by Richard Mortimer. The three-storeyed GREAT CHAMBER BLOCK was built in about 1320 next to the Great Hall to balance the Solar Block to the west of the Hall. The connecting four-storeyed GARDEROBE TOWER, which projects from the curtain wall of the inner bailey, was also probably built about the same time. As in the Hall and Solar blocks, the floors are now lost but features in the walls remain to indicate layout and function. The main entrance to this block is through a recessed doorway in the south-west corner, with a pointed two-light window above. The undercroft was heated, and is lit by two two-light windows with stone side seats in the south wall. The tracery of the eastern of these windows has been lost. The first-floor main room, or ‘Great Chamber’, contains a grand hooded fireplace carried on a fourfold series of corbels; to either side of the fireplace are large head corbels with leafwork. The Tudor transomed and mullioned window probably replaced an earlier window. The upper room also has a large hooded fireplace, and was lit principally by a large trefoil-headed window with head-stopped hoodmould in the southern wall.
Following the establishment of the headquarters for the Council in the Marches at Ludlow, new buildings were constructed and many existing buildings changed their use. Within the inner bailey the main room in the Great Chamber Block became the council chamber, with additional chambers above. A new adjoining residential block, now called the TUDOR LODGINGS, was built to the east, replacing earlier structures. The block consisted of two sets of lodgings both being of three storeys with attic rooms above. The south wall of this block cuts across openings in the east wall of the Great Chamber Block. Between the lodgings, projecting from the south wall, is a circular stair tower, entered through an ogee-headed arch. The windows in the south elevation are mullioned; several have been blocked. In the north wall of the western lodging, at ground-floor level, is an opening with double trefoil head, having a divided light above. Otherwise, the features of this range are plain, with pointed door openings, and straight lintels to fireplaces.
As the power of the Council grew, further domestic accommodation was needed. To the east of the entrance within the inner bailey, a three-storeyed range, known as the JUDGES LODGINGS, was completed in 1581. On the south side, this building extends the curtain wall upwards, with two gables, and piercing for fenestration, the earlier arched entrance to the inner bailey becoming visually part of the newer building, with rooms above; stone arms set immediately over the archway dated 1581 commemorate the Presidency of the Council of Sir Henry Sidney. Rooms set above the arch leave a gate-passage leading through a second archway to the inner bailey, and giving access to both the Great Keep and the Judges’ Lodgings. The rooms above the gate-passage appear to have been accessed by the embellished Tudor-arched doorway in the Keep at the north end of the passage. The north side of the Judges’ Lodgings, within the inner bailey, has a polygonal stair turret (which originally had a pyramidal roof), with mullioned and transomed eight-light windows set regularly to either side. Within, some indication is given of the arrangement and appearance of the rooms by the survival of numerous fireplaces of red sandstone backed by brick set in herringbone pattern. The adjoining building to the east, originally two-storeyed, is thought to date from the C17.
Other developments during the C16 included changes to the south-west corner tower, enclosed within the inmost bailey, with the installation of a large oven at ground-floor level, with residential rooms above; the tower became known as the OVEN TOWER. In 1522 the PORTER'S LODGE was built in the outer bailey to the south of the gatehouse. The shell of this building now contains the castle shop; the modern structure and fittings of the shop are not of special interest.* Also dating from 1522 is the PRISON, adjoining to the south, which retains square-headed windows with moulded frames and hoodmoulds, and the stable block, completed in 1597, with mullioned windows. Like the porter's lodge, these buildings remain as incomplete shells.
*Pursuant to s.1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that these aforementioned features are not of special architectural or historic interest.
Sources
Books and journals
Cathcart-King, D J, Castellarium Anglicanum, (1983)
Goodall, J, The English Castle, 1066-1650, (2011)
H M Colvin, D R Ransome, The History of the KIng's Works, vol 3, (1975)
Kenyon, J, Castles in Wales and the Marches Essays in honour of DJ Cathcart King, (1987), 55-74
Pevsner, N, Newman, J, The Buildings of England: Shropshire, (2006)
R Allen Brown, H M Colvin, The History of the King's Works, vol 2, (1963)
Shoesmith, R, Johnson, A (eds), Ludlow Castle. Its History and Buildings, (2000)
'' in Archaeological Investigations Ltd, Hereford archaeology series, (1991)
W. H. St John Hope, , 'Archaeologia' in The Castle of Ludlow, (1908)
Other
Pastscape Monument No. 111057,
Shropshire HER 01176,
historicengland.org.uk/listing/the-list/list-entry/1291698
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Ludlow Castle, Castle Square, Ludlow, Shropshire
Construction of Ludlow Castle began in the late 11th century by the de Lacy's and held by them until the 13th century. In the 14th century it was enlarged by the Mortimers. In the 15th century ownership transferred between the House of York and Lancashire during the War of the Roses. In Elizabethan times the castle was further extended by Sir Henry Sidney. After the civil war the castle declined. It is now owned by the Earl of Powys for the crown.
Grade I listed.
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Welcome to Ludlow Castle, one of the finest medieval ruins in England. Set in the glorious Shropshire countryside at the heart of the superb, bustling black & white market town of Ludlow. Walk through the Castle grounds and see the ancient houses of kings, queens, princes, judges and the nobility – a glimpse into the lifestyle of medieval society
The Castle, firstly a Norman Fortress and extended over the centuries to become a fortified Royal Palace, has ensured Ludlow’s place in English history – originally built to hold back unconquered Welsh, passing through generations of the de Lacy and Mortimer families to Richard Plantagenet, Duke of York. It became Crown property in 1461 and remained a royal castle for the next 350 years, during which time the Council of the Marches was formed with responsibility for the Government of Wales and the border counties. Abandoned in 1689 the castle quickly fell into ruin, described as ‘the very perfection of decay’ by Daniel Defoe
Since 1811 the castle has been owned by the Earls of Powis, who have arrested further decline, and allowed this magnificent historical monument to be open to the public. Today the Castle is the home to Ludlow’s major festivals throughout the year and open for all to enjoy.
www.ludlowcastle.com/the-castle/
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See also:-
www.britainirelandcastles.com/England/Shropshire/Ludlow-C...
Rough looking awning and air conditioner found in the alleys of Laurinburg, North Carolina in Scotland County.
The condition of these two have not got any better since my last photo. After I took this photo the tire under the bumper was removed.
For some reason, the rear window of the blue 190 was removed..
HELENSBURGH UPPER or UPPER HELENSBURGH as it now is these days.
A sad day when it was demolished, something I don't think they would get away with these days, it was demolished purely as it was being closed as a staffed station and to avoid cost of upkeep, otherwise it was in sound condition.
It was also a sad day for me as this was where my interest in trains developed in 1977 with initially going to watch the trains, as I lived near by, and then it becoming a regular haunt as I got befriended by regular station Railman George Killen, a top bloke. This gave me full access to all parts of the station, all unauthorised of course but that was the way of the world back then, so much better to the way things are now.
Through George I got to know retired Loco inspector Davie Thornton and his wife Shona who lived in a trackside cottage halfway between Arrochar and Ardlui and who were picked up by a train stopping outside their cottage once a week to take them shopping, sadly Davie was on the track one day when no train was stopping and the 08.00 from Oban with 37011 came along and killed him.
A few years before this tragedy though Davie had used his contacts to arrange an unauthorised cab ride on the 06.00 Glasgow Queen St to Fort William to Rannoch and back on a class 25 and class 27. That was it and I got the bug and ended up driving the West Highland Line my self from 1980 to 1986.
Claire making light of her current condition by doing her best Walking Dead walker imitation.
Day 4. I hate how I feel a tiredness and slight shortness of breath ALL THE TIME. I'd settle for being able to control the flow of drool from my mouth to the floor and/or my panties. Would also be nice to have feeling in my forehead (which actually had some air in it that I squeezed out by accident,then it itched a lot for a min or 2) or in my lower lip. Molly Jane Powers said it will be around for months. All my lower teeth feel like after I had my radial cyst removals when the nerves reattach...I remember constantly rubbing my teeth with paper towels in order to make them feel SOMETHING. Nerve attacks, basically. Well this feels like that. But everywhere. Used a straw without holding my lips together with a hand! Woo!
Zombie apocalypse.
Claire.
bandages, chin strap.
after surgery.
practice, 2Pass Clinic, business, Antwerp, Belgium.
September 7, 2018.
... Read my blog at clintjcl at wordpress dot com
Claire got her Facial Feminization Surgery with Dr. Bart Van De Ven at the 2Pass Clinic in Antwerp, Belgium on September 4th, 2018.
***************** FOR THE FULL LOG OF CLAIRE'S FFS RECOVERY, VISIT HER PAGE AT www.facebook.com/cleo.jane.sawyer/posts/459732837767406 *****************
He had a lot of before and after pictures for Claire to look at, and a 6-day stay in their clinic to include food and board was included in the price. It was a really nice facility, and Carolyn was glad that Claire had chosen 2Pass over PriyaMed in India, after seeing CT scans confirming friends had paid for procedures that were never even done (PriyaMed suuuuucks!). Dr. Bart and the entire 2Pass staff, including the resident who lived at the clinic and took care of all the patients, Petra, were very nice and friendly. We absolutely have complaints about the experience -- the implants that made my mouth look worse for months, only to threaten my life, creating two more additional surgeries for me to undergo and recover from. The nerve damage on my chin, which I think could have been avoided if Dr. Bart didn't insist that CT scans are unnecessary while any upscale FFS place does CT scans. The complication under my eye which literally exploded out of my face, but only 14 months later. Letting me leave without my chin strap. Sending me home when I wasn't really fit to fly yet. Having a big wooden table with an irregular shape that people trip over, which is very easy when your eyes are sewn shut. Not shaving as much off my forehead quite as I'd hoped (but still an amazing forehead job!). Not doing as much jaw work as I'd hoped (and that nerve damage). Not including a neck lift in my package when it absolutely should have been (it's so saggy now & it has been indicated as something I should do by another FFS surgeon). The surgery was good -- I've had people tell me in private that my FFS is the best FFS they've ever seen (wow) -- but it wasn't A+ for us. It was more like a A- or B+ for results, B+ for price, C for choosing the right procedures to perform on me, and a C- for complications endured. We felt like there was a lot of room for improvement in our experience as well. Like they don't say what time of day to arrive, and only let you check into your room a few hours before your appointment. So we ended up being several hours late because of this -- they could simply let people in 6-8 hrs before their appointment, then we would have been able to aim earlier and not be late. But at the same time...no regrets. This surgery was the best thing to ever happen to me. I'm very happy with what 2Pass did for me. I just wish things had gone better.
***************** FOR THE FULL LOG OF CLAIRE'S FFS RECOVERY, VISIT HER PAGE AT www.facebook.com/cleo.jane.sawyer/posts/459732837767406 *****************
Transition Progress at this point: 13 months on estrogen HRT (since 8/2017) [injections (and no spiro) since 1/2018: 48 injections in 8mos], 5mos on progesterone (since 4/2018). 3 days since Facial Feminization Surgery at 2Pass Clinic in Antwerp, Belgium (6hr $~30K surgery by Dr. Bart Van De Ven.) DHEA (10mg/4d) to raise testosterone a bit, since 4/2018--5mos. 10X/d Biotin for fingernails since 1/17--8mos. Full-time female since 9/2017--1 year. Publicly out as trans since 10/11/2017--11mos). Legally female since 12/21 (8mos). 7mos of voice training (since 2/2017)--17 speech therapy sessions (2 GWU semesters + 4-clinician session at UDC). Hair removal: 56 electrolysis sessions [since 4/2017] totaling 37.5 hours; 34 laser hair removal sessions [since 9/2016] (55 area treatments: 17/16/14/13 mouth/goatee/face/neck, 9 armpits, 7 legs/chest/ears/Brazilian); and bi-weekly at-home IPL on arms since 6/17 (over a year). Weight down to 145lbs (52 down from 197, but 10 up from 135). Same-weight waist measurement has dropped from 32" (12/2017) to 31" (6/2018) [now 35-31-35]. Boobs (Tanner IV) filling a 34A bra, but unsure of real cup size. Have seen endo/primary therapist 7X [bloodwork 6X], and 4 other therapists 13X--Currently on anticonvulsant mood stabilizer Lamictal (4.5mos since 4/15; 200mg/day). Latisse for eyelash lengthening since 4/17 (1yr,5mos). 2 dental implants, Zoom teeth whitening, pierced ears, star brand on ass (7/14/2018), hair dyed with a bit of purple in front. No haircuts since 1/2015--3.7yrs. Useless Sephora makeup class attended. Minor body contouring procedures purchased on groupon (8 laser lipo + 4 ultrasonic liposculpture + 3 non-invasive buttlift sessions + permanent lip coloring), to be done after FFS. Wardrobe replacement up to 1,140+ items. Total transition expenditures at this point are now over $54,250.
Talking about the weather, did you know that The Century Building (1940) was the first fully air-conditioned office building in Victoria? ift.tt/2jDoiio
Slug, or land slug, is a common name for any apparently shell-less terrestrial gastropod mollusc. The word slug is also often used as part of the common name of any gastropod mollusc that has no shell, a very reduced shell, or only a small internal shell, particularly sea slugs and semi-slugs (this is in contrast to the common name snail, which applies to gastropods that have a coiled shell large enough that they can fully retract their soft parts into it).
Various taxonomic families of land slugs form part of several quite different evolutionary lineages, which also include snails. Thus, the various families of slugs are not closely related, despite a superficial similarity in the overall body form. The shell-less condition has arisen many times independently as an example of convergent evolution, and thus the category "slug" is polyphyletic.
Taxonomy
Of the six orders of Pulmonata, two – the Onchidiacea and Soleolifera – solely comprise slugs. A third group, the Sigmurethra, contains various clades of snails, semi-slugs (i.e. snails whose shells are too small for them to retract fully into), and slugs.[1] The taxonomy of this group is in the process of being revised in light of DNA sequencing. It appears that pulmonates are paraphyletic and basal to the opisthobranchs, which are a terminal branch of the tree. The family Ellobiidae are also polyphyletic.
Subinfraorder Orthurethra
Superfamily Achatinelloidea Gulick, 1873
Superfamily Cochlicopoidea Pilsbry, 1900
Superfamily Partuloidea Pilsbry, 1900
Superfamily Pupilloidea Turton, 1831
Subinfraorder Sigmurethra
Superfamily Acavoidea Pilsbry, 1895
Superfamily Achatinoidea Swainson, 1840
Superfamily Aillyoidea Baker, 1960
Superfamily Arionoidea J.E. Gray in Turnton, 1840
Superfamily Athoracophoroidea
Family Athoracophoridae
Superfamily Orthalicoidea
Subfamily Bulimulinae
Superfamily Camaenoidea Pilsbry, 1895
Superfamily Clausilioidea Mörch, 1864
Superfamily Dyakioidea Gude & Woodward, 1921
Superfamily Gastrodontoidea Tryon, 1866
Superfamily Helicoidea Rafinesque, 1815
Superfamily Helixarionoidea Bourguignat, 1877
Superfamily Limacoidea Rafinesque, 1815
Superfamily Oleacinoidea H. & A. Adams, 1855
Superfamily Orthalicoidea Albers-Martens, 1860
Superfamily Plectopylidoidea Moellendorf, 1900
Superfamily Polygyroidea Pilsbry, 1894
Superfamily Punctoidea Morse, 1864
Superfamily Rhytidoidea Pilsbry, 1893
Family Rhytididae
Superfamily Sagdidoidera Pilsbry, 1895
Superfamily Staffordioidea Thiele, 1931
Superfamily Streptaxoidea J.E. Gray, 1806
Superfamily Strophocheiloidea Thiele, 1926
Superfamily Parmacelloidea
Superfamily Zonitoidea Mörch, 1864
Superfamily Quijotoidea Jesús Ortea and Juan José Bacallado, 2016
Family Quijotidae
Description
Tentacles: Like other pulmonate land gastropods, the majority of land slugs have two pairs of 'feelers' or tentacles on their head. The upper pair is light-sensing and has eyespots at the ends, while the lower pair provides the sense of smell. Both pairs are retractable in stylommatophoran slugs, but contractile in veronicellid slugs.
Mantle: On top of the slug, behind the head, is the saddle-shaped mantle. In stylommatophoran slugs, on the right-hand side of the mantle is a respiratory opening, the pneumostome, which is easier to see when open; also on the right side at the front are the genital opening and anus. Veronicellid slugs have a mantle covering the whole dorsal part of the body, they have no respiratory opening, and the anus opens posteriorly.
Tail: The part of a slug behind the mantle is called the 'tail'.
Keel: Some species of slugs, for example Tandonia budapestensis, have a prominent ridge running over their back along the middle of the tail (sometimes along the whole tail, sometimes only the posterior part).
Foot: The bottom side of a slug, which is flat, is called the 'foot'. Like almost all gastropods, a slug moves by rhythmic waves of muscular contraction on the underside of its foot. It simultaneously secretes a layer of mucus that it travels on, which helps prevent damage to the foot tissues. Around the edge of the foot in some slugs is a structure called the 'foot fringe'.
Vestigial shell: Most slugs retain a remnant of their shell, which is usually internalized. This organ generally serves as storage for calcium salts, often in conjunction with the digestive glands. An internal shell is present in the Limacidae and Parmacellidae. Adult Philomycidae, Onchidiidae and Veronicellidae lack shells.
Physiology
An active Ambigolimax slug in Fremont, California
Slugs' bodies are made up mostly of water and, without a full-sized shell, their soft tissues are prone to desiccation. They must generate protective mucus to survive. Many species are most active just after a rain because of the moist ground or during nighttime. In drier conditions, they hide in damp places such as under tree bark, fallen logs, rocks and manmade structures, such as planters, to help retain body moisture.[3] Like all other gastropods, they undergo torsion (a 180° twisting of the internal organs) during development. Internally, slug anatomy clearly shows the effects of this rotation—but externally, the bodies of slugs appear more or less symmetrical, except the pneumostome, which is on one side of the animal, normally the right-hand side.
Slugs produce two types of mucus: one is thin and watery, and the other thick and sticky. Both kinds are hygroscopic. The thin mucus spreads from the foot's centre to its edges, whereas the thick mucus spreads from front to back. Slugs also produce thick mucus that coats the whole body of the animal. The mucus secreted by the foot contains fibres that help prevent the slug from slipping down vertical surfaces.
The "slime trail" a slug leaves behind has some secondary effects: other slugs coming across a slime trail can recognise the slime trail as produced by one of the same species, which is useful in finding a mate. Following a slime trail is also part of the hunting behaviour of some carnivorous slugs. Body mucus provides some protection against predators, as it can make the slug hard to pick up and hold by a bird's beak, for example, or the mucus itself can be distasteful. Some slugs can also produce very sticky mucus which can incapacitate predators and can trap them within the secretion. Some species of slug, such as Limax maximus, secrete slime cords to suspend a pair during copulation.
Reproduction
Slugs are hermaphrodites, having both female and male reproductive organs. Once a slug has located a mate, they encircle each other and sperm is exchanged through their protruded genitalia. A few days later, the slugs lay approximately thirty eggs in a hole in the ground, or beneath the cover of an object such as a fallen log.
Apophallation has been reported only in some species of banana slug (Ariolimax) and one species of Deroceras. In the banana slugs, the penis sometimes becomes trapped inside the body of the partner. Apophallation allows the slugs to separate themselves by one or both of the slugs chewing off the other's or its own penis. Once the penis has been discarded, banana slugs are still able to mate using only the female parts of the reproductive system.
In a temperate climate, slugs usually live one year outdoors. In greenhouses, many adult slugs may live for more than one year.
Ecology
Slugs play an important role in the ecosystem by eating decaying plant material and fungi. Most carnivorous slugs on occasion also eat dead specimens of their own kind.
Feeding habits
Most species of slugs are generalists, feeding on a broad spectrum of organic materials, including leaves from living plants, lichens, mushrooms, and even carrion. Some slugs are predators and eat other slugs and snails, or earthworms.
Lehmannia feeding on a small fruit in Mexico City
Slugs can feed on a wide variety of vegetables and herbs, including flowers such as petunias, chrysanthemums, daisies, lobelia, lilies, dahlias, narcissus, gentians, primroses, tuberous begonias, hollyhocks, marigolds, and fruits such as strawberries. They also feed on carrots, peas, apples, and cabbage that are offered as a sole food source.
Slugs from different families are fungivores. It is the case in the Philomycidae (e. g. Philomycus carolinianus and Phylomicus flexuolaris) and Ariolimacidae (Ariolimax californianus), which respectively feed on slime molds (myxomycetes) and mushrooms (basidiomycetes).[16] Species of mushroom producing fungi used as food source by slugs include milk-caps, Lactarius spp., the oyster mushroom, Pleurotus ostreatus and the penny bun, Boletus edulis. Other species pertaining to different genera, such as Agaricus, Pleurocybella and Russula, are also eaten by slugs. Slime molds used as food source by slugs include Stemonitis axifera and Symphytocarpus flaccidus. Some slugs are selective towards certain parts or developmental stages of the fungi they eat, though this is very variable. Depending on the species and other factors, slugs eat only fungi at specific stages of development. Moreover, in other cases, whole mushrooms can be eaten, without any selection or bias towards ontogenetic stages.
Predators
Slugs are preyed upon by various vertebrates and invertebrates. The predation of slugs has been the subject of studies for at least a century. Because some species of slugs are considered agricultural pests, research investments have been made to discover and investigate potential predators in order to establish biological control strategies.
Vertebrates
Slugs are preyed upon by virtually every major vertebrate group. With many examples among reptiles, birds, mammals, amphibians and fish, vertebrates can occasionally feed on, or be specialised predators of, slugs. Fish that feed on slugs include the brown trout (Salmo trutta), which occasionally feeds on Arion circumscriptus, an arionid slug. Similarly, the shortjaw kokopu (Galaxias postvectis) includes slugs in its diet. Amphibians such as frogs and toads have long been regarded as important predators of slugs. Among them are species in the genus Bufo, Rhinella and Ceratophrys.
Reptiles that feed on slugs include mainly snakes and lizards. Some colubrid snakes are known predators of slugs. Coastal populations of the garter snake, Thamnophis elegans, have a specialised diet consisting of slugs, such as Ariolimax, while inland populations have a generalized diet. One of its congeners, the Northwestern garter snake (Thamnophis ordinoides), is not a specialized predator of slugs but occasionally feeds on them. The redbelly snake (Storeria occipitomaculata) and the brown snake (Storeria dekayi) feed mainly but not solely on slugs, while some species in the genus Dipsas (e.g. Dipsas neuwiedi) and the common slug eater snake (Duberria lutrix), are exclusively slug eaters. Several lizards include slugs in their diet. This is the case in the slowworm (Anguis fragilis), the bobtail lizard (Tiliqua rugosa), the she-oak skink (Cyclodomorphus casuarinae) and the common lizard (Zootoca vivipara).
Birds that prey upon slugs include common blackbirds (Turdus merula), starlings (Sturnus vulgaris), rooks (Corvus frugilegus), jackdaws (Corvus monedula), owls, vultures and ducks. Studies on slug predation also cite fieldfares (feeding on Deroceras reticulatum), redwings (feeding on Limax and Arion), thrushes (on Limax and Arion ater), red grouse (on Deroceras and Arion hortensis), game birds, wrynecks (on Limax flavus), rock doves and charadriiform birds as slug predators.
Mammals that eat slugs include foxes, badgers and hedgehogs.
Invertebrates
Beetles in the family Carabidae, such as Carabus violaceus and Pterostichus melanarius, are known to feed on slugs.Ants are a common predator of slugs; some ant species are deterred by the slug's mucus coating, while others such as driver ants will roll the slug in dirt to absorb its mucus.
Parasites and parasitoids
Slugs are parasitised by several organisms, including acari and a wide variety of nematodes. The slug mite, Riccardoella limacum, is known to parasitise several dozen species of molluscs, including many slugs, such as Deroceras reticulatum, Arianta arbustorum, Arion ater, Arion hortensis, Limax maximus, Tandonia budapestensis, Milax gagates, and Tandonia sowerbyi. R. limacum can often be seen swarming about their host's body, and live in its respiratory cavity.
Several species of nematodes are known to parasitise slugs. The nematode worms Agfa flexilis and Angiostoma limacis respectively live in the salivary glands and rectum of Limax maximus. Species of widely known medical importance pertaining to the genus Angiostrongylus are also parasites of slugs. Both Angiostrongylus costaricensis and Angiostrongylus cantonensis, a meningitis-causing nematode, have larval stages that can only live in molluscs, including slugs, such as Limax maximus.
Insects such as dipterans are known parasitoids of molluscs. To complete their development, many dipterans use slugs as hosts during their ontogeny. Some species of blow-flies (Calliphoridae) in the genus Melinda are known parasitoids of Arionidae, Limacidae and Philomycidae. Flies in the family Phoridae, specially those in the genus Megaselia, are parasitoids of Agriolimacidae, including many species of Deroceras. House flies in the family Muscidae, mainly those in the genus Sarcophaga, are facultative parasitoids of Arionidae.
Behavior
Slug contracts itself and retracts its tentacles when attacked
A brown and yellow spotted slug curled up into a tight ball so that its head is withdrawn completely, its mantle edge and tail are nearly touching, and none of its foot surface is exposed
The alarm response posture of the Kerry slug, which is found only in this species
When attacked, slugs can contract their body, making themselves harder and more compact and more still and round. By doing this, they become firmly attached to the substrate. This, combined with the slippery mucus they produce, makes slugs more difficult for predators to grasp. The unpleasant taste of the mucus is also a deterrent. Slugs can also incapacitate predators through the production of a highly sticky and elastic mucus which can trap predators in the secretion.
Some species present different response behaviors when attacked, such as the Kerry slug. In contrast to the general behavioral pattern, the Kerry slug retracts its head, lets go of the substrate, rolls up completely, and stays contracted in a ball-like shape. This is a unique feature among all the Arionidae, and among most other slugs. Some slugs can self-amputate (autotomy) a portion of their tail to help the slug escape from a predator. Some slug species hibernate underground during the winter in temperate climates, but in other species, the adults die in the autumn.
Intra- and inter-specific agonistic behavior is documented, but varies greatly among slug species. Slugs often resort to aggression, attacking both conspecifics and individuals from other species when competing for resources. This aggressiveness is also influenced by seasonality, because the availability of resources such as shelter and food may be compromised due to climatic conditions. Slugs are prone to attack during the summer, when the availability of resources is reduced. During winter, the aggressive responses are substituted by a gregarious behavior.
Human relevance
The great majority of slug species are harmless to humans and to their interests, but a small number of species are serious pests of agriculture and horticulture. They can destroy foliage faster than plants can grow, thus killing even fairly large plants. They also feed on fruits and vegetables prior to harvest, making holes in the crop, which can make individual items unsuitable to sell for aesthetic reasons, and can make the crop more vulnerable to rot and disease. Excessive buildup of slugs within some wastewater treatment plants with inadequate screening have been found to cause process issues resulting in increased energy and chemical use.
In a few rare cases, humans have developed Angiostrongylus cantonensis-induced meningitis from eating raw slugs. Live slugs that are accidentally eaten with improperly cleaned vegetables (such as lettuce), or improperly cooked slugs (for use in recipes requiring larger slugs such as banana slugs), can act as a vector for a parasitic infection in humans.
Prevention
As control measures, baits are commonly used in both agriculture and the garden. In recent years, iron phosphate baits have emerged and are preferred over the more toxic metaldehyde, especially because domestic or wild animals may be exposed to the bait. The environmentally safer iron phosphate has been shown to be at least as effective as baits. Methiocarb baits are no longer widely used. Parasitic nematodes (Phasmarhabditis hermaphrodita) are a commercially available biological control method that are effective against a wide range of common slug species. The nematodes are applied in water and actively seek out slugs in the soil and infect them, leading to the death of the slug. This control method is suitable for use in organic growing systems.
Other slug control methods are generally ineffective on a large scale, but can be somewhat useful in small gardens. These include beer traps [de], diatomaceous earth, crushed eggshells, coffee grounds, and copper. Salt kills slugs by causing water to leave the body owing to osmosis but this is not used for agricultural control as soil salinity is detrimental to crops. Conservation tillage worsens slug infestations. Hammond et al. 1999 find maize/corn and soybean in the US to be more severely affected under low till because this increases organic matter, thus providing food and shelter.