My office desk converted to stand up usage.

 

This is done with a wire shelf cut to the proper height and covered with a plywood desktop. In my case the height worked out perfect without cutting. The shelving came as 48" wide x 18" deep and 72" high. The poles are in two sections so I ended up using 36" pole height plus casters plus desktop on top of the poles giving me 42" of height. If needed some dowels and spacers on the desktop can make it adjustable quite easily.

 

The total cost for the three shelves used plus the desktop surface plus the polyurethane for the desktop was $275.

 

The desk for the Mac and Laptop (under the window) is a kitchen countertop across two file cabinets. I've had that "desktop" in various configurations for about 20 years.

 

Why??? munews.missouri.edu/news-releases/2007/1115-hamilton-inac...

 

This photo is a fisheye and HDR with perspective adjustment but does give a better feeling of what the office 'really' looks like than the other photos that I have (all are rectilinear fisheye).

Much adventure to be had! : 3

Compilation of previous photoshoot: dekobihime.tumblr.com/post/131709386605/hellu-did-you-fin... <3

Strolling around to pick up this mornings newspapers I was amazed to find this fabulous vehicle resplendant in its new livery. Its new role in life is self evident.

Seeing this wonderful bus took me back to when these then revolutionary new vehicles first appeared on the No. 11 bus route back in the late 1950's/early 1960's. I used to try to catch a Routemaster bus as opposed to an RT bus on my journey to school from Fulham Cross to Ebury Bridge, Victoria in Central London.

 

History:

 

RML2479 JJD 479D 5/66 new to Aldenham, B2479

5/66 AF new into service for 37

67-8 AF

6/69 AF to Aldenham repaint, and return

70-2 AF

4/73 AF to Aldenham overhaul

--------- Aldenham works float -------

5/73 MH from o/h (Muswell Hill), B2496

1974 MH

1/75 SE transfer (Stonebridge Park)

from last bodyswap with B2512

1993 fitted with Cummins engine

1993 refurbished

10/94 HT privatised, MTL London, for 10, 139

12/97 HT MTL London

1998 HT MTL London bought by Metroline

1999 HT Metroline London Northern

01-2 HT used on 10

2/02 HT

2/03 AC transfer (Willesden)

3/04 KX transfer for 390 (Kings Cross)

8/04 KX withdrawn into store

9/04 sold to Lister (Bolton)

9/04 bought by APT Travel, Rayleigh, Essex

10/04 bought for preservation by Mr.R.Cloke, Rayleigh, Essex (NOT by e-bay!)

 

Converted in Photoshop and added the "grain" in Darktable. A totally stupid picture. I scaned the color neg and made a screen dump (don't want to pay 50$ for a VueScan upgrade). Then I enlarged and converted the scan/png in Photoshop to a black and white negative, which I have also edited in Photoshop. Finally I added grain i Darktable 4.0.1 and made the white frame and added my signature etc. in Photoshop. A lot of work for a very small 1155x957 pixel image. But hey, its's fun :-)

Cockeysville, MD, December 25, 2021.

My new Holyland Productions Documentary “Converts” the Journey of becoming Jewish www.convertsmovie.com premiering at Miami Jewish Film Festival

I took this in Echo Park as one of the last pictures on my June 2013 trip to LA for the Student Academy Awards. I shot about five frames into a roll of Portra 160 before heading back to Ann Arbor and finishing it there. I haven't really converted my color film pictures to B&W before, but the light in this one felt like a good opportunity. Don't hate.

 

Mamiya C330 w/ Mamiya Sekor 80mm f/2.8, Portra 160 (post-converted to B&W), processing & scan by Indie Film Lab.

Prinz Eugen, Eugenio di Savoia, Eugenio de Saboya, Eugène de Savoie-Carignan, Prince Eugene of Savoy, Eugeniusz Sabaudzki

 

History of the Vienna Hofburg

First residence

(further information you can get by clicking on the link at the end of page!)

With the elevation of Austria to Archduchy in 1156 Vienna became city of residence. From the residence of the Babenberg which was located on the present site "Am Hof", unfortunately there are no more remains left. After the extinction of the Babenberg, King Ottokar II Přemysl of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known today as the Schweizerhof (Swiss court). In the fight for the German crown Ottokar was defeated at the Battle of Dürnkrut (Lower Austria) by Rudolf I of Habsburg (1218-1291) and killed during the retreat.

As the old residence of the Babenberg burnt about 1276, Rudolf probably in 1296 moved to the former castle of Ottokar 1279. The descendants of Rudolf extended the castle only slightly: chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426) . Due to the division of the lands of the Habsburgs, Vienna lost its importance and it also lacked the financial resources to expand the castle.

Imperial residence

Under Frederick III. (1415-1493) acquired the Habsburgs the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand began a large construction: the three wings of the existing Swiss court were expanded and increased. The defensive wall in the northwest was as fourth wing with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco ) rebuilt. In the southwest was a tract for Ferdinand's children (the so-called "children Stöckl (Kinderstöckl)") added. The newly constituted authorities Exchequer and Chancery were domiciled in adjacent buildings at Castle Square. There were also an art chamber in the castle, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.

First major extensions of the residence

In the area of the ​​"desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) moved after his father's death in 1564 in the old castle. He had his residence for his Spanish horses in a Hofstallgebäude (Court stables building - Stallburg) converted and from 1565 increased.

Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, resided Maximilian II, who was awarded apart from Austria above and below the Enns also Bohemia and Hungary, readily in Prague and moved also the residence there. In 1575 he decided to build a new building opposite the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but was inhabited by the governor of the Emperor (Archduke Ernst of Austria). However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I) that in 1711 there established her widow's home.

In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the treasure and art chamber (1583-1585) as well as setting up of a dance hall in the area of ​​today's Redoutensäle (1629-1631).

Under Leopold I the dance hall war rebuilt of Ludovico Burnacini 1659/1660 into a at that time modern theater ("Comedy House"). 1666 Leopold I had in the area of ​​today's castle garden a new opera house with three tiers and a capacity of 5,000 persons built.

In the 1660-ies was under Leopold I (1640-1705) between the Amalienbourg and the Schweizerhof, the so-called Leopoldine Wing (Leopoldinischer Trakt), according to the plans of architect Filiberto Lucchese an elongated Flügelbau (wing building) built. Since, however, the tract shortly after the completion burned down, it has been newly built and increased by Giovanni Pietro Tencala. Due to its architectur, this tract connects yet more to the late Renaissance. The connection with the Amalienborg Castle followed then under Leopold's son, Joseph I (1678-1711).

After completion of the Leopoldine Wing the in the southeast of the castle located Riding School was restored, the south tower of the old castle razed, the old sacristy of the castle chapel replaced by an extension. Under Charles VI. (1685-1740) the gatehouse between the Castle Yard and carbon market (Kohlmarkt) by Johann Lucas von Hildebrandt was transformed into a monumental triumphal portal as a representative signum of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.

Baroque redesign of the Hofburg

In the early 18th Century began an intense construction activity. The Emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls as well as a new court library.

After the death of Johann Bernhard Fischer von Erlach whose son Joseph Emanuel Fischer von Erlach took over the supervision of the stables and the Imperial Library. 1725 the palatial front of the stables was completed. Since yet during the construction period has been noted that the stables were too smal dimensioned, the other wings were not realized anymore. The with frescoes by Daniel Gran and emperor statues of Paul Strudel equipped Court Library was completed in 1737.

Opposite of the Leopoldine Wing was supposed to be built a new Reich Chancellery. 1723 Johann Lucas von Hildebrandt was commissioned with the design. 1726, however, the Reich Chancellery was withdrawn the supervision and is was transferred to the Chancery and thus to Joseph Emanuel Fischer von Erlach, who also designed the adjacent court chamber and the front to St. Michael's Church. 1728 were finished the court chamber and the facade of the two buildings. By Joseph Emanuel Fischer von Erlach was also planned the Michaelertrakt, the connection between the Winter Riding School and Reichskanzleitrakt (Imperial Chancellery Tract). However, since the old Burgtheater building was in the way, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner.

Under Maria Theresa (1717-1780) was the at St. Michael's Square located and only as remnants existing Ballhaus (ballhouse) adapted as a court theater. Beside the Kaiser hospital therefore a new ballhouse was built, which was name giving for the Ballhausplatz. Subsequently, there were over and over again modifications and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small Redoutensaal and the large Redoutensaal (ball room) (1744-1748). The transformation of the two halls (since 1760), repair of the Court Library and since 1769 the design of the Josefsplatz followed under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension building for the Royal Library was built in the southeast the Augustinian tract.

Other structural measures under Maria Theresa: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg accommodated art collection to the Upper Belvedere, demolition of the remaining two towers of the old castle, the construction of two stairways (the ambassadors (Botschafterstiege) and the Säulenstiege (pillar stairway).

Extensions in the 19th Century and early 20th century

Francis II (1768-1835) gave Albert Duke of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa), the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and by a wing building expanded to the today's Albertina.

1804 proclaimed Francis II the hereditary Empire of Austria and was thus as Francis I the first Austrian emperor. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.

1809 part of the old bastions by the castle was blown up as a consequence of the war with Napoleon and afterwards razed. Towards to the today's ring road then new outworks were layed out (the so-called Hornwerkskurtine and the Escarpen). In the early 20's of the 19th Century were created three gardens: the private Imperial Castle Garden with two by Louis von Remy planned steel/glass-constructed greenhouses, Heroes Square with boulevards and the People garden with the Theseus Temple (Pietro Nobile). At the same time arised also the new, by Luigi Cagnola in 1821 begun and 1824 by Pietro Nobile completed outer castle gate.

1846 was built a monumental memorial to Francis I in the Interior Castle Square. In the turmoil of the 1848 Revolution the Stallburg was stormed and at the outer castle square as well as the castle gate fiercely fought. In the process burned the roof of the court library. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Prince Metternich and the coronation of Ferdinand's nephew Franz Joseph.

In the first years of the reign of Emperor Franz Joseph I (1830-1916) were converted the court stables by Leopold Mayer and expanded. As part of the expansion of the city, the city walls were razed and it emerged in place of the fort complex space for a magnificent boulevard, the Ringstrasse (Ring road). 1862, was born the idea of ​​an Imperial Forum of architect Ludwig Förster. On the surface between the Hofburg and the Imperial Stables should arise Court Museums (Art and Natural History Museum).

At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (defeated Napoleon at the Battle of Aspern-Essling) and Prince Eugene of Savoy (victor over the Turks in several battles) set.

After an unsuccessful architectural competition on the design of the Heroes square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing building over the ring road away with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was started with the Erdaushebungen (soil excavations) for the museums. 1889, the Natural History Museum was opened,1891 the Museum of Fine Arts (Kunsthistorisches Museum).

On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905), an overall view of the Imperial Forum is shown

1888 the Old Court Theatre at St. Michael's Square was demolished as the new KK Court Theatre (today's Burgtheater) by Gottfried Semper and Carl Freiherr von Hasenauer built, was finished. The since150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules" sidewards of the drive-through arches. 1893, the Hofburg had finally its last magnificent decorative facade .

1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans of Friedrich Ohmann (finalization in 1910). In 1907, the Corps de Logis, which forms a closure of the new castle, completed. Since Emperor Franz Joseph I in the budding 20th Century no longer was interested in lengthy construction projects and the Crown Prince Franz Ferdinand of Austria-Este (1863-1914) spoke out against the establishment of a throne hall building, but spoke for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922) succeeded to the throne, however, that he only occupied two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11th November 1918 the First Republic was proclaimed. As Karl in fact renounced of the businesses of government, but not the throne, he had to go into exile with his family.

The Imperial Palace in the 20th century

The interior design of the ballroom tract and the New Castle were continued despite the end of the monarchy to 1926. By the end of the monarchy, many of the buildings lost their purpose. Further on used or operated was the Riding School. The stables were used from 1921 as the Wiener Messe (Fair) exhibition grounds ("Messe palace"). In 1928, the Corps de Logis, the Museum of Ethnology, by then part of the Natural History Museum, opened. 1935 came the weapons collection (court, hunting and armour chamber) of the Kunsthistorisches Museum in the New Castle.

1933/1934 the outer castle gate by Rudolf Wondracek was transformed into a hero monument to the victims of the First World War. 1935 emerged left and right of the castle gate pylon portals with eagle sculptures of Wilhelm Frass. In March 1938, the Heroes' Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler announced to the cheering crowd at the Heldenplatz the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace were held during the period of the Nazism propaganda events.

During the war, the Imperial Palace (Stallburg, St. Augustine's Church, Albertina, the head office of the Federal President, the current building of the Federal Chancellery) was severely damaged by bomb hits: The first President of the Second Republic, Dr. Karl Renner, moved in 1946 the Office of the President to the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).

During the time of occupation the seat of the Inter-Allied Commission was housed in the Neue Burg.

1946 again were held first events in the Exhibition Palace and have been set up two large exhibition halls in the main courtyard of the fair palace. In the course of the reconstruction the damages of war were eliminated and the Imperial Palace repaired, the castle stable were built again. In 1958 in the ballroom wing was set up the convention center, 1962-1966 the modern Library of the Austrian National Library housed in the Neue Burg.

For the first time appeared in 1989 the concept of a "Museum Quarter". The Museum district should include contemporary art and culture. The oversized design of Laurids and Manfred Ortner but was redimensioned several times after the resistance of a citizens' initiative. The implementation followed a decade later.

1992 the two Redoutensäle completely burned out. Yet shortly after the fire was began with the reconstruction. The roof was extended and the small ball room could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.

From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.

1999 was began with the renovation of the Albertina. The for a study building, two exhibition halls and an underground storage enlarged museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.

In 2006, in the area of the boiler house yard were created additional rooms for the convention center.

(Source: Trenkler, Thomas: "The Vienna Hofburg", Vienna 2004)

www.burghauptmannschaft.at/php/detail.php?artnr=7103&...

Picture taken 1983 - digitally captured from paper print

_____________________________________________

 

The Dayak or Dyak or Dayuh /ˈdaɪ.ək/ are the native people of Borneo. It is a loose term for over 200 riverine and hill-dwelling ethnic subgroups, located principally in the interior of Borneo, each with its own dialect, customs, laws, territory and culture, although common distinguishing traits are readily identifiable. Dayak languages are categorised as part of the Austronesian languages in Asia. The Dayak were animist in belief; however many converted to Islam and since the 19th century, mass conversion to Christianity.

 

HISTORY

The Dayak people of Borneo possess an indigenous account of their history, mostly in oral literature, partly in writing in papan turai (wooden records), and partly in common cultural customary practices. Among prominent accounts of the origin of the Dayak people includes the mythical oral epic of "Tetek Tahtum" by the Ngaju Dayak of Central Kalimantan, it narrates the ancestors of the all Dayak people descended from the heavens before dispensing from the inland to the downstream shores of Borneo.

 

In the southern Kalimantan flourished the independent state of Nansarunai established by the Ma'anyan Dayaks prior to the 12th century. The kingdom suffered two major attacks from the Majapahit forces that caused the decline and fall of the kingdom by the year 1389, the attacks are known as Nansarunai Usak Jawa (meaning the destruction of the Nansarunai by the Javanese) by the oral accounts of the Ma'anyan people. This contributed to the migration of the Ma'anyans to the Central and South Borneo region.

 

The colonial accounts and reports of Dayak activity in Borneo detail carefully cultivated economic and political relationships with other communities as well as an ample body of research and study considering historical Dayak migrations. In particular, the Iban or the Sea Dayak exploits in the South China Seas are documented, owing to their ferocity and aggressive culture of war against sea dwelling groups and emerging Western trade interests in the 19th and 20th centuries.

 

In 1824, as a result of the Anglo-Dutch Treaty of 1824 to settle their commercial regional disputes by switching Java from British to Dutch in return for Malacca, the Malay Archipelago was permanently divided into formerly Dutch-colonized Indonesia and British-colonized Malaysia to this day.

 

In 1838, British adventurer James Brooke arrived to find the Sultan of Brunei fending off rebellion from warlike inland tribes. Sarawak was in chaos. Brooke put down the rebellion, and was made Governor of Sarawak in 1841, with the title of Rajah. Brooke pacified the natives, including the Dayaks, who became some of his most loyal followers. He suppressed headhunting and piracy. Brooke's most famous Iban enemy was Libau "Rentap"; Brooke led three expeditions against him and finally defeated him at Sadok Hill. Brooke had many Dayaks in his forces at this battle, and famously said "Only Dayaks can kill Dayaks." Sharif Mashor, a Melanau from Mukah, was another enemy of Brooke.

 

During World War II, Japanese forces occupied Borneo and treated all of the indigenous peoples poorly - massacres of the Malay and Dayak peoples were common, especially among the Dayaks of the Kapit Division. In response, the Dayaks formed a special force to assist the Allied forces. Eleven US airmen and a few dozen Australian special operatives trained a thousand Dayaks from the Kapit Division in guerrilla warfare. This army of tribesmen killed or captured some 1,500 Japanese soldiers and provided the Allies with vital intelligence about Japanese-held oil fields.

 

Coastal populations in Borneo are largely Muslim in belief, however these groups (Tidung, Banjarese, Bulungan, Paser, Melanau, Kutainese, Kedayan, Bakumpai, Bisayah) are generally considered to be Malayised and Islamised Dayaks, native to Borneo, and heavily amalgated by the Malay people, culture and sultanate system.

 

Other groups in coastal areas of Sabah and northeastern Kalimantan; namely the Illanun, Tausūg, Sama and Bajau, although inhabiting and (in the case of the Tausug group) ruling the northern tip of Borneo for centuries, have their origins from the southern Philippines. These groups though may be indigenous to Borneo, they are nonetheless not Dayak, but instead are grouped under the separate umbrella term of Moro.

 

ETHNICITY

The Indigenous people of the Heart of Borneo are commonly known as Dayak. The term was coined by Europeans referring to the non-Malay inhabitants of Borneo. There are seven main ethnic divisions of Dayaks according to their respective native language which are the Ngaju, Apau Kayan, Iban (Sea Dayak), Klemantan (Land Dayak), Murut, Punan and Ot Danum groups. Under the main classification, there are dozens of ethnics and hundreds of sub-ethnics dwelling in the Borneo island. There are over 50 ethnic Dayak groups speaking different languages. This cultural and linguistic diversity parallels the high biodiversity and related traditional knowledge of Borneo.

 

LANGUAGES

Dayaks do not speak just one language, even if just those on the island of Borneo (Kalimantan) are considered.[16] Their indigenous languages belong in the general classification of Malayo-Polynesian languages and to diverse groups of Bornean and Sabahan languages (including Land Dayak), and the Ibanic languages of the Malayic branch. The Dayak are very adaptable and also speak the lingua franca of the place such as those of Malay, Chinese and European origin.

 

Many of Borneo’s languages are endemic (which means they are spoken nowhere else). It is estimated that around 170 languages and dialects are spoken on the island and some by just a few hundred people, thus posing a serious risk to the future of those languages and related heritage.

 

HEADHUNTING

In the past, the Dayak were feared for their ancient tradition of headhunting practices (the ritual is also known as Ngayau by the Dayaks) . Among the Iban Dayaks, the origin of headhunting was believed to be meeting one of the mourning rules given by a spirit which is as follows:

 

- The sacred jar is not to be opened except by a warrior who has managed to obtain a head, or by a man who can present a human head, which he obtained in a fight; or by a man who has returned from a sojourn in enemy country.

 

Often, a war leader had at least three lieutenants (called manuk sabong) who in turn had some followers. The war (ngayau) rules among the Iban Dayaks are listed below:

 

- If a warleader leads a party on an expedition, he must not allow his warriors to fight a guiltless tribe that has no quarrel with them.

- If the enemy surrenders, he may not take their lives, lest his army be unsuccessful in future warfare and risk fighting empty-handed war raids (balang kayau).

- The first time that a warrior takes a head or captures a prisoner, he must present the head or captive to the warleader in acknowledgement of the latter's leadership.

- If a warrior takes two heads or captives, or more, one of each must be given to the warleader; the remainder belongs to the killer or captor.

- The warleader must be honest with his followers in order that in future wars he may not be defeated (alah bunoh).

 

There were various reasons for headhunting as listed below:

 

- For soil fertility so Dayaks hunted fresh heads before paddy harvesting seasons after which head festival would be held in honour of the new heads.

- To add supernatural strength which Dayaks believed to be centred in the soul and head of humans. Fresh heads can give magical powers for communinal protection, bountiful paddy harvesting and disease curing.

- To avenge revenge for murders based on "blood credit" principle unless "adat pati nyawa" (customary compensation token) is paid.

- To pay dowry for marriages e.g. "derian palit mata" (eye blocking dowry) for Ibans once blood has been splashed prior to agreeing to marriage and of course, new fresh heads show prowess, bravery, ability and capability to protect his family, community and land.

- For foundation of new buildings to be stronger and meaningful than the normal practice of not putting in human heads.

- For protection against enemy attacks according to the principle of "attack first before being attacked".

- As a symbol of power and social status ranking where the more heads someone has, the respect and glory due to him. The warleader is called tuai serang (warleader) or raja berani (king of the brave) while kayau anak (small raid) leader is only called tuai kayau (raid leader) whereby adat tebalu (widower rule) after their death would be paid according to their ranking status in the community.

- For territorial expansion where some brave Dayaks intentionally migrated into new areas such as Mujah "Buah Raya" migrated from Skrang to Paku to Kanowit while infighting among Ibans themselves in Batang Ai caused the Ulu Ai Ibans to migrate to Batang Kanyau River in Kapuas, Kalimantan and then proceeded to Katibas and later on Ulu Rajang in Sarawak. The earlier migrations from Kapuas to Batang Ai, Batang Lupar, Batang Saribas and Batang Krian rivers were also made possible by fighting the local tribes like Bukitan.

 

Reasons for abandoning headhunting are:

 

- Peacemaking agreements at Tumbang Anoi, Kalimantan in 1874 and Kapit, Sarawak in 1924.

- Coming of Christianity, with education where Dayaks are taught that headhunting is murder and against the Christian Bible's teachings.

- Dayaks' own realisation that headhunting was more to lose than to gain.

 

Among the most prominent legacy during the colonial rule in the Dutch Borneo (present-day Kalimantan) is the Tumbang Anoi Agreement held in 1874 in Damang Batu, Central Kalimantan (the seat of the Kahayan Dayaks). It is a formal meeting that gathered all the Dayak tribes in Kalimantan for a peace resolution. In the meeting that is reputed taken several months, the Dayak people throughout the Kalimantan agreed to end the headhunting tradition as it believed the tradition caused conflict and tension between various Dayak groups. The meeting ended with a peace resolution by the Dayak people.

 

After mass conversions to Christianity, and anti-headhunting legislation by the colonial powers was passed, the practice was banned and appeared to have disappeared. However, it should be noted that the Brooke-led Sarawak government, although banning unauthorized headhunting, actually allowed "ngayau" headhunting practices by the Brooke-supporting natives during state-sanctioned punitive expeditions against their own fellow people's rebellions throughout the state, thereby never really extinguished the spirit of headhunting especially among the Iban natives. The state-sanctioned troop was allowed to take heads, properties like jars and brassware, burn houses and farms, exempted from paying door taxes and in some cases, granted new territories to migrate into. This Brooke's practice was in remarkable contract to the practice by the Dutch in the neighbouring West Kalimantan who prohibited any native participation in its punitive expeditions. Initially, James Brooke (the first Rajah of Sarawak) did engage the British Navy troop in the Battle of Beting Maru against the Iban and Malay of the Saribas region and the Iban of Skrang under Rentap's charge but this resulted in the Public Inquiry by the British government in Singapore. Thereafter, the Brooke government gathered a local troop who were its allies.

 

Subsequently, the headhunting began to surface again in the mid-1940s, when the Allied Powers encouraged the practice against the Japanese Occupation of Borneo. It also slightly surged in the late 1960s when the Indonesian government encouraged Dayaks to purge Chinese from interior Kalimantan who were suspected of supporting communism in mainland China and also in the late 1990s when the Dayak started to attack Madurese emigrants in an explosion of ethnic violence. After formation of Malaysia, some Iban became trackers during the Malayan Emergency against the Communist Insurgency and thereafter they continue to be soldiers in the armed forces.

 

Headhunting resurfaced in 1963 among Dayak soldiers during the Confrontation Campaign by President Sukarno of Indonesia against the newly created formation of Malaysia between the pre-existing Federation of Malaya, Singapore, Sabah and Sarawak in 16 September 1963. Subsequently, Dayak trackers recruited during the Malayan Emergency against the Communists' Insurgency wanted to behead enemies killed during their military operations but disallowed by their superiors.

 

It should be noted headhunting or human sacrifice was also practised by other tribes such as follows:

 

- Toraja community in Sulawesi used adat Ma’ Barata (human sacrifice) in Rambu Solo’ ritual which is still held until the arrival of the Hindi Dutch which is a custom to honour someone with a symbol of a great warrior and bravery in a war.

- In Gomo, Sumatra, there ware megalithic artefacts where one of them is "batu pancung" (beheading stone) on which to tie any captive or convicted criminals for beheading.

- One distinction was their ritual practice of head hunting, once prevalent among tribal warriors in Nagaland and among the Naga tribes in Myanmar. They used to take the heads of enemies to take on their power.

 

AGRICULTURE

Traditionally, Dayak agriculture was based on actually Integrated Indigenous Farming System. Iban Dayaks tend to plant paddy on hill slopes while Maloh Dayaks prefer flat lands as discussed by King. Agricultural Land in this sense was used and defined primarily in terms of hill rice farming, ladang (garden), and hutan (forest). According to Prof Derek Freeman in his Report on Iban Agriculture, Iban Dayaks used to practice twenty seven stages of hill rice farming once a year and their shifting cultivation practices allow the forest to regenerate itself rather than to damage the forest, thereby to ensure the continuity and sustainability of forest use and/or survival of the Iban community itself. The Iban Dayaks love virgin forests for their dependency on forests but that is for migration, territorial expansion and/or fleeing enemies.

 

Dayaks organised their labour in terms of traditionally based land holding groups which determined who owned rights to land and how it was to be used. The Iban Dayaks practice a rotational and reciprocal labour exchange called "bedurok" to complete works on their farms own by all families within each longhouse. The "green revolution" in the 1950s, spurred on the planting of new varieties of wetland rice amongst Dayak tribes.

 

To get cash, Dayaks collect jungle produce for sales at markets. With the coming of cash crops, Dayaks start to plant rubber, pepper, cocoa, etc. Nowadays, some Dayaks plant oil palm on their lands while others seek employment or involve in trade.

 

The main dependence on subsistence and mid-scale agriculture by the Dayak has made this group active in this industry. The modern day rise in large-scale monocrop plantations such as palm oil and bananas, proposed for vast swathes of Dayak land held under customary rights, titles and claims in Indonesia, threaten the local political landscape in various regions in Borneo.

 

Further problems continue to arise in part due to the shaping of the modern Malaysian and Indonesian nation-states on post-colonial political systems and laws on land tenure. The conflict between the state and the Dayak natives on land laws and native customary rights will continue as long as the colonial model on land tenure is used against local customary law. The main precept of land use, in local customary law, is that cultivated land is owned and held in right by the native owners, and the concept of land ownership flows out of this central belief. This understanding of adat is based on the idea that land is used and held under native domain. Invariably, when colonial rule was first felt in the Kalimantan Kingdoms, conflict over the subjugation of territory erupted several times between the Dayaks and the respective authorities.

 

RELIGION

The Dayak indigenous religion has been given the name Kaharingan, and may be said to be a form of animism. The name was coined by Tjilik Riwut in 1944 during his tenure as a Dutch colonial Resident in Sampit, Dutch East Indies. In 1945, during the Japanese Occupation, the Japanese referred Kaharingan as the religion of the Dayak people. During the New Order in the Suharto regime in 1980, the Kaharingan is registered as a form of Hinduism in Indonesia, as the Indonesian state only recognises 6 forms of religion i.e. Islam, Protestantism, Roman Catholicism, Hindusim, Buddhism and Confucianism respectively. The integration of Kaharingan with Hinduism is not due to the similarities in the theological system, but due to the fact that Kaharingan is the oldest belief in Kalimantan. Unlike the development in Indonesian Kalimantan, the Kaharingan is not recognised as a religion both in Malaysian Borneo and Brunei, thus the traditional Dayak belief system is known as a form of folk animism or pagan belief on the other side of the Indonesian border.

 

Underlying the world-view is an account of the creation and re-creation of this middle-earth where the Dayak dwell, arising out of a cosmic battle in the beginning of time between a primal couple, a male and female bird/dragon (serpent). Representations of this primal couple are amongst the most pervasive motifs of Dayak art. The primal mythic conflict ended in a mutual, procreative murder, from the body parts of which the present universe arose stage by stage. This primal sacrificial creation of the universe in all its levels is the paradigm for, and is re-experienced and ultimately harmoniously brought together (according to Dayak beliefs) in the seasons of the year, the interdependence of river (up-stream and down-stream) and land, the tilling of the earth and fall of the rain, the union of male and female, the distinctions between and co-operation of social classes, the wars and trade with foreigners, indeed in all aspects of life, even including tattoos on the body, the lay-out of dwellings and the annual cycle of renewal ceremonies, funeral rites, etc.

 

The best and still unsurpassed study of a traditional Dayak religion in Kalimantan is that of Hans Scharer, Ngaju Religion: The Conception of God among a South Borneo People; translated by Rodney Needham (The Hague: Martinus Nijhoff, 1963). The practice of Kaharingan differs from group to group, but shamans, specialists in ecstatic flight to other spheres, are central to Dayak religion, and serve to bring together the various realms of Heaven (Upper-world) and earth, and even Under-world, for example healing the sick by retrieving their souls which are journeying on their way to the Upper-world land of the dead, accompanying and protecting the soul of a dead person on the way to their proper place in the Upper-world, presiding over annual renewal and agricultural regeneration festivals, etc. Death rituals are most elaborate when a noble (kamang) dies. On particular religious occasions, the spirit is believed to descend to partake in celebration, a mark of honour and respect to past ancestors and blessings for a prosperous future.

 

Among Iban Dayaks, their belief and way of life can be simply called the Iban religion as per Jenson's book with the same title and has been written by Benedict Sandin and others extensively. It is characterised by a supreme being in the name of Bunsu (Kree) Petara who has no parents and creates everything in this world and other worlds. Under Bunsu Petara are the seven gods whose names are: Sengalang Burong as the god of war and healing, Biku Bunsu Petara as the high priest and second in command, Menjaya as the first shaman (manang) and god of medicine, Selampandai as the god of creation, Sempulang Gana as the god of agriculture and land along with Semarugah, Ini Inda/Inee/Andan as the naturally born doctor and god of justice and Anda Mara as the god of wealth.

 

The life actions and decision-making processes of Iban Dayaks depend on divination, augury and omens. They have several methods to receive omens where omens can be obtained by deliberate seeking or chance encounters. The first method is via dream to receive charms, amulets (pengaroh, empelias, engkerabun) or medicine (obat) and curse (sumpah) from any gods, people of Panggau Libau and Gelong and any spirits or ghosts. The second method is via animal omens (burong laba) which have long-lasting effects such as from deer barking which is quite random in nature. The third method is via bird omens (burong bisa) which have short term effects that are commonly limited to a certain farming year or a certain activity at hands. The forth method is via pig liver divination after festival celebration At the end of critical festivals, the divination of the pig liver will be interpreted to forecast the outcome of the future or the luck of the individual who holds the festival. The fifth but not the least method is via nampok or betapa (self-imposed isolation) to receive amulet, curse, medicine or healing.

 

There are seven omen birds under the charge of their chief Sengalang Burong at their longhouse named Tansang Kenyalang (Hornbill Abode), which are Ketupong (Jaloh or Kikeh or Entis) (Rufous Piculet) as the first in command, Beragai (Scarlet-rumped trogon), Pangkas (Maroon Woodpecker) on the righthand side of Sengalang Burong's family room while Bejampong (Crested Jay) as the second in command, Embuas (Banded Kingfisher), Kelabu Papau (Senabong) (Diard's Trogon) and Nendak (White-rumped shama) on the lefthand side. The calls and flights of the omen birds along with the circumstances and social status of the listeners are considered during the omen interpretations.[38]

The praying and propitiation to certain gods to obtain good omens which indicate God's favour and blessings are held in a series of three-tiered classes of minor ceremonies (bedara), intermediate rites (gawa or nimang) and major festivals (gawai) in ascending order and complexity. Any Iban Dayak will undergo some forms of simple rituals and several elaborate festivals as necessary in their lifetime from a baby, adolescent to adulthood until death. The longhouse where the Iban Dayaks stay is constructed in a unique way to function as for both living or accommodation purposes and ritual or religious practices. Nearby the longhouse, there is normally a small and simple hut called langkau ampun/sukor (forgiveness/thanksgiving hut) built to place offerings to deities. Sometimes, when potentially bad omens are encountered, a small hut is quickly built and a fire is started before saying prayers to seek good outcomes.Common among all these propitiations are that prayers to gods and/or other spirits are made by giving offerings ("piring"), certain poetic leka main and animal sacrifices ("genselan") either chickens or pigs. The number (leka or turun) of each piring offering item is based on ascending odd numbers which have meanings and purposes as below:

 

- piring 3 for piring ampun (mercy) or seluwak (wastefulness spirit)

- piring 5 for piring minta (request) or bejalai (journey)

- piring 7 for piring gawai (festival) or bujang berani (brave warrior)

- piring 9 for sangkong (including others) or turu (leftover included)

 

Piring contains offering of various traditional foods and drinks while genselan is made by sacrificing chickens for bird omens or pigs for animal omens.

 

Bedara is commonly held for any general purposes before holding any rites or festivals during which a simple "miring" ceremony is done to prepare and divide piring offerings into certain portions followed by a "sampi ngau bebiau" (prayer and cleansing) poetic speeches. This most simple ceremonies have categories such as bedara matak held at the longhouse family bilek room, bedara mansau performed at the family ruai gallery, berunsur (cleansing) carried out at the tanju and river, minta ujan tauka panas (request for rain or sunniness).

 

The intermediate and medium-sized propitiatory rites are known as "gawa" (ritually working) with its main highlight called "nimang" (poetic incantation) that is recited by lemambang bards besides miring ceremonies. This category is smaller than or sometimes relegated from the full-scaled and thus costly festivals for cost savings but still maintaining the effectiveness to achieve the same purpose. Included in this category are "sandau ari" (mid-day ritual) held at the tanju verandah, gawai matak (unripe feast), gawa nimang tuah (Luck feast), enchaboh arong (head feast) and gawa timang beintu-intu (life caring feasts.

 

The major festivals comprise at least seventh categories which are related to major aspects of Iban's traditional way of life i.e. agriculture, headhunting, fortune, health, death, procreation and weaving.

 

With paddy being the major sustenance of life among Dayaks, so the first major category comprises the agricultural-related festivals which are dedicated to paddy farming to honour Sempulang Gana who is the deity of agriculture. It is a series of festivals that include Gawai Batu (Whetstone Festival), Gawai Ngalihka Tanah (Soil Ploughing Festival), Gawai Benih (Seed Festival), Gawai Ngemali Umai (Farm Healing Festival), Gawai Matah (Harvest Initiation Festival) and Gawai Basimpan (Paddy Storing Festival). According to Derek Freeman, there are 27 steps of hill paddy farming. One common ritual activity is called "mudas" (making good) any omens found during any farming stages especially the early bush clearing stage.

 

The second category includes the headhunting-related festivals to honour the most powerful deity of war, Sengalang Burong that comprises Gawai Burong (Bird Festival) and Gawai Amat/Asal (Real/Original Festival) with their successive ascending stages with most famous one being Gawai Kenyalang (Hornbill Festivla). This is perhaps the most elaborate and complex festivals which can last into seven successive days of ritual inchantation by lemambang bards. It is held normally after instructed by spirits in dreams. It is performed by tuai kayau (raid leader) called bujang berani (leading warriors) and war leader (tuai serang) who are known as "raja berani" (bravery king). In the past, this festival is vital to seek divine intervention to defeat enemies such as Baketan, Ukit and Kayan during migrations into new territories.

 

With the suppression of headhunting, the next important and third category relates to the death-related rituals among which the biggest celebration is the Soul Festival (Gawai Antu) to honour the souls of the deads especially the famous and brave ones who are invited to visit the living for the Sebayan (Haedes) to feast and to bestow all sorts of helpful charms to the living relatives. The raja berani (brave king) can be honoured by his descendants up to three times via Gawai Antu. Other mortuary ceremonies are "beserara bungai" (flower separation) held 3 days after burial, ngetas ulit (mourning termination), berantu (Gawai Antu) or Gawai Ngelumbong (Entombing Festival).

 

The fourth category in term of complexity and importance is the fortune-related festivals which consist of Gawai Pangkong Tiang (Post Banging Festival) after transferring to a new longhouse, Gawai Tuah (Luck Festival) with three ascending stages to seek and to welcome lucks, and Gawai Tajau (Jar Festival) to welcome newly acquired jars.

 

The fifth category consists of the health-related festivals to request for curing from sickness by Menjaya or Ini Andan such as in Gawai Sakit (Sickness Festival) which is held after other smaller attempts have failed to cure the sicked persons such as begama (touching), belian (various manang rituals), Besugi Sakit (to ask Keling for curing via magical power) and Berenong Sakit (to ask for curing by Sengalang Burong) in the ascending order. Manang is consecrated via an official ceremony called "Gawai Babangun" (Manang Consecration Festival). The shaman (manang) of the Iban Dayaks have various types of pelian (ritual healing ceremony) to be held in accordance with the types of sickness determined by him through his glassy stone to see the whereabouts of the soul of the sick person. Besides, Gawai Burung can also be used for healing certain difficult-to-cure sickness via magical power by Sengalang Burong especially nowadays after headhunting has been stopped. Other self-caring ritual ceremonies that are related to wellness and longevity are Nimang Bulu (Hair Adding Ceremony), Nimang Sukat (Destiny Ceremony) and Nimang Buloh Ayu (Life-Bamboo Ceremony).

 

The sixth category of festivals pertains to procreation. Gawai Lelabi (River Turtle Festival) is held to pray to the deity of creation called Selampadani, toannounce the readiness of daughters for marriage and to solicit a suitable suitor. This is where those men with trophy head skulls become leading contenders. The wedding ceremony is called Melah Pinang (Areca nut Splitting). The god of creation Selampandai is invoked here for fertility of the daughters to bear many children. There is a series of ritual rites from birth to adolescence of children.

 

The last and seventh category is Gawai Ngar (Cotton-Dyeing Festival) which is held by women who are involved in weaving pua kumbu for conventional use and ritual purposes. Ritual textiles woven by Iban women are used in the Bird Festival and in the past used to receive trophy heads. The ritual textiles have specific "enkeramba" (anthropomorphic) motifs that represent igi balang (trophy head), tiang ranyai (shrine pole), cultural heroes of Panggau and Gelong, deities and antu gerasi (demon figure).

 

Over the last two centuries, some Dayaks converted to Christianity, abandoning certain cultural rites and practices. Christianity was introduced by European missionaries in Borneo. Religious differences between Muslim and Christian natives of Borneo has led, at various times, to communal tensions. Relations, however between all religious groups are generally good.

 

Muslim Dayaks have however retained their original identity and kept various customary practices consistent with their religion. However many Christian Dayak has changed their name to European name but some minority still maintain their ancestors traditional name.

 

An example of common identity, over and above religious belief, is the Melanau group. Despite the small population, to the casual observer, the coastal dwelling Melanau of Sarawak, generally do not identify with one religion, as a number of them have Islamised and Christianised over a period of time. A few practise a distinct Dayak form of Kaharingan, known as Liko. Liko is the earliest surviving form of religious belief for the Melanau, predating the arrival of Islam and Christianity to Sarawak. The somewhat patchy religious divisions remain, however the common identity of the Melanau is held politically and socially. Social cohesion amongst the Melanau, despite religious differences, is markedly tight within their small community.

 

Despite the destruction of pagan religions in Europe by Christians, most of the people who try to conserve the Dayaks' religion are missionaries. For example Reverend William Howell contributed numerous articles on the Iban language, lore and culture between 1909 and 1910 to the Sarawak Gazette. The articles were later compiled in a book in 1963 entitled, The Sea Dayaks and Other Races of Sarawak.

 

WIKIPEDIA

Convert: Rebekah Dawson, 22, who refused to remove her niqab full face veil in court

  

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Both figures in this scene come from the VERY nicely detailed 'Ma.K. UP' series of female 1:20 scale characters from Brick Works.

Even though they are not cheap, these figures make nice diorama staff, and since 1:20 scale figures are hard to find at all I ordered a couple of them, including this pilot figure and a mechanic.

 

The pilot figure was not taken OOB, though, but completely converted: I got hold of the 'Maschinen Krieger Profile 2: Snake-Eye' source book in a local Japanese book store. Beyond 'hard' Snake-Eye facts the source book also contains pictures of the Japanese model Demura Minae in a kind of pilot outfit, made up from a diving wet suit shorty, a pilot helmet and some props. Since I was not totally convinced by the original pilot figure's look, I decided to modify the figure towards this sexy Demura Minae outfit ;)

 

For the intended conversion, I would not change the original hairdo and the caucasian face. But the main modification were elongated body suit legs for which the small original holster (or whatever it is?) had to go from the left leg. To sculpt the new suit I used nitrous putty, adding seamless 'shorts' to the body suit. Additionally, and a bit inspired by Evangelion plug suits, I added 3 pressure vents at the shoulders and on the breast of the suit.

 

The rest of details was added from scratch, e .g. the air hose and mask (including a microphone cable, just as on the Demura Minae picture) and the new bigger holster/bag on the upper leg with strappers. Here, parts from leftover 1:35 scale military figures and masking tape found a new home. On the back, I also added a zipper extension, just like the ones you typically find on diving suits for ease of pulling them on and off on your own. This was also made with masking tape, painted red.

 

I suppose that the diving suit Demura Minae wore during the shooting was all black, but that was a bit too dull and simple for my taste. Closer inspection of the various pictures of this original diving/surf suit revealed a lot of subtle details, therefore most of the suit received a very dark brown basic tone, with lighter highlights and medium brown trim on the arms, as well as thin contrast lines to some black areas. The differences are very subtle.

 

The figure's skin was painted with Testor's Skin Tone Light, shades and contrasts set with sepia ink.

 

The hair started with Testor's Rubber (a dark, reddish brown) and then highlighted with Humbrol's 100 (Red Brown) and 132 (Crimson) - a nice contrast to the dark brown suit and the olive drab holster/bag. Finally, the figure received a coat of semi-matte varnish, on order to play with light reflexes on the dark surface.

 

The orginal two-piece white metal helmet was retained and not modified. It was polished with a brass brush, and the shiny metallic look with painted red contrasts on top make another nice addition to the dark suit - I did not want to use the matte olive and black model from the source book's photo shooting.

 

The other figure in this scene is a mechanics figure of Brick Works' fine 'Ma.K. UP!' line. Again, details are fine, proportions excellent and the execution clean and crisp! Like the pilot figure, this one is also balanced out very well - it has a stable stand, even without glue under the feet or other tricks.

 

The original mechanics figure was painted in khaki drab - but as a contrast to the planned concrete hangar diorama scene, as well as to the greyish fighting suits, I painted the overall all blue. Basic tone is Humbrol 96 (RAF Blue), with lighter shades of dry painted blue and gray, and a wash with dark blue and black ink.

 

The basic figures was not changed, since it looks very pretty and balanced. Only added details include real paper pieces on the clip board, and a small added belt bag under the right arm.

Converted

Lowther Castle

 

Now part of the gift shop :)

After a month of focusing on my body mod, finally i got time to explore Skyrim again. On my return to Skyrim i made a new game, and i also tried out a new look with new styling on hairstyle and tattoos. I also started using SRG - female textures for CBBE by Seren4xx to gain a mature look for my little princess.

www.flickr.com/photos/seren4xx/15342092530/

 

Do enjoy her new, realistic look. I think she'll fit in with the theme of Skyrim even more now. There's no telling when i'll go back to use Fair Skin, as i did quite enjoy this big-busted mature look. (//^^)

Taken at the XXX VW fall fling car show in issaquah with the sony a7

+++ DISCLAIMER +++

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

  

Some background:

The Dornier Do 319 was directly inspired by the (modest) successes experienced by the Messerschmitt Me 262 fighter, the world's first operational jet-powered fighter aircraft. Design work started before World War II began, but problems with engines, metallurgy and top-level interference kept the aircraft from operational status with the Luftwaffe until mid-1944.

 

However, when it became clear that the new jet engine carried the potential for aircraft that were faster than piston engine counterparts, the German Navy urged the Reichsluftfahrtministerium (RLM) to develop an amphibian fighter, attack and reconnaissance aircraft. This was not to be a navalized Me 262 (which was regarded as impossible due to the aircraft’s layout with low wings and underslung engine nacelles, and added floats would have ruined the aircraft’s aerodynamics, too), but rather a dedicated single-seat jet aircraft. This new design was to be either operated from catapults (replacing the Marine’s standard on-board aircraft, the Arado Ar 196 floatplane) or, with foldable wings, from submarines with water-tight hangars. This concept had already been discussed in the mid-late 1930s, when German class III submarines were to be outfitted with such compartments – but at that time for small motorboats only, for covert landing operations, and no submarine was converted accordingly. But the concept still found a lot of attention.

 

Dornier was tasked with the development of such an aircraft, based on the experience gained with the Me 262 and its innovative means of propulsion. Dornier realized that the new turbojet engine presented an opportunity to overcome the drawback of floatplanes if it was possible to combine the light jet engine with a streamlined flying boat hull, which would impose only a small aerodynamic penalty. Such an aircraft could still be at least on par with piston-engine land-based aircraft.

Using aerodynamic research data from the Messerschmitt fighter, Dornier conceived a compact flying boat with shoulder-mounted gull wings, carried by a narrow pylon behind the single seat cockpit. The engine nacelles were placed on the wings’ upper sides, as far away from spray water as possible. Through this layout, however, stabilizer floats would have necessitated very long and draggy struts, and the relatively thin, swept wings did not allow a (favored) retracting mechanism.

As a consequence, the aircraft was designed with Dornier’s trademark stub-wing floats, which added uplift in both water and air and offered, despite a permanent drag penalty, a convenient amount of space for extra fuel and the wells for a fully retractable landing/beaching gear, which made the aircraft fully amphibious and independent from a beaching trolley. Armament consisted of four 30mm MK 108 machine guns in the aircraft’s nose section, and the aircraft’s main task would be ground attack, air defense and, as a secondary mission, fast tactical reconnaissance.

 

Dornier first presented the initial concept to the RLM in mid-1943. Performance with two Junkers Jumo 004 axial-flow turbojet engines was – naturally – lower than the clean Me 262 fighter, but still impressive. The Me 262 was supposed to achieve a maximum speed of 900 km/h (559 mph), while the Dornier aircraft, with basically the same engines, was expected to have a top speed of 520 mph at 40,000 ft. But this was still regarded as sufficient, and the project was officially given the RLM’s type number 319. Two prototypes were built (under the designation Do 319 A-0), the first one making its maiden flight in February 1944.

 

However, at that time the German navy had lost much of its power and sovereignty, and more and more resources had to be allocated to defense projects. As a consequence, the Do 319 as a combat aircraft (originally designated Do 319 A) became a secondary priority only, and the original aircraft was cancelled. Still, the small amphibious aircraft attained a lot of interest through the type’s potential as a fast reconnaissance plane and for special purpose transport duties – namely as a personal transport for high-ranking officials and for covert operations behind enemy lines and at foreign shores – was discovered and the type nevertheless ordered into small-scale production.

 

As a consequence and as an adaptation of the airframe to its new role, the Do 319’s design was modified: the fuselage behind the cockpit was widened into a compartment for passengers, cargo or other equipment. The cabin could hold up to two passengers, sitting vis-à-vis, and it was accessible through a watertight door on each side above the stub floats. The cabin was open to the cockpit in front of it, but the opening was blocked if the front passenger seat was in place. Alternatively, up to 300 kg (660 lb) of cargo or photo equipment could be carried, and one or both seats could also be replaced by internal auxiliary tanks. The provision for the Do 319 A’s cannon armament was retained, but the weapons were rarely mounted in order to save weight.

 

In this form, and now designated Do 319 B and christened “Seeschwalbe”, the aircraft entered service with the Luftwaffe and the Kriegsmarine on a limited scale. Most machines were exclusively assigned to staff units and reserved for special missions like liaison duties for high ranking officials, but they were also used in recce and other special missions. At least one Do 319 B was shot down over the American east coast, probably while deploying German agents from a submarine. How the aircraft with its limited range itself could come close to American shores remains a mystery until today, since Germany did not build or operate submarine aircraft carriers.

 

Production numbers remained low, though, reaching roundabout 20 aircraft (even this number is uncertain) until the end of the war, and no Do 319 survived the hostilities.

  

General characteristics:

Crew: 1 pilot plus up to 2 passengers

Length: 10.80 m (35 ft 4 1/2 in)

Wingspan: 12.60 m (41 ft 6 in)

Height: 3.78 m (12 ft 4 1/2 in)

Wing area: 26.8 m² (288 ft²)

Aspect ratio: 7.32

Empty weight: 4,120 kg (9,075 lb)

Loaded weight: 6,830 kg (15,044 lb)

Max. take-off weight: 7,385 kg (16,266 lb)

 

Powerplant:

2× Junkers Jumo 004 B-1 turbojets, 8.8 kN (1,980 lbf) each

 

Performance:

Maximum speed: 820 km/h (510 mph)

Range: 1,200 km (652 mi)

2,100 km (1,300 mi) with extra internal fuel cells

Service ceiling: 10,850 m (35,538 ft)

Rate of climb: 1,000 m/min (At max weight of 7,130 kg) (3,275 ft/min)

 

Armament:

Provisions for 4× 30 mm MK 108 cannon in the nose, but rarely mounted

  

The kit and its assembly:

Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.

Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.

 

Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.

 

Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.

 

Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!

 

Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!

 

The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.

 

In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.

 

Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.

 

In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.

 

Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.

 

Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).

However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.

 

What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!

However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.

 

More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)

  

Painting and markings:

Originally, when the Seeschwalbe was still conceived as a fighter, the model was to receive a daylight scheme in typical German naval aircraft colors (RLM 72/73/65). But this plan changed when the aircraft’s role became a ‘special purpose’ transporter for covert operations.

 

Nocturnal operations appeared plausible, so that the scheme became much more murky: from above, a splinter scheme with RLM 73 and RLM 74 (naval dark green and dark, greenish grey, both from the ModelMaster Authentic enamel paint range) was applied as a basis, and the undersides became black – as if standard daylight colors had been overpainted, a frequent practice.

Since this black paint was made from soot, it easily wore away and many Luftwaffe machines with improvised black undersides quickly gained a rather shaggy look. I wanted to re-create this look, and built up the lower paint accordingly: In an initial step, RLM76 (I used Humbrol 87, which is a tad darker than the RLM tone, for less contrast with the black) was painted on the lower wing surfaces, the fuselage with a medium waterline and the fin. Once dry, the national marking decals were added. Then a coat of thinned Revell Acrylics 6 Tar Black was applied on top of the lower surfaces, including the lower decals, and later wet-sanded in order to reveal some of the grey underneath for a worn look.

 

In order to break up the aircraft’s outlines, esp. at low altitude, a disruptive meander pattern in light grey (RLM 76) was painted on top of the upper surfaces. For this task, I thinned Humbrol’s 247 enamel and used a simple brush, painting the curls free-handedly. The finish looks pretty convincing, and it mimics well the technique with which those improvised patterns were applied in the field in real life: quickly, with anything at hand. The way the finish turned out, the pattern could have been applied with a broad brush – the use of a spray gun was rather uncommon, and IMHO the use of an airbrush on a model to recreate such a zigzag pattern rarely leads to convincing results?

 

This pattern was painted tightly around all the upper markings, and the markings themselves were kept at a minimum. For instance, the tactical code only comprises the aircraft’s individual letter “Blue O” behind the fuselage cross, which indicates an air staff machine. This would, following the official German squadron code system, be confirmed by an “A”, following as a fourth digit. The squadron’s code (“P7”, which is fictional, just like the aircraft’s sea reconnaissance squadron itself) was omitted, too. Such minimal markings became a frequent practice towards the final war stages, though, and it fits the aircraft’s special duty role well. The only individual marking is a squadron badge under the cockpit – lent from an Italian night fighter and placed on a dark blue disc. Another, subtle indicator for the aircraft’s operator are the blue air intake center bodies, repeating the staff flight’s blue color code.

 

Only some light weathering was done, with dry-brushed light grey on the leading edges, and finally the kit was sealed with matt acrylic varnish (Italeri). In a final step, some very light dry-brushing with aluminum was done on some of the fuselage edges, esp. the spray dams, and the position lights were painted with translucent paint over a silver base.

  

A messy project, in many ways, but I am happy with result. Most stunning is IMHO the fact that all major parts for this compact flying boat actually come from a single, simple Me 262 kit – but visually there’s not much of the left from the jet fighter. But it’s also amazing that the proportions look right, and the whole thing quite plausible and Dornier-esque! Turned out better than expected.

Dekobi-hime in Shironuri make inspired by Minori.

All the other conversions of these polaroids I have seen involved chopping off the end of the camera and spoiling its lines and structure. I decided to extricate the back off a polaroid 103 and graft that on. The advantage is apparent above.

Converted StuG IV (Sd.Kfz. 167) equipped with a dozer blade.

 

Courtesy my.opera.com/joaogilberto/albums/slideshow/?album=1507281

Dark Apostle finished (within a week, too!). :) Really happy with the result - the cloak was a fun experiment (and blue worked out surprisingly well), the power maul turned out decently, and the whole conversion came together rather nicely to look the part.

 

The freehand was a joy to do as well, and is something I'm now rather tempted to add to other models, even if it might be a bit Word Bearers-y.

 

C&C appreciated as always, and if you're interested in the rest of my work, it can be found at facebook.com/PrometianPainting

Cadillac Series 62 Convertible 1958

Kiev 88CM

CZJ Flektogon 50/4

Kodak Ektar 100 converted to B/W

also known as the "butcher bird" due it's habit of creating larders by impaling prey items on thorns or such like: the Great Grey Shrike is a non-breeding Winter visitor to the U.K. & arrives in comparatively small numbers (perhaps 100 a year). It feeds voraciously on small mammals & birds.

Strolling around to pick up this mornings newspapers I was amazed to find this fabulous vehicle resplendant in its new livery. Its new role in life is self evident.

Seeing this wonderful bus took me back to when these then revolutionary new vehicles first appeared on the No. 11 bus route back in the late 1950's/early 1960's. I used to try to catch a Routemaster bus as opposed to an RT bus on my journey to school from Fulham Cross to Ebury Bridge, Victoria in Central London.

History:RML2479 JJD 479D 5/66 new to Aldenham, B2479

5/66 AF new into service for 37

67-8 AF

6/69 AF to Aldenham repaint, and return

70-2 AF

4/73 AF to Aldenham overhaul

--------- Aldenham works float -------

5/73 MH from o/h (Muswell Hill), B2496

1974 MH

1/75 SE transfer (Stonebridge Park)

from last bodyswap with B2512

1993 fitted with Cummins engine

1993 refurbished

10/94 HT privatised, MTL London, for 10, 139

12/97 HT MTL London

1998 HT MTL London bought by Metroline

1999 HT Metroline London Northern

01-2 HT used on 10

2/02 HT

2/03 AC transfer (Willesden)

3/04 KX transfer for 390 (Kings Cross)

8/04 KX withdrawn into store

9/04 sold to Lister (Bolton)

9/04 bought by APT Travel, Rayleigh, Essex

10/04 bought for preservation by Mr.R.Cloke, Rayleigh, Essex (NOT by e-bay!)

 

Former Coles Variety store on Moorabool Street, Geelong. Once the mainstay of GJ Coles and company, the retailer later focused on supermarkets in the post-war years after acquiring grocer chain SE Dickens (ironically founded in Geelong) and opening 'Dickens New World' supermarkets, later branded 'New World' and then 'Coles New World'. Variety stores continued alongside the supermarkets until being merged with Fosseys in the late 1980's and then gradually closed down in the 1990's, with remaining stores rebranded Target Country (also based in Geelong)

 

This store has been converted into a retail building called 'Geelong Central' with The Reject Shop on the upper level and several shops on the ground floor.

steamy ladies jessica and bailey in grabouw/elgin today

 

bailey is still a classic coal burner but jessica has been converted to oil burning

 

South African Class 19D 4-8-2

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South African Class 19D 4-8-2

 

Delivered1937–1953

First run1937

The South African Railways Class 19D 4-8-2 of 1937 was a steam locomotive.

Between 1937 and 1949, the South African Railways placed 235 Class 19D steam locomotives with a 4-8-2 Mountain type wheel arrangement in service. Between 1951 and 1955, 33 more were built for other operators like the Rhodesia and Angolan railways and the Nkana and Wankie mines, which makes the Class 19D the most numerous South African steam locomotive type ever built.[1][2][3][4]

 

Contents [hide]

* 1Manufacturers2Characteristics2.1Watson Standard boilers2.2Tenders3Service3.1South African Railways3.2Other operators3.2.1Benguela Railway3.2.2Rhodesia Railways3.2.3Nkana Mines3.2.4Wankie Colliery3.3Industrial4Red Devil predecessor5Works numbers and renumbering6Illustration7References8

External links

Manufacturers[edit]

The Class 19D 4-8-2 steam locomotive was the final development of the Class 19 family of locomotives. At the request of Colonel F.R. Collins, Chief Mechanical Engineer (CME) of the South African Railways (SAR) from 1922 to 1929, the original basic design of the Class 19 was done in the late 1920s by Test Engineer M.M. Loubser, who was himself later to serve as the CME from 1939 to 1949.[3][5][6]

  

W.A.J. Day

The final development of the Class was done in 1937 by W.A.J. Day, CME from 1936 to 1939. The Class 19D was a revised version of the Class 19C with piston valves and Walschaerts valve gear instead of rotary cam poppet valve gear.[2][3]

Between 1937 and 1955, 268 Class 19D locomotives were built in seven batches by six locomotive manufacturers in Czechoslovakia, Germany and the United Kingdom and delivered to the SAR and several other operators in Southern Africa.[2]

* The first forty were built in Germany in 1937, twenty with domeless boilers by Friedrich Krupp AG in Essen and numbered in the range from 2506 to 2525, and twenty by the Borsig Lokomotiv Werke in Hennigsdorf, Berlin and numbered in the range from 2526 to 2545.[2][7]

* In 1938, a further 95 locomotives were ordered, built by three manufacturers. Škoda Works in Czechoslovakia built fifteen numbered in the range from 2626 to 2640, Krupp built forty, this time with domed boilers and numbered in the range from 2641 to 2680, and Borsig built forty numbered in the range from 2681 to 2720.[2][7][8]

* Locomotive building was interrupted by the Second World War and post-war locomotive procurement saw European suppliers being replaced by British ones. In 1947, the first fifty post-war Class 19D locomotives were delivered by Robert Stephenson and Hawthorns (RSH) of Darlington, England and numbered in the range from 2721 to 2770. Of this order, engine no. 2734, RSH works no. 7247, was lost at sea off the east coast of England. Its replacement with RSH works number 7360 was paid for by insurance and it was given the number 2734 of the lost locomotive.[1]

* The final batch of fifty Class 19D locomotives for the SAR were delivered in 1949 by the North British Locomotive Company (NBL) of Glasgow, Scotland and numbered in the range from 3321 to 3370. These engines were delivered with Type MX Torpedo tenders.[9][10][11]

* In 1951, six were built by NBL for the Caminho de Ferro de Benguela (CFB) in Angola.[3][9]

* Between 1951 and 1953, Henschel and Son built 21 more for the Rhodesia Railways (RR) and the Nkana copper mine in Northern Rhodesia.[3][12]

* In 1955, four more were built by NBL for the Wankie coal mine in Southern Rhodesia.[3][9]

Characteristics[edit]

The Class 19D, nicknamed Dolly, was very similar to its predecessor Class 19C, but Day specified piston valves and Walschaerts valve gear instead of rotary cam poppet valve gear. The cylinders were redesigned with straighter steam ports while the valve gear itself was revamped with a longer steam lap and greater valve travel. In all other respects they were identical to the Class 19C. The last five locomotives of the first batch from Krupp, numbers 2521 to 2525, were fitted with exhaust steam injectors.[2][3][4]

The cylinders were of the combined type, being cast in two identical and interchangeable sections, each made up of one cylinder and half of the smokebox saddle. They were of cast iron and had liners fitted. The design of the steam passages provided for a large cross-sectional area for both live and exhaust steam.[2]

All coupled wheels were flanged. The axle boxes of the leading and trailing wheels were equipped with roller bearings while the solid bronze coupled wheel axle boxes were soft grease-lubricated. Soft grease lubrication was used throughout for the motion gear, except the piston rods, valve spindles and main crossheads which were oil-lubricated. Two four-feed sight lubricators, arranged in the cab, supplied oil to the steam chests and cylinders.[2]

Watson Standard boilers[edit]

The Class 19D was delivered with a Watson Standard no. 1A boiler, fitted with Ross Pop safety valves and set at 200 pounds per square inch (1,379 kilopascals) pressure. The regulator was of the multiple-valve type, with the valves arranged on the saturated steam side of the superheater header in accordance with SAR practice. The boiler was one of the range of standard type boilers which were designed by Day's predecessor as CME, A.G. Watson, as part of his standardisation policy. The locomotive was also equipped with a Watson cab with its distinctive inclined front.[1][2][4][10][11]

  

Despite the specifications, the first batch of Class 19D locomotives, built by Krupp and Borsig and delivered in 1937 and 1938, came in two variations. The Krupp-built locomotives were delivered with domeless boilers, while the Borsig-built locomotives conformed to the specifications with domed boilers.[1][2][4]

While the domeless boilers did not conform to the specified Watson Standard no. 1A boiler as far as the dome was concerned, they were accepted nevertheless, probably since all their other dimensions were identical to that of the Watson Standard boiler. It appears that Krupp had decided on their own accord that a dome was not necessary since there was no regulator in the dome, but merely a standpipe. Krupp substituted the dome with a manhole cover on which the two Pop safety valves were mounted, while the steam was collected through a battery of collecting pipes, situated high up in the boiler in a similar manner to that which was used in the Class 16E.[1][2]

All the subsequent Class 19D orders were delivered with domed Watson Standard no. 1A boilers with the usual standpipe steam collector high up in the dome, from where steam was led to the multi-valve regulator in the smokebox. Technically, whenever the loading gauge permitted the use of domes, their use was preferable to the domeless system which resulted in crowding multiple pipes into the boiler and other complications better left out of boilers. Operationally, according to drivers, there was no apparent difference in locomotive performance between the two boiler types.[1][2][13]

The Watson Standard boilers are interchangeable between locomotives. In the process of locomotives undergoing major overhauls, these twenty Krupp-built domeless boilers migrated between engines during subsequent years. As a result, locomotives from the other builders and even some Classes 19A and 19C locomotives eventually ended up with some of these domeless boilers.[4]

Tenders[edit]

As a result of having been built over such a long time span by so many different manufacturers, the six main groups of the Class 19D all had different all-up weights and axle loadings, as shown in the table and the specifications in the infobox. Over the eleven years during which the Class 19D was being produced for the SAR, some alterations occurred.[1][10][11]

* As built, the Class 19D was delivered with Type MT tenders with a 12 long tons (12.2 tonnes) coal and a 6,000 imperial gallons (27,300 litres) water capacity, even though the axle load of 16 long tons 11 hundredweight (16,820 kilograms) of these tenders exceeded the permissible limits on the branch lines for which the Class 19D was intended. Upon delivery, their new Type MT tenders were exchanged for the smaller modified Type MP1 tenders from some of the reboilered mainline locomotives. The Type MP1, many of which were later rebuilt to Type MR tenders, had a lighter axle load of 13 long tons 15 hundredweight (13,970 kilograms) and was therefore more suitable for branch line work. This policy was followed with all the Classes 19B, 19C and 19D, except the last batch of Class 19D for the SAR, numbers 3321 to 3370.[1][2]

* During 1944 Dr. M.M. Loubser, then CME, who had been involved with the design of the Class 19 family from the very beginning in the late 1920s, made further improvements to the Class 19D. All the post-war locomotives came equipped with vacuum brake systems in addition to the steam brakes. The two 21 inches (533 millimetres) vacuum cylinders were fitted under the running boards on either side at a point about midway between the leading and driving coupled wheels, while the vacuum chamber was arranged in line with the intermediate coupled wheels.[1][2]

  

Buckeye bogie

* The final batch from NBL, numbers 3321 to 3370, had Type MX tank wagon type tenders with cylindrical water tanks, similar in appearance to the American Vanderbilt type tenders. They were built to the design of Dr. M.M. Loubser, ran on three-axle Buckeye bogies and became commonly known as Torpedo tenders.[1][4]

Service[edit]

South African Railways[edit]

During the service life of the Class 19D, several tender exchanges occurred to best equip a locomotive for the region it was allocated to and the type of service it was to be employed in. In line service, type MX Torpedo tenders were usually preferred for their larger coal and water capacities. The result was that by the time the Class 19D was withdrawn from service in the late 1980s, many had exchanged their Type MP1 or Type MR tenders for Type MX Torpedo tenders and vice versa. Type MX Torpedo tenders also ended up attached to Class 19B and Class 19C locomotives.[1][14]

The Class 19D was the most numerous South African branch line locomotive and, at 235 built for the SAR, was only twenty less in number than the Class 15F mainline locomotive, the most numerous South African steam class. The Class 19D was very versatile and saw main- and branch line service all over South Africa with the exception of the Western Cape, where the Class 19C was used.[3]

  

Tasks varied from mainline local and international passenger trains on the section between Warrenton and Mafeking en route between South Africa and Northern Rhodesia via Bechuanaland and Southern Rhodesia, to secondary and branch line duties and in later years as shunting engines. On occasion, South African Class 19D locomotives worked through from Mafikeng in South Africa via Botswana all the way to Bulawayo in Zimbabwe. SAR Class 19D locomotives were also hired out for shunting work to the Rhodesia Railways for use at Beit Bridge and to Mozambique for use at Lourenco Marques.[3]

From c. 1972, the new Union Carriage & Wagon-built Blue Train was stabled at Pretoria. After Capital Park’s blue-liveried Class S2 no. 3793 was withdrawn along with the rest of its class in 1979-1980, the Pretoria station carriage-shunt duties were taken over by a blue-painted Class 19D no. 2749, the only member of the class to serve in a different SAR livery from the usual black. Apart from shunting work, the blue Dolly was often specially requested to work the Cullinan train during the Jacaranda season.[15]

The Class 19D served until right at the end of the South African steam era and were amongst the last steam locomotives to be replaced by electric and diesel-electric traction.[3]

Other operators[edit]

Other Southern African railways and some industries also purchased locomotives built to the Class 19D design. When these foreign versions are included, a total of 268 locomotives were built to the Class 19D design making them even more numerous than the Class 15F.[3]

Benguela Railway[edit]

Six were built for the Caminho de Ferro de Benguela (CFB or Benguela railway) in Angola by NBL in 1951, as their 11th Class and numbered in the range from 401 to 406.[9] These locomotives were wood- or coal-fired, depending on where they were operating, and had tenders with slatted frames installed on top of the bunker to increase their fuel capacity when wood was used. In August 1972, for example, numbers 401, 402 and 406 were based at Lobito and were observed to be coal-fired. At the same time, numbers 403 and 405 were observed at Luso and no. 404 at Nova Lisboa, all wood-fired.

Rhodesia Railways[edit]

Between 1951 and 1953, Henschel and Son built twenty for Rhodesia Railways, their 19th class, numbered in the range from 316 to 335. They had tenders similar to the SAR Torpedo type, but with plate frame bogies instead of cast frame Buckeye bogies.[3][12][16]

A single RR 19C class, no. 336, was built by Henschel in 1953 as a condensing locomotive. After a collision in 1956, it was rebuilt into a non-condensing 19th Class and re-entered service in 1958. The condensing tender was rebuilt to a Torpedo tender by mounting a tank and coal bunker, supplied locally in Bulawayo, on the frame.[16][17] This rebuilt tender is the one paired with no. 330 which is preserved in the Bulawayo Railway Museum.[18]

By June 1975, only three were left in service, all allocated to the Bulawayo shed, but with two out-stationed at Mafeking in South Africa.[19]

Nkana Mines[edit]

Two were built by Henschel for the Nkana copper mines in Northern Rhodesia in 1952, numbered 107 and 108.[17] In 1967, they were sold to a Rhodesian scrap merchant who, in turn, sold them to Rhodesia Railways where they were overhauled and placed back in service in 1968 as RR 19B Class no. 337 and 338.[12][16]

Wankie Colliery[edit]

In 1955 four more without superheating and numbered in the range from 1 to 4 were built to the design of the Class 19D by NBL for the Wankie Colliery in Southern Rhodesia.[16]

Industrial[edit]

As they were being retired, several Class 19D locomotives were sold into industrial service. By the late 1980s, some of them were already at work at Dunn's, Saiccor, Loraine Gold Mine and Bamangwato Concessions Ltd. (BCL) in Botswana, and more were to follow.[3]

As late as 2011, two Class 19Ds which had been used on the Vaal Reefs Gold Mine in the 1980s until they were retired and dumped at Jan Kempdorp where they stood unprotected for about twenty years, were bought by BCL Selebi-Phikwe. The locomotives, possibly numbers 2678 and 2689, were to be overhauled for use by the mine there, which was still operating ex-SAR Class 19D and ex-RR 19th class locomotives. By June 2012, the first of these two was put into service and it was expected that the second was to follow during the course of the year.[20][21]

Red Devil predecessor[edit]

As a trial run before SAR mechanical engineer David Wardale was granted permission to proceed to rebuild a Class 25NC 4-8-4 locomotive to the Class 26 Red Devil in 1979, he was allowed to carry out modifications to a Class 19D locomotive. The locomotive selected for the experiment was Krupp-built no. 2644, a particularly poor-steaming member of the Class at the time.[3]

  

No. 2644 at SANRASM's South Site, 3 February 2011, before being vandalised to the extent that it was scrapped in 2014

A gas producer combustion system (GPCS) and dual Lempor exhaust were installed, along with some other small improvements. The Lempor had a four-jet blastpipe with extended petticoats to provide truer ejector proportions. To accommodate the arrangement, the smokebox was extended by 300 millimetres (11.8 inches). Steam flow in the cylinders was improved by streamlining the edges of the piston valves which were each equipped with an additional valve ring to reduce leakage. The firebox was modified to the GPCS system wherein principal combustion is effected using secondary air introduced above the firebed through ducts in the firebox sides, while primary air was restricted through dampers and a redesigned grate.[3]

Firebox turbulence was created by steam jets and clinkering was inhibited by introducing exhaust steam under the grate. Sanding was improved and de-sanding jets were installed to clean the rails after the locomotive had passed.[3]

The modifications improved the locomotive's steaming rate and enabled it to achieve significantly higher power and significantly lower fuel consumption than other unmodified Class 19D locomotives, the coal savings and increased output being in the order of 20% to 25%. The success of this experiment convinced the SAR management at the time of the viability of the project which culminated in the Class 26 Red Devil.[3][4][22]

 

Classic Cars.

321334 on 5Z83 London Euston to Mossend Down Yard at Cathiron.

Daniel Abel est né à Québec en 1950 de parents canadiens, il s'intéressa très tôt au dessin ainsi qu'à la peinture et à la photographie. Ce n'est que vers la trentaine qu'il décida d'étudier l'histoire de l'art et de la peinture à l'Académie des Beaux-Arts Sylvia Araya.

 

Depuis ses débuts, Daniel Abel est un artiste peintre et photographe doté d'une énorme sensibilité qui s'efforce de dépasser sa condition de grand artisan du pinceau pour se convertir en un intellectuel de la peinture. La maîtrise de son art donne une oeuvre subtile, exigeante, diversifiée et riche en matière. Il donne au dessin et aux formes une simplification personnelle pour nous livrer ses impressions.

 

Se situant lui-même dans la lignée des impressionnistes, Daniel Abel s'intéresse à plusieurs facettes de la création ainsi qu'à la recherche picturale et chromatique de son oeuvre. Quelles que soient ses difficultés, il veut faire ce qui lui plaît sans céder à la facilité commerciale et en aucun temps, être un peintre mondain.

 

Son oeuvre est caractérisée par la forte assurance avec laquelle il construit ses tableaux. Il y a en son oeuvre, un équilibre et des perspectives parfaites, produit d'une vaste expérience et d'un talent pour le dessin. Cette expérience se traduit tant dans le paysage, la nature morte et le portrait.

 

Sa passion pour le traitement de l'image sous toutes ses formes, l'amène aussi vers la photographie. Ce domaine lui permet de manipuler une nouvelle dimension dans le traitement de l'ombre et de la lumière. Daniel Abel a acheté son premier appareil il y a plus de 30 ans et tout de suite l’image s’est installée depuis et pour toujours.

Constamment à la recherche du sujet qui se laisse apprivoiser pour être saisi par son objectif, il explore, la nuit, les recoins les plus discrets du Vieux Québec où l'éclairage urbain donne sa sensibilité aux couleurs chaudes qui racontent son histoire en images. L'appareil actuel est un Nikon D300S accompagné d'une lentille 18-200mm / 85 / 70-200 /105 - et autres... afin de saisir tant le paysage, l’architecture que le portrait.

 

En 2005, Abel se convertit à la photographie numérique pour ne plus retourner à la prise de vue argentique. Cette technologie souple et moderne lui permet de prendre plus de 15 000 clichés par année.

 

Maintenant, Daniel Abel distribue son temps entre deux images, celles qui apparaissent sur ses toiles et celles de son écran numérique.

Quel bonheur pour lui de pouvoir s’exprimer ainsi.

 

L’image est, pour lui, une source de vie essentielle.

Daniel Abel

   

CRITIQUE:

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

Isabelle Lapointe - QuébecPlus (Avril 2000)

 

Les paysages croqués par Daniel Abel pour Couleurs des alentours parlent, comme ce nom l'indique, le langage des couleurs et de la lumière. Mais ce sont aussi de véritables morceaux de la nature des environs qu'ils vous dévoilent au Domaine Maizerets, du 21 au 24 avril 2000.

La vingtaine de toiles présentées à l'occasion de Couleurs des alentours portent, pour la plupart, des noms très évocateurs : Le dégel au printemps, La débâcle de la Montmorency, Variations automnales, Charlevoix... En soi, ces titres portent déjà la promesse des promenades que l'on peut faire en admirant les huiles qu'ils désignent, dont la plupart ont été réalisées sur papier. Se situant lui-même dans la lignée des impressionnistes, Daniel Abel s'intéresse à plusieurs facettes de la création et s'adonne également au portrait.

 

RECONNAISSANCES OFFICIELLES & PRIX

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

•8ème prix : Daniel Abel pour sa photo « Est-ce bien Saint-Nicolas ou ? », L'Internaute, Janvier 2008 (Photo du concours sur l'internaute.com)

 

•Récipiendaire d'un premier prix à un concours de photo de L'Internaute,France, Juin 2004

 

•Mention d’excellence du concours de photos C.H.R.G . 2003

 

•Lauréat du concours de photos ; Photo Sélection, 2001

 

•1er prix au concours de photos du Domaine de Cap Tourmente, 1999

 

•Prix de participation au concours de photos Jardins Van den Hende, 1998

  

ENTREVUES ET PARUTIONS

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• Le NIC (Nouvel Informateur Catholique), mars, avril, mai, juin, juillet, décembre 2008 - juillet, septembre, octobre, décembre 2009 - février,mars 2010 -

 

• Québec 1608-2008 - Ma Ville mon 400 ième. (2009)

 

• Pastorale Québec (L'Ordination épiscopale en photos

(juillet-août 2009)

49e Congrès Eucharistique International Québec 2008 (septembre 2008)

 

• Revue Univers, mai 2008

 

• Revue Pensez-y bien - La Capitale, mars 2005

CION-FM 90,9

 

• Entrevue avec Isabelle Lemieux Lefebvre dans le cadre de l’émission Curriculum Vitae 2003

CION-FM 90,9

 

• Entrevue avec Micheline Poitras dans le cadre de l’émission Chemin Faisant, 1998

  

COLLECTIONS PUBLIQUES

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

• Couvent des Religieuses de Jésus-Marie (Sillery)

 

• Monastère des Petits Frères de la Croix - Sainte-Agnès

 

• Centre de la petite enfance - Les P'tits Trésors de Val- Bélair

 

• Centre Hospitalier Robert-Giffard, Québec

 

• C.H.U.Q., pavillon Hôtel-Dieu de Québec, (département 12500)

 

• Compagnie Cascade Canada, Saint –Hubert, Montréal

  

EXPOSITIONS SOLO et GROUPE

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

• Colloque du C.R.D.I. Québec, 2005

 

• Complicité, 2003

 

• Simplement Abel, 2002

 

• Atelier de l’artiste, 2001

 

• Domaine de Maîzerets, 2000

 

• Hôtel-Dieu de Québec, 1999

 

• Domaine de Maîzerets, 1998

 

• Complexe « G », 31e étage, 1992-1993 (groupe)

 

• Salon d’Art, C.H.R.G, 1989-1990

 

• Pavillon de l’enseignement, Hôtel-Dieu de Québec, 1988

 

• Pavillon de l’enseignement, Hôtel-Dieu de Québec, 1988 (groupe)

  

COUVERTURE D'ÉVÉNEMENTS (PHOTO)

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

• Cocktail dînatoire

De Point cardinal Marc Ouellet

Sous la présidence d'honneur de Ross Gaudreault

(Vieux Port de Québec) 25 mars 2010

 

• Soirée culturelle vietnamienne catholique de Québec

(Fête du Têt) L’Année du tigre 21 février 2010

 

• Clôture du procès de Béatification de

Mère Julienne du Rosaire (Dominicaine adoratrice)

Présidé par Mgr Marc Ouellet,

En la Basilique Notre-Dame de Québec (7 février 2010)

 

• Soupe populaire Sr. De la Charité avec

Mgr Marc Ouellette (11-12-2009)

 

• Conférence de presse avec madame Ingrid Bétancourt

Château Frontenac (23-09-2009)

 

• Le 50 ième de la Paroisse St-Ursule - Québec

(13 sept 2009)

 

• Congrès charismatique de Québec (juin 2009)

 

• Célébration diocésaine des confirmations à la basilique de Québec (31 mai 2009)

 

• Ordination apostolique des Mgrs Gérald Cyprien Lacroix et Paul Lortie du Diocèse de Québec à la Basilique

Ste- Anne de Beaupré (24 mai 2009)

 

• Feu et Lumière (Le mensuel de la vie spirituelle)

(janvier 2009)

 

• Photographe de presse au Congrès Eucharistique International de Québec (11 au 22 juin 2008)

 

• Comédie Ô de Gamme, Estelle Blais (mai 2008)

•

Comédie musicale de Dina Bélanger (juin 2008)

  

SYMPOSIUMS

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

• Œuvre collective pour CHRG, Québec, 2001

• Ville de Beauport (1997-1998)

 

Hypperliens:

 

Couverture d'événements diocésain (photos)

 

www.ecdq.tv/site/albums/2010/PH-051_Point_Cardinal/index....

 

www.ecdq.tv/site/albums/2010/PH-047_Julienne_du_Rosaire/i...

 

www.ecdq.tv/site/albums/2010/PH-050_Appel_decisif/index.html

  

www.ecdq.tv/site/albums/2010/PH-048_Confirmation_14-fev/i...

 

www.ecdq.tv/site/albums/2009/PH-044_Cardinal_Soupe_popula...

 

www.ecdq.tv/site/albums/2009/PH-036_Congres_charismatique...

 

www.ecdq.tv/site/albums/2009/PH-033_Ordination_episcopale...

 

www.ecdq.tv/site/albums/2008/PH-010_Pelerinage_jeunesse/i...

 

Centre Victor Lelièvre

 

lieu de spiritualité et de prière.

 

www.centrevictorlelievre.org/index2.php?p=103

  

@Aldeity Akasha has released Alexandria the Ice Witch, a follower mod! I took part of the Beta test, so here are some pictures from that! Download mod here: www.nexusmods.com/skyrim/mods/69712/?

Aldeity's flickr: www.flickr.com/photos/131385734@N03

(Not my photo)

I love his robot mode !

His parrot mode is as good as a parrot can be I guess.