The Peugeot 905 is a sports-prototype racing car.

 

The car was initially unveiled in February 1990 and was developed throughout 1990 before making its race debut in the final two races of the 1990 World Sportscar Championship season (Montréal and Mexico).

 

The car won the 24 Hours of Le Mans endurance race in 1992 with the team of Derek Warwick, Yannick Dalmas, and Mark Blundell. This win was followed in 1993 by the team of Geoff Brabham, Christophe Bouchut, and Éric Hélary, in the 905B. In addition to that, the car won both a drivers´ and teams´ title at the World Sportscar Championship in 1992.

 

The Peugeot 905 participated in 17 races in its career, winning 9 of them.

 

Inception

In November 1988 Peugeot Talbot Sport, established under the control of Jean Todt at Vélizy-Villacoublay, in the suburbs of Paris, announced the launch of the 905 project to compete in the 1991 World Sportscar Championship using the new rules which the 1991 season would introduce.

 

Technically advanced, the 905 used a carbon fiber chassis engineered by Dassault and a light alloy SA35-A1 3499 cc naturally aspirated V10 engine that was similar to F1 engines of the time. The 905 was built at Vélizy-Villacoublay and was officially unveiled on the 4th of July 1990 at the Circuit de Nevers Magny-Cours, with Jean-Pierre Jabouille driving.

   

Taken yesterday using re-rolled 120 film, inside a 1960 Kodak box camera. I don't know what happened to the film, but I suspect I may have been too rough rolling the delicate Foma film. Still, the streaks add to it in a way. I must take a box camera out more often. The sky renders so well with the yellow filter pulled.

Kodak Brownie Flash III box camera

Yellow filter toggled on

Foma Fomapan Creative 200 film (rolled onto 620 spindles).

Developed in R09

Digitally scanned film with Epson Perfection V500.

Olympus OM1 using Kentmere 100 developed in Rodinal.

Moonta.

The original occupants of the land around Moonta were the Narrunga people who lived across Yorke Peninsula. Once white settlements appeared in the Copper Triangle towns a group of interdenominational zealots formed a committee in 1867 to set up a mission for Aboriginal people. A year later the group was granted 600 acres of land by the government for the establishment of Point Pearce Aboriginal Mission near Port Victoria. The first superintendent of the Mission was the Reverend Julius Kuhn. White settlement really began in the district in 1861 when Walter Watson Hughes of the Wallaroo run began mining operations at Wallaroo Mines. Patrick Ryan, one of his shepherds had discovered copper ore in a wombat burrow the year before. At that time in the 1860s copper was binging as much as £87 per ton so Walter Hughes became a wealthy man quickly. He developed the mine with capital from Elder Smith and Company and his fellow company directors. The first miners in the Copper Triangle were Cornish miners moving down from Burra. The majority of settlers though came directly as sponsored immigrants from Cornwall. In 1865 some 43% of all immigrants to SA came from Cornwall. This direct migration continued especially after the closure of some big mines in Cornwall in 1866. Mining began at Moonta about the same time as mining at Wallaroo Mines (1861.) Hughes was the major investor in both the Wallaroo Mining Company and the Moonta Mining Company. The smelters for the district were located at Wallaroo. The Moonta Mines were the richest in the whole district and in its first year of operations the Moonta Mines made a profit of £101,000.

 

One of the first shafts sunk at Moonta was the Ryan shaft, after Watson’s shepherd. From 1864 the mine superintendent was Henry Hancock and consequently the second shaft was named the Hancock shaft. Hancock was the one who made sure the mines operated efficiently. His “reign” lasted until 1898. He also had advanced social welfare ideas for the times and he established a school of mines for the boys and a library for the miners. By 1876 under Hancock’s expert management the mine had produced £1,000,000 in dividends. Upon his retirement in 1898 Hancock’s son took over management of the Moonta mines which had been amalgamated with the Wallaroo mines into one company in 1890. Mining operations at Moonta were complex and some shafts exceeded 700 metres in depth. This created problems with water (and heat for the miners) so large pump houses were required such as the Hughes Engine House which still stands, albeit in ruins. The Moonta mine lasted for over sixty years and Cornish miners influenced the style of buildings in the town and the design of pump and engines houses as they were all the same as those in Cornwall. Some engines were made in Cornish foundries but others were made by James Martin‘s large foundry in Gawler. After World War One the price of copper fell dramatically and the mines became financially unviable and closed in 1923. Their heyday had been between 1900 and 1910 when much of the mining equipment had been replaced and modernised and prices were good, but a disastrous underground fire in 1904 in Taylor’s shaft began a slow decline in returns for the mine investors.

 

The Copper Triangle towns of Moonta-Wallaroo- Kadina had 12,000 people by 1890, representing about 10% of Adelaide’s population which was only 130,000. Consequently government services for the area were given priority and by 1878 the Triangle had a daily rail connecting service to Adelaide via Port Wakefield, Balaklava and Hamley Bridge. Apart from their mining skills the Cornish brought with them their religious faith hence the numerous Methodist chapels and churches in the area. All three branches of Methodism were well represented- Bible Christian Methodists, Primitive Methodists and Wesleyan Methodists. The 1891 census showed that 80% of the residents of the Moonta district were Methodists. Not surprisingly the Moonta Methodist Circuit (like a synod) had more church members than the big circuits in Adelaide such as Pirie Street, Norwood or Kent Town. The old Methodist Church at Moonta Mines was built in 1865 and with its gallery it can hold 1,250 worshippers. It seldom gets 50 worshippers these days! At one stage there were 14 Methodist churches in Moonta with a further 10 in Wallaroo/Kadina. As the Cornish used to say “Methodist churches are as common as currents in a cake.” The pulpits of the churches provided good training ground for public speaking as lay preachers were often used in these churches. One such trainee was John Verran who was Premier of SA between 1910-12. He once remarked “he was a MP because he was a PM” i.e Primitive Methodist!

 

The miners built their own cottages on the mining lands so many were poorly built and did not last but some still remain. In 1878 the very large Moonta Mines School opened as a model school. It soon had an enrolment of 1,000 children, although it was built to accommodate 800. Today the old school is the town museum. The biggest problem facing the Cornish miners was a lack of water. There are no rivers on Yorke Peninsula. Rainwater was gathered from puddles in roads and from roofs and in 1863, in just one week, 110 deaths were registered during a typhoid outbreak. The Moonta cemetery has many sad tales to tell and it is well worth a visit. Reticulated water was not piped to the town until 1890 when the pipeline from Beetaloo Reservoir reached the town and ended the summer typhoid outbreaks. Moonta was declared a town in 1863; the local Council was instituted in 1872; and by 1873 the town had 80 businesses, five hotels, numerous churches, its own newspaper, four banks and an Institute. A horse tramway connected the suburbs of Moonta Mines, Moonta and Moonta Bay. Other “suburban” areas of Moonta were Yelta, North Yelta, Cross Roads and Hamley Flat. When the mines closed in 1923 many left the town and it had a population of just over 1,000 people in 1980. Today it has a population of just over 4,000 people.

Moonta Historical Walk. See map on previous page.

1. Moonta Area School, Blanche Terrace. Selina Hancock first started a licensed school on this site, with 41 children, in 1865. After the passing of the compulsory school act of 1875, a school building was erected by the Colonial Architect in 1877, at a cost of £6,400– a large sum for those days. The local builders were Rossiter and Davies and almost immediately the school had an enrolment of 800 – a solid number of students! The school was extended further in 1903. The original school had six classrooms plus three other large rooms (65’ by 24’), one for boys and one for girls and another for infants. Until 1978 this was the Moonta Primary School.

2. St Francis of Assisi Roman Catholic Church, Blanche Terrace. This simple Gothic style limestone building was completed in 1869. Priests from Kadina serviced this church. Four buttresses support each side. The modern additions on the sides of the building unfortunately detract from its general appearance.

3. The Masonic Temple, Blanche Terrace. This magnificent Italian style building was completed in 1875. It has cement dressings and fine fretwork quoins. It is believed to be the oldest purpose built Masonic Temple still used for that purpose in Australia. The first lodge meetings were held in Moonta in July 1868 as lodges were strongly supported by the Cornish miners. The interior was especially fine and described in 1899 as having ornate ceilings, with chocolate, gold and salmon coloured scrolls painted on the walls. It has a fine tile floor and wooden benches and fittings. The building was fitted out in 1899 with gas hanging lamps. Like most Masonic Temples it has half windows only. The side and rear parts of the building are like a medieval crenulated castle. A good limestone garden wall surrounds the whole complex.

4. All Saints Anglican Church, corner of Blanche Terrace & Milne Terrace. This limestone church with brick quoins has a fine hammer and beam ceiling inside. The bell was made of local copper in 1874, whilst the church itself dates from 1873. The bell was donated by the Wallaroo Smelter Company. It stands in a separate wooden bell structure on the west side of the church. Unfortunately the original slate roof was replaced with asbestos imitation slate in 1973. The stone is local and the bricks were made at the Woods Brickyard at Moonta Mines. It is commonly regarded as the Anglican “cathedral” church of Yorke Peninsula. Note the fine triangular stone windows above the larger Gothic windows. Stone was left near the doorway for the addition of a stone porch that has not happened yet! The adjoining church hall was built in 1903.

5. School of Mines, Ellen Street on cnr of Robert Street. This important building was built in two stages, the southern half being built in 1866 as a Baptist Chapel (with a manse next door). In 1891 it became the School of Mines, the first school outside Adelaide for the training of adults and youths in trades and bookwork. The northern half of the School of Mines was built in 1903 to match the southern half. It is a fine limestone building in the Gothic style with a pediment to the roofline. When the School of Mines opened in 1891 it started with 33 students and a government grant of £200 per annum. The first subjects taught were Mine Surveying, Mechanical Drawing and Mathematics. By 1896 there were 100 students enrolled and by 1898 this had grown to 275 students. New subjects were added to the curriculum such as Sheet Metalwork, Plumbing, Carpentry, Bookkeeping and Metallurgy. Scholarships were made available to underground mine workers and early in the 20th century the government grant increased to £1000 per annum. There is a stable block next to the building.

6. Bible Christian Church, Cnr Henry and Robert Streets. This imposing and distinctive old church dating from 1873 was built for the Bible Christians. It was built by Nettle and Thor. In 1913 it was sold to the Church of Christ but it has been unused for religious services for many years and is now almost derelict. It is a Romanesque style church with a grand arched central doorway with three small Romanesque arched windows above. It is one of the most distinctive buildings in Moonta. Made of local stone, it has a fine finial on top of the gable façade. As with most Romanesque style buildings it has relatively small windows and this gives an impression of mass and solidness. Note the fretwork dividing the windows. The triple arched rounded windows above the doors are typical of this style of building.

7. The Uniting Church, Robert Street facing Queen’s Square. This former Wesleyan Methodist Church is a grand building reflecting the prominence of Methodism amongst the Cornish miners of Moonta. £4,000 was raised to build this church in 1873. Its Gothic style is offset with some fine Mintaro slate steps and a slate roof. The pulpit, large enough to hold four speakers, is a decorative example made of imported Bath stone from England. Delabole Slate Yards in Willunga carved it. The main window facing the street and square displays stone tracery dividing the stained glass panels. The church has seven buttresses and the symmetry of the façade is emphasised by four stone spires. It is a fine example of a Gothic style church designed by architect Roland Rees. The church was placed alongside the town square to indicate its importance to the town. Mining company officials and the first Mayor of Moonta, Mr Drew worshipped here. He laid the foundation stone on October 6th 1873. The adjoining hall was built in 1866.

8. Polly Bennet’s Shop, Robert Street facing Queen’s Square. This interesting little shop was a fashionable milliner’s shop. The wealthiest of the Methodist ladies purchased their hats here to wear to the Sunday services. The shop was built between 1864 and 1874. It is a nondescript little building only of historical interest because of its links to the premier Moonta Methodist congregation.

9. Queen’s Square. This attractive town square was named after Queen Victoria. It was planted and laid out in 1897 – (the 25th anniversary of the town) and in the centre a fountain commemorates the work of Charles Drew. The pretty cast iron three tiered fountain was erected in 1893. A rotunda for bands and concerts was also erected in 1893, but pulled down in 1947. However a modern replica was later erected. Some of the trees planted in 1897 include Moreton Bay Figs, Tamarisks and Norfolk Island Pines. Until 1945 the square was fenced.

10. Moonta Town Hall, George Street facing the Square. This prominent structure was built in 1885 as the fourth local institute, using volunteer labour. Mrs Corpe, wife of the then chairman of the Institute committee and a major Moonta mines investor, laid the foundation stone and the Governor of South Australia, Sir W. C. F. Robinson opened the building. Thomas Smeaton of Adelaide designed it. The grand design reflects the prosperity of the times for Moonta. It has a three storey clock tower with French metal roof, classical half round windows, and the ground level window sills have the original metal spikes on them to stop loitering! The clock tower was added in 1907 and the new clock faces were fitted in 1963. Around 1907 the Institute became the Town Hall. In 1928 some internal remodelling saw the introduction of a cinema room and Art Deco entrance leadlight doors. Outside the Town Hall is a cast iron drinking fountain erected in 1890 to commemorate the arrival of reservoir water from Beetaloo Dam.

11. Shop – formerly an Institute Building at 55 George Street. This quaint building was the third Institute erected in Moonta. It dates from 1870. The land was donated by David Bowers for the Institute. It is a classical designed building with Greek triangular pediments above the two doors and a rounded arch over the central window. It has had many uses in latter years. The current veranda ruins the classical appearance of the building and it must be seen from across the street to appreciate its architecture. Note the round louvred roof vent.

12. Former Bank of South Australia, 46 George Street. Built in 1864, this was the first bank in Moonta. It later became the Union Bank. The arched porch is very distinctive and the quoins around the windows and corners give the building an attractive frontage. The Moonta Mining Company banked here.

13. Prince of Wales Hotel, George and Ellen Streets. This pug, limestone and plaster building is one of the oldest in Moonta, dating from 1863, which was the year the town was laid out. The first meetings of the Moonta Council were held here and the first licensee of the hotel was Mr Weekes. The hotel lost its licence in 1911. It has been an antique shop for many years. It is one of the few partly pug buildings left in Moonta as opposed to Moonta Mines which has many pug buildings. Its large 160,000 gallon rain water tank was used by many townspeople in times of drought.

14. Old Union Bank, Ellen Street. This grand façade dates from 1865 when it was opened as the Bank of South Australia, later becoming the Union Bank in 1892 and trading as a bank until 1943. The façade is noted for its classical arches, symmetry and balustrades along the parapet roof. This is the finest commercial building in Moonta. A fine photograph of the building and Ellen Street in 1874 appears on the cover of Philip Payton’s, Pictorial History of Australia’s Little Cornwall, Rigby, Adelaide, 1978. Note the wooden louvred rounded window on the southern wall, the bricked up one, and the five half rounded windows of grand proportions and two half rounded doors on the front. Note the fine scrollwork around the windows. You can still faintly see “Union Bank” on the front parapet.

15. Cornwall Hotel, Cnr Ellen and Ryan Streets. This old public house was licensed and erected in 1865 with the upper storey added in 1890. The wood worked veranda clearly dates the upstairs to this time. There are four stables for coaches at the rear. It is a solid limestone building with cement rendered quoins.

16. Post Office, Ryan Street opposite Cornwall Hotel. This typical Georgian style Post Office was built in 1866, one of the early buildings of Moonta. The bull-nosed veranda was added in 1909 destroying the Georgian appearance of the building. Note the fine semi-circular small paned windows - half rounded and rectangular. This complex included the postmaster’s residence. A similar style police station next door was demolished in the 1960’s.

17. Druid’s Hall, Ryan Street. This small gothic building was erected as an Anglican schoolroom in 1866 and taken over by the Druids in 1902. Its simple façade with a gable, scrolls and Gothic arched windows is quite pleasing.

18. Royal Hotel, Cnr Ryan Street and Blanche Terrace. Dating from 1865 this is one of the three original hotels of Moonta. Originally it was called the Globe. After fire damage it was extensively rebuilt in 1885. The upper storey is an unusual mixture of half rounded windows with rectangular doors! The Ryan Street façade has a beautiful Art Nouveau style leadlight semi-circular window.

19. Moonta Railway Station and Information Centre. A display of old photographs and a number of books are available for reading here etc. The building is a typical Art Nouveau style station that was built in a number of South Australian country towns. Although there was a horse tramway between Wallaroo and Moonta as early as 1866 the government did not acquire the line until 1878. It was then converted to a 3’6” rail gauge track in 1891 with the first train arriving from Wallaroo in 1892. This line was converted to the usual South Australian 5’3’’ gauge at the time when the station was built in 1914. The building cost £2,000. The last passenger train to Adelaide ran in 1969 and the line closed in 1979.

20. Moonta Cemetery. Just 5 minutes’ walk from the Anglican Church is the cemetery established in 1866 just 5 years after mining began. The first recorded burial was for the infant son of the licensee of the Cornwall Hotel (then known as the Globe). There is a fine Gothic style gatehouse and a limestone wall complete with broken glass atop, surrounding the cemetery which was completed in 1874. The cemetery bell was erected in 1896 from local copper and cast in Adelaide by Horwood and Company. The bell called mourners to funerals. A small area of the cemetery was allocated for Jewish burials in 1875. It is located along the eastern wall (ie on your left when standing at the gatehouse) opposite the old original toilet block, which is on the right hand wall of the cemetery. The “new” section of the cemetery begins immediately beyond the Jewish section. The “new” section was opened in 1897! The area to the left of the main entrance is for unmarked children’s graves. There is a small memorial to them all. As noted previously typhoid and other epidemics caused by lack of freshwater caused many childhood deaths. This area also has an unusual wooden “headstone” dating from 1865 for Samuel Jones, which predates the opening of the cemetery! The cemetery has about 9,000 burials in it. In the 19th century over a quarter of all deaths recorded were of people 21 years or younger.

 

Graflex Speed Graphic 4x5

Kodak Ektar 127mm f4.7

Fuji ACROS100 Self_developed D76_Dev

EPSON GT-X980

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

 

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

 

www.wien-vienna.at/albertinabaugeschichte.php

 

Holga @ Barcelona - Casa Batló

 

Provia 400X

Developed @ home with Kit Tetenal E6 with Jobo CPE 2 Plus

two-section articulated streetcar model 71-421R "Dovlatov" was developed specially for St. Petersburg at Uraltransmash of Rostec State Corporation. Uraltransmash is a subsidiary of Uralvagonzavod, one of the leading companies in the field of locomotive and railcar construction in Russia. The enterprise is known primarily for its military products - artillery systems, the production of streetcars is part of the conversion program. Two versions of streetcars are produced, which are named after famous Russian and Soviet writers: three-section model 71-431R "Dostoevsky" and two-section model 71-421R - "Dovlatov". They operate on route No. 6, which runs through the center of St. Petersburg. A total of 76 units of retro streetcars were ordered - 42 model 71-431R "Dostoevsky" and 34 cars of model 71-421R "Dovlatov". The design of the new streetcars echoes the famous Leningrad streetcar LM-57 informally named "Stilyaga" (the mod) but uses the most advanced technologies. In particular, it integrates an active safety system that can independently perform braking, as well as a system for monitoring the driver's condition.

 

For a long time the progress in city tram design was retarded by the absency of low-level bogie. Old Soviet bogie model can not allowed to develop really modern low-floor tram models. Old type can be seen see here www.flickr.com/photos/cetus13/50020591482/in/album-721577...

At early 2000s the one of the leaders in streetcar production in the USSR and Russia, The Ust-Katav Wagon-Building Plant named after S. M. Kirov (Ust-Katavskiy Carriage Works, UKCW; Усть-Катавский вагоностроительный завод имени С. М. Кирова) located in Ust-Katav, Chelyabinsk Oblast, Russia started to develop modern model of city tram with all low-level floor that needed design of new special bogies. But the innovation tram of the model 71-625 has never been produced. After the design of the new tramway bogie was completed, the UKCW unexpectedly broke off relations with its Trading house that had sponsored the development. In 2013 the chief engineer of UKCP moved to a new company founded by Felix Vinokur which bought the rights for the bogie after his leaving the founders of the Trading house Ust-Katav Wagon-Building Plant LLC. Thus, a new tram manufacturer appeared in Russia, The PC Transport Systems LLC. Example of their bogie see here www.flickr.com/photos/cetus13/52962023548/in/album-721577...

It seems that another type of modern bogie was redeveloped by Ust-Katavskiy Carriage Works or even Uraltransmash (?) that utilise simplified Chevron rubber primary suspension instead of helical spring and swing arm.

 

developing area 10 years later (10)

Leica MP

35mm Summicron ASPH

Ilford HP5+

Kodak D76 (1+1)

Deb shows some of the botanical illustration skills she learned at the Denver Botanic Gardens a few years ago.

 

When she took ink drawing, one time the instructor asked to see her preliminary pencil sketch. She asked "My what?" She had been doing ink direct to paper with no preliminary pencil drawing, as she still mostly does. The watercolor follows after the ink is totally dry.

Olympus Trip AFS Agfa APX 400 film, developed and scanned by AG Photolab.

The Chapel of the Constables of Castile, also called the Purification Chapel, was commissioned by the constables, Don Pedro Fernandez (d1492) and his wife, Doña Mencia de Mendoza (d 1500), for their family pantheon in the cathedral of Burgos. It was developed by architect Simon de Colonia between 1482 and 1517 in late Gothic style, with the collaboration of sculptors Diego and Gil de Siloé and Felipe Vigarny. The latter sculpted the figures on the tomb in 1534.

 

I make no apologies for the number of shots taken of this tomb. The quality of the sculpting is superb. It reminds me very much of the tomb of Francis II & Marguerite de Foix in Nantes Cathedral. I've just checked and find that tomb was sculpted by Michel Colombe, a contemporary and sometime colleague of the Siloé brothers.

Toyosato, Fukagawa, Hokkaido.

Pentax MZ-M, Pentax-M 28mm F3.5, Kodak Microfilm Imagelink HQ exposed as ISO 25, developed as described before( www.flickr.com/photos/threepinner/32049430962 ).

Developed in ACR with custom made "Fujifilm FinePix S5 pro" DCP profile.

Color graded in Dehancer Photoshop plugin with "Kodak Ektar 100" film profile, "Kodak Endura Glossy" paper profile and film simulation effects.

20130507

Minox Daylight Developing Tank:Bakelite

Jobo 1510 Tank with 1501 DoulSet reel DIY to Minox 8x11 size:Plastic

Nikkor Developing tank with Minox format reel:Stainless steel

Kindermann Minox format Developing tank and reel:Stainless steel

 

DIY Jobo 1501 reel to Minox 8x11 format size method link here（Dropbox）:

db.tt/xIBhlzq0

 

Developed in Fomadon R09 8 mins at 20 degrees C,scanned on Epson V550.Shot on a very basic Canon EOS 1000F on Ilford delta 400

Metrocenter on the northside of Phoenix was developed in 1973 and was one of the largest malls in the country and was the first to have five anchor stores (the Broadway, Rhodes Brothers, Sears, Diamond's, and Goldwaters's). The mall declined in the 1990s and the anchors closed one by one except for Sears. The Broadway (designed by Charles Luckman) was demolished in 2015 and a Walmart is under construction on its site [of all the stores at the mall to demolish!?!].

Nous disons nous rapprocher des scaphandres.

I developed the lumen photograms in dilute developer, or fixed direc, or first bleached before processing, then developing in dilute paper developer and then fixing. They now should be real to light. When first bleaching it goes more to gray black, when first developing it keeps the brown color from the exposure.

 

After exposure, first bleached in C41 bleach then redeveloped in dilute paper developer in light by inspection pulled washed and fixed. This gives a more grey final image.

Cyanotype print developing one of my hand drawn designs.

Wife and Kids in front of Montgomery Hall, Mississippi State University.

Kodak Portra 160NC.

Hand developed.

Photoshopped adjusted highlights/shadows and cropped.

Mamiya RB67.

William Alexander Madocks (1773-1828) was an English landowner who represented Boston, Lincolnshire in Parliament. He also became interested in Wales, where his family had held property since the 12th century, and decided to develop the Glaslyn estuary. He dammed the river with a mile-long causeway called the Cob, reclaiming Traeth Mawr and forcing the redirected Glaslyn river to naturally dredge out a deep port. The new city, Portmadoc (Porthmadog), became a major slate exporter after Madocks got his plan for a railway from Blaenau Ffestiniog to Portmadoc approved by Parliament, defeating rival railways proposed by George Overton, William Provis, and Meyer Rothschild. Madocks also built the "model town" of Tremadog, an early planned community. However, Madocks did not live to see his dream fully realized, as he died of jaundice while visiting Paris on family vacation around Europe. His wife and children returned to Britain to resolve his debts, and did see the Ffestiniog Railway open. This bust of Madocks stands at the Porthmadog end of the Cob next to the old customs house and the Ffestiniong Railway's Porthmadog Harbour Station.

 

Porthmadog is a coastal town and community in the Eifionydd area of Gwynedd, Wales, and the historic county of Caernarfonshire. It lies 5 miles (8 km) east of Criccieth, 11 miles (18 km) south-west of Blaenau Ffestiniog, 25 miles (40 km) north of Dolgellau and 20 miles (32 km) south of Caernarfon. The community population of 4,185 in the 2011 census was put at 4,134 in 2019. It grew in the 19th century as a port for local slate, but as the trade declined, it continued as a shopping and tourism centre, being close to Snowdonia National Park and the Ffestiniog Railway. The 1987 National Eisteddfod was held there. It includes nearby Borth-y-Gest, Morfa Bychan and Tremadog.

 

Porthmadog came about after William Madocks built a sea wall, the Cob, in 1808–1811 to reclaim much of Traeth Mawr from the sea for farming use. Diversion of the Afon Glaslyn caused it to scour out a new natural harbour deep enough for small ocean-going sailing ships, and the first public wharves appeared in 1825. Quarry companies followed, with wharves along the shore almost to Borth-y-Gest, while slate was carted from Ffestiniog down to quays along the Afon Dwyryd, then boated to Porthmadog for transfer to seagoing vessels.

 

In the later 19th-century, Porthmadog flourished as a port, its population rising from 885 in 1821 to over 3,000 by 1861. The rapidly growing cities of England needed high-quality roofing slate, which was brought to the new port by tramway from quarries in Ffestiniog and Llanfrothen.[6] The Ffestiniog Railway opened in 1836, followed by the Gorseddau Tramway in 1856 and the Croesor Tramway in 1864. By 1873 over 116,000 tons (117,800 t) were exported through Porthmadog in over a thousand ships. Several shipbuilders were active at this time. They were known particularly for their three-masted schooners called Western Ocean Yachts, the last of which was launched in 1913.

 

By 1841 the trackway across the reclaimed land had been straightened. It would develop into Stryd Fawr, the main commercial street of the town, with a range of shops and public houses and a post office, but the open green retained. A mineral railway to Tremadog ran along what would become Heol Madog. To the north was an industrial area of foundries, timber saw mills, slate works, a flour mill, a soda-pop plant and gasworks.

 

Porthmadog's role as a commercial port, already reduced by the opening of the Aberystwith and Welsh Coast Railway in 1867, was effectively ended by the First World War, when the lucrative German market for slate collapsed. The 19th-century wharves survive, but the slate warehouses have been replaced by holiday apartments and the harbour is used by leisure yachts.

 

The Cob is a prominent embankment built across the Glaslyn estuary in 1811 by William Madocks to reclaim land at Traeth Mawr for agriculture. It opened with a four-day feast and Eisteddfod celebrating the roadway connecting Caernarfonshire to Meirionnydd, which figured in Madocks's plans for a road from London to his proposed port at Porthdinllaen. Three weeks later, the embankment was breached by high tides and Madocks's supporters had to drum up money and men from all Caernarfonshire to repair the breach and strengthen the whole embankment. By 1814 it was open again, but Madocks's finances were in ruins. By 1836 the Ffestiniog Railway had opened its line across the embankment. It then become the main route for Ffestiniog slate to reach the new port at Porthmadog. In 1927 the Cob was breached again and took several months to repair. In 2012, 260 metres of the embankment were widened on the seaward side of the Porthmadog end to allow a second platform to be added to the Ffestiniog Railway's Harbour Station.

 

The former tollhouse at the north-western end of the Cob has slate-clad walls. It is one of few buildings to retain the interlocking slate ridge-tiles devised by Moses Kellow, manager of Croesor Quarry. The toll was abolished in 2003 when the Welsh Assembly Government bought the Cob.

 

Pen Cei, to the west of the harbour was a centre of the harbour's commercial activities. Boats were built and repaired. There were slate wharves for each quarry company with tracks connecting to the railway. Bron Guallt, built in 1895, was the Oakeley Quarry shipping agent's house. Grisiau Mawr ("Big Steps") connected the quay to Garth and houses were built for the ship owners and sea captains. A School of Navigation was also built.

 

Melin Yr Wyddfa ("Snowdon Mill") on Heol Y Wyddfa is a former flour mill built in 1862. A scheme of renovation and conversion to luxury flats began there, but has yet to reach completion.

 

The Welsh Highland Heritage Railway, not to be confused with Welsh Highland Railway, is a three-quarter-mile (1.2 km) heritage railway. It includes an award-winning miniature railway, a heritage centre, a shop and a cafe.

 

Kerfoots, in a Victorian building on Stryd Fawr, is a small department store founded in 1874. It contains a unique spiral staircase, chandeliers and slender cast-iron columns to support the upper floors. The Millennium Dome, constructed by local craftsmen in 1999 to mark the store's 125th anniversary, is made of stained glass depicting scenes from Porthmadog in 1874.

 

The Royal Sportsman Hotel (Welsh: Gwesty'r Heliwr) on Stryd Fawr was built in 1862 as a staging post on the turnpike road to Porthdinllaen. The arrival of the railway five years later brought rising numbers of tourists, and the hotel soon became famous for its liveried carriage and horses to take guests to local sightseeing spots. The building is of Ffestiniog slate; the original stone and slate fireplaces remain.

 

The War Memorial stands on top of Ynys Galch, one of the former islands reclaimed from Traeth Mawr. Taking the form of a Celtic cross and standing 16 feet (4.9 m) high, it was fashioned from Trefor granite and unveiled "in memory of ninety-seven fallen war heroes of Madoc Vale" in 1922.

 

On Moel y Gest, a hill above the town, is an Iron Age stone-walled hill fort.

 

Notable people

The local artist Rob Piercy (born 1946), was named Welsh Artist of the Year in 2002. Porthmadog-born painter Elfyn Lewis (born 1969), won the National Eisteddfod of Wales Gold Medal for fine art in 2009 and the Welsh Artist of the Year prize in 2010.

Three members of hip-hop band Genod Droog were from Porthmadog. *Welsh singer Duffy (born 1984), shot her first video Rockferry in the town. Supergrass have filmed a video at Morfa Bychan and Portmeirion for the song "Alright", which featured in the 1995 album I Should Coco. Part of the movie Macbeth (1971) was filmed at Black Rock Sands, as well as the cover art photography for the Manic Street Preachers 1998 album This Is My Truth Tell Me Yours.

Morfa Bychan was the home of David Owen (1712–1741), a blind harpist and composer, who died aged just 29.[84] Tradition has it that on his death bed he called for his harp and composed the air Dafydd y Garreg Wen. Words were added a century later by John Ceiriog Hughes (1832–1887).[85]

The Welsh-language poet William Ambrose (1813–1873), (bardic name Emrys), was minister of the Independent chapel in the town up to his death.

The ashes of the poet R. S. Thomas (1913–2000) are buried in the churchyard of St John's Church in Ffordd Penamser. An earlier poet raised in the town was Mary Davies (1846–1882), who wrote in Welsh.

T. E. Lawrence (1888–1935), known as Lawrence of Arabia, was born at what is now Lawrence House in Tremadog. He became renowned for his role in the Arab Revolt of 1916 and for his vivid writings about his experiences.

To finance the construction and repairs to the Cob, William Madocks (1773–1828), let out his own house in Tremadog. His first tenant was the vegetarian poet Percy Bysshe Shelley (1792–1822), who antagonised locals by criticising the production of sheep for consumption and running up debts with local merchants. Shelley made a hasty departure after an alleged attempt on his life by a nocturnal intruder, without paying his rent or contributing to the fund set up to support Madocks. During his tenancy, Shelley had written Queen Mab.

The Spooner family contributed a major amount to developing railways in the area over more than 70 years in the 19th century.

WWE Wrestler Mason Ryan (born 1982), real name Barri Griffiths is from the area.

 

Sport

Porthmadog Football Club, founded in 1872, is one of the oldest in Wales. It plays at Y Traeth. The club won the North Wales League in 1902/1903 and reached the final of the Welsh Amateur Cup in 1905/1906. It again won the league championship in 1937/1938 and was Welsh Amateur Cup winner in 1955/56 and 1956/57. It was league champion for three successive seasons in 1966/69, and twice so in the 1970s. In 1989/1990 it topped the Welsh Alliance League and gained a place in the new Cymru Alliance. The club became an inaugural member of the League of Wales in 1992, in the first season finishing ninth. The following year Porthmadog striker Dave Taylor was the highest scoring player in Europe. The club nearly folded in 1995/96 for financial reasons and lost its place in the League of Wales in 1998. It played the following year in the Cymru Alliance, winning the League Cup, but not until 2002/03 did it gain a 19-point lead over its nearest rivals to regain the Welsh Premier League. The club was heavily fined and had points deducted by the Football Association of Wales in 2007 after a referee was racially abused by a supporter, but an appeal to an independent tribunal reduced the fine and the points were reinstated. In the 2008/2009 season Porthmadog narrowly avoided relegation, finishing 16th.

 

Clwb Rygbi Porthmadog, based at Clwb Chwaraeon Madog, plays rugby union in WRU Division 3 North organised by the Welsh Rugby Union, having gained promotion from the Gwynedd league in the 2011/2012 season.

 

Porthmadog Golf Club at Morfa Bychan opened in 1906 on land rented from a farmer. The original tenancy agreement stipulated that golfers must take no game, hares, rabbits or wildfowl and pay compensation for any sheep or cattle killed or injured. The landlord agreed not to turn on to the land any bull or savage cattle. Created by James Braid, five times winner of the British Open, the course is a mixture of heath and links. The first nine holes head inland over heathland. The final nine, heading back towards the sea, are pure links. The 14th hole, "The Himalayas", is a 378 yards (346 m) par 4 with a huge natural bunker hiding the green from the tee.

 

Porthmadog Sailing Club, formed in 1958, initially operated from a marquee in a field. In 1964 the club merged with Trawsfynydd Sailing Club and a clubhouse was built. Weekend dinghy racing is run and facilities are provided for cruisers.

 

Madoc Yacht Club, founded in 1970, is based in the former harbourmaster's office and has an extensive cruising and racing programme, including two races to Ireland. In 2001 a Celtic longboat was purchased and a sea-rowing section formed, which now has four boats. The club competes as part of the Welsh Sea Rowing Association

 

Glaslyn Leisure Centre on Stryd y Llan has a 25-metre swimming pool and sports hall, badminton, squash and tennis courts, a sauna, a five-a-side football pitch and a dance studio.

 

Sea angling is popular in the coast villages. Borth-y-Gest offers flounder, bass, mullet, whiting and mackerel. Morfa Bychan provides bass, flounder, eel, whiting and occasional turbot. Bass, flounder and huge schools of whiting are found at Black Rock Sands, along with thornback ray, mackerel and garfish. Bass, flatfish, eel and some very large mullet can be caught in Porthmadog Harbour, in the heart of the town, though care must be taken to avoid taking the poisonous lesser weever.

 

Glaslyn Angling Association controls fishing rights on most of Afon Glaslyn up to Beddgelert. It mainly holds sea trout, but salmon and brown trout appear. The river had suffered from acid rain and afforestation, but its water quality has improved. Glan Morfa Mawr Trout Fishery at Morfa Bychan is stocked with rainbow trout

 

A cycle route crosses the Cob as part of Lôn Las Cymru, the Welsh national route from Holyhead in the north to either Cardiff or Chepstow in the south. It is 250 miles (400 km) long and crosses three mountain ranges.

 

Tremadog's quality rock climbing brings climbers from all over Britain, the dolerite cliffs often being dry when it is too wet to climb in the mountains of Snowdonia. Craig Bwlch y Moch is seen as one of the best crags in Wales.

 

A fell race on the slopes of Moel y Gest known as "Râs Moel y Gest" is held each year, starting in the town.

 

Bathing is popular at the broad beach of Black Rock Sands, with a predicted water quality of "excellent". Borth-y-Gest has a sand-and-pebble beach where bathing is safe inshore, but there are fast currents further out.

 

Gwynedd is a county in the north-west of Wales. It borders Anglesey across the Menai Strait to the north, Conwy, Denbighshire, and Powys to the east, Ceredigion over the Dyfi estuary to the south, and the Irish Sea to the west. The city of Bangor is the largest settlement, and the administrative centre is Caernarfon. The preserved county of Gwynedd, which is used for ceremonial purposes, includes the Isle of Anglesey.

 

Gwynedd is the second largest county in Wales but sparsely populated, with an area of 979 square miles (2,540 km2) and a population of 117,400. After Bangor (18,322), the largest settlements are Caernarfon (9,852), Bethesda (4,735), and Pwllheli (4,076). The county has the highest percentage of Welsh speakers in Wales, at 64.4%, and is considered a heartland of the language.

 

The geography of Gwynedd is mountainous, with a long coastline to the west. Much of the county is covered by Snowdonia National Park (Eryri), which contains Wales's highest mountain, Snowdon (Yr Wyddfa; 3,560 feet, 1,090 m). To the west, the Llŷn Peninsula is flatter and renowned for its scenic coastline, part of which is protected by the Llŷn AONB. Gwynedd also contains several of Wales's largest lakes and reservoirs, including the largest, Bala Lake (Llyn Tegid).

 

The area which is now the county has played a prominent part in the history of Wales. It formed part of the core of the Kingdom of Gwynedd and the native Principality of Wales, which under the House of Aberffraw remained independent from the Kingdom of England until Edward I's conquest between 1277 and 1283. Edward built the castles at Caernarfon and Harlech, which form part of the Castles and Town Walls of King Edward in Gwynedd World Heritage Site. During the Industrial Revolution the slate industry rapidly developed; in the late nineteenth century the neighbouring Penrhyn and Dinorwic quarries were the largest in the world, and the Slate Landscape of Northwest Wales is now a World Heritage Site. Gwynedd covers the majority of the historic counties of Caernarfonshire and Merionethshire.

 

In the past, historians such as J. E. Lloyd assumed that the Celtic source of the word Gwynedd meant 'collection of tribes' – the same root as the Irish fine, meaning 'tribe'. Further, a connection is recognised between the name and the Irish Féni, an early ethnonym for the Irish themselves, related to fían, 'company of hunting and fighting men, company of warriors under a leader'. Perhaps *u̯en-, u̯enə ('strive, hope, wish') is the Indo-European stem. The Irish settled in NW Wales, and in Dyfed, at the end of the Roman era. Venedotia was the Latin form, and in Penmachno there is a memorial stone from c. AD 500 which reads: Cantiori Hic Iacit Venedotis ('Here lies Cantiorix, citizen of Gwynedd'). The name was retained by the Brythons when the kingdom of Gwynedd was formed in the 5th century, and it remained until the invasion of Edward I. This historical name was revived when the new county was formed in 1974.

 

Gwynedd was an independent kingdom from the end of the Roman period until the 13th century, when it was conquered by England. The modern Gwynedd was one of eight Welsh counties created on 1 April 1974 under the Local Government Act 1972. It covered the entirety of the historic counties of Anglesey and Caernarfonshire, and all of Merionethshire apart from Edeirnion Rural District (which went to Clwyd); and also a few parishes of Denbighshire: Llanrwst, Llansanffraid Glan Conwy, Eglwysbach, Llanddoged, Llanrwst and Tir Ifan.

 

The county was divided into five districts: Aberconwy, Arfon, Dwyfor, Meirionnydd and Anglesey.

 

The Local Government (Wales) Act 1994 abolished the 1974 county (and the five districts) on 1 April 1996, and its area was divided: the Isle of Anglesey became an independent unitary authority, and Aberconwy (which included the former Denbighshire parishes) passed to the new Conwy County Borough. The remainder of the county was constituted as a principal area, with the name Caernarfonshire and Merionethshire, as it covers most of the areas of those two historic counties. As one of its first actions, the Council renamed itself Gwynedd on 2 April 1996. The present Gwynedd local government area is governed by Gwynedd Council. As a unitary authority, the modern entity no longer has any districts, but Arfon, Dwyfor and Meirionnydd remain as area committees.

 

The pre-1996 boundaries were retained as a preserved county for a few purposes such as the Lieutenancy. In 2003, the boundary with Clwyd was adjusted to match the modern local government boundary, so that the preserved county now covers the two local government areas of Gwynedd and Anglesey. Conwy county borough is now entirely within Clwyd.

 

A Gwynedd Constabulary was formed in 1950 by the merger of the Anglesey, Caernarfonshire and Merionethshire forces. A further amalgamation took place in the 1960s when Gwynedd Constabulary was merged with the Flintshire and Denbighshire county forces, retaining the name Gwynedd. In one proposal for local government reform in Wales, Gwynedd had been proposed as a name for a local authority covering all of north Wales, but the scheme as enacted divided this area between Gwynedd and Clwyd. To prevent confusion, the Gwynedd Constabulary was therefore renamed the North Wales Police.

 

The Snowdonia National Park was formed in 1951. After the 1974 local authority reorganisation, the park fell entirely within the boundaries of Gwynedd, and was run as a department of Gwynedd County Council. After the 1996 local government reorganisation, part of the park fell under Conwy County Borough, and the park's administration separated from the Gwynedd council. Gwynedd Council still appoints nine of the eighteen members of the Snowdonia National Park Authority; Conwy County Borough Council appoints three; and the Welsh Government appoints the remaining six.

 

There has been considerable inwards migration to Gwynedd, particularly from England. According to the 2021 census, 66.6% of residents had been born in Wales whilst 27.1% were born in England.

 

The county has a mixed economy. An important part of the economy is based on tourism: many visitors are attracted by the many beaches and the mountains. A significant part of the county lies within the Snowdonia National Park, which extends from the north coast down to the district of Meirionnydd in the south. But tourism provides seasonal employment and thus there is a shortage of jobs in the winter.

 

Agriculture is less important than in the past, especially in terms of the number of people who earn their living on the land, but it remains an important element of the economy.

 

The most important of the traditional industries is the slate industry, but these days only a small percentage of workers earn their living in the slate quarries.

 

Industries which have developed more recently include TV and sound studios: the record company Sain has its HQ in the county.

 

The education sector is also very important for the local economy, including Bangor University and Further Education colleges, Coleg Meirion-Dwyfor and Coleg Menai, both now part of Grŵp Llandrillo Menai.

 

The proportion of respondents in the 2011 census who said they could speak Welsh.

Gwynedd has the highest proportion of people in Wales who can speak Welsh. According to the 2021 census, 64.4% of the population aged three and over stated that they could speak Welsh,[7] while 64.4% noted that they could speak Welsh in the 2011 census.

 

It is estimated that 83% of the county's Welsh-speakers are fluent, the highest percentage of all counties in Wales.[9] The age group with the highest proportion of Welsh speakers in Gwynedd were those between ages 5–15, of whom 92.3% stated that they could speak Welsh in 2011.

 

The proportion of Welsh speakers in Gwynedd declined between 1991 and 2001,[10] from 72.1% to 68.7%, even though the proportion of Welsh speakers in Wales as a whole increased during that decade to 20.5%.

 

The Annual Population Survey estimated that as of March 2023, 77.0% of those in Gwynedd aged three years and above could speak Welsh.

 

Notable people

Leslie Bonnet (1902–1985), RAF officer, writer; originated the Welsh Harlequin duck in Criccieth

Sir Dave Brailsford (born 1964), cycling coach; grew up in Deiniolen, near Caernarfon

Duffy (born 1984), singer, songwriter and actress; born in Bangor, Gwynedd

Edward II of England (1284–1327), born in Caernarfon Castle

Elin Fflur (born 1984), singer-songwriter, TV and radio presenter; went to Bangor University

Bryn Fôn (born 1954), actor and singer-songwriter; born in Llanllyfni, Caernarfonshire.

Wayne Hennessey (born 1987), football goalkeeper with 108 caps for Wales; born in Bangor, Gwynedd

John Jones (c. 1530 – 1598), a Franciscan friar, Roman Catholic priest and martyr; born at Clynnog

Sir Love Jones-Parry, 1st Baronet (1832–1891), landowner and politician, co-founder of the Y Wladfa settlement in Patagonia

T. E. Lawrence (1888–1935), archaeologist, army officer and inspiration for Lawrence of Arabia, born in Tremadog

David Lloyd George (1863–1945), statesman and Prime Minister; lived in Llanystumdwy from infancy

Sasha (born 1969), disc jockey, born in Bangor, Gwynedd

Sir Bryn Terfel (born 1965), bass-baritone opera and concert singer from Pant Glas

Sir Clough Williams-Ellis (1883–1978), architect of Portmeirion

Owain Fôn Williams, (born 1987), footballer with 443 club caps; born and raised in Penygroes, Gwynedd.

Hedd Wyn (1887–1917), poet from the village of Trawsfynydd; killed in WWI

From an eight inch square of linen laid cotton (well, some) paper.

 

Developable is fifty-cent word for "can only bend in one direction at a time." That's not so much a property of paper as it is a dare.

Developed in Caffenol C-L Semi-Stand 60min;Ilford HP5+; Pentax P30; SMC Pentax 55mm f1.8; Epson V600

  

Roll : 2017 - Décembre- N&B- Strasbourg

 

+++ DISCLAIMER +++

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

  

Some background:

In the first years of the war, the Wehrmacht had only little interest in developing self-propelled anti-aircraft guns, but as the Allies developed air superiority and dedicated attack aircraft threatened the ground troops from above, the need for more mobile and better-armed self-propelled anti-aircraft guns increased. As a stopgap solution the Wehrmacht initially adapted a variety of wheeled, half-track and tracked vehicles to serve as mobile forward air defense positions. Their tasks were to protect armor and infantry units in the field, as well as to protect temporary forward area positions such as mobile headquarters and logistic points.

 

These vehicles were only lightly armored, if at all, and rather mobilized the anti-aircraft weapons. As Allied fighter bombers and other ground attack aircraft moved from machine gun armament and bombing to air-to-ground rockets and large-caliber cannons, the air defense positions were even more vulnerable. The answer was to adapt a tank chassis with a specialized turret that would protect the gun crews while they fired upon approaching Allied aircraft. Furthermore, the vehicle would have the same mobility as the battle tanks it protected.

 

Initial German AA-tank designs were the ‘Möbelwagen’ and the ‘Wirbelwind’, both conversions of refurbished Panzer IV combat tank chassis with open platforms or turrets with four 20mm cannon. Alternatively, a single 37mm AA gun was mounted, too – but all these vehicles were just a compromise and suffered from light armor, a high silhouette and lack of crew protection.

 

Further developments of more sophisticated anti-aircraft tank designs started in late 1943 and led into different directions. One development line was the ‘Kugelblitz’, another Panzer IV variant, but this time the ball-shaped turret, armed with very effective 30 mm MK 103 cannon, was fully integrated into the hull, resulting in a low silhouette and a protected crew. However, the ‘Kugelblitz’ only featured two of these guns and the tilting turret was very cramped and complicated. Venting and ammunition feed problems led to serious delays and a prolonged development stage.

The ‘Coelian’ family of bigger turrets with various weapon options for the Panzer V (the ‘Panther’) was another direction, especially as a response against the armored Il-2 attack aircraft at the Eastern front and against flying targets at medium altitude. Targets at high altitude, esp. Allied bombers, were to be countered with the very effective 8.8 cm Flak, and there were also several attempts to mount this weapon onto a fully armored hull.

 

The primary weapon for a new low/medium altitude anti-aircraft tank was to become the heavy automatic 55 mm MK 214. Like the 30 mm MK 103 it was a former aircraft weapon, belt-fed and adapted to continuous ground use. However, in early 1944, teething troubles with the ‘Kugelblitz’ suggested that a completely enclosed turret with one or (even better) two of these new weapons, mounted on a ‘Panther’ or the new E-50/75 tank chassis, would need considerable development time. Operational vehicles were not expected to enter service before mid-1945. In order to fill this operational gap, a more effective solution than the Panzer IV AA conversions, with more range and firepower than anything else currently in service, was direly needed.

 

This situation led to yet another hasty stopgap solution, the so-called ‘Ostwind II’ weapon system, which consisted primarily of a new turret, mated with a standard medium battle tank chassis. It was developed in a hurry in the course of 1944 and already introduced towards the end of the same year. The ‘Ostwind II’ was a compromise in the worst sense: even though it used two 37 mm FlaK 43 guns in a new twin mount and offered better firepower than any former German AA tank, it also retained many weaknesses from its predecessors: an open turret with only light armor and a high silhouette. But due to the lack of time and resources, the ‘Ostwind II’ was the best thing that could be realized on short notice, and with the perspective of more effective solutions within one year’s time it was rushed into production.

 

The ‘Ostwind II’ system was an open, roughly diamond-shaped, octagonal turret, very similar in design to the Panzer IV-based ‘Wirbelwind’ and ‘Ostwind’ (which was re-designated ‘Ostwind I’). As a novelty, in order to relieve the crew from work overload, traverse and elevation of the turret was hydraulic, allowing a full elevation (-4° to +90° was possible) in just over four seconds and a full 360° traverse in 15 seconds. This had become necessary because the new turret was bigger and heaver, both the weapons and their crews required more space, so that the Ostwind II complex could not be mounted onto the Panzer IV chassis anymore and movement by hand was just a fallback option.

In order to provide the ‘Ostwind II’ with a sufficiently large chassis, it was based on the SdKfz. 171 Panzer V medium battle tank, the ‘Panther’, exploiting its bigger turret ring, armor level and performance. The Panther chassis had, by late 1944, become available for conversions in considerable numbers through damaged and/or recovered combat tanks, and updated details like new turrets or simplified road wheels were gradually introduced into production and during refurbishments. Mounting the ‘Ostwind II’ turret on the Panzer VI (Tiger) battle tank chassis had been theoretically possible, too, but it never happened, because the Tiger lacked agility and its protection level and fuel consumption were considered impractical for an SPAAG that would typically protect battle tank groups.

 

The ‘Ostwind II’ turret was built around a motorized mount for the automatic 3.7 cm FlaK 43 twin guns. These proven weapons were very effective against aircraft flying at altitudes up to 4,200 m, but they also had devastating effect against ground targets. The FlaK 43’s armor penetration was considerable when using dedicated ammunition: at 100 m distance it could penetrate 36 mm of a 60°-sloped armor, and at 800 m distance correspondingly 24 mm. The FlaK 43’s theoretical maximum rate of fire was 250 shots/minute, but it was practically kept at ~120 rpm in order to save ammunition and prevent wear of the barrels. The resulting weight of fire was 76.8 kg (169 lb) per minute, but this was only theoretical, too, because the FlaK 43 could only be fed manually by 6-round clips – effectively, only single shots or short bursts could be fired, but a trained crew could maintain fire through using alternating gun use. A more practical belt feed was at the time of the Ostwind II's creation not available yet, even though such a mechanism was already under development for the fully enclosed Coelian turret, which could also take the FlaK 43 twin guns, but the armament was separated from the turret crew.

 

The new vehicle received the official designation ‘Sd.Kfz. 171/2 Flakpanzer V’, even though ‘Ostwind II’ was more common. When production actually began and how many were built is unclear. The conversion of Panther hulls could have started in late-1944 or early-1945, with sources disagreeing. The exact number of produced vehicles is difficult to determine, either. Beside the prototype, the number of produced vehicles goes from as little as 6 to over 40. The first completed Ostwind II SPAAGs were exclusively delivered to Eastern front units and reached them in spring 1945, where they were immediately thrown into action.

All Flakpanzer vehicles at that time were allocated to special anti-aircraft tank platoons (so-called Panzer Flak Züge). These were used primarily to equip Panzer Divisions, and in some cases given to special units. By the end of March 1945, there were plans to create mixed platoons equipped with the Ostwinds and other Flakpanzers. Depending on the source, they were either to be used in combination with six Kugelblitz, six Ostwinds and four Wirbelwinds or with eight Ostwinds and three Sd.Kfz. 7/1 half-tracks. Due to the war late stage and the low number of anti-aircraft tanks of all types built, this reorganization was never truly implemented, so that most vehicles were simply directly attached to combat units, primarily to the commanding staff.

 

The Ostwind II armament proved to be very effective, but the open turret (nicknamed ‘Keksdose’ = cookie tin) left the crews vulnerable. The crew conditions esp. during wintertime were abominable, and since aiming had to rely on vision the system's efficacy was limited, esp. against low-flying targets. The situation was slightly improved when the new mobile ‘Medusa’ and ‘Basilisk’ surveillance and target acquisition systems were introduced. These combined radar and powerful visual systems and guided the FlaK crews towards incoming potential targets, what markedly improved the FlaKs' first shot hit probability. However, the radar systems rarely functioned properly, the coordination of multiple SPAAGs in the heat of a low-level air attack was a challenging task, and - to make matters worse - the new mobile radar systems were even more rare than the new SPAAGs themselves.

 

All Ostwind II tanks were built from recovered ‘Panther’ battle tanks of various versions. The new Panther-based SPAAGs gradually replaced most of the outdated Panzer IV AA variants as well as the Ostwind I. Their production immediately stopped in the course of 1945 when the more sophisticated 'Coelian' family of anti-aircraft tanks with fully enclosed turrets became available. This system was based on Panzer V hulls, too, and it was soon followed by the first E-50 SPAAGs with the new, powerful twin-55 mm gun.

  

Specifications:

Crew: Six (commander, gunner, 2× loader, driver, radio-operator/hull machine gunner)

Weight: 43.8 tonnes (43.1 long tons; 48.3 short tons)

Length (hull only): 6.87 m (22 ft 6 in)

Width: 3.42 m (11 ft 3 in)

Height: 3.53 m (11 ft 6 3/4 in)

Suspension: Double torsion bar, interleaved road wheels

Fuel capacity: 720 litres (160 imp gal; 190 US gal)

 

Armor:

15–80 mm (0.6 – 3.15 in)

 

Performance:

Maximum road speed: 46 km/h (29 mph)

Operational range: 250 km (160 mi)

Power/weight: 15.39 PS (11.5 kW)/tonne (13.77 hp/ton)

 

Engine:

Maybach HL230 P30 V-12 petrol engine with 700 PS (690 hp, 515 kW)

ZF AK 7-200 gear; 7 forward 1 reverse

 

Armament:

2× 37 mm (1.46 in) FlaK 43 cannon in twin mount with 1.200 rounds

1× 7.92 mm MG 34 machine gun in the front glacis plate with 2.500 rounds

  

The kit and its assembly:

This was a spontaneous build, more or less the recycling of leftover parts from a 1:72 Revell Ostwind tank on a Panzer III chassis that I had actually bought primarily for the chassis (it became a fictional Aufklärungspanzer III). When I looked at the leftover turret, I wondered about a beefed-up/bigger version with two 37 mm guns. Such an 'Ostwind II' was actually on the German drawing boards, but never realized - but what-if modelling can certainly change that. However, such a heavy weapon would have to be mounted on a bigger/heavier chassis, so the natural choice became the Panzer V, the Panther medium battle tank. This way, my ‘Ostwind II’ interpretation was born.

The hull for this fictional AA tank is a Hasegawa ‘Panther Ausf. G’ kit, which stems from 1973 and clearly shows its age, at least from today’s point of view. While everything fits well, the details are rather simple, if not crude (e. g. the gratings on the engine deck or the cupola on the turret). However, only the lower hull and the original wheels were used since I wanted to portray a revamped former standard battle tank.

 

The turret was a more complicated affair. It had to be completely re-constructed, to accept the enlarged twin gun and to fit onto the Panther hull. The first step was the assembly of the twin gun mount, using parts from the original Ostwind kit and additional parts from a second one. In order to save space and not to make thing uber-complicated I added the second weapon to the right side of the original gun and changed some accessories.

This, together with the distance between the barrels, gave the benchmark for the turret's reconstruction. Since the weapon had not become longer, I decided to keep things as simple as possible and just widen the open turret - I simply took the OOB Ostwind hexagonal turret (which consists of an upper and lower half), cut it up vertically and glued them onto the Panther turret's OOB base, shifting the sides just as far to the outside that the twin gun barrels would fit between them - a distance of ~0.4 inch (1 cm). At the rear the gap was simply closed with styrene sheet, while the front used shield parts from the Revell Ostwind kit that come from a ground mount for the FlaK 43. Two parts from this shield were glued together and inserted into the front gap. While this is certainly not as elegant as e. g. the Wirbelwind turret, I think that this solution was easier to integrate.

Massive PSR was necessary to blend the turret walls with the Panther turret base, and as a late modification the opening for the sight had to be moved, too. To the left of the weapons, I also added a raised protective shield for the commander.

Inside of the turret, details from the Ostwind kit(s), e. g. crew seats and ammunition clips, were recycled, too.

  

Painting and markings:

Since the Ostwind II would be based on a repaired/modified former Panzer V medium battle tank, I settled upon a relatively simple livery. The kit received a uniform finish in Dunkelgelb (RAL 7028), with a network of greenish-grey thin stripes added on top, to break up the tank's outlines and reminiscent of the British ‘Malta’ scheme, but less elaborate. The model and its parts were initially primed with matt sand brown from the rattle can (more reddish than RAL 7028) and then received an overall treatment with thinned RAL 7028 from Modelmaster, for an uneven, dirty and worn look. The stripes were created with thinned Tamiya XF-65 (Field Grey).

 

Once dry, the whole surface received a dark brown wash, details were emphasized with dry-brushing in light grey and beige. Decals were puzzled together from various German tank sheets, and the kit finally sealed with matt acrylic varnish.

 

The black vinyl tracks were also painted/weathered, with a wet-in-wet mix of black, grey, iron and red brown (all acrylics). Once mounted into place, mud and dust were simulated around the running gear and the lower hull with a greyish-brown mix of artist mineral pigments.

  

A bit of recycling and less exotic than one would expect, but it’s still a whiffy tank model that fits well into the historic gap between the realized Panzer IV AA tanks and the unrealized E-50/75 projects. Quite subtle! Creating the enlarged turret was the biggest challenge, even, even more so because it was/is an open structure and the interior can be readily seen. But the new/bigger gun fits well into it, and it even remained movable!

 

Leazes Park is an urban park in Newcastle upon Tyne, England. Grade II listed, it is the city's oldest park, opened in 1873, and lies to the west of the city centre. The park contains a lake above the course of the Lort Burn. It is next to St James' Park and the Royal Victoria Infirmary.

 

Leazes Park is separated from Spital Tongues by Castle Leazes, an area of common land similar to the Town Moor.

 

History

The creation of Leazes Park was a drawn out process. In September 1857 3,000 working men petitioned Newcastle Council for ‘ready access to some open ground for the purpose of health and recreation’ and a year later a special committee was set up to try to find a location for a park. Aldermen Harle and Hamond took up the challenge and campaigned for a park and eventually succeeded in having Leazes Park created on a part of the Leazes Town Moor.

 

On 23 December 1873, Leazes Park was officially opened by Alderman Sir Charles Hamond. It became the first public park created on Tyneside.

 

John Fulton, the Town Surveyor, laid out Leazes Park similar to other parks being built in Britain at that time. The layout centres on the lake. The Bandstand was added in 1875 and a balustrade stone terrace in 1879. Later, the whole park was surrounded with metal railings. A second lake was created in 1893 but this was filled in by 1949 and the area used for a bowling green and tennis courts.

 

The grand Jubilee Gates were added in 1896 to commemorate the Diamond Jubilee of Queen Victoria and a Palm House was built. In 1908 a bust of Alderman Sir Charles Hamond was erected (which is also grade II listed) as the centrepiece to the terrace and the park was then complete.

 

The park continued to develop with deer, aviaries, tennis, and croquet until the 1980s when it was in need of refurbishment. The refurbishment became possible when the park was awarded £3.7 million from the Heritage Lottery Fund in 2001. The restoration project was completed in 2004.

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

Installed in the 1920s after a major renovation, the Jesus as the Good Shepherd window was created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him.

 

He stands benevolently with his shepherds' crook, clutching a lamb, whilst in the vignette below him at the bottom of the lancet window, Jesus is shown bringing his wayward flock safely into the safety of the barn. The sheep to his left looks wistfully up at him, whilst the lamb held in his arms in the main depiction is shown in the vignette draped over the crook of his arm.

 

The letters IHS appear intertwined in a monogram at the top of the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".

 

Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.

 

St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.

 

St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.

Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.

 

Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.

 

The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.

 

The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.

 

I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.

 

James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).

 

Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.

 

Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.

 

Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.

 

Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.

Some background:

]The VF-4 Lightning III began development in 2005 under the initial designation of the VF-X-4. Developed as a successor craft to the VF-1 Valkyrie, the VF-4 Lightning III was designed as a variable fighter that emphasized mobility in outer space.

 

The VF-4's development began with the prototype VF-X-4 and the VF-X-3. However, when Earth was devastated in Space War I the loss of military facilities also resulted in loss of the VF-X-3. Amongst the airframes under development exist prototype No. 1 craft, VF-X-4V1 and the trial manufactured VF-4A-0 and thus the surviving VF-X-4 was developed and completed as the VF-4 Lightning III. A trial-produced variable fighter, designated the VF-4A-0, was also built using 25% VF-1 Valkyrie parts.

 

VF-X-4 underwent flight tests, including being test piloted by Space War I veteran Hikaru Ichijo. Once successful operational models were ready, the VF-4 began mass production on February 2012. Initial deployment began on the SDF-2 Megaroad-01 in VF-1 Skull and SVF-184 Iron Chiefs Squadrons on September 2012. When the SDF-2 Megaroad launched in the same month, Hikaru Ichijō flew a VF-4 alongside the new colonization vessel as the ship lifted from Earth and began exploration outside of the Sol system.

 

As a result of integrating existing Overtechnology and Zentradi-series technology, the VF-4 had a characteristic three-hulled-type airframe structure remarkably different from the conservative VF-1 Valkyrie design. The three-hulled style of the VF-4 increased fuselage volume, propellant capacity and armament load capability that all resulted in a 40% improved combat ability over the VF-1. Fully transformable, the VF-4 could shift into Battroid and Gerwalk modes like previous variable fighters.

 

However, the VF-4 did suffer minor mobility problems within an atmosphere and the new type was primarily deployed to the Space Air Corps of emigrant fleets to serve as the main fighter craft of the UN Forces in the 2020s. It was because flight performance within the atmosphere was not as good as the VF-1 that the VF-5000 Star Mirage became the main combat craft within atmosphere, while the VF-4 operated mainly in outer space.

 

Built as a space fighter, the VF-4 primary weapons became two large beam cannons, though the craft was capable of carrying a GU-11 gun pod in Gerwalk and Battroid modes. In addition to the powerful primary beam guns, the Lightning III also featured twelve semi-recessed long-range missiles, as well as underwing pylons for additional missiles and other stores.

The VF-4 was only slightly heavier than the VF-1, but featured considerably more powerful engines, making the craft ideal for operations deeper out in space. The Lightning III was also much faster in the atmosphere than the older VF-1, although the VF-4’s flight mobility performance was not as great.

 

The VF-4 was also notable as the first production variable fighter to utilize a HOTAS system (Hands On Throttle And Stick) for the cockpit HMI (Human-Machine Interface). Furthermore, the VF-4's cockpit was laid out as a single hexagonal MFD (Multi-Function Display) that proved so successful that it was retrofitted into "Block 6" VF-1 fighters, as well as providing the template for all future variable fighter cockpits.

 

By the end of 2015, mass production of the VF-1 series at last had come to an end. From 2020 onward, the VF-4 Lightning III officially replaced the VF-1 to become the main variable fighter of U.N. Forces. Production of the VF-4 continued for a decade and ceased in 2022, with a total of 8,245 Lightning III variable fighters produced.

The VF-4 variable fighter remained in active service into the late 2040's but was complemented or substituted in many branches of the UN Forces by the cheaper and more atmospherically maneuverable VF-5000 Star Mirage. The VF-4 Lightning III was eventually replaced as the main variable fighter of U.N. Spacy in the later half of the 2030s by the VF-11 Thunderbolt.

  

General characteristics:

Manufacturer: Stonewell/Bellcom

Equipment Type: Variable fighter

Government: U.N. Spacy, U.N. Space Marines

Introduction: 2012

Operational Deployment: September 2012

 

Dimensions:

Accommodation: pilot only

Fighter Mode: wingspan 12.65 meters; height 5.31 meters; length 16.8 meters

Mass: empty 13.95 metric tons

Structure: space metal frame, SWAG energy conversion armor

 

Powerplant:

2x Shinnakasu/P&W/Roice FF-2011 thermonuclear turbine engines,

rated at 14,000 kg (137.34 kN) each

2x dorsal rocket engines (mounted on top of the main thermonuclear turbine engines)

2x ramjet engines (embedded into the inner wing sections)

P&W HMM-1A high-maneuverability vernier thrusters

 

Performance:

Fighter Mode: Mach 3.02 at 10,000 m

Mach 5.15 at 30,000+ m

Thrust-to-weight ratio: (empty) 2.01 (rating for turbine engine thrust ONLY)

g limit: unknown

 

[Armament:

2 x large beam cannons in forward engine nacelles

12x semi-recessed long range missiles (mounted on engine nacelles and ventral fuselage)

8x underwing pylons for missiles, gun pods an/or drop tanks

  

The kit and its assembly:

Well, this build has been lingering for almost 25 years in the back of my mind. It just took so long that a suitable IP kit (with a reasonable price tag) would materialize!

The original inspiration struck me with a VF-4 profile in the source book "This is animation special: Macross PLUS" from 1994, which accidently fell into my hands in a local Japanese book store. Among others, a side and top view profile of an aggressor VF-4 in an all-brown, Soviet-style paint scheme was featured. At that time I found the idea and the scheme pretty cool, so much that I even built a modified 1:100 VF-1 as a ground attack aircraft in this paint scheme.

 

However, the original VF-4 profile from the source book had always been present, but for years there had been no affordable kit. There have been garage/resin kits, but prices would start at EUR 250,-, and these things were and are extraordinarily rare.

Things changed for the better when WAVE announced an 1:72 VF-4 kit in late 2016, and it eventually materialized in late 2017. I immediately pre-ordered one from Japan (in a smart move, this even saved money) and it eventually turned up here in Germany in early 2018. Patience pays out, it seems...

I had preferred a 1:100 kit, though, due to space issues and since almost any other Macross variable fighter model in my collection is in this small scale, but I am happy that a decent VF-4 kit at all appeared after so many years!

 

Concerning the WAVE kit, there’s light and shadow. First of all, you have to know that you get a VF-4A. This is mentioned nowhere on the box, but might be a vital information for hardcore modelers. The early VF-4A is a rather different aircraft than the later VF-4G, with so fundamental differences that it would warrant a completely new kit! On the other side, with a look at the kit’s parts, I could imagine that a VF-4B two-seater could be easily realized in the future, too.

 

The kit is a solid construction, a snap-fit kit molded in different colors so that it can be built without painting. This sounds toy-like, but - like many small scale Bandai Valkyrie kits - anything you ask for is actually there. When you use glue and put some effort into the kit and some donor parts, you can make a very good model from it.

 

The kit's box is pretty oversized, though (any sprue is shrink-wrapped, horrendous garbage pile and wasted space!), and the kit offers just a single decal (water-slide decals, not stickers) option for a Skull Squadron VF-4A – AFAIK it’s Hikaru Ichijoe’s machine that appears in one of the Macross Flash Back 2012 music videos, as it escorts the SDF-02 “Megaroad” colonial ship after launch from Earth towards the center of our Galaxy.

 

The parts are crisply molded, and I actually like the fact that the kit is not as uber-engineered as the Hasegawa Valkyries. You can actually call the WAVE kit simple - but in a positive sense, because the parts number is reduced to a minimum, material strength is solid and the kit's construction is straightforward. Fit is excellent – I just used some putty along the engine gondolas due to their complex shape, but almost anything else would either fit almost perfectly or just call for some sanding. Impressive!

 

Surface details etc. are rather basic, but very crisp and emphasized enough that anything remains visible after adding some paint. However, after all, this aircraft is just a fictional animation mecha, and from this perspective the kit is really O.K..

 

After building the kit I most say that it's nothing that leaves you in awe, and for a retail price of currently roundabout EUR 50-70,- (I was lucky to get it for an early bird deal at EUR 40,-, but still pricey for what I got) the kit is pretty expensive and has some weaknesses:

 

The model comes with a decent (= simple) cockpit and a very nice and large pilot figure, but with no ordnance except for the semi-recessed long-range missiles (see below). The cockpit lacks any side consoles, floor or side wall details. If you put the pilot into the cockpit as intended, this is not a big issue, since the figure blocks any sight into the cockpit’s lower regions. However, the side sticks are molded into the pilot’s hands, so that you have to scratch a lot if you want to present the cockpit open and with an empty seat.

 

The landing gear is simple, too, and the wells are very shallow (even though they feature interior details). As a special feature, you can switch with some extra parts between an extended or retracted landing gear, and there are extra parts that allow the air intakes and some vectoring nozzles to be closed/extended for orbital operations. However, detail fetishists might replace the OOB parts with the landing gear from an 1:72 F-18 for an overall better look.

 

Provisions for underwing hardpoints are actually molded into the lower fuselage part (and could be punched/drilled open - another indication that more VF-4 boxings with extra sprues might follow?), but the kit does not come with any pylons or other ordnance than the dozen fuselage-mounted AAMs. Furthermore, the semi-recessed missiles are just that: you only get the visible halves of the only provided ordnance, which are simply stuck into slits on the model’s surface. As a consequence, you have to mount them at any rate – building a VF-4 for a diorama in which the missiles are about to be loaded would require massive scratch-building efforts and modifications.

 

Another problem indirectly arises when you put some effort into the kit and want to clean and pre-paint the missiles before assembly: every missile is different and has its allocated place on the VF-4 hull. The missiles are numbered – but only on the sprue! Once you cut them out, you either have to keep them painstakingly in order, or you will spend a long evening figuring out where which missile belongs! This could be easily avoided if the part number would be engraved on the missiles’ back sides – and that’s what I actually did (with a water-proof pen, though) in order to avoid trouble.

 

The clear canopy is another issue. The two parts are crystal-clear, but, being a snap-fit kit, the canopy parts have to be clipped into the fuselage (rear part) and onto a separate canopy frame (front part). In order to fit, the clear parts have cramps molded into their bases – and due to the excellent transparency and a magnifier effect, you can see them easily from the outside – and on the inside, when you leave the cockpit open. It’s not a pretty solution, despite the perfect fit of the parts.

One option I can think of is to carefully sand the cramps and the attachment points away, but I deem this a hazardous stunt. I eventually hid the cramps behind a thin line of paint, which simulates a yellow-ish canopy seal. The extra windscreen framing is not accurate, but the simplest solution that hides this weak point.

 

The kit itself was built OOB, because it goes together so well. I also refrained from adding pylons and ordnance – even though you can easily hang anything from Hasegawa’s VF-1 weapon set under the VF-4’s wings and fuselage. A final, small addition was a scratched, ventral adapter for a 3.5 mm steel rod, as a display for the flight scene beauty pic.

  

Painting and markings:

As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.

 

For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.

As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.

 

Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.

 

In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.

 

Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.

 

The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.

 

I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.

 

This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.

 

The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).

 

Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…

 

As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).

  

Well, in the end, it’s not a carbon copy of the inspiring illustration, but rather another machine from the same squadron, with more creative freedom. I stayed as true to the benchmark as possible, though, and I like the result. Finally, after almost 25 years, I can tick this project off of my long ideas and inspiration list.

 

Considering the kit itself, I am really torn. I am happy that there finally is a VF-4 IP kit at all after so many years, but to me it’s a contradictive offer. I am not certain about the target group, because for a toy-like snap-fit kit it’s too detailed and expensive, but for the serious modeler it has some major flaws.

The biggest issue is the kit’s horrendous price – even if it would be more detailed or contained some fine resin or PE parts (which I would not want, just a “good” plastic kit). Sure, you can put some effort into the kit and improve it, e .g. in the cockpit or with a donor landing gear, but weak points like the “flat” missiles and the lack of proper bays for them are IMHO poor. For the relatively huge price tag I’d hoped for a “better” OOB offer. However, the kit is easy to build and a good representation of the Lightning III, and I am curious if there are kit variants in WAVE’s pipeline?

Developing !!

Kodak Plus-X developed w/D-23, Leica F, negative scan

35mm Agfa 200+Film. Metered at 100,Developed in (Exhausted Tetenal C41 Press kit.)

CIA developed the highly secret A-12 OXCART as the U-2’s successor, intended to meet the nation’s need for a very fast, very high-flying reconnaissance aircraft that could avoid Soviet air defenses. CIA awarded the OXCART contract to Lockheed (builder of the U-2) in 1959. In 1965, after hundreds of hours flown at high personal risk by the elite team of CIA and Lockheed pilots, the A 12 was declared fully operational, attaining the design specifications of a sustained speed of Mach 3.2 at 90,000 feet altitude. The A-12 on display at CIA Headquarters—number eight in production of the 15 A-12s built—was the first of the operational fleet to be certified for Mach 3. No piloted operational jet aircraft has ever flown faster or higher. To learn more about the CIA, visit www.cia.gov.

35mm film Contax RTS III, Fuji Velvia 100, developed @85F in Arista E-6 kit

The Bogatyr two-section low-level city tram (model 71-923) was developed by the PC Transport Systems LLC, Russia (ООО "ПК Транспортные системы"). Its updated version the domestic streetcar Bogatyr M, presented at the Nevsky Electric Transport Plant in St. Petersburg in May 2022, is currently the most innovative in Russia. Development of the model 71-923 was started in 2017, taking into account the highest operating requirements on urban routes with high passenger traffic: 100% low floor, 4 wide doorways, wide accumulation platforms, hinged ramp and wheelchair space, seating for passengers with limited mobility. The 2019 design upgrade (71-923M Bogatyr M) added a heated floor, autopiloting elements, and increased the number of passenger seats. The project is based on a modern low-level elastic bogie of all "in-house design" and production. Final assembly of streetcars manufactured by the PC Transport Systems LLC is performed in St. Petersburg at the facilities of the Nevsky Electric Transportation Plant named after F.A. Pirotsky (Невский завод электрического транспорта имени Ф.А. Пироцкого), using the production site of the Oktyabrsky Electric Wagon Repair Plant (Октябрьский электровагоноремонтный завод, OEVRZ), which has been repairing and manufacturing subway cars and upgrading of old Soviet streetcars built in Leningrad since 2008. The bodies are manufactured at the Tver Carriage Works (TVSZ, Тверской Вагоностроительный Завод) and supplied from Tver.

 

The PC Transport Systems LLC was founded by Felix Vinokur in 2013. In 2014 at the leased facilities of the Tver Carriage Works new company launched the production of the 71-911 "City Star" tram and later the "Vityaz" tram which received a certificate for industrial production in 2015. The history of the company shows all the twists and turns of big business. At early 2000s the one of the leaders in streetcar production in the USSR and Russia, The Ust-Katav Wagon-Building Plant named after S. M. Kirov (Ust-Katavskiy Carriage Works, UKCW; Усть-Катавский вагоностроительный завод имени С. М. Кирова) located in Ust-Katav, Chelyabinsk Oblast, Russia started to develop modern model of city tram with all low-level floor that needed design of new special bogies. But the innovation tram of the model 71-625 has never been produced. After the design of the new tramway bogie was completed, the UKCW unexpectedly broke off relations with its Trading house that had sponsored the development. In 2013 the chief engineer of UKCP moved to a new company founded by Felix Vinokur which bought the rights for the bogie after his leaving the founders of the Trading house Ust-Katav Wagon-Building Plant LLC. Thus, a new tram manufacturer appeared in Russia.

The BMW i8 is a plug-in hybrid sports car developed by BMW. The i8 is part of BMW's electric fleet "Project i" being marketed as a new sub-brand, BMW i. The 2015 model year BMW i8 has a 7.1 kWh lithium-ion battery pack that delivers an all-electric range of 37 km under the New European Driving Cycle. Under the United States Environmental Protection Agency cycle, the range in EV mode is 24 km with a small amount of gasoline consumption. Its design is heavily influenced by the BMW M1 Homage concept car, which in turn pays homage to BMW's last production mid-engined sports car prior to the i8: the BMW M1.

 

The BMW i8 can accelerate from a dead-stop to 100 km/h in 4.4 seconds and has an electronic limited top speed of 250 km/h. The BMW i8 has a fuel efficiency of 2.1 L/100 km (134.5 mpg‑imp; 112.0 mpg‑US) under the NEDC test with carbon emissions of 49 g/km. The EPA rated the i8 combined fuel economy at 76 MPGe (3.1 L gasoline equivalent/100 km; 91 mpg-imp gasoline equivalent) and 29 miles per gallon (6.7L) when running in pure gasoline mode (after the battery is drained empty).

 

The initial turbodiesel concept car was unveiled at the 2009 International Motor Show Germany. The production version of the BMW i8 was unveiled at the 2013 Frankfurt Motor Show. The i8 was released in Germany in June 2014. Deliveries to retail customers in the U.S. began in August 2014. By early November 2016 global sales since mid-2014 totaled more than 10,000 BMW i8s, making the i8 the world's top selling plug-in electrified sports car. The top selling markets are the United States, the United Kingdom and Germany.

 

HISTORY

First introduced as the Concept Vision EfficientDynamics, the i8 is part of BMW's "Project i" and it is being marketed as a new brand, BMW i, sold separately from BMW or Mini. The BMW i3, launched for retail customers in Europe in the fourth quarter of 2013, was the first model of the i brand available in the market, and it was followed by the i8, released in Germany in June 2014 as a 2015 model year. Other i models are expected to follow.

 

The initial turbodiesel concept car was unveiled at the 2009 International Motor Show Germany, In 2010, BMW announced the mass production of the Vision Efficient Dynamics concept in Leipzig beginning in 2013 as the BMW i8. The BMW i8 gasoline-powered concept car destined for production was unveiled at the 2011 Frankfurt Motor Show. The production version of the BMW i8 was unveiled at the 2013 International Motor Show Germany. The following are the concept and pre-production models developed by BMW that preceded the production version.

 

BMW VISION EFFICIENT DYNAMICS (2009)

BMW Vision EfficientDynamics concept car is a plug-in hybrid with a three cylinder turbo-diesel engine. Additionally, there are two electric motors with 139 horsepower. It allows an acceleration to 100 km/h in 4.8 seconds and an electronically limited top speed of 250 km/h.

 

According to BMW, the average fuel consumption in the EU test cycle (KV01) is 3.76 liters/100 kilometers, and has a carbon dioxide emission rating of 99 grams per kilometer (1,3 l/100 km and 33g CO2/kabelham; EU-PHEV ECE-R101). The estimated all-electric range is 50 km, and the 24-liter petrol tank extends the total vehicle range to up to 700 km. The lightweight chassis is made mainly from aluminum. The windshield, top, doors and fenders are made from polycarbonate glass, with the body having a drag coefficient of 0.22.

 

The designers of the BMW Vision EfficientDynamics concept were Mario Majdandzic for the exterior and Jochen Paesen for the interior.

 

The vehicle was unveiled in 2009 International Motor Show Germany, followed by Auto China 2010.

 

BMW i8 CONCEPT (2011)

BMW i8 Concept plug-in hybrid electric vehicle includes an electric motor located in the front axle powering the front wheels rated 96 kW (131 PS; 129 hp) and 250 N⋅m, a turbocharged 1.5-liter 3-cylinder gasoline engine driving rear wheels rated 164 kW (223 PS; 220 hp) and 300 N⋅m of torque, with combined output of 260 kW (354 PS; 349 hp) and 550 N⋅m, a 7.2 kWh (26 MJ) lithium-ion battery pack that allows an all-electric range of 35 km. All four wheels provide regenerative braking. The location of the battery pack in the energy tunnel gives the vehicle a low centre of gravity, enhancing its dynamics. Its top speed is electronically limited to 250 km/h and is expected to go from 0 to 100 km/h in 4.6 seconds. Under normal driving conditions the i8 is expected to deliver 80 mpg‑US (2.9 L/100 km; 96 mpg‑imp) under the European cycle. A full charge of the battery will take less than 2 hours using 220 V. The positioning of the motor and engine over the axles results in optimum 50/50 weight distribution.

 

The vehicle was unveiled at the 2011 International Motor Show Germany, followed by CENTER 548 in New York City, 42nd Tokyo Motor Show 2011, 82nd Geneva Motor Show 2012, BMW i Born Electric Tour at the Palazzo delle Esposizioni at Via Nazionale 194 in Rome, Auto Shanghai 2013.

 

This concept car was featured in the film Mission: Impossible – Ghost Protocol.

 

BMW i8 CONCEPT SPYDER (2012)

The BMW i8 Concept Spyder included a slightly shorter wheelbase and overall length over the BMW i8 Concept, carbon-fibre-reinforced plastic (CFRP) Life module, drive modules made primarily from aluminium components, interlocking of surfaces and lines, 22.4 cm screen display, off-white outer layer, orange tone naturally tanned leather upholstery.

 

The vehicle was unveiled in Auto China 2012 in Beijing and won Concept Car of the Year, followed by 83rd Geneva International Motor Show 2013. The designer of the BMW i8 Concept Spyder was Richard Kim.

 

BMW i8 COUPE PROTOTYPE (2013)

The design of the BMW i8 coupe prototype was based on the BMW i8 Concept. The BMW i8 prototype has an average fuel efficiency of less than 2.5 L/100 km (113.0 mpg‑imp; 94.1 mpg‑US) under the New European Driving Cycle with carbon emissions of less than 59 g/km. The i8 with its carbon-fiber-reinforced plastic (CFRP) passenger cell lightweight, aerodynamically optimized body, and BMW eDrive technology offers the dynamic performance of a sports car, with an expected 0–100 km sprint time of less than 4.5 seconds using both power sources. The plug-in hybrid system of the BMW i8 comprises a three-cylinder, 1.5-liter BMW TwinPower turbo gasoline engine combined with BMW eDrive technology used in the BMW i3 and develops maximum power of 170 kW (230 hp). The BMW i8 is the first BMW production model to be powered by a three-cylinder gasoline engine and the resulting specific output of 115 kW (154 hp) per liter of displacement is on a par with high-performance sports car engines and is the highest of any engine produced by the BMW Group. The BMW i8's second power source is a hybrid synchronous electric motor specially developed and produced by the BMW Group for BMW i. The electric motor develops maximum power of 96 kW and produces its maximum torque of around 320 N⋅m from standstill. Typical of an electric motor, responsive power is instantly available when starting and this continues into the higher load ranges. As well as providing a power boost to assist the gasoline engine during acceleration, the electric motor can also power the vehicle by itself. Top speed in electric mode is approximately 120 km/h), with a maximum driving range of up to 35 km. Linear acceleration is maintained even at higher speeds since the interplay between the two power sources efficiently absorbs any power flow interruptions when shifting gears. The model-specific version of the high-voltage 7.2 lithium-ion battery has a liquid cooling system and can be recharged at a conventional household power socket, at a BMW i Wallbox or at a public charging station. In the US a full recharge takes approximately 3.5 hours from a conventional 120 V, 12 amp household circuit or approximately 1.5 hours from a 220 V Level 2 charger.

 

The driver can also select several driving modes: SPORT, COMFORT and ECO PRO. Using the gear selector, the driver can either select position D for automated gear selection or can switch to SPORT mode. SPORT mode offers manual gear selection and at the same time switches to very sporty drive and suspension settings. In SPORT mode, the engine and electric motor deliver extra performance, accelerator response is faster and the power boost from the electric motor is maximized. And to keep the battery topped up, SPORT mode also activates maximum energy recuperation during overrun and braking as the electric motor’s generator function, which recharges the battery using kinetic energy, switches to a more powerful setting. The Driving Experience Control switch on the center console offers a choice of two settings. On starting, COMFORT mode is activated, which offers a balance between sporty performance and fuel efficiency, with unrestricted access to all convenience functions. Alternatively, the ECO PRO mode can be engaged, which, on the BMW i8 as on other models, supports an efficiency-optimized driving style. On this mode the powertrain controller coordinates the cooperation between the gasoline engine and the electric motor for maximum fuel economy. On deceleration, the intelligent energy management system automatically decides, in line with the driving situation and vehicle status, whether to recuperate braking energy or to coast with the powertrain disengaged. At the same time, ECO PRO mode also programs electrical convenience functions such as the air conditioning, seat heating and heated mirrors to operate at minimum power consumption, but without compromising safety. The maximum driving range of the BMW i8 on a full fuel tank and with a fully charged battery is more than 500 km in COMFORT mode, which can be increased by up to 20% in ECO PRO mode. The BMW i8’s ECO PRO mode can also be used during all-electric operation. The vehicle is then powered solely by the electric motor. Only if the battery charge drops below a given level, or under sudden intense throttle application such as kickdown, is the internal combustion engine automatically activated.

 

The vehicle was unveiled in BMW Group's Miramas test track in France.

 

PRODUCTION VERSION

The production BMW i8 was designed by Benoit Jacob. The production version was unveiled at the 2013 International Motor Show Germany, followed by 2013 Les Voiles de Saint-Tropez. It features butterfly doors, head-up display, rear-view cameras and partially false engine noise. Series production of customer vehicles began in April 2014. The electric two-speed drivetrain is developed and produced by GKN. It is the first production car with laser headlights, reaching further than LED lights.

 

The i8 has a vehicle weight of 1,485 kg (DIN kerb weight) and a low drag coefficient (Cd) of 0.26. In all-electric mode the BMW i8 has a top speed of 120 km/h. In Sport mode the i8 delivers a mid-range acceleration from 80 to 120 km/h in 2.6 seconds. The electronically controlled top speed is 250 km/h.

 

RANGE AND FUEL ECONOMY

The production i8 has a 7.1 kWh lithium-ion battery pack with a usable capacity of 5.2 kWh and intelligent energy management that delivers an all-electric range of 37 km under the NEDC cycle. Under the EPA cycle, the range in EV mode is 24 km, with a gasoline consumption of 0.1 gallons per 100 mi, and as a result, EPA's all-electric range is zero. The total range is 530 km.

 

The production version has a fuel efficiency of 2.1 L/100 km (134.5 mpg‑imp; 112.0 mpg‑US) under the NEDC test with carbon emissions of 49 g/km. Under EPA cycle, the i8 combined fuel economy in EV mode was rated 76 equivalent (MPG-equivalent) (3.1 L gasoline equivalent/100 km; 91 mpg-imp gasoline equivalent), with an energy consumption of 43 kW-hrs/100 mi and gasoline consumption of 0.1 gal-US/100 mi. The combined fuel economy when running only with gasoline is 28 mpg‑US (8.4 L/100 km; 34 mpg‑imp) for city driving, and 29 mpg‑US (8.1 L/100 km; 35 mpg‑imp) in highway.

 

The U.S. Environmental Protection Agency's 2014 edition of the "Light-Duty Automotive Technology, Carbon Dioxide Emissions, and Fuel Economy Trends" introduced utility factors for plug-in hybrids to represent the percentage of miles that will be driven using electricity by an average driver, in electric only or blended modes. The BMW i8 roadster has a utility factor in EV mode of 37%, compared with 83% for the BMW i3 REx, 66% for the Chevrolet Volt, 65% for the Cadillac ELR, 45% for the Ford Energi models, 43% for the McLaren P1, 39% for the Porsche Panamera S E-Hybrid, and 29% for the Toyota Prius PHV.

 

SPECIAL EDITION

The special-edition BMW i8 Protonic Red Edition model was unveiled at the 2016 Geneva International Motor Show.[51] The Protonic Red Edition will be produced at BMW Plant Leipzig from July 2016. This special edition car sports a Protonic Red paint finish with accents in Frozen Grey metallic. The colour scheme is complemented by BMW W-spoke 470 light-alloy wheels painted in Orbit Grey metallic with hubs painted in Aluminium matt and mixed-size tires (front: 215/45 R20, rear: 245/40 R20). Inside the car features red double-stitching and applications in high-grade carbon fibre and ceramic trim.

 

ROADSTER

The BMW i8 Spyder concept was unveiled at the 2012 Beijing Auto Show. In October 2016, BMW announced that the roadster variant would be added to the BMW i line-up in 2018.

 

The i8 Roadster is expected to get a longer-range battery and will have only 2 seats. The car's roof is an electric 2-piece unit, which neatly folds into the space where the rear seats would normally be.

 

SALES AND MARKETS

BMW originally planned to sell the i8 in about 50 countries, with the U.S. expected to be the largest sales market. In Europe, BMW expected the UK, Germany and France to be the top markets. On November 14, 2013, BMW announced they are taking orders for the i8 in Japan. Pricing starts at ¥19,170,000 (US$191,500) which includes the 8% consumption tax.

 

Global deliveries to retail customers totaled 1,741 units in 2014, and 5,456 in 2015, totaling cumulative sales of 7,197 units worldwide through December 2015. In 2015 global sales of the BMW i8 exceeded the combined figure of all other hybrid sports cars produced by other manufacturers. The United States is the leading market with 4,108 units delivered through October 2016, followed by the UK with about 1,700 units sold through October 2016, and Germany with 986 i8s registered through September 2016. Since mid-2014 more than 10,000 BMW i8s have been sold worldwide by early November 2016, representing 10% of BMW global electrified model sales, and making the i8 the world's top selling plug-in

  

AWARDS AND RECOGNITION

In July 2012 the BMW i8 won the 2012 North American Concept Vehicle of the Year. The BMW i8 Spyder won the 2013 Best Production Preview Vehicle award. The i8 won AutoGuide's 2015 Reader’s Choice Green Car of the Year. BMW’s i8 has been the winner of the coveted title ‘World Green car of the Year’ at Fame India Eco Drive 2015 It also was selected as Autoblog's 2014 Technology of the Year. Top Gear Magazine awarded the i8 with their coveted Car of the Year award for 2014. Green Car Journal awarded the BMW i8 with its 2015 Luxury Green Car of the Year. The i8 won the UK Car of the Year 2015 and also UK Performance Car of the Year 2015. The World Car of the Year organization declared the i8 as the winner of the 2015 World Green Car Award.

 

WIKIPEDIA

Some background:

The Nakajima A6M2-N (Navy Type 2 Interceptor/Fighter-Bomber) was a single-crew floatplane. The Allied reporting name for the aircraft was 'Rufe'.

 

The A6M2-N floatplane was developed mainly to support amphibious operations and defend remote bases. It was based on the Mitsubishi A6M-2 Model 11 fuselage, with a modified tail and added floats. Despite the large central float and wing pontoons, the A6M2-N was aerodynamically a very clean aircraft: compared with its land-based A6M2 cousin, its performance degraded only by about 20%, and for a contemporary single engine floatplane its performance was outstanding.

 

The aircraft was deployed in 1942, referred to as the "Suisen 2" ("Hydro fighter type 2"), and intended for interceptor, fighter-bomber, and short reconnaissance support for amphibious landings, among other uses. However, when confronted with the first generation of Allied fighters, the A6M2-N was no match in aerial combat and rather employed in supportive roles.

 

Effectively, the A6M2-N was mostly utilized in defensive actions in the Aleutians and Solomon Islands operations. They were used with good efficiency against Allied positions: marking patrol elements, aiding warship guns, engaging convoys, and reconnoitering areas over-the-horizon.

The A6M2-Ns were also effective in harassing American PT boats at night, and they could drop flares to illuminate the PTs which were vulnerable to destroyer gunfire, and depended on cover of darkness. However, when Allied fighter coverage became more numerous and effective, the value of the A6M2-N dwindled and losses began to naturally mount.

 

In the Aleutian Campaign this fighter engaged with RCAF Curtiss P-40, Lockheed P-38 Lightning fighters and Boeing B-17 Flying Fortress bombers, but the A6M2-N inventory suffered a severe setback when, on August 7th, 1942, a seaplane base was destroyed by Allied fighter-bombers, taking with it most of the available A6M2-Ns stationed there.

 

The seaplane also served in defense of fueling depots in Balikpapan and Avon Bases (Dutch East Indies) and reinforced the Shumushu base (North Kuriles) in the same period.

Beyond their use from dispersed and improvised bases, A6M2-N fighters also served aboard seaplane carriers Kamikawa Maru in the Solomons and Kuriles areas and aboard Japanese raiders Hokoku Maru and Aikoku Maru in Indian Ocean raids.

Later in the conflict the Otsu Air Group utilized the A6M2-N as an interceptor alongside Kawanishi N1K1 Kyofu ('Rex') aircraft based in Biwa lake in the Honshū area, defending the Japanese home land against Allied raids.

 

A total of 327 were built, including the original prototype, before being halted in September 1943.

The last A6M2-N in military service was a single example recovered by the French forces in Indochina after the end of World War II. It crashed shortly after being overhauled, though.

  

General characteristics:

Crew: 1 (Pilot)

Length: 10.10 m (33ft 1⅝ in)

Wingspan: 12.00 m (39 ft 4⅜ in)

Height: 4.30 m (14ft 1⅜ in)

Wing area: 22.44 m² (251.4 sq ft)

Empty weight: 1,912 kg (4,235 lb)

Loaded weight: 2,460 kg (5,423 lb)

Max. takeoff weight: 2,880 kg (6,349 lb)

 

Powerplant:

1× Nakajima NK1C Sakae 12 air cooled 14 cylinder radial engine,

delivering 950 hp (709 kW) at 4,200 m (13,800 ft)

 

Performance:

Maximum speed: 436 km/h (235 knots, 270.5 mph) at 5,000 m (16,400 ft)

Cruise speed: 296 km/h (160 knots, 184 mph)

Range: 1,782 km (963 nmi, 1,107 mi)

Service ceiling: 10,000 m (32,800 ft)

Climb rate: 6 min 43 s to 5,000 m (16,400 ft)

 

Armament:

2 × 7.7 mm Type 97 machine guns in forward fuselage

2 ×20 mm Type 99 cannons in outer wings

Underwing hardpoints for 2× 60 kg (132 lb) bombs

  

The kit and its assembly:

This is a real world model, despite the weird looks (see below), and an entry for the Arawasi blog's "Japanese Aircraft Online Model Contest 005 - Japanese Seaplanes & Flying Boats" contest in summer 2017. Even though whifs were allowed to enter, I used the opportunity to build a kit I had originally bought for a few bucks and stashed away in the donor bank: a vintage LS Model Nakajima A6M2-N.

 

The mould dates back to 1963(!), and the kit was re-issued several times, also under the ARII label. You get a tiny box, with only two sprues moulded in a pale baby blue, and the number of parts is minimal. It's truly vintage and pretty toylike at first sight. Consequently, you have to face some real old-school issues, e. g. moulded markings for the roundels on the wings, general mediocre fit of anything and lots of sinkholes and flash. Then there are toylike solutions like the single-piece propeller or separate, moveable ailerons with bulging joints.

 

The cockpit interior is non-existent, too: there's just a blank place for a dashboard (to be cut out from the printed BW instructions!), and a spindly pilot figure which is held in mid air by some pins. Furthermore, the kit was designed to take a small electric motor in the nose (sold separately) to drive the propeller. Wires, as well as respective internal ducts, and an AA battery holder are included.

 

Sounds scary? Well, maybe, if you just build it OOB. But all these flaws should not keep the ambitious modeler away because the LS Model kit is (still) a sound basis to start from, even though and by today's standards, it is certainly not a match-winner for a rivet counter-esque competition.

 

For its age and the typical solutions of its time, it is actually surprisingly good: you get very fine engraved surface details (more delicate than many contemporary moulds!), a pretty thin, three-piece clear (yet blurry) canopy and, as a bonus to the elevons, separate flaps – a unique detail I have never come across before! Proportions are IMHO good, even though the cowling looks a bit fishy and the engravings are rather soft and shallow. Anyway, on the exterior, there’s anything you can ask for to be found, and as another bonus the kit comes with a beaching trolley, which makes display and diorama fitting easier.

 

Thanks to the kit's simplicity, the build in itself was pretty straightforward and simple. Cleaning the parts and checking fit was the biggest issue. Upon gluing the old styrene showed signs of serious reaction to the dissolving effect of modern glue: it took ages for the material to cure and become hard again for further work!? Weird…

 

The many sinkholes and overall displacements were corrected with some NC putty/PSR, the protruding elevon/flap joints sanded away as good as possible, and due to the wobbly nature of the kit’s styrene I added blobs of 2C putty inside of the wing halves as stabilizers.

 

Some mods and improvements were made, though. After cleaning the OOB propeller from tons of flash the piece turned out to be pretty usable, and it was put on a metal axis. A styrene tube adapter was added behind the relatively flat engine dummy, so that the prop can spin freely – for the later beauty pics, because no CG effect beats IMHO the real thing.

 

A cockpit interior was created from scratch and donor parts, using the new Airfix A6M model's cockpit as benchmark. It’s not an exact replica, because not much would later be visible, but I wanted, as a minimum, “something” inside. A better pilot figure was used, too, and strapped to the new seat with thin strips of adhesive masking tape as seatbelts.

 

Under the wings, the hardpoints were simulated with some bits of styrene and wire as shackles, but left empty Under the stabilizer fin I added a lug(?), made from thin wire, too.

 

The elevons were fixed in place, the seams to the wings filled with white glue in order to conceal the gaps as good as possible. The movable flaps remained, though, adding life to the model. The dolly was also taken more or less OOB, since it fits well. I just improved it with some sinkhole fillings and some other details, including cushions on the float stabilizers, made from paper tissue soaked with thinned white glue, and a towing bar.

  

Painting and markings:

The reason why I settled for an A6M2-N is mostly the weird paint scheme which can be applied, while still being a real world model: a lilac livery!

 

As far as I could find out, the A6M2-Ns initially carried an all-over IJN Grey livery, which was later, in late 1942, modified with dark green upper sides for a better concealment on the ground, and the Hinomaru received white edges for better contrast.

Anyway, during the Aleutian campaign and more or less in between these two major standards, several aircraft must have received a special camouflage with lilac upper surfaces, and this model depicts such a machine, based on various profiles but no color picture as reliable reference.

 

The sources I consulted, as well as pictures of finished A6M2-N models, show a wide variety of shades and paint scheme layouts, though. Upper colors range from pale pink through more or less bright shades of purple to a pale, rusty-reddish brown (maybe primer?), while the undersides show a wide range of greys or even light blue. Some depictions of Aleutian A6M2-Ns as profile or model even show a uniform wraparound scheme! Choice is yours, obviously...

 

Because of the corny information basis, I did my personal interpretation of the subject. I based my livery more or less on a profile by Michele Marsan, published in Aerei Modelismo Anno XII (March 1991). The unit information was taken from there, too – the only source that would provide such a reference.

 

My idea behind the livery and the eventual finish was that the machine once was fully painted in IJN Grey. Then, the violet upper color was added in the field (for whatever reason?), resulting in a slightly shaggy look and with the light grey shining through here and there in areas of higher wear, e. g. at the leading edges, cockpit area and some seams.

 

Painting started with an initial coat of aluminum under the floats, around the cockpit and on the leading edges. Then the undersides and some areas of the upper surfaces were painted with IJN grey. The latter is an individual mix of Humbrol 90 (Beige Green/RAF Sky) and a bit of 155 (Olive Drab, FS 34087). On top of that I added a thin primer layer of mauve (mix of ModelMaster’s Napoleonic Violet and Neutral Grey, Humbrol 176) on the still vacant upper surfaces – both as a preparation for the later weathering treatments (see below).

 

The following, basic lilac tone comes from Humbrol’s long-gone "Authentics" enamel line. The tin is probably 30 years old, but the content is still alive (and still has a distinctive, sour stench…)! I cannot identify the tone anymore with certainty, but I guess that it is 'HJ 4: Mauve N 9', one of the line’s Japanese WWII tones which was later not carried over to the standard tones, still available today.

 

Anyway, the color is a dull, rather greyish violet, relatively dark (a bit like RAF Ocean Grey), and it fits well as a camouflage tone on this specific model. Since there’s no better alternative I could think of except for an individual mix or garish, off-the-rack pop art tones, I went with it.

 

After overall basic painting was done and thoroughly cured, weathering started with a careful wet sand paper treatment, removing the salt grain masks and revealing some of the lower IJN Grey and aluminum layers. While this appears messy, I found that the result looks more realistic than artificial weathering applied as paint effects on top of the basic paint.

 

The engine cowling was painted separately, with a mix of black and a little dark blue. The propeller received an aluminum spinner (Humbrol’s Matt Aluminum Metallizer), while the blades received aluminum front sides (Revell acrylics), and red brown (Humbrol 160) back sides. Two thin, red stripes decorate the propeller tips (Decals, left over from an AZ Model Ki-78, IIRC).

 

As a standard procedure, the kit received a light wash with thinned black ink, revealing the engraved panel lines, plus some post-shading in order to emphasize panels and add visual contrast and ‘drama’.

 

Decals and markings were improvised and come from the spares box, since I did not trust the vintage OOB decals - even though they are in so far nice that the sheet contains any major marking as well as a full set of letter so that an individual tail code could be created. Anyway, the model's real world benchmark did not carry any numeric or letter code, just Hinomaru in standard positions and a horizontal, white-and-red stripe on the fin.

 

The roundels actually belong to a JSDAF F-4EJ, some stencils come from a leftover Hobby Boss A6M sheet. The fin decoration was created with generic decal sheet material (TL Modellbau). Similar stuff was also used for the markings on the central float, as well as for the yellow ID markings on the inner wings' leading edges. I am just not certain whether the real aircraft carried them at all? But they were introduced with the new green upper surfaces in late 1942, so that they appear at least plausible. Another argument in this marking‘s favor is that it simply adds even more color to the model!

 

The cockpit interior was painted in a light khaki tone (a mix of Humbrol 159 and 94), while the flaps' interior was painted with Aodake Iro (an individual mix of acrylic aluminum and translucent teal paint). Lacking good reference material, the beaching trolley became IJA Green, with some good weathering with dry-brushed silver on the edges and traces of rust here and there (the latter created with artist acrylics.

 

Close to the (literal) finish line, some soot and oil stains were added with graphite and Tamiya's 'Smoke', and the kit finally received a coat of matt acrylic varnish (Italeri); to the varnish on the engine cover a bit of gloss varnish was added, for a sheen finish.

  

In the end, quite a challenging build. Not a winner, but …different. Concerning the LS Model kit as such, I must say that - despite its age of more than 50 years now - the A6M2-N model is still a worthwhile offer, if you invest some effort. Sure, there are certainly better 1:72 options available (e. g. the Hasegawa kit, its mould was created in 1995 and should be light years ahead concerning detail and fit. Not certain about the Revell/Frog and Jo-Han alternatives, though), but tackling this simple, vintage kit was fun in itself. And, based on what you get out of the little box, the result is not bad at all!

 

Beyond the technical aspects, I am also pleased with the visual result of the build. At first glance, this antiquity looks pretty convincing. And the disputable, strange lilac tone really makes this A6M2-N model …outstanding. Even though I still wonder what might have been the rationale behind this tone? The only thing I could imagine is a dedicated scheme for missions at dusk/dawn, similar to the pink RAF recce Spitfires in early WWII? It would be plausible, though, since the A6M2-Ns were tasked with nocturnal reconnoitre and ground attack missions.

the time around noon

 

Nikon FE2

Nikon 35mm f/2 AI-s

Rollei Retro 100

self developed (Kodak Hc-110)

  

a day at a time.

Indigenously developed nuclear capable surface to surface ballistic missile Agni-I was successfully test fired off the Odisha coast.

Missile Test: It was conducted as part of training exercise by the Strategic Forces Command of Indian Army. Missile was fired from mobile launcher at launchpad-4... www.sharegk.com/technology/india-successfully-test-fired-...

 

‪#‎gk‬ ‪‪#‎EntranceExam‬ ‪#‎OnlineTest‬ ‪#‎Aptitude‬‬

OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO

 

“ 64M High Res Shot ”

 

Developed by Adobe Photoshop Lightroom CC 2015.7

 

foxfoto.exblog.jp/26389447/

Developed using darktable 3.4.0

developing ideas for a finished piece

developed with Compard Digibase C-41 Kit, DLRS Scan

SO a colour test using the Petri 7s. Lencarta smart flash, via PC cable through diffused beauty dish camera right.

 

Home developed and scanned by me, rangefinder selfiess are a bit tricky!! Manual focus, manual exposure!!

 

Theres some kind of light leak - not sure at which stage this might have happened!