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www.blackpoolgazette.co.uk/news/features/slideshow-crowds...

 

" The crowds gathered hushed in anticipation, lining St Annes Square with sporadically-placed miniature Union Flags fluttering in the slight winter breeze.

 

They were here to welcome the men who had risked life and limb for their country, now safely and thankfully back home.

 

And then, over the crest of The Crescent they came to a rapturous applause - led by the band of the King’s Division.

 

Around 120 men from the Second Battalion of the Duke of Lancaster’s Regiment passed through the town’s streets after attending a service at St Annes Parish Church, with several Fylde coast natives among their ranks. "

 

www.wave965.com/news/local/hundreds-welcome-fylde-soldier...

 

" Wednesday, November 27th 2013 00:00

  

Families and well wishers gathered in St Anne's today to welcome local soldiers a fond return home from Afghanistan.

 

More than 120 servicemen paraded through town today to mark the end of their final tour of Afghanistan before troops are withdrawn next year.

 

Over 400 soliders in the regiment have been working in Helmand Province training the Afghan National Security Forces there. "

  

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There are three Ashfords, really. The modern newtown, Swindonesque newbuilds stretching into the countryside; the Victorian railway town, all neat rows of brick buit houses and the station, and then there is the old town, timber-framed houses along narrow lanes, with St Mary standing towering above all but the modern office blocks.

 

The west end church was given over to a Christmas Fayre, but is also used now as a concert venue, while under the tower westwards is still in use as a church, with many of its ancient features left alone by the Victorians.

 

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

 

A stately church in a good position set away from the hustle and bustle of this cosmopolitan town. The very narrow tower of 1475 is not visually satisfactory when viewed from a distance but its odd proportions are hardly noticed when standing at its base. The church is very much the product of the families who have been associated with it over the centuries and who are commemorated by monuments within. They include the Fogges and the Smythes. The former is supposed to have wanted to create a college of priests here, but by the late fifteenth century such foundations were going out of fashion and the remodelling of the church undertaken by Sir John Fogge may have just been a philanthropic cause. Unusually, when the church was restored in 1860 the architect Ewan Christian kept the galleries (he usually swept them away), but Christ Church had yet to be built and the population of this growing town would have needed all the accommodation it could get. Even in 1851 1000 people had attended the church in a single sitting. The pulpit, designed by Pearson, was made in 1897.

 

www.kentchurches.info/church.asp?p=Ashford+1

 

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

 

THE TOWN AND PARISH OF ASHFORD

LIES the next adjoining to Hothfield eastward. It is called in Domesday both Estefort and Essetesford, and in other antient records, Eshetisford, taking its name from the river, which runs close to it, which, Lambarde says, ought not to be called the Stour, till it has passed this town, but Eshe or Eschet, a name which has been for a great length of time wholly forgotten; this river being known, even from its first rise at Lenham hither, by the name of the Stour only.

 

A small part only of this parish, on the east, south and west sides of it, containing the borough of Henwood, alias Hewit, lying on the eastern or further side of the river from the town, part of which extends into the parish of Wilsborough, and the whole of it within the liberty of the manor of Wye, and the borough of Rudlow, which adjoins to Kingsnoth and Great Chart, are in this hundred of Chart and Longbridge; such part of the borough of Rudlow as lies adjoining to Kingsnoth, is said to lie in in jugo de Beavor, or the yoke of Beavor, and is divided from the town and liberty by the river, near a place called Pollbay; in which yoke there is both a hamlet and a green or common, of the name of Beavor; the remainder of the parish having been long separated from it, and made a distinct liberty, or jurisdiction of itself, having a constable of its own, and distinguished by the name of the liberty of the town of Ashford.

 

ASHFORD, at the time of taking the general survey of Domesday, was part of the possessions of Hugo de Montfort, who had accompanied the Conqueror hither, and was afterwards rewarded with this estate, among many others in different counties; in which record it is thus entered, under the general title of his lands:

 

¶Maigno holds of Hugo (de Montfort) Estefort. Turgisus held it of earl Godwin, and it is taxed at one suling. The arable land is half a carucate. There is nevertheless in demesne one carucate, and two villeins having one carucate. There are two servants, and eight acres of meadow. In the time of king Edward the Confessor, it was worth twenty five shillings; when he received it, twenty shillings; now thirty shilling.

 

The same Hugo holds Essela. Three tenants held it of king Edward, and could go whither they would with their lands. It was taxed at three yokes. The arable land is one carucate and an half. There are now four villeins, with two borderers having one carucate, and six acres of meadow. The whole, in the reign of king Edward the Confessor, was worth twenty shillings, and afterwards fifteen shillings, now twenty shillings.

 

Maigno held another Essetisford of the same Hugo. Wirelm held it of king Edward. It was taxed at one suling. The arable land is four carucates. In demesne there are two, and two villeins, with fifteen borderers having three carucates. There is a church, and a priest, and three servants, and two mills of ten shillings and two pence. In the time of king Edward the Confessor it was worth seventy shillings, and afterwards sixty shillings, now one hundred shillings.

 

Robert de Montfort, grandson of Hugh abovementioned, favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king; by which means this manor came into the hands of the crown. Soon after which it seems to have come into the possession of a family, who took their name from it. William de Asshetesford appears by the register of Horton priory to have been lord of it, and to have been succeeded by another of the same name. After which the family of Criol became owners of it, by whom it was held by knight's service of the king, in capite, by ward to Dover castle, and the repair of a tower in that castle, called the Ashford tower. (fn. 1) Simon de Criol, in the 27th and 28th year of Henry III. obtained a charter of free warren for this manor, whose son William de Criol passed it away to Roger de Leyborne, for Stocton, in Huntingdonshire, and Rumford, in Essex. William de Leyborne his son, in the 7th year of king Edward I. claimed and was allowed the privilege of a market here, before the justices itinerant. He died possessed of this manor in the 3d year of Edward II. leaving his grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his father's life-time, heir both to her grandfather and father's possessions, from the greatness of which she was stiled the Infanta of Kent, (fn. 2) though thrice married, yet she died s. p. by either of her husbands, all of whom she survived, and died in the 41st year of Edward III. Upon which this manor, among the rest of her estates, escheated to the crown, and continued there till king Richard II. vested it, among others, in feoffees, for the performance of certain religious bequests by the will of king Edward III. then lately deceased; and they, in compliance with it, soon afterwards, with the king's licence, purchased this manor, with those of Wall, and Esture, of the crown, towards the endowment of St. Stephen's chapel, in the king's palace of Westminster, all which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 7th year, granted to them a fair in this town yearly, on the feast of St. John Port Latin, together with all liberties, and to have a steward to hold the court of it, &c. In which situation they continued till the 1st year of Edward VI. when this collegiate chapel was, with all its possessions, surrendered into the king's hands, where these manors did not continue long; for that king, in his 3d year, granted the manor of Esshetford, with that of Wall, and the manor of Esture, to Sir Anthony Aucher, of Otterden, to hold in capite; and he, in the 2d and 3d of Philip and Mary, sold them to Sir Andrew Judde, of London, whose daughter and at length heir Alice, afterwards carried them in marriage to Thomas Smith, esq. of Westenhanger, commonly called the Customer, who died possessed of them in 1591, and lies buried in the south cross of this church, having had several sons and daughters, of, whom Sir John Smythe, of Ostenhanger, the eldest, succeeded him here, and was sheriff anno 42 Elizabeth. Sir Thomas Smith, the second son, was of Bidborough and Sutton at Hone, and ambassador to Russia, of whom and his descendants, notice has been taken in the former volumes of this history; (fn. 3) and Henry, the third son, was of Corsham, in Wiltshire, whence this family originally descended, and Sir Richard Smith, the fourth, was of Leeds castle. Sir John Smythe, above-mentioned, died in 1609, and lies buried in the same vault as his father in this church, leaving one son Sir Thomas Smythe, of Westenhanger, K. B. who was in 1628 created Viscount Strangford, of Ireland, whose grandson Philip, viscount Strangford, dying about 1709, Henry Roper, lord Teynham, who had married Catherine his eldest daughter, by his will, became possessed of the manors of Ashford, Wall, and Esture. By her, who died in 1711, he had two sons, Philip and Henry, successively lords Teynham; notwithstanding which, having the uncontrolled power in these manors vested in him, he, on his marriage with Anne, second daughter and coheir of Thomas Lennard, earl of Sussex, and widow of Richard Barrett Lennard, esq. afterwards baroness Dacre, settled them on her and her issue by him in tail male. He died in 1623, and left her surviving, and possessed of these manors for her life. She afterwards married the hon. Robert Moore, and died in 1755. She had by lord Teynham two sons, Charles and Richard-Henry, (fn. 4) Charles Roper, the eldest son, died in 1754 intestate, leaving two sons, Trevor-Charles and Henry, who on their mother's death became entitled to these manors, as coheirs in gavelkind, a recovery having been suffered of them, limiting them after her death to Charles Roper their father, in tail male; but being infants, and there being many incumbrances on these estates, a bill was exhibited in chancery, and an act procured anno 29 George II. for the sale of them; and accordingly these manors were sold, under the direction of that court, in 1765, to the Rev. Francis Hender Foote, of Bishopsborne, who in 1768 parted with the manor of Wall, alias Court at Wall, to John Toke, esq. of Great Chart, whose son Nicholas Roundell Toke, is the present possessor of it; but he died possessed of the manors of Ashford and Esture in 1773, and was succeeded in them by his eldest son John Foote, esq. now of Bishopsborne, the present owner of them. There are several copyhold lands held of the manor of Ashford. A court leet and court baron is regularly held for it.

 

THE TOWN OF ASHFORD stands most pleasant and healthy, on the knoll of a hill, of a gentle ascent on every side, the high road from Hythe to Maidstone passing through it, from which, in the middle of the town, the high road branches off through a pleasant country towards Canterbury. The houses are mostly modern and well-built, and the high-street, which has been lately new paved, is of considerable width. The markethouse stands in the centre of it, and the church and school on the south side of it, the beautiful tower of the former being a conspicuous object to the adjoining country. It is a small, but neat and chearful town, and many of the inhabitants of a genteel rank in life. Near the market place, is the house of the late Dr. Isaac Rutton, a physician of long and extensive practice in these parts, being the eldest son of Matthias Rutton, gent of this town, by Sarah his wife, daughter of Sir N. Toke, of Godinton. He died in 1792, bearing for his arms, Parted per fess, azure, and or, three unicorns heads, couped at the neck, counterchanged; since which, his eldest son, Isaac Rutton, esq. now of Ospringeplace, has sold this house to Mr. John Basil Duckworth, in whom it is now vested. In the midst of it is a large handsome house, built in 1759, by John Mascall, gent. who resided in it, and died possessed of it in 1769, and was buried in Boughton Aluph church, bearing for his arms, Barry of two, or, and azure, three inescutcheons, ermine; and his only son, Robert Mascall, esq. now of Ashford, who married the daughter of Jeremiah Curteis, esq. is the present owner, and resides in it. At the east end of the town is a seat, called Brooke-place, formerly possessed by the family of Woodward, who were always stiled, in antient deeds, gentlemen, and bore for their arms, Argent, a chevron, sable, between three grasshoppers, or; the last of them, Mr. John Woodward, gent. rebuilt this seat, and died possessed of it in 1757; of whose heirs it was purchased by Martha, widow of Moyle Breton, esq. of Kennington, whose two sons, the Rev. Moyle Breton, and Mr. Whitfield Breton, gent. alienated it to Josias Pattenson, esq. the second son of Mr. Josias Pattenson, of Biddenden, by Elizabeth, daughter and coheir of Felix Kadwell, esq. of Rolvenden; he married Mary, daughter of Mr. Henry Dering, gent. of this parish, and widow of Mr. John Mascall above-mentioned, by whom he has no issue, and he is the present owner of this seat, and resides in it. There have been barracks erected lately here, which at present contain 4000 soldiers. The market is held on a Saturday weekly, for the sale of corn, which is now but little used; and a market for the sale of all sorts of fat and lean stock on the first and third Tuesday in every month, which has been of great use to prevent monopolies. Two fairs are annually held now, by the alteration of the stile, on May 17, and Sept. 9, and another on Oct. 24; besides which, there is an annual fair for wool on August 2, not many years since instituted and encouraged by the principal gentry and landholders, which promises to prove of the greatest utility and benefit to the fair sale of it. That branch of the river Stour which rises at Lenham, runs along the southern part of this parish, and having turned a corn mill belonging to the lord of this manor, continues its course close at the east end of the town, where there is a stone bridge of four arches, repaired at the expence of the county, and so on northwards towards Wye and Canterbury. On the south side of the river in this parish, next to Kingsnoth, within the borough of Rudlow, is the yoke of Beavor, with the hamlet and farm of that name, possessed in very early times, as appears by the register of Horton priory, by a family of that name, one of whom, John Beavor, was possessed of it in the reign of Henry II. and was descended from one of the same furname, who attended the Conqueror in his expedition hither. The parish contains about 2000 acres of land, and three hundred and twenty houses, the whole rental of it being 4000l. per annum; the inhabitants are 2000, of which about one hundred are diffenters. The highways throughout it, which not many years ago were exceeding bad, have been by the unanimity of the inhabitants, which has shewn itself remarkable in all their public improvements, a rare instance in parochial undertakings, and by the great attention to the repairs of them, especially in such parts as were near their own houses, are now excellent. The lands round it are much upon a gravelly soil, though towards the east and south there are some rich fertile pastures, intermixed with arable land, and several plantations of hops; but toward the west, the soil is in general sand, having much quarrystone mixed with it, where there is a great deal of coppice wood, quite to Potter's corner, at the boundary of this parish.

 

The church, which is dedicated to St. Mary, is a large handsome building, consisting of three isles, with a transept, and three chancels, with the tower in the middle, which is losty and well proportioned, having four pinnacles at the top of it. There are eight bells in it, a set of chimes, and a clock. In the high chancel, on the north side, is the college John Fogge, the founder of the college here, who died in 1490, and his two wives, the brasses of their figures gone; but part of the inscription remains. And formerly, in Weever's time, there hung up in this chancel six atchievements, of those of this family whose burials had been attended by the heralds at arms, and with other ceremonies suitable to their degrees. Underneath the chancel is a large vault, full of the remains of the family. On the pavement in the middle, is a very antient curious gravestone, having on it the figure in brass of a woman, holding in her left hand a banner, with the arms of Ferrers, Six masctes, three and three, in pale; which, with a small part of the inscription round the edge, is all that is remaining; but there was formerly in brass, in her right hand, another banner, with the arms of Valoyns; over her head those of France and England quarterly; and under her feet a shield, being a cross, impaling three chevronels, the whole within a bordure, guttee de sang, and round the edge this inscription, Ici gift Elizabeth Comite D' athels la file sign de Ferrers . . . dieu asoil, qe morust le 22 jour d'octob. can de grace MCCCLXXV. Weever says, she was wife to David de Strabolgie, the fourth of that name, earl of Athol, in Scotland, and daughter of Henry, lord Ferrers, of Groby; and being secondly married to John Malmayns, of this county, died here in this town. Though by a pedigree of the family of Brograve, she is said to marry T. Fogge, esq. of Ashford; if so, he might perhaps have been her third husband. Near her is a memorial for William Whitfield, gent. obt. 1739. The north chancel belonged to Repton manor. In the vault underneath lay three of the family of Tuston, sometime since removed to Rainham, and it has been granted to the Husseys; Thomas Hussey, esq. of this town, died in 1779, and was buried in it. In the south chancel are memorials for the Pattensons, Whitfields, and Apsleys, of this place; and one for Henry Dering, gent. of Shelve, obt. 1752, and Hester his wife; arms, A saltier, a crescent for difference, impaling, on a chevron, between three persons, three crosses, formee; and another memorial for Thomasine, wife of John Handfield, obt. 1704. In the north cross are several antient stones, their brasses all gone, excepting a shield, with the arms of Fogge on one. At the end is a monument for John Norwood, gent. and Mary his wife, of this town, who lie with their children in the vault underneath. The south cross is parted off lengthways, for the family of Smith, lords of Ashford manor, who lie in a vault underneath. In it are three superb monuments, which, not many years since, were beautified and restored to their original state, by the late chief baron Smythe, a descendant of this family. One is for Thomas Smith, esq. of Westenhanger, in 1591; the second for Sir John Smythe, of Ostenhanger, his son, and Elizabeth his wife; and the third for Sir Richard Smyth, of Leeds castle, in 1628: all which have been already mentioned before. Their figures, at full length and proportion, are lying on, each of them, with their several coats of arms and quarterings blazoned. In the other part of this cross, is a memorial for Baptist Pigott, A. M. son of Baptist Pigott, of Dartford, and schoolmaster here, obt. 1657, and at the end of it, is the archbishop's consistory court. In the south isle is a memorial for Thomas Curteis, gent. obt. 1718, and Elizabeth his wife; arms, Curteis impaling Carter. Under the tower is one for Samuel Warren, vicar here forty-eight years, obt. 1720. The three isles were new pewed and handsomely paved in 1745. There are five galleries, and an handsome branch for candles in the middled isle; the whole kept in an excellent state of repair and neatness. There was formerly much curtious painted glass in the windows, particularly the figures of one of the family of Valoyns, his two wives and children, with their arms. In the south window of the cross isle, and in other windows, the figures, kneeling, of king Edward III. the black prince, Richard, duke of Gloucester, the lord Hastings. Sir William Haute, the lord Scales, Richard, earl Rivers, and the dutchess of Bedford his wife, Sir John Fogge, Sir John Peche, Richard Horne, Roger Manstone, and—Guildford, most of which were in the great west window, each habited in their surcoats of arms, not the least traces of which, or of any other coloured glass, are remaining throughout this church. Sir John Goldstone, parson of Ivechurch, as appears by his will in 1503, was buried in the choir of this church, and gave several costly ornaments and vestments for the use of it.

 

www.british-history.ac.uk/survey-kent/vol7/pp526-545

  

McKinney dorm hallway view.

Pemberton main staircase view.

The Huntress Fountain features a bronze figure of Diana the goddess of hunting shooting an arrow. The fountain was installed in 1906 and made by Countess Feodora Gleichen the first woman member of the Royal Society of British Sculptors. The Rose Garden Hyde Park London established by Henry VIII in 1536

Some background:

Simple, efficient and reliable, the Regult (リガード, Rigādo) was the standard mass production mecha of the Zentraedi forces. Produced by Esbeliben at the 4.432.369th Zentraedi Fully Automated Weaponry Development and Production Factory Satellite in staggering numbers to fill the need for an all-purpose mecha, this battle pod accommodated a single Zentraedi soldier in a compact cockpit and was capable of operating in space or on a planet's surface. The Regult saw much use during Space War I in repeated engagements against the forces of the SDF-1 Macross and the U.N. Spacy, but its lack of versatility against superior mecha often resulted in average effectiveness and heavy losses. The vehicle was regarded as expendable and was therefore cheap, simple, but also very effective when fielded in large numbers. Possessing minimal defensive features, the Regult was a simple weapon that performed best in large numbers and when supported by other mecha such as Gnerl Fighter Pods. Total production is said to have exceeded 300 million in total.

 

The cockpit could be accesses through a hatch on the back of the Regult’s body, which was, however, extremely cramped, with poor habitability and means of survival. The giant Zentraedi that operated it often found themselves crouching, with some complaining that "It would have been easier had they just walked on their own feet". Many parts of the craft relied on being operated on manually, which increased the fatigue of the pilot. On the other hand, the overall structure was extremely simple, with relatively few failures, making operational rate high.

 

In space, the Regult made use of two booster engines and numerous vernier thrusters to propel itself at very high speeds, capable of engaging and maintaining pace with the U.N. Spacy's VF-1 Valkyrie variable fighter. Within an atmosphere, the Regult was largely limited to ground combat but retained high speed and maneuverability. On land, the Regult was surprisingly fast and agile, too, capable of closing with the VF-1 variable fighter in GERWALK flight (though likely unable to maintain pace at full GERWALK velocity). The Regult was not confined to land operations, though, it was also capable of operating underwater for extended periods of time. Thanks to its boosters, the Regult was capable of high leaping that allowed the pod to cover long distances, surprise enemies and even engage low-flying aircraft.

 

Armed with a variety of direct-fire energy weapons and anti-personnel/anti-aircraft guns, the Regult offered considerable firepower and was capable of engaging both air and ground units. It was also able to deliver powerful kicks. The armor of the body shell wasn't very strong, though, and could easily be penetrated by a Valkyrie's 55 mm Gatling gun pod. Even bare fist attacks of a VF-1 could crack the Regult’s cockpit or immobilize it. The U.N. Spacy’s MBR-07 Destroid Spartan was, after initial battel experience with the Regult, specifically designed to engage the Zentraedi forces’ primary infantry weapon in close-combat.

 

The Regult was, despite general shortcomings, a highly successful design and it became the basis for a wide range of specialized versions, including advanced battle pods for commanders, heavy infantry weapon carriers and reconnaissance/command vehicles. The latter included the Regult Tactical Scout (リガード偵察型). manufactured by electronics specialist Ectromelia. The Tactical Scout variant was a deadly addition to the Zentraedi Regult mecha troops. Removing all weaponry, the Tactical Scout was equipped with many additional sensor clusters and long-range detection equipment. Always found operating among other Regult mecha or supporting Glaug command pods, the Scout was capable of early warning enemy detection as well as ECM/ECCM roles (Electronic Countermeasures/Electronic Counter-Countermeasures). In Space War I, the Tactical Scout was utilized to devastating effect, often providing radar jamming, communication relay and superior tactical positioning for the many Zentraedi mecha forces.

 

At the end of Space War I in January 2012, production of the Regult for potential Earth defensive combat continued when the seizure operation of the Factory Satellite was executed. After the war, Regults were used by both U.N. Spacy and Zentraedi insurgents. Many surviving units were incorporated into the New U.N. Forces and given new model numbers. The normal Regult became the “Zentraedi Battle Pod” ZBP-104 (often just called “Type 104”) and was, for example, used by Al-Shahal's New U.N. Army's Zentraedi garrison. The related ZBP-106 was a modernized version for Zentraedi commanders, with built-in boosters, additional Queadluun-Rhea arms and extra armaments. These primarily replaced the Glaug battle pod, of which only a handful had survived. By 2067, Regult pods of all variants were still in operation among mixed human/Zentraedi units.

  

General characteristics:

Accommodation: pilot only, in standard cockpit in main body

Overall Height: 18.2 meters

Overall Length: 7.6 meters

Overall Width: 12.6 meters

Max Weight: 39.8 metric tons

 

Powerplant & propulsion:

1x 1.3 GGV class Ectromelia thermonuclear reaction furnace,

driving 2x main booster Thrusters and 12x vernier thrusters

 

Performance:

unknown

 

Armament:

None

 

Special Equipment and Features:

Standard all-frequency radar antenna

Standard laser long-range sensor

Ectromelia infrared, visible light and ultraviolet frequency sensor cluster

ECM/ECCM suite

  

The kit and its assembly:

I had this kit stashed away for a couple of years, together with a bunch of other 1:100 Zentraedi pods of all kinds and the plan to build a full platoon one day – but this has naturally not happened so far and the kits were and are still waiting. The “Reconnaissance & Surveillance” group build at whatifmodellers.com in August 2021 was a good occasion and motivation to tackle the Tactical Scout model from the pile, though, as it perfectly fits the GB’s theme and also adds an exotic science fiction/anime twist to the submissions.

 

The kit is an original ARII boxing from 1983, AFAIK the only edition of this model. One might expect this kit to be a variation of the 1982 standard Regult (sometimes spelled “Reguld”) kit with extra parts, but that’s not the case – it is a new mold with different parts and technical solutions, and it offers optional parts for the standard Regult pod as well as the two missile carrier versions that were published at the same time, too. The Tactical Scout uses the same basis, but it comes with parts exclusive for this variant (hull and a sprue with the many antennae and sensors).

 

I remembered from a former ARII Regult build in the late Eighties that the legs were a wobbly affair. Careful sprue inspection revealed, however, that this second generation comes with some sensible detail changes, e. g. the feet, which originally consisted of separate toe and heel sections (and these were hollow from behind/below!). To my biggest surprise the knees – a notorious weak spot of the 1st generation Regult kit – were not only held by small and flimsy vinyl caps anymore: These were replaced with much bigger vinyl rings, fitted into sturdy single-piece enclosures made from a tough styrene which can even be tuned with small metal screws(!), which are included in the kit. Interesting!

 

But the joy is still limited: even though the mold is newer, fit is mediocre at best, PSR is necessary on every seam. However, the good news is that the kit does not fight with you. The whole thing was mostly built OOB, because at 1:100 there's little that makes sense to add to the surface, and the kit comes with anything you'd expect on a Regult Scout pod. I just added some lenses and small stuff behind the large "eye", which is (also to my surprise) a clear part. The stuff might only appear in schemes on the finished model, but that's better than leaving the area blank.

 

Otherwise, the model was built in sub-sections for easier painting and handling, to be assembled in a final step – made possible by the kit’s design which avoids the early mecha kit’s “onion layer” construction, except for the feet. This is the only area that requires some extra effort, and which is also a bit tricky to assemble.

 

However, while the knees appear to be a robust construction, the kit showed some material weakness: while handling the leg assembly, one leg suddenly came off under the knees - turned out that the locator that holds the knee joint above (which I expected to be the weak point) completely broke off of the lower leg! Weird damage. I tried to glue the leg into place, but this did not work, and so I inserted a replacement for the broken. This eventually worked.

  

Painting and markings:

Colorful, but pretty standard and with the attempt to be authentic. However, information concerning the Regults’ paint scheme is somewhat inconsistent. I decided to use a more complex interpretation of the standard blue/grey Regult scheme, with a lighter “face shield” and some other details that make the mecha look more interesting. I used the box art and some screenshots from the Macross TV series as reference; the Tactical Scout pod already appears in episode #2 for the first time, and there are some good views at it, even though the anime version is highly simplified.

 

Humbrol enamels were used, including 48 (Mediterranean Blue), 196 (RAL 7035, instead of pure white), 40 (Pale Grey) and 27 (Sea Grey). The many optics were created with clear acrylics over a silver base, and the large frontal “eye” is a piece of clear plastic with a coat of clear turquoise paint, too.

 

The model received a black ink washing to emphasize details, engraved panel lines and recesses, as well as some light post-shading through dry-brushing. Some surface details were created with decal stripes, e. g. on the upper legs, or with a black fineliner, and some color highlights were distributed all over the hull, e. g. the yellowish-beige tips of the wide antenna or the bright blue panels on the upper legs.

 

The decals were taken OOB, and thanks to a translation chart I was able to decipher some of the markings which I’d interpret as a serial number and a unit code – but who knows?

 

Finally, the kit received an overall coat of matt acrylic varnish and some weathering/dust traces around the feet with simple watercolors – more would IMHO look out of place, due to the mecha’s sheer size in real life and the fact that the Regult has to be considered a disposable item. Either it’s brand new and shiny, or busted, there’s probably little in between that justifies serious weathering which better suits the tank-like Destroids.

  

A “normal” build, even though the model and the topic are exotic enough. This 2nd generation Regult kit went together easier than expected, even though it has its weak points, too. However, material ageing turned out to be the biggest challenge (after all, the kit is almost 40 years old!), but all problems could be overcome and the resulting model looks decent – and it has this certain Eighties flavor! :D

 

TOKYO, JAPAN - JUNE 09: Timofey "Chronicle" Khromov (L) and Nikita "Derke" Sirmitev of Fnatic at VALORANT Masters Tokyo Features Day on June 9, 2023 in Tokyo, Japan. (Photo by Lee Aiksoon/Riot Games)

By Air Force Staff Sgt. Brian Kimball

DoD News Specials and Features, Defense Media Activity

 

BAUMHOLDER, Germany, Sept. 11, 2014 – When it comes to healthy food, not everyone enjoys eating it, but we know it is good for us.

And as many military dorm and barracks residents know, it can be difficult to eat healthy, maintain fitness standards and still fulfill day-to-day military obligations.

 

Limited kitchen space, minimal access to fresh foods and a lack of cooking knowledge are just a few of the setbacks that most first-term dorm residents face.

 

Army Spc. Katarus Moore, a petroleum specialist here, knows what it is like to face this issue and has developed a way to teach others how to “cook fresh with less.”

 

Moore grew up in Dallas, learning his culinary arts from his great-grandmother and attending cooking classes in high school. He has spent his entire Army career living in the barracks, perfecting his cooking methods with minimal kitchen space and limited items.

 

This summer, Moore and other members of the Baumholder Warrior Zone have harvested a fully organic garden full of fresh fruits and vegetables for military members to use in a cooking class he teaches that focuses on cooking enjoyable, healthy meals with limited kitchen utilities.

 

“I have been wanting to help teach dorm residents healthy eating habits, as well as how to cook with their small dorm kitchen spaces,” he said. “Also, people kept coming to me with cooking questions, and our garden had just ripened with fully organic fruits and vegetables, so I thought, ‘Now it’s my chance to teach.’”

 

Features: Female Firefighters

Interview: Garth Brooks

Centerfold: Elan Carter

PMOY Jenny McCarthy

 

Excellent Condition w/slight wear

ATLANTA, GEORGIA - OCTOBER 26: Lou "Missing" Yunfeng (L) and Wang "Hope" Jie of JD Gaming pose at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)

Story by Army.Mil Features.

 

Sgt. 1st Class Leroy Arthur Petry is currently assigned to Headquarters and Headquarters Company, 75th Ranger Regiment at Fort Benning, Ga. with duties as a liaison officer for the United States Special Operations Command Care Coalition—Northwest Region, providing oversight to wounded warriors, ill and injured service members and their families.

 

He was born in 1979 in New Mexico.

 

After graduating from Saint Catherine’s Indian High School in May 1998, Petry spent the next year working with his father and grandfather at Pecos Public Transportation working in the maintenance department and making signs at AI Signs.

 

In September 1999, Petry enlisted in the United States Army from his hometown in New Mexico, something he wanted to do since he was 7-years-old. Petry then volunteered for the 75th Ranger Regiment because of its reputable history.

 

After completion of One Station Unit Training, the Basic Airborne Course and the Ranger Assessment and Selection Program – all at Fort Benning – Petry was assigned to 2nd Battalion, 75th Ranger Regiment. He served as a grenadier, squad automatic rifleman, fire team leader, squad leader, operations sergeant and a weapons squad leader.

 

He has deployed eight times in support of overseas contingency operations with two tours to Iraq and six tours to Afghanistan.

 

At the time of the May 26, 2008 combat engagement, Petry was a Staff Sergeant Squad Leader assigned to Co. D, 2nd Bn., 75th Ranger Regiment at Joint Base Lewis-McChord, Wash.

 

Petry plans to retire from the Army after many more years of service. Petry enjoys serving in the Army, and has a great opportunity to work with the care coalition; in his words, "If I can’t go to the fight, I can help the men who are wounded, injured or ill."

 

His military education includes the Basic Airborne Course, Combat Life Saver Course, U.S. Army Ranger Course, Warrior Leader Course, Jumpmaster Course, Advanced Leader Course, Senior Leader Course and Combatives Level One Course.

 

His awards and decorations include the Ranger Tab, the Combat Infantryman’s Badge, Expert Infantryman’s Badge, Senior Parachutist Badge, the Parachutist Badge and Canadian Jump Wings.

 

He has also been awarded two Bronze Star Medals, a Purple Heart, three Army Commendation Medals, two Army Achievement Medals, Valorous Unit Award, three Army Good Conduct Medals, National Defense Service Medal, Afghanistan Campaign Medal with Combat Star, Iraq Campaign Medal with Combat Star, Global War on Terrorism Expeditionary Medal, Global War on Terrorism Service Medal, Non-commissioned Officer Professional Development Ribbon with numeral 3, Overseas Service Ribbon and the Army Service Ribbon.

 

Petry and his wife have four children. His father lives in Pecos, N.M., and his mother lives in Bernalillo, N.M. Petry has four brothers and when he is not spending time with his family, he enjoys golf, pheasant hunting and fishing. He is currently attending Pierce College at Joint Base Lewis-McChord, Wash., with plans for a Bachelor of Science degree in business management.

   

REYKJAVIK, ICELAND - APRIL 8: Elias "Jamppi" Olkkonen of Team Liquid poses for the VALORANT Masters Features Day on April 8, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

The Metropolitan Life Insurance Company tower, designed by Pierre L. LeBrun of Napoleon LeBrun & Sons, is a major and memorable evocation of the world-famous campanile in Venice's Saint Mark's Square. Built in 1907-09, the Metropolitan Life tower was for a time, the tallest building in the world. It is also the final and crowning work of a firm, father and sons, whose combined production spanned almost seventy years of American architecture.

 

The tower was extensively renovated (1960-64) by Lloyd Morgan & Eugene V. Meroni, Architects, successors to Leonard Schultze & Associates, who retained the tower's major features — monumental clock faces, setback arcade, pyramidal spire, cupola, chime and lantern — as well as its original entasis. The tower's site, opposite historic Madison Square Park at 24th Street, is one of the finest settings in the city. For the past eighty years the tower has been both a significant silhouette on the Manhattan skyline and a corporate symbol; the lantern at its top has been called "The light that never fails."

 

Madison Square Park - a brief history

 

Few buildings in New York enjoy the spacious and verdant setting Madison Square Park provides the Metropolitan Life Insurance Company home office complex and tower. The park itself had been included by the Street Commissioners in their 1811 Map of Manhattan nearly 180 years ago. Then the park was a reserve of almost 239 acres; it was not pared down to its present seven acres until 1844. Even as the park's size diminished, its historical significance increased; decades before the architecture of commerce came to dominate its borders, Madison Square possessed a rich civic, military, social and cultural history.

 

With the onset of the War of 1812, President James Madison mobilized troops and the site, a temporary home to upstate volunteers, became "Camp Madison," a likely source for the square's name. Today only commemorative monuments remain, echos of American military victories. The Fifth Avenue Hotel, a Republican Party stronghold, opened in 1858 and the park opposite became a pantheon of the party's most revered public servants from New York; with bronze statues of Secretary William H. Seward, Senator Roscoe Conkling, and President Chester A. Arthur.2 To the east, Madison Avenue, insulated by the park, became a fashionable residential enclave.

 

On the corner of 24th Street was the Madison Square Presbyterian Church (1854). From its pulpit the Reverend Dr. Charles H. Parkhurst marshaled the moral indignation that ended Boss Tweed's domination of municipal government.

 

In the 1880s and 1890s the Madison Square area became a theatrical center. Steele McKay built the Madison Square Theatre in 1880 and the Lyceum Theatre in 1885. In 1890 McKim, Mead & White's famous Madison Square Garden (demolished in 1924) opened at the northeast corner of Madison and East 26th Street on the site where P.T. Barnum formerly had his Monster Classical & Geological Hippodrome, and Gilmore's Garden had sheltered boxing demonstrations and the annual National Horseshow.

 

In the same year Joseph F. Knapp, the president of the Metropolitan Life Insurance Company, initiated the first of many property acquisitions the company would make on Madison Square when the houses on the Square's east side were purchased. With the exception of Dr. Parkhurst's church, the whole block front was demolished to build the company's new headquarters, an eleven-story office building faced with Tuckahoe marble, designed by Napoleon LeBrun & Sons. Considered in retrospect, it was the entertainment industry's encroachment that prompted residents to move further uptown, but it was the Metropolitan Life Insurance Company's new and solid presence which re-stabilized Madison Square's eastern border. In 1896 the State of New York erected the marble courthouse for the Appellate Division of the State Supreme Court (James Brown Lord, architect), a designated New York City Landmark, on the northeast corner of Madison and 25th Street. Knapp's vision of the square prepared the site for the next chapter in its history, the growth of corporate giants.

 

History of Metropolitan Life

 

Metropolitan Life began as the National Union Life & Limb Insurance Company in 1863, but was split into two separate companies, the National Life Insurance Company and the National Travellers Insurance Company, in 1866. In 1868 the company's charter and its name were changed to Metropolitan Life Insurance Company.4 At this time the life insurance industry in this country was already dominated by several well-established companies. The agency system was well-developed and the principal policy plans of today — straight life, endowment, annuity and term insurance — were already in use.

 

Metropolitan Life's first president, Dr. John Richardson Dow, who served from 1866 until his death in 1870, was a retired physician of ample means. Like Dow, the majority of the stockholders and directors were Brooklyn residents, well known to one another. Metropolitan Life was first located in offices at 243 Broadway. In 1870 the company moved to 319 Broadway. It was at this time that the Hildise Bund, a sizeable society of German-speaking wage earners organized about 1870, approached Metropolitan Life seeking coverage for its membership. The Bund collected weekly premiums from its members and transmitted them quarterly to Metropolitan Life. It was this German business which pulled Metropolitan Life through the Panic of 1873.

 

Joseph Fairchild Knapp, Metropolitan Life's second president from 1871 until his death in 1891, had formerly been a principal in the Major & Knapp Engraving, Manufacturing and Lithographing Company. Metropolitan Life's growth required more space and in 1876 the company leased the five-story Wilson B. Hunt building at the corner of Park Place and Church Street (now demolished). In 1879 Knapp initiated Industrial insurance, an area previously ignored in the United States. Industrial insurance had been introduced by the Prudential Assurance Company of London; Knapp was so impressed with Prudential's succesp that he imported English agents to train Metropolitan Life's employees.

 

Metropolitan Life and its Home Offices

 

As well as mastering the insurance business, Knapp appears to have understood the value of architectural imagery. Knapp must have been aware of the new Second Empire style Equitable Life Building (1868-70) on Broadway. Knapp commissioned the architectural firm of Napoleon LeBrun & Son to undertake the renovation of Metropolitan Life's new home on Park Place. LeBrun had demonstrated his skill in this fashionable commercial style already. In 1870 LeBrun won the Masonic Lodge competition with his solid Second Empire design. LeBrun brought the two simple Italianate elevations of the Wilson B. Hunt building up to date.

 

By re-organizing the ground floor and adding a two-story pavilioned mansard, he established the strong symmetry characteristic of this style. This commission was the first of many that Metropolitan Life awarded to the LeBruns. In 1890 Metropolitan Life purchased the site at 1 Madison Avenue, then so far uptown that no office building had yet been constructed there. Knapp turned again to the LeBrun firm. This eleven-story office block contained a delicately carved program of Italian Renaissance motifs which enriched the reveals and spandrels of windcws and doorways.7 This new building, on its corner site opposite Madison Square Park, did much to establish Metropolitan Life in the eyes and the mind of the public.

 

John Rogers Hegeman, Metropolitan Life's third president from 1891 until his death in 1919, was an even more avid builder than his predecessor Joseph Knapp. He, too, recognized the value of an impressive home office. During his tenure, the company expanded its complex to the whole block, building the great tower, and initiating its incursion to the adjacent block to the north. In 1894 lots on the south side of East 24th Street, immediately behind the Presbyterian church and tangent to the new home office building, were purchased and subsequently so were lots along East 23rd Street.

 

A twelve-story addition was constructed on 24th Street. By 1902 the company owned the Lyceum Theatre site and was purchasing the northeast corner of the block. In 1904-05 the new buildings, all from plans prepared by the LeBrun firm, completed the block; except for the northwest corner where the church stood.

 

Finally, on April 5, 1906, the church site was secured. Dr. Parkhurst had objected to selling, but when Metropolitan Life offered him the more spacious site just across East 24th Street as well, he and his Session accepted. The old church was razed and Metropolitan Life's 700 foot tower was begun, the tallest building in the world, and the LaBruns' final, crowning achievement.

 

By 1909 all eight of these buildings (the tower included) — all of Block 853 — were complete (Plate 3). Their exterior elevations, adaptations of the building commissioned by Knapp (1890), presented broad, unified eleven- and twelve-story facades along Madison and Park Avenues and 23rd and 24th Streets. While these buildings were linked by a major corridor running east and west from avenue to avenue and minor north-south corridors to both streets, each building had its own elevator shafts. At least six courts — generous light wells — brought light and air to the interior spaces of this block-size warren. As work spaces expanded, the thick party walls may have become obstructions. By the mid-1920s a more centralized structure was needed to house the increasing divisions of a large corporation the size of Metropolitan Life.

 

Begun in 1952, Morgan & Meroni's reconstruction of the home office complex, or south building as it is now called, and the tower, took place in three stages: the northeastern portion — an angled northwest to southeast diagonal dividing the block, from the tower to the corner of Park Avenue and 23rd Street, for the most part following the system of internal light courts; the southwestern portion; and the tower. Business continued in the old spaces before demolition and in the new as they became accessible. The new home office is a fourteen-story, skeletal steel structure with generous setbacks, faced with ashlar limestone. Though conservative in its conception, stylistically Lloyd Morgan's design draws upon aspects of the Moderne — the symmetry of both the building's mass and its window bays and entrances — as well as upon the tenets of the International Style. (This building is not included within this designation.)

 

The Architects

 

Two architectural firms are responsible for the appearance of the Metropolitan Life tower today: Napoleon LeBrun & Sons and Lloyd Morgan & Eugene V. Meroni, Architects. The LeBrun firm served as architects to the Metropolitan Life Insurance Company from 1876 until 1909. Morgan & Meroni received the commission to reconstruct the whole of the original home office complex and to "modernize" the tower in the early 1950s.

 

Pierre Lassus LeBrun (1846-1924) has not received the attention that he is due, perhaps in part, because the name of the firm, Napoleon LeBrun & Sons, made him, and later his brother Michel, all but anonymous. Little is known of Pierre's formal architectural education. Apparently he was imbued with his father's classical preferences. Napoleon Eugene Charles LeBrun (1821-1901) was born to French emigrant parents in Philadelphia. At fifteen years of age he was placed in the office of classicist Thomas Ustick Walter (1804-1887), where he remained for six years. LeBrun began his own practice in 1841 in Philadelphia but moved to New York in 1864 where the choice in 1870 of his Second Empire style Masonic Temple competition submission did much to establish his reputation.

 

In the same year his son Pierre joined him and the firm became Napoleon LeBrun & Son. Like his father, Pierre LeBrun was not so much an innovator as he was an adherent to a stylistic consistency at a time of stylistic transition and flux. With but few exceptions this preference was demonstrated in the work of both generations. Father and sons were active members of the new American Institute of Architects.

 

The firm's work can be divided into two periods, an early one spanning the 1870s into the mid-80s and a later one from the later 1880s until the firm's dissolution in 1909. The earlier is robust. The later work was significantly different. Building elevations became more planar; walls were no longer load bearing. Design of ornament relied solely upon historic prototypes. The first Metropolitan Life building was an example of a new building type given stylistic character through the application of ornament, as is LeBrun's still-extant Home Insurance Company (1893-94) facade on Broadway above Murray Street. This conventional, tall office building is enhanced by the Renaissance style triumphal arch motif applied to its first three stories. The tall, pyramidal copper roof is fronted by a three-story dormer, intelligently crafted from some study storage collection of Renaissance motifs.

 

While little is known of Pierre LeBrun's architectural education, his three trips abroad in the service of the Willard Architectural Commission are documented. Levi Hale Willard, a wealthy businessman, died in 1883 leaving to the newly founded Metropolitan Museum of Art $100,000 toward the creation of a collection of models and casts illustrative of the art and science of architecture, to be made under the direction of a commission chosen by the New York Chapter of the American Institute of Architects. In his will Willard nominated Napoleon LeBrun as president of the Commission; Willard, a friend, had often discussed with LeBrun the need to cultivate a popular taste for architecture. Pierre LeBrun was appointed the Commission's purchasing agent. The younger LeBrun visited the significant sites and met with the suppliers of casts in Paris, Munich and Rome.

 

The historical accuracy characterizing the ornament of the LeBruns' later work appears to have been inspired by the Willard Collection.9 Surely, Pierre LeBrun was the partner responsible for the firm's designs in the later phase. Filial duty and affection prompted Pierre and his brother Michel to maintain the firm's name as their father had proudly amended it, first in 1870 and again in 1892. Only someone of Pierre's generation could readily understand the requirements of tall building design; only someone with the historical knowledge gained in acquiring the Willard bequest could know how to appropriately integrate historic detail with a new building type. There is every reason to attribute the designs for these later buildings — and certainly that of the Metropolitan Life Tower — to Pierre L. LeBrun.

 

In a 1914 history of the company there is a chapter on architecture, and the architecture of the tower in particular. It is written with such authority that the reader may assume that the anonymous author is Pierre LeBrun himself.10 He indicates that the resolution of a skyscraper style depends upon the utilization and reshaping of the elements of past styles. Size, he points out, is the only departure from precedent. To justify the propriety of his tower design he presents two comparisons, a brief survey of the proportions of height to width of towers, his and earlier monuments, and a second historic survey of the proportions of the height of tcwers to the mass of adjacent structures.

 

The architects responsible for the Metropolitan Life tower renovation in 1960-64 are Lloyd Morgan and Eugene V. Meroni, formerly of Leonard Schultze & Associates. The tower work — the architects called it a "modernization" — was but a P&rt of the complete rebuilding of the home office which commenced in 1951.

 

Lloyd Morgan (1892-1970) graduated from the Pratt Institute in 1911 and pursued subsequent study at the University of Pennsylvania and the Massachusetts Institute of Technology. He was awarded the Paris Prize in 1921 and spent the next five years in Europe, studying for a time at the Ecole des Beaux-Arts. In 1926 Morgan joined the firm of Schultze & Weaver which specialized in the design of hotel and office buildings and was made a partner three years later. Outside the office he served as an acting professor of architecture at Yale and New York University and conducted his own classes — the Atelier Morgan — for students who could not afford to attend architectural school. Upon S.F. Weaver's death in 1940, the firm became Leonard Schultze & Associates.

 

Morgan is credited with designing some of the firm's best known buildings: the Waldorf-Astoria, the Barbizon Plaza and the Pierre Hotel in New York? the Miami Biltmore and the Roney Plaza in Miami Beach. Morgan also designed suburban housing projects, Parklabrea in Los Angeles, Parkmerced in San Francisco, and Parkfairfax near Washington, D.C., all for Metropolitan Life. Eugene V. Meroni graduated from the Mechanics' and Tradesmen's Institute and trained at the Beaux-Arts Institute of Design.1 It seems Morgan was the partner responsible for the design of Metropolitan Life. At Schultze's death in 1951, the firm became Lloyd Morgan & Eugene V. Meroni, Architects.

 

Building Design

 

John Rogers Hegeman, Metropolitan Life's third president, is generally credited with conceiving the idea of the tower; different versions of his inspirations are recorded and to each a possible date and different set of circumstances can be attached. (Behind them all stands the remembered silhouette of the tall steeple of the Presbyterian Church, sharply rising against the sky, a sharp vertical at 24th Street.) The first version is based upon a composite image attributed to Hegeman himself. Sometime after the Home Life Insurance Building (1893-94) was finished, Hegeman clipped an illustration of its facade and juxtaposed it to the left of an illustration of the new home office, a hint to his architects of what he had in mind.

 

In the second version, a published description of the tower as it neared completion, it is indicated that a "tower or campanile" had been part of the original plan for this corner. Though it appears that a tower was not on Joseph Knapp's immediate building agenda, a tower became an important component of Hegeman's. The company's aggressive campaign to acquire the remainder of the block, after its initial base was secure, is we 11-documented. But at what stage of the home office's enlargement a tower was projected, or even what form it was to assume, is not.

 

In his dedicatory remarks in 1909, John Hegeman described the tower as a symbol of integrity.17 Only four years earlier he had endured the inquiries conducted by New York State's Armstrong Committee concerning unethical practices in the insurance industry. Although Metropolitan Life was cleared, Hegeman was indicted, though subsequently exonerated.18 Might he not have seen his tower — the tallest in the world — as a symbol of vindication, both corporate and personal?

 

According to the final version, the great sixteenth-century campanile in Venice's Piazza San Marco, a landmark much beloved by Hegeman, was the prototype of the Metropolitan Life tower.19 The Venetian campanile made global headlines shortly after 9:50 A.M., July 2, 1902, when it collapsed, crushing Jacopo Sansovino's Loggetta. Despite opinions to the contrary,20 the Venetians rebuilt it; work did not begin until the end of 1908 almost three years after the Metropolitan Life tower was begun. While it is true that the campanile form had been considered as an appropriate expression for the tall office building, it was LeBrun who realized it first. But the news from Venice — the loss of one of that city's most familiar features — produced a great swell of public sentiment. An evocation of the fallen tower, anchored to Manhattan's bedrock, would be understandable. Perhaps, then, it was in the summer of 1902 that the projected Metropolitan Life tower in the form of the great Venetian campanile was conceived in the minds of the company president and his architect.

 

The Metropolitan Life Tower - Original Design

 

The Metropolitan Life tower's fifty-story height, articulated as base, shaft and capital - though surmounted with the setback and pyramidal spire of its prototype, and the cupola and lantern - was distinguished by its classical proportions and defined by historical ornamental detail — a reference to Sansovino's Loggetta distinguished the second and third stories (Plate 1). Pierre LeBrun likened the proportions of his tower to those of a Doric column; he had designed the shaft with an entasis — one foot, six inches on the short axis and two feet on the long axis — which the engineers, Purdy & Henderson, duly translated to the steel frame. The tower's elevations were nearly identical and completely faced with White Tuckahoe marble. A concentration of ornamental detail was reserved for the shaft's principal feature, the four great clock faces.

 

Purdy & Henderson designed the tower's footing and skeletal frame, which is anchored to bed rock at depths varying between twenty-eight and forty-six feet below the curb. Although it was not structurally innovative, the tower attracted attention because it was to be the tallest building in the world.26 The fireproofing of the tower's structure was considered an advance in 1909. Rather than heavy brick, or lighter terra cotta, all of the steel members — columns, girders, girths and windbracing — were encased in concrete carefully packed within wooden forms to eliminate air spaces.27 The tower was the crowning commission of Pierre LeBrun's professional career; he was able to apply his historic erudition to this most challenging of new building types.

 

The Metropolitan Life Tower- Renovation

 

Though planned in 1951-52, Morgan & Meroni's renovation of the Metropolitan Life tower did not begin until i960 and was not complete until 1964. For a second time the design of the Metropolitan Life tower was brought into harmony with an adjacent home office building.

 

Morgan's task was twofold: duplicate the new building's limestone cladding on portions of the tower's surface, and translate its planar character to the tower's four elevations. In the effort to reconcile the tower to the new home office, Morgan removed much of Pierre LeBrun's architectural detail; he chose the areas where ornament had been most concentrated —the base, the shaft quoins, the arcade and spire cupola — but retained the proportions and the entasis, recognizing them as the major defining architectural features of the tower.

 

It is clear that Morgan appreciated Metropolitan Life's splendid site opposite the Park as well. He massed and scaled the home office building to flatter the tower's 700 foot sweep upward from the curb to its lantern. Rather than repeating the blunt right angle of the tower's old juxtaposition to the original home office building, Morgan had the tower emerge up from behind the three graduated steps of the new building's tenth, eleventh and thirteenth story setbacks.

 

Description

 

In plan the tower retains its 75 by 85 foot configuration. The fifty-story Metropolitan Life tower remains articulated in the conventional manner: base, shaft, and capital and from within the arcaded capital rises a setback capped with a pyramidal spire, cupola and lantern. The tower's new two-story base conforms with that of the adjacent new home office building. A polished, light gray granite water table (five feet high) - an extension of the new building's wall base - runs the widths of both the tower's Madison Avenue and East 24th Street elevations and is flush with the tower's limestone cladding. Along Madison Avenue three tall, one-over-one, plate glass show windows light the tower's first story; their thin frames and vertical mul lions are stainless steel.

 

On 24th Street, two of these show windows flank a broad though unarticulated entrance architrave of the polished granite. Currently this entrance is not in use. The two pairs of doors within the architrave are false; entrance to the tower is gained through the South Building. Like the doors, the tripartite transom above them is framed in stainless steel. The architrave is immediately flanked by two signs, metal with raised letters, the ground painted black: "Metropolitan Life Insurance Company" with the company's logo. The second-story windows in both elevations correspond in width to the show windows below, but they are a fraction of their height (plates 5 & 6). Each is vertically tripartite, the central, single pane is wider than those flanking it, a modified Chicago window. The dividing stainless steel mul lions are broad but the window's stainless steel frames are thin. A simple, forty-five degree angle string course separates the tower's base from its shaft.

 

Two distinct elements characterize the tower's four shaft elevations, the three attenuated bays of triple window openings contained within the simple corner reveals and the monumental clock faces. The shaft's dominant verticality is modified by the repetition of projecting window sills every second story on only the uneven stories, starting at the third story.

 

The third-story windows do not extend all the way down to their sills; their lower rails are higher than those on any other story. The fourth-, fifth- and eleventh-story window spandrels are higher than those on other stories (plates 2 & 6).31 At the twenty-fifth, twenty-sixth and twenty-seventh stories, the triple window openings of the outermost bays are reduced to paired windows.

 

These, and all of those in the center bay, have been eliminated by the breadth of the clock faces. Each of the shaft's window openings has its own architrave, in section an elaboration of a Vitruvian scroll molding, retained from LeBrun's design. All the windows are of reflective, single-paned glass and framed in stainless steel, and although recessed, the reflective glass sustains Morgan's planar aesthetic..

 

LeBrun's ornamental detail is retained around the four monumental clock faces (plate 8). The decorative spandrels each contain a shell supported by a pair of reversed dolphins. The clock dials are encircled by marble wreaths of fruits and flowers, ornament which Pierre LeBrun modelled after early Italian Renaissance motifs — the Delia Robbias or Desiderio di Settignano. The dials themselves are reinforced concrete slabs, almost twenty-seven feet in diameter and faced with vitreous turquoise blue and white mosaic tile. The blue tiles create a decorative corona at the center and a border just inside the minute marks.

 

The hands are built on iron frames, sheathed with copper. The minute hand is seventeen feet from end to end and weighs 1000 pounds; the hour hand measures thirteen feet, four inches and weighs 700 pounds. The numbers, four feet high, are edged in copper. The peripheral minute markers, ten and a half inches in diameter, are edged in copper also. The hands, numerals and minute markers are glazed and are illuminated at night.

 

Just as the triple bays and clock faces articulate the tower's shaft, the three-story arcades — five arches per elevation — characterize the tower's capital. The twenty-ninth and thirtieth story fenestration serves as a transition from the lower tripartite rhythm to the arcade's pentad above. Ten smaller windows light the twenty-ninth story. On the thirtieth, the ten windows have been arranged in five pairs.

 

Morgan's preference for the planar is most clearly expressed in the capital, the tower's thirty-first to thirty-fourth stories. The new arcades (plate 9), pared of all of their considerable marble ornament, become flat screens, the ashlar limestone applied as precise voussoirs. The secondary planes of the emerging setback are introduced within the arcade (plate 10). The new limestone balustrades have been greatly simplified and flattened. The comers of each baluster are chamfered.

 

Five windows, one above each arch, light the thirty-fourth story. The cornice projects now only enough to halt the eye momentarily. The balustrade above, at the thirty-fifth story, shorn of its ornamental balusters and finials, adheres to Morgan's planar aesthetic. The corners of these balusters are articulated with right angle channels (plate 12).

 

The freestanding portion of the tower's setback — stories thirty-five to thirty-eight — acts as a massive plinth for the pyramidal spire, cupola and lantern above. It is here that the tower's wider north and south and narrower east and west elevations are made evident (Plates l and 2). This is seen clearly in the disparity of the fenestration within the setback's framing reveal. On the north and south elevations the reveal frames six windows — three pairs of two — on each story. Just above the setback's cornice — the thirty-ninth story — there are four small windows on the north and south elevations and three on the east and west. Similarly in the spire. The spire's marble surfaces are articulated with a raised lattice pattern punctuated with four stories of round hooded dormers.

 

Ten half-round hooded dormers break the latticed stone surface of the north and south elevations, one-above-two above three-above-four. There are seven dormers on the east and west, one-above-one above two-above-three. A broad reveal frames each pyramidal surface? the corner ribs rise to support the quarter-circle bevels of the forty-fifth story viewing platform (Plate 13). On the north and south elevations five long brackets, originally more ornate, support the platform? two eyelet windows between them light the forty-fourth floor. On the east and west four long brackets support the platform and there is but one window between them.

 

Morgan redesigned LeBrun's ornately carved, viewing platform balustrade. The north and south elevations have four panels of the new cylindrical balusters (plate 14), the east and west have three. The cupola's base, wider on its northern and southern elevations, is the highest and last demonstration of the tower's rectangular plan. The cupola itself is a regular octagon in plan (plate 15). The eight columns, originally Corinthian, of its two-story peristyle (at the forty-sixth and forty-seventh stories) are no longer round but angled to conform with the cupola's octagonal plan and Morgan's planar aesthetic (plate 16). The four bronze bells of the tower's chime (cast at the Meneely Foundry near Troy, New York) are mounted on the forty-sixth story.

 

The largest, the 7000 pound bell, is mounted on the western projection of the cupola's base; the next to largest, a 3000 pound bell, is mounted on the eastern projection (plate 17). The smaller 2000 and 1500 pound bells, are mounted on the north and south within the peristyle. The forty-seventh story windows, seen through the peristyle, light a circular staircase within the cupola's core. The cupola's entablature, the highest point at which stone is used, is also the sill for the eight half-round hooded dormers in the cupola's gold-colored anodized aluminum dome, the tower's forty-eighth story.

 

The tower's steel frame continues to the top, though sheathed in the gold anodized aluminum. The topmost platform with its gold anodized aluminum railing is at the forty-ninth story (plate 18). The tower's terminal feature is the octagonal electric lantern —"the light that never fails" — on the fiftieth story (plate 19). It is eight feet in diameter and 700 feet above the sidewalk. After ten in the evening - when the tells cease their chiming until dawn, the lantern blinks each quarter hour.

 

After dark and until midnight the tower's upper portions are bathed with light, often tinted. The lamps are inobtrusively hidden within the arcade and behind parapets. The quality of this illumination has been remarkably fine, so that the Metropolitan Life tower makes as distinguished a contribution to New York's skyline at night as it does by day.

 

APPENDIX

 

The same master clock — a mercurial compensated astronomical clock — which powers the hands on the tower's monumental clock faces as well as the hundreds of clocks throughout the home office, drives the tower's chime bell hammers. Originally each of the four bells was supported on a steel pipe filled with cement grout and sunk into stone-faced, solid concrete, but now the bells rest atop battered sided steel supports (Plate 17). The smallest, the 1500 pound bell — G natural, is struck by a hammer of fifty four pounds. The 2000 pound bell — F natural — is struck by a hammer of sixty-one pounds. The 3000 pound bell — E flat — is struck by a seventy-one pound hammer. The largest, the 7000 pound bell — B flat — is struck by ninety-four pound hammer. There is a fifth hammer of 131 pounds to strike the hours on the 7000 bell.

 

Of the best known bell foundries in the United States, the Meneely Foundry of Watervliet near Troy, N. Y., is the oldest. An earlier LeBrun-designed church building, the Cathedral Of Saints Peter and Paul in Philadelphia, has a chime peal from the Meneely works. The bronze of the Meneely bells is composed exclusively of seventy-eight part, purest ingot copper which gives their bells their fine and brilliant tone.

 

The bells of the Metropolitan Life tower chime are struck in quarters — four blows at the quarter hour, eight at the half hour, twelve at the three quarter hour, and sixteen at the hour followed by the hour stroke — from seven o'clock in the morning until ten at night. The tune has a fine but often misunderstood provenance.

 

- From the 1989 NYCLPC Landmark Designation Report

REYKJAVIK, ICELAND - APRIL 7: Jimmy "Marved" Nguyen (L) and Victor "Victor" Wong of team OpTic pose for the VALORANT Masters Features Day on April 7, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

Lincoln & Powell-Norton floor kitchen view.

Pemberton lobby view.

ATLANTA, GEORGIA - OCTOBER 26: JD Gaming poses at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)

PHOTO: ROBERT KERIAN

ARTICLE: JOHN PEARLEY HUFFMAN

 

www.caranddriver.com/features/game-boy-how-a-sega-outrun-...

 

Toe in to a new car’s throttle, and you’re asking a computer to send air and fuel into the engine. Computers ­mediate braking and steering and almost always decide when the ­transmission should shift gears. Cars are evolving into video games.

 

So, why not make a video game into a car? Specifically, give a vintage-1986 Sega OutRun arcade game some wheels and a motor and let the gamer drive the concoction through physical space. Think of OutRun as Gran Turismo’s great-grandfather, fulfilling the preteen dream of ripping through various landscapes in an exotic car. Today, its roofless, eight-bit Ferrari Testarossa looks stone-ax primitive; in 1986, it was high-tech rad.

 

Sega eventually ported OutRun to home gaming systems, but it first appeared as an arcade game. Canadian-born academic Dr. ­Garnet Hertz, 38, saw one of  the old arcade versions in 2006. “That’s crazy, how large the cabinet is,” he recalls thinking. “It’s like a fake car.”  Two years later, he bought an OutRun arcade unit via an internet group for $300, then paid $800 to ship its 800 pounds to Irvine, California, where he started tinkering.

 

CHASSIS: After experimenting with an ancient three-wheeled golf cart, Hertz secured support from UC Irvine’s Center for Computer Games & Virtual Worlds and bought a 2007 E-Z-Go powered by a 4.4-hp electric motor. Using parts from the frames of the golf cart and game cabinet, Hertz and his eight-student team built a custom chassis, moved the cart’s steering to suit the game’s center-drive position, and relocated two of the four 12-volt batteries from the back of the cart to the front. Their budget for the build? A thick $100,000.

 

WITH ITS HEAVY CABINET, the OutRun cart isn’t fast—top speed is just 13 mph. But it is disconcerting to drive, what with limited peripheral vision and the knowledge that, while those blocky, eight-bit graphics scroll down the screen, you’re actually moving.

 

THE ELECTRONICS AND THE SOFTWARE required the most exhaustive development. Two high-def digital cameras mounted atop the cart feed images to a flat-screen display (it replaces OutRun’s original monitor) and to an Apple MacBook Pro, which uses its video feed to detect real-world topographical features. The computer then determines where to place the horizon (in the game’s primitive 3-D perspective, players constantly chase the road’s vanishing point in the distance) and how to depict the road. The gamer/driver sees the road ahead of him on-screen, rendered in OutRun graphics with the real world above the game’s horizon. Original game music pumps through speakers located in the headrest.

REYKJAVIK, ICELAND - APRIL 8: Nabil "Nivera" Benrlitom (L) and Adil "ScreaM" Benrlitom of Team Liquid pose for the VALORANT Masters Features Day on April 8, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

Douglaston Historic District, Douglaston, Queens, New York City, New York, United States

 

Type: Freestanding house with attached garage (on lot 93) Style: Vernacular cottage Stories: 1

 

Structure/material: Frame with stucco facing

 

Notable building features: Intersecting gable roofs, flared over front porch; round-arched, batten door; brick chimney; brick stoop with non-original wrought-iron railings; some brick veneer; windows with historic multi-pane sash and casements.

 

Notable site features: Mature trees; flagstone walkway; gravel driveway; perimeter hedge; storage shed; cobblestone curb.

 

INTRODUCTION

 

The Douglaston Historic District contains more than 600 houses set along landscaped streets on a mile-long peninsula extending into Little Neck Bay, at the northeastern edge of Queens adjoining Nassau County.

 

Its history over the past four centuries ranges from a native American settlement to an eighteenth-century farm, a nineteenth-century estate called Douglas Manor, and an early twentieth-century planned suburb, also called Douglas Manor.

 

The Douglaston Historic District encompasses the entire Douglas Manor suburban development, plus several contiguous blocks. Most of the houses in the proposed district date from the early- to mid-twentieth century, while a few survive from the nineteenth century, and one from the eighteenth century.

 

The landscape includes many impressive and exotic specimen trees planted on the mid-nineteenth-century estate, as well as a great white oak, located at 233 Arleigh Road, believed to be 600 years old.

 

Douglaston's location on a peninsula jutting into Flushing Bay at the eastern border of Queens County is an important factor in establishing the character of the district. The very early buildings surviving in the district include the c.1735 Van Wyck House, the c. 1819 Van Zandt manor house (expanded in the early twentieth century for use as the Douglaston Club), and the Greek Revival style c. 1848-50 Benjamin Allen House.

 

Much of the landscaping, including the specimen trees, survives from the estate of Douglas Manor, established by George Douglas and maintained by his son William Douglas.

 

Most of the houses in the historic district were built as part of the planned suburb of Douglas Manor, developed by the Rickert-Finlay Company, that was part of the residential redevelopment of the Borough of Queens following its creation and annexation to the City of Greater New York in 1898.

 

A set of covenants devised by the Rickert-Finlay Company helped assure a carefully planned environment, including a shorefront held in common, winding streets following the topography of the peninsula, and single-family houses ranging in size from substantial mansions along Shore Road on the west to more modest cottages closer to Udalls Cove on the east.

 

The houses of the historic district, which are representative of twentieth-century residential architecture, were designed in a variety of styles including the many variants of the Colonial Revival, many houses in the English manner incorporating Tudor Revival, English cottage, and Arts and Crafts motifs, as well as the Mediterranean Revival. In most cases, they were designed by local Queens architects, including over a dozen who lived in Douglaston itself.

 

The district includes three houses of the Craftsman type pioneered by Gustav Stickley. Eight of the houses in the district were designed by Josephine Wright Chapman, one of America's earliest successful women architects, and they constitute an important body of her work.

 

The Douglaston Historic District survives today as an important example of an early twentieth-century planned suburb adapted to the site of a nineteenth-century estate. The stylistically varied suburban residences, the distinctive topography, the landscaped setting, and the winding streets create a distinct sense of place and give the district its special character.

 

HISTORICAL AND ARCHITECTURAL BACKGROUND OF THE DOUGLASTON HISTORIC DISTRICT

 

Native American and Colonial antecedents

 

The Native American presence on the Little Neck peninsula today known as Douglaston included the Matinecoc,1 one of a group on western Long Island linked by culture and language to others in the area surrounding Manhattan Island (including the Nayack, Marechkawieck, Canarsee, Rockaway, and Massapequa). A number of finds from those settlements have been identified at various sites on the peninsula.2 The Matinecoc, who fanned the peninsula and apparently also produced wampum, were summarily evicted in the 1660s by Thomas Hicks, later Judge Hicks, in what has been described as the only such seizure of property recorded in Flushing town records. In the 1930s, according to local histories, a Matinecoc burial ground was destroyed to make way for a widening of Northern Boulevard, and the remains reinterred in the cemetery of Zion Church.3

 

The property seized by Thomas Hicks in the 1660s passed through the hands of several of his family members, and several subsequent sales to other families, before being acquired in 1813 by Wynant Van Zandt. In 1819 Van Zandt bought an adjoining farm from the Van Wyck family. Both tracts had been farmed during the eighteenth century. The Van Wycks built and lived in a shorefront house which still stands (the Cornelius Van Wyck House, at 126 West Drive aka 37-04 Douglaston Parkway, a designated New York City landmark).

 

Nineteenth-century country seat: Wynant Van Zandt. George and William Douglas, and Douglas Manor

 

Wynant Van Zandt (1767-1831) kept his property in agricultural use. Unlike his predecessors, mostly local formers, Van Zandt was a prominent New York City merchant, active in New York civic affairs. As a city alderman, Van Zandt served as chairman, starting in 1803, of the building committee for City Hall, and in 1804 as chairman of a committee on water supply, among other duties. Van Zandt established his Queens County property as a country estate, and built himself a manor, or country seat, in 1819; the building survives, with additions, as the Douglaston Club.

 

In May 1835, following Wynant Van Zandt's death, George Douglas acquired the estate from Robert B. Van Zandt; the deed identifies Van Zandt as a "farmer" and Douglas as a "gentleman."5 One obituary, in the Flushing Journal Weekly, described Douglas as "what the world would call an eccentric man."6 Another, in the New York Evening Post, described him as a wealthy young man from Scotland, who during a fifteen-year stay in Europe "collected some very valuable pictures," and later turned to philanthropy.7

 

Douglas's son, William Proctor Douglas, inherited the property after his father's death in 1862. The younger Douglas served as vice-commodore of the New York Yacht Club in 1871-74. During his tenure, Douglas Manor became a center for New York society yachting and polo. In later years, Douglas rented out the estate house to a variety of well-connected tenants, including European royalty.8

 

In 1869, Douglas hired landscape architect William McMillen to, in the words of McMillen's daughter, "superintend the Estate, improve driveways, and lay out plantings and trees and ornamental shrubs."9 McMillen was later associated with Frederick Law Olmsted and his work on the park system in Buffalo, New York.10 Although McMillen spent six years working on the estate, it is not known exactly what he undertook for Douglas. From turn-of-the-century photographs and other records analyzed in a landscape history undertaken in 1994, it appears that under Douglas's

 

ownership the landscape was characterized by "an informal 'English' look...with English ivy, winterberry, Boston ivy and wisteria."11

 

It was also during Douglas's tenure that a number of exotic specimen trees were planted on the property. Local histories suggest a connection with Samuel Parsons (1819-1906), a pioneer horticulturist with a nursery in Flushing; Parsons owned land near the Douglas Estate. The trees have been a distinguishing characteristic of Douglas Manor since William Douglas's day.12

 

Early suburban subdivision

 

Although the suburban development called Douglas Manor dates from 1906, William Douglas apparently attempted a suburban subdivision half a century earlier south of Douglas Manor. The dominant force propelling development was the gradual extension of the Long Island Railroad, which ran as far as Flushing until 1866 (with stage coach connections for points east), when its extension to Great Neck opened. Even in the 1850s, anticipating the railroad's extension to the Little Neck peninsula, William Douglas had subdivided part of his property (the area today known as "the Hill").

 

Douglas donated land for the railroad's right of way, and later, according to local histories, relocated one of his farm buildings to be used as a railroad station, asking in exchange that the new village be called "Douglaston" (instead of Marathon, a competing name).13 He named a number of new streets after the abundant trees on his property (Pine, Poplar, Willow, Cherry).

 

The Rickert-Finlav Realty Company

 

Besides the three early surviving houses already mentioned (the Van Wyck House, the Douglaston Club, and the Allen House), almost all the rest of the houses in the historic district were built as part of the early twentieth-century planned suburb of Douglas Manor, named for Douglas's estate, laid out by the Rickert-Finlay Realty Company. The redevelopment of Douglas Manor was part of the vast transformation of much of the newly created Borough of Queens into new residential neighborhoods. In 1906, the year Rickert-Finlay bought Douglas Manor, several major transportation projects to speed connections between Manhattan and Queens were underway: the Pennsylvania Railroad and Long Island Railroad tunnels under the East River, and the Queensborough Bridge at 59th Street.14 According to the Real Estate Record and Guide of that year:

 

The development of numerous farms into building lots and the erection of hundreds of new buildings have necessarily advanced the value of real estate in that section of Greater New York. It is said that more than 8,000 new apportionments have been made in the Borough of Queens during 1906, and that considerably more than 10,000 acres of land have been cut up into lots....

 

Chief among the new developments cited:

 

Title has just been taken to the Douglass [sic] homestead of about 180 acres by the Douglass Manor Co. This will probably be the highest class development on the island. It has a mile of water front and most magnificent shade trees. This property will be subdivided immediately.16

 

The Rickert-Finlay Realty Company, which bought Douglas Manor, was active in real-estate development in Queens and Nassau Counties in the early years of the century, buying up large farms and estates on the north shore of Long Island, preferably those with attractive topographical features, and subdividing them into new suburban communities. Their projects included Norwood in Long Island City, Broadway-Flushing in Flushing, Bellcourt in Bayside, Douglas Manor in Douglaston, and Westmoreland in Little Neck.17 By 1908, the company, with offices at 45 West 34th Street in Manhattan,18 was advertising itself as "The Largest Developers of Real Estate in Queens Borough ~ over 10,000 lots within the limits of New York City."19

 

The company's typical strategy for selecting development sites was described by E.J. Rickert in a 1914 article in Architecture and Building: "It was selected because it was on high ground, with a splendid outlook . . . and only four blocks from a railway station. It was . . . noted for the magnificent row of maples and lindens, nearly a mile long, extending through the entire property."20 The company then developed each tract according to a formula based on past successes. E.J. Rickert described the progression of the firm's ideas:

 

The first property developed was Bellcourt in Bayside, which was improved along the same lines as had heretofore prevailed on Long Island — that is, gravel sidewalks were laid, streets were graded and shade trees were set out, no other improvements being made. In the sale of Bellcourt, however, it was found that there was a demand for better improvements, and, consequently, when Douglas Manor was developed, cement sidewalks were laid, macadam roads were built and trees and hedges were set out. Broadway-Flushing and Westmoreland, which came next, were developed to about the same extent as Douglas Manor, all then being considered the best improved properties on Long Island.

 

The next development, Kensington, saw the addition of complete "sanitary sewer system, water mains and underground conduit for street lighting."

 

The new suburb of Douglas Manor

 

The qualities of the nineteenth-century Douglas Manor on which the Rickert-Finlay development capitalized included its hilly topography, its mile-long waterfront accessible to the entire narrow peninsula, and its lush plantings, especially the specimen trees planted during Douglas's tenure. The development also based its new road system on the major farm roads already in place, which became West, East, and Centre [Center] Drives.23

 

The company then established a series of protective covenants to guarantee a certain manner of development and density within the new suburb. In an era pre-dating the adoption of zoning regulations,24 the character of a new development could be guaranteed in no other way.

 

The covenants affected the architectural character of the houses only peripherally — by prohibiting flat roofs, thereby encouraging a more romantic roofline. Instead, they focused on the kind and size of houses and the nature of the landscaping of the new development. They required all houses to be single-family residences, with the sole exception of the Douglaston Club (commercial uses and two-family buildings and flats were specifically prohibited). They encouraged an economically mixed development, with a boulevard of substantial mansions along the Shore Road waterfront, while smaller, less expensive houses would predominate on the peninsula's east. (Such conditions were guaranteed by requiring houses of a certain cost and lots of a certain size). A verdant landscape was ensured by requiring houses to be set back 20 feet, leaving room for greenery, and by prohibiting fences and encouraging hedges, creating vistas not of individual, fenced-off gardens, but rather of a continuous, green, park-like, landscaped environment.

 

Rickert-Finlay went even further, taking steps to protect that environment and shape the community's social character by creating, in 1906, the Douglas Manor Association. Its stated objectives were the creation and maintenance of a club house to promote "social intercourse" among the residents, and to preserve and protect the development's physical amenities, including the roads, parks, shorefront, and plantings.26

 

Selling Douglas Manor

 

Promotional brochures prepared by Rickert-Finlay characterized the new neighborhood as a private community of houses, nestled in a landscape similar to Central Park, surrounded with a mile of shorefront, just blocks from each home.27

 

Douglas Manor's convenience to Midtown Manhattan via the Long Island Railroad was compared favorably to subway commutation to new Bronx neighborhoods. The commute was touted at "only 33 Minutes to Manhattan, 52 Trains a Day," and predicted to become "20 Minutes to Herald Square, when Pennsylvania-Long Island Tunnels are completed." The neighborhood was just three blocks from the Douglaston station, itself very near the Long Island Sound, "being the only station on the line near enough to the Sound to bring the shore front within easy walking distance. "28 The history and character of the old Douglas estate were emphasized, especially the trees planted by Douglas: "Scotch Holly, Magnolia, Japanese Maidenhair, Chinese Cypress, European Beech, Scarlet Maple, Horse Chestnut, Tulip, Lime, evergreens... Even Central Park does not possess a greater variety of rare trees....

 

" This park-like effect would be "preserved and increased by setting out hedges along winding roads, following the natural contour of the land as much as possible.... The shore drive, curving along the bay for over a mile, will be made the finest boulevard on Long Island." To all these suburban advantages, Douglas Manor also boasted the services provided by the City of New York: "city water, stone sidewalks, macadamized streets" and the "full benefit of all departments of the city government, including schools, water, police and fire protection."

 

From 1906 through the Depression, several hundred houses were erected in Douglas Manor, following the plan suggested by the Rickert-Finlay covenants. In general, the lots along Shore Road on the west were developed first, with larger, more substantial houses, followed by the more modest

 

homes to the east towards Udalls Cove. Property owners often acquired lots adjacent to those on which their houses were built to accommodate more generous lawns or gardens. The mile-long waterfront remained undeveloped, held in common by the Douglas Manor Association. The large caliper specimen trees planted in Douglas's day remained in place. The grounds of the various houses were separated by perimeter hedges only — no fences. Two smaller lots formed by irregular street intersections were planted as small parks, maintained by the Association. Together, the parks, commonly held shorefront, specimen trees, and hedged gardens created something close to Rickert-Finlay's version of Central Park, surrounded by water, with several hundred houses nestled in the landscape.

 

The Architecture of the Douglaston Historic District

 

The architectural styles of the over 600 houses and some 150 related structures (mostly garages) in the historic district reflect three centuries of Douglaston's built history. From the eighteenth-century colonial Van Wyck House, to the early nineteenth-century Van Zandt House and mid-nineteenth-century Allen House, to the twentiethth-century suburban houses of the Rickert-Finlay development, to the additions of the post-World War II period, they tell the story of the development of this part of eastern Queens, part of the larger developmental story of New York City and the country as a whole.

 

The Cornelius Van Wyck House, at 126 West Drive, survives as the oldest extant house in the district, and one of the oldest in New York City (it is a designated New York City landmark). Built c.1735 for an early Dutch settler as a farmstead, the house reflects eighteenth-century New York colonial styles. Douglas, who transformed the farm to Douglas Manor, is said to have used the house as an "entrance lodge to his estate.w29 In 1907, one year after the acquisition of the Manor by the Rickert-Finlay Company, the Douglaston Country Club enlarged the building for use as a clubhouse. In 1921, the Van Wyck House passed back into use as a single-family residence, and its owner, E.N. Wicht, hired Frank J. Forster, designer of Colonial Revival and Tudor Revival style houses in the new Douglas Manor development, to restore it to its original Dutch Colonial appearance.

 

The Wynant Van Zandt House, at 600 West Drive, reflects both the older and the newer history of Douglaston. Built in 1819 as a home for Wynant Van Zandt, it was significantly altered after 1906 for use as the Douglaston Club, but still reflects some of the character of Van Zandt's original two-story Greek Revival manor house.

 

The Benjamin P. Allen House (a/k/a the Allen-Beville House, a designated New York City landmark) at 29 Center Drive, built c. 1848-50, is another rare Queens farm house. Predominately Greek Revival in style, it also shows the influence of the newly fashionable Italianate style, especially in its cornices and brackets.

 

Almost all the other buildings in the district date from the twentieth century, and the greater number of them from its first three decades, when Douglas Manor was developed by the Rickert-Finlay Company. Douglas Manor is a contemporary of several other planned communities in New York City, notably Fieldston in the Bronx and Forest Hill Gardens in Queens, all three of which began as subdivisions in the first decade of die century, and blossomed in the late teens and twenties. Like them, Douglas Manor was developed with houses based on historic styles of the past.

 

The first few decades of the century constituted a period of ferment and development in the design of American single-family houses. The epoch has been characterized as "a resurgence of individualism and an indulgence in residential architecture, a reaction to the standardization of the previous two decades. Fanciful cottages in fairy-tale styles were part of that image."30 In some ways, that approach is a logical continuation of late nineteenth-century architectural eclecticism, characterized in the 1890s as "rampant eclecticism in all fields of life and taste, of triumphant individualism, when authority sits so lightly on men's interests and lives; in this age of archaeology, when the different periods of history are made to live again in our imagination. "31 At the same time, residential architecture was affected by notions of progress and efficiency, and a drive toward simplicity and sanitary conveniences in home design.

 

Rickert-Finlay's protective covenants left the architectural character of the buildings almost entirely in the hands of owners and architects, requiring only that building roofs not be flat.32 The result was a collection of early twentieth-century eclectic residential styles, ranging from grand Colonial Revival mansions on the Shore Road waterfront, to picturesque Tudor Revival or Mediterranean Revival houses or houses in the English cottage manner or Colonial Revival houses on the blocks between West and East Drives, to modest cottages near Udalls Cove. Houses were sited in harmony with the topography, which tends to get hillier in the southeastern section of the peninsula.

 

One Douglas Manor architect, Alfred Scheffer, expressed his point of view in an article published in 1929. He described the Tudor Revival house he designed for himself at 216 Beverly-Road — a particularly useful indication of both the architect's and the client's point of view. Tellingly, the very first observation he makes is about the siting of the house, overlooking Long Island Sound: "The water is only a stone's throw — of a conservative marksman — from our front door and the second floor bay window has a certain suggestion of the forecastle deck of a ship, for the intervening land and highway are quite lost to sight and I can get a fine sense of sailing the seas, when I stand there." Only then does he turn to the formal style of the design, and sums up in a sentence the attitude of his day towards historically-inspired styles: "The construction is quite definitely in the English manner although / was not concerned with making it exact or authentic [emphasis added]

 

Scheffer then lists the elements that make his house "English": "stucco and halftimber walls with slate roof . . . The substantial chimney of common brick is typical of many English country houses. . . . The main entrance doorway of the house, at the end of a narrow flagstone walk, forms a Gothic arch of oak timber, framing a paneled oak door with iron straps and two small leaded glass windows, the effect completed by a semi-circular stone stoop. Beside the door is a lantern of pierced wrought-iron in the shape of an inverted tunnel, with wrought-iron bracket." Clearly it is details like the paneled oak door and leaded glass windows which give the house the English "effect" Scheffer wanted. But when he turns to describing the interior, practical matters take precedence: "The interior of the house was designed to take full advantage of our gorgeous outlook over the water."

 

Historical details are listed — "The walls are of rough English hand finished plaster" - but so are the "built-in bookshelves," "built-in comer cabinets," and "convenient and numerous closets and the very large closet and bathroom which join the master bedroom and add much to its convenience." "The interior of the house," concludes Scheffer," will probably grow from year to year. Things will be taken out and others put in until eventually, it comes near to realizing my mental image of what it ought to be. Already, I think, it has the liveable quality which is most essential of all."33

 

The majority of houses in the historic district reflect a variety of styles, loosely adapted by architects like Frank Scheffer, typical of suburban residential architecture across the country. The predominant style is the Colonial Revival in several variants, ranging in date from c.1910 to the present. Most are of frame construction with shingle and/or clapboard siding. Besides a generic Colonial Revival style, the district has such distinctive variations as the Dutch Colonial Revival, New England Colonial Revival, and Cape Cod Colonial Revival. Colonial Revival houses of brick, or frame with brick facing, often have a more formal neo-Georgian appearance. The English manner, the other major stylistic mode, is expressed with Tudor Revival, English cottage, or Arts and Crafts details. These houses, too, are often of frame construction with stucco facing and brick and/or stone trim. The Mediterranean Revival style was also popular.

 

These houses usually have stucco facing and tile roofs. The district also has a handful of houses of the Craftsman type pioneered by Gustav Stickley. Suburban houses of the type found in the district were judged by their picturesque qualities. The Architectural Forum, for instance, featured a Douglas Manor house by Frank Forster, the same architect who restored the Van Wyck House to something approaching its original Dutch colonial appearance. The writer praised Forster's "excellent use of half-timber in connection with brick or stucco," but more importantly his "rare skill in grouping, which creates a picturesque and architectural composition, wholly unaffected or exaggerated and involving no sacrifice in the matter of interior planning to secure this effect."

 

An additional group of houses in the historic district, on the south side of Bay Street, predates the Douglas Manor development by several years. Designed c.1900, they are excellent examples of the Colonial Revival and Queen Anne styles popular at the end of the nineteenth century.

 

Playing an important role in the historic district are the many related garage structures, often designed in architectural styles compatible with the houses they serve. Some were constructed originally as carriage houses and stables, often with residential accommodations, and later converted for garage use. By about 1920, the automobile had supplanted the horse, and garages were built as freestanding structures, some with chauffeur's quarters at the second story, usually situated close to a side or rear lot line. By the late 1920s, some houses were constructed with attached garages, or garages were constructed later, atttached to earlier houses. After World War II, many houses were built with basement garages, while other earlier houses were modified to provide basement garages.

 

The Douglas Manor Architects

 

A few prominent New York City architects with Manhattan offices received commissions in the new neighborhood; however, the vast majority of Douglas Manor houses were designed by local Queens and Brooklyn architects, and a surprisingly large number by architects who themselves lived in Douglas Manor or had offices nearby.35

 

Among the better known firms from outside the neighborhood who worked in the historic district, Buchman & Fox, architects of many Manhattan office buildings, designed 1008 Shore Road, a substantial Colonial Revival mansion overlooking the Bay. George Keister, whose practice included churches, hotels and Broadway theaters, designed 24 Knollwood Avenue, an Arts and Crafts style house, and 104 Hollywood Avenue, a Colonial Revival house. Diego DeSuarez, who planned villa gardens at both La Pietra, outside Florence, and Vizcaya, outside Miami, designed a one-story Mediterranean fantasy at 231 Beverly Road. Lionel Moses, of the firm of McKim, Mead & White, designed a house in the English cottage manner at 1102 Shore Road overlooking Little Neck Bay. The architectural firm of McKim, Mead & White is credited with the formal French Renaissance Revival style house at 4 Ardsley Road. Dating from 1919, it is constructed of hollow terra-cotta block, a form of fireproof construction, and faced with stucco.36

 

Architects from Brooklyn and Queens represented in the historic district include Arthur H. Allen, an architect very active in Forest Hills (a Colonial Revival house at 217 Ridge Road); Philip Resnyk (Tudor Revival, English cottage manner, and Colonial Revival houses on Warwick, Beverly, Grosvenor, Hollywood, Knollwood, Richmond, Kenmore, Richmond and Manor); Benjamin Dreisler (an Arts and Crafts/Colonial Revival house at 243 Forest Road); Louis Feldman (English cottage type houses at 211 and 217 Forest Road); J. Sarsfield Kennedy (a Tudor Revival house at 369 Beverly Road and a grand English bungalow/Arts and Crafts house at 1114 Shore Road), and Shampan & Shampan (a Colonial Revival house at 110 Arleigh).

 

Almost 60 of the over 600 houses in the historic district, built in the first decades of the century, are known to be the work of fourteen Douglaston architects.37 Alfred Scheffer, whose views are quoted above, designed at least ten, most in the Colonial Revival style or English cottage manner with Tudor Revival or Arts and Crafts detail.

 

John C.W. Cadoo designed at least sixteen houses, mostly Colonial Revival in style. Frank Forster designed at least three houses, one Colonial Revival, the others in the English cottage manner, as well as overseeing the restoration of the eighteenth-century Van Wyck House. Albert Humble designed at least ten houses, most in the Colonial Revival style.

 

Josephine Wright Chapman

 

Eight houses in the historic district are known to have been designed in the 1910s and 1920s by one of America's earliest successful women architects, Josephine Wright Chapman (1867-?). Chapman was professionally active from 1892 to 1927, but little is known about her education or commissions.

 

She pursued her interest in a career in architecture over opposition from her family, working from 1892 to 1897 as a draftsman in the office of Boston architect Clarence H. Blackall. Very few academically trained women became architects in the last two decades of the nineteenth century, and Chapman may have entered the profession as an apprentice.

 

By 1898 she was listed in the Boston City Directory as an architect, and developed a successful practice, despite the rejection of her application for membership in the American Institute of Architects.

 

Chapman's first major project was the New England Building at the Pan-American Exposition in Buffalo in 1901. Other known work includes the Craigie Arms Apartments (1897) in Cambridge, Mass., the Episcopal Church in Leominster, Mass., and the Women's Clubs in Worcester and Lynn, Mass.

 

In 1905, Chapman began to devote herself to the design of houses. She preferred the "English type," long, low and rambling, with gables and timber and plaster detailing. In 1907 she moved to New York, where she was listed in directories as an architect until 1925. Among her few published works was a sixteen-story apartment building on Park Avenue, described as demonstrating "the feminine idea of correct planning . . .and many innovations were to be introduced."

 

While in New York, she also received the commission for Hillandale, an Italian Renaissance style villa in Washington, D.C., built 1922-25. In the words of historian Gwendolyn Wright: "Neither Chapman's early public success in Boston nor her conversion to professional pursuit more appropriate for a woman qualified her for coverage in the architectural press.

 

But her career was remarkable, for few women had the financial independence to experiment with their own offices."

 

Chapman's known Douglaston houses, which date from 1909 to 1917, are in the historic district's two prevalent stylistic modes — five Colonial Revival and three in the English cottage manner.

 

They share picturesque silhouetttes with rooflines that feature gambrel or gabled roofs with hipped or shed dormers, and exposed brick chimneys; and distinctive entry and porch details, including one with Tuscan columns, one with a pointed-arch batten door, and one with a panelled entrance with side-lights and transom.

 

The Craftsman style houses

 

Several Craftsman style houses, including No. 122 Arleigh Road, 140 Prospect Avenue, and 111 Hollywood Avenue, may be one of the largest such collections in any New York City neighborhood.

 

Furniture designer Gustav Stickley of Rochester, New York, created the Craftsman architectural movement and disseminated it throughout the country via his Craftsman magazine.

 

The Craftsman aesthetic drew on the English Arts and Crafts movement, California Mission design, Japanese architecture, and Native American design, and was supported by an ideology influenced by concepts of socialism, the nobility of work, and the value of manual training.

 

Stickley developed his interest in architecture in the years 1902-05, initially as a way of creating the proper environment for his furniture. He hired architect Harvey Ellis to help develop a Craftsman architecture, and the Craftsman magazine began publishing prototype houses initially designed by Ellis, encouraging the public to take them as models for their own homes.

 

The published houses included floor plans, sketches, renderings of room schemes, elevations, and descriptions of appropriate rugs, fabrics, furniture, and color schemes. Stickley then encouraged his readers to alter the plans to suit local conditions.

 

In 1909, Stickley became involved in the actual construction of houses when he organized the Craftsman Building Company, which constructed houses in New Jersey and on Long Island.

 

The company was active for just under a year; the exact number of houses built is unknown. Most "Craftsman" houses were built by contractors using Craftsman plans.

 

The Craftsman house embodies a number of characteristics in its exterior. It is generally designed to take advantage of its site and views. Picturesque in its composition, it incorporates an "honest" expression of its materials and structure.

 

It makes use of exposed or emphasized structural elements, especially a broad, overhanging roof, often supported by large, open rafters extending beyond the eaves.

 

There may be wooden elements including curved roofs, or exotic piled capitals. Often such houses include pergolas, porches, balconies or verandas. Windows are grouped together to create large openings.

 

Craftsman houses use a variety of materials, preferably local. Stonework is often textured and ornamental, with variegated colors and shapes. Other common materials include clinker brick, and stucco, often mixed with rough sand or bits of glass.

 

Historical and Architectural Introduction

 

No. 111 Hollywood Road was designed by the Craftsman architects in 1914.55 The interior follows the Craftsman aesthetic, while the exterior borrows the distinctive eyebrow window and brick Tudor arched entrance from neighboring houses.

 

No. 122 Arleigh Road corresponds to Craftsman plan number 70, a "Ten-Room House for Town or Country Life" published originally in the Craftsman in July 1909 and again in More Craftsman Homes. Its horizontal orientation, large living porch, emphasis on structural elements including low, spreading, overhanging eaves and extended rafters, and central entrance and symmetrical facade with grouped windows, all reflect the Craftsman mold.

 

No. 140 Prospect Road correspond to Craftsman plan number 85, a "Small Two-Story Cement House with Recessed Porch and Balcony," published originally in the Craftsman in March 1910 and again in More Craftsman Homes. Its low-pitched roof revealing the rafters, porch and balcony, decorative use of structural elements, and grouping of windows and openings, all fit the Craftsman aesthetic.

 

A number of other houses in the historic district reflect the Craftsman aesthetic, even though they do not follow published Craftsman plans.

 

Prominent residents and later history

 

The first residents to move into the new Douglas Manor development, in 1907, were "the Misses Butler, of Flushing." They were followed by a number of newspapermen including "Mr. Mayer, World cartoonist, on Shore Road and Knollwood Ave.," "George C. Minor, of the New York Herald" on West Drive and Knollwood, and "Arthur Greaves, city editor of the New York Times" on West Drive, as well as a Mr. Slater of Manhattan and a Mr. Burtis, "manager of the Brooklyn branch of Swift & Co."56 Country Life in America the following year showed houses for sale in Douglas Manor priced at $8500 and $10,000.

 

Over the years, the historic district has attracted many famous residents, including a number of people in theater and the arts. Besides the above mentioned Herbert Mayer, cartoonist for The World, and architect Elbert McGran Jackson, who also illustrated covers for the Saturday Evening Post, artists included Percy Crosby, author of the "Skippy" comic strip; Robbie Robinson, another

 

illustrator for the Saturday Evening Post, Norwegian born sculptor Trygve Hammer, whose house is at 329 Forest Road,59 and satirist George Grosz.

 

Douglaston's location on the Long Island Rail Road, which made it convenient to the Astoria Studios in Long Island City, an early movie center, attracted many actors in the days before the ascendancy of Hollywood.

 

Residents have included Ginger Rogers, Hedda Hopper, Richard Dix, Ward Bond, Bonita Granville, Clifton Webb, Arthur Treacher, Jack Donahue, and William Collier Sr., as well as Ziegfeld Follies star Margaret Corry.

 

Other notable residents have included author Ring Lardner, as well as Olympic swimmer Annette Kellerman, tennis pro John McEnroe, Jr., and pianist Claudio Arrau.

 

Douglaston resident Anne E. Hayes was one of the first women to attend Cornell University's medical school, and later became a clothing designer.

 

In the half century since the end of World War II, the Douglaston Historic District has seen numerous houses altered or demolished, and much new construction. Some of the new houses have maintained the scale and repeated the materials and styles of earlier houses; others have not.

 

They have ranged in style from ranch houses to modern versions of the Colonial Revival. Overall, however, the Douglaston Historic District survives, maintaining much of its original architectural character as a planned suburban community, as well as rare surviving reminders of the eighteenth and nineteenth centuries, and significant landscape features including the commonly-held waterfront, specimen trees, and generous landscaping.

 

All create a distinct sense of place, recalling a significant period in the history of Queens.

 

- From the 1997 NYCLPC Historic District Designation Report

Pemberton lobby view.

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

 

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

 

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

 

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

 

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

 

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

 

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

 

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

 

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

 

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

 

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

 

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

 

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

 

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

 

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

 

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

 

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

 

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

 

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

 

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

 

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

 

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

 

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

 

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

 

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

 

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

 

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

 

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

 

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

 

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

 

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

 

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

 

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

 

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

 

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

 

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

 

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

 

WIKIPEDIA

Lincoln & Powell-Norton bathroom view

Focus Features are teasing us with more goodies from their forthcoming erotic drama, FIFTY SHADES OF GREY, which is adapted from E.L. James’ filthy page-turner. We’ve the first images of Billionaire bonker Christian Grey’s extended family. They include sister Mia Grey (played ...

 

bit.ly/123Rvsw

Example of feature-rich and experience poor.

 

Warner Bros Studio Tour London: The Making of Harry Potter

Warner Bros Studio, Aerodrome Way, Leavesden, Watford, Herts, WD25 7LS

 

A great day out for every fan of the boy wizard.

 

The Making of Harry Potter studio tour, covering 150,000 square foot, on two soundstages opened on the 31st March 2012, with stars galore at the red carpet launch at the Leavesden Studios where all eight movies were produced.

 

The home for many film productions, including several James Bond features, before a relatively new production company arrived there to make a film about a young boy who on his 11th birthday discovers he is a wizard.

 

Over the next ten years, the cast and crew of over 4,000 in total used more and more of the studios as the popularity of the books and films grew. The three young stars lived, grew up, went to school and turned into adults there on those stages.

 

Your tour begins in the foyer, with a flying Ford Anglia hanging from the ceiling and the walls adorned with huge photos of the cast, along with a few props.

 

Passing by the set of the cupboard under the stairs, you enter a room with a number of vertical TV screens showing Potter movie posters from around the world, followed by a short video sequence showing the rise of Harry’s popularity, the production teams discovery of the stories and the enormous worldwide success of the books and films.

 

Moving into the cinema, a short film introduced by Daniel Radcliffe, Emma Watson and Rupert Grint, talking about their experiences growing up on a film set for ten years, with clips from all eight films. The film ends with them standing in front of the main doors to the Great Hall and they walk in through the doors and invite you to follow them.

 

The screen at this point slowly rises to reveal the actual main doors to the Great Hall, surrounded with stone statues and carvings. What a wizard way to start the tour.

 

Walking through into the Great Hall we are told that we were now walking on the actual stone floor used in the films and seeing the actual tables where the actors ate their feasts. Dummies down each side of the hall wear the actual costumes used in the films. At the far end of the hall is the teachers’ table area, with more amazing costumes worn by Professors Dumbledore, Snape, McGonagall, Moody, Trelawney and Flitwick, as well as Hagrid and Filch too.

 

Leaving the Great Hall you enter the first of two vast sound stages. This includes sets for the Gryffindor Common Room and Dormitory, Dumbledore’s Office, Potions Classroom, Hagrid’s Hut, Burrow’s Kitchen and parts of the Ministry of Magic, also Umbridge’s gaudy pink, feline office. Each filled to the brim with props and costumes.

 

Props can be seen everywhere, with a massive cage in the centre, chock-a-block with goblets, chandeliers, wands and armour. A huge glass case contains the wands of 24 of the major characters – less than 1 percent of the total number of wands made for the films. The ornate doors to a Gringott’s vault and to the Chamber of Secrets are seen after passing a wall dedicated to the paintings produced to decorate the walls of Hogwarts.

 

Below the giant swinging pendulum of the Hogwarts castle clock there are several huge touch screens containing an interactive Marauders Map.

 

There are sections of the soundstage dedicated to various movie-making crafts. The hair and makeup section, costumes section, animal department, graphic design and production.

The final section in this first soundstage is dedicated to the Special Effects department with three huge video screens showing all the tricks and techniques, including greenscreen footage and CGI. Props attached to their motion rigs, include the Gringott’s Vault Cart and Mad-Eye Moody’s Recumbent Broomstick.

 

In separate room you can have a go on a broomstick or drive the Ford Anglia yourself, using the greenscreen technology.

 

The Backlot about half way round the tour is an open air section between the two soundstages where refreshments are available, including Butterbeer the popular wizarding beverage.

 

Also featured on the backlot are the Knight Bus, another Ford Anglia, Hagrid’s motorbike/sidecar, the Riddle family tombstone, a section of the rickety wooden Hogwarts Bridge, Potter’s burnt out cottage from Godric’s Hollow and Number 4 Privet Drive.

 

Entering the second soundstage you pass some of the giant chess pieces from the first movie. A number of video screens here progressively show what it was like to work in the creature shop, cleverly leading you from one screen to the next, past models of Fawkes, a snapping Monster Book of Monsters and a giant animatronic head of Hagrid. The next room has the life size (i.e., ENORMOUS!) model of Aragog the spider and one of three animatronic Buckbeak models.

 

Walking around the corner (WOW) you are transported into another world entirely. The dark lighting and cobbled street can only mean one thing – you have entered Diagon Alley. The shops using the original sets have been rebuilt– Flourish & Blotts, Eeylops Owl Emporium, Potage’s Cauldron Shop and of course Ollivander’s Wand Shop, each and every one them is crammed full of detail. At the other end of the street is Weasleys’ Wizard Wheezes, with the bright orange shopfront standing out from the crowd of blackness and featuring a moving model of one of the red-haired twins doffing his hat.

 

At the end of Diagon Alley you move onto the Art and Design department with walls covered with architectural drawings and detailed plans, accurate down to the millimetre, for many of the props and sets already seen. A draftsman’s table serves as a projection screen for another video about the work of the art department.

 

Moving on, up the ascending path are walls full of concept paintings and artwork, also intricate cardboard models of Hogsmead and the Hogwarts.

 

You are only looking at a model of the model though, as entering the next room, there, spread over at least 15 square metres is the most amazing, complex and elaborate model built to a 1:24 scale. It has a bigger footprint than the average house.

 

The last part of the tour is a fitting tribute to the crew and cast of the most popular film franchise of all time. A much tidier recreation of the interior of Ollivander’s Wand shop, with over 4,000 wand boxes lining its shelves – one for every single person who worked on the films.

 

Exit through the Gift Shop.

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

 

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

 

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

 

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

 

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

 

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

 

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

 

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

 

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

 

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

 

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

 

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

 

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

 

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

 

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

 

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

 

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

 

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

 

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

 

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

 

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

 

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

 

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

 

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

 

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

 

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

 

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

 

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

 

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

 

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

 

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

 

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

 

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

 

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

 

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

 

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

 

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

 

WIKIPEDIA

Douglaston Historic District, Douglaston, Queens, New York City, New York, United States

 

Date: 1906

Architect: Wilbur S. Knowles Original Owner: Solomon Mayer Type: Freestanding house

Style: Arts and Crafts/Colonial Revival Structure/material: Frame with wood shingle siding

Notable building features: Hipped roof with overhanging eaves; stucco-covered chimney with brick coping; hipped dormers; round, projecting bay at corner; wrap-around porch, partially enclosed, with Doric columns, central pediment, brick steps, and wood railings; multi-paned entrance vestibule (added after 1962); first-story oriel.

 

Alterations: Most windows are non-historic replacements; bases of porch and conservatory covered with concrete; through-the-wall air conditioners; chimney covered with stucco after 1962.

 

Related structure on lot: Attached, rear conservatory with polygonal plan and monitor roof, added in 1916; matching two-car garage, entered from Shore Road, contemporary with the house.

 

Notable site features: Mature trees; stucco-covered retaining walls with brick coping; brick garden walls with cast concrete balusters; brick steps and posts; cobblestone-framed sidewalks, driveway and curbs.

  

INTRODUCTION

 

The Douglaston Historic District contains more than 600 houses set along landscaped streets on a mile-long peninsula extending into Little Neck Bay, at the northeastern edge of Queens adjoining Nassau County.

 

Its history over the past four centuries ranges from a native American settlement to an eighteenth-century farm, a nineteenth-century estate called Douglas Manor, and an early twentieth-century planned suburb, also called Douglas Manor.

 

The Douglaston Historic District encompasses the entire Douglas Manor suburban development, plus several contiguous blocks. Most of the houses in the proposed district date from the early- to mid-twentieth century, while a few survive from the nineteenth century, and one from the eighteenth century.

 

The landscape includes many impressive and exotic specimen trees planted on the mid-nineteenth-century estate, as well as a great white oak, located at 233 Arleigh Road, believed to be 600 years old.

 

Douglaston's location on a peninsula jutting into Flushing Bay at the eastern border of Queens County is an important factor in establishing the character of the district. The very early buildings surviving in the district include the c.1735 Van Wyck House, the c. 1819 Van Zandt manor house (expanded in the early twentieth century for use as the Douglaston Club), and the Greek Revival style c. 1848-50 Benjamin Allen House.

 

Much of the landscaping, including the specimen trees, survives from the estate of Douglas Manor, established by George Douglas and maintained by his son William Douglas.

 

Most of the houses in the historic district were built as part of the planned suburb of Douglas Manor, developed by the Rickert-Finlay Company, that was part of the residential redevelopment of the Borough of Queens following its creation and annexation to the City of Greater New York in 1898.

 

A set of covenants devised by the Rickert-Finlay Company helped assure a carefully planned environment, including a shorefront held in common, winding streets following the topography of the peninsula, and single-family houses ranging in size from substantial mansions along Shore Road on the west to more modest cottages closer to Udalls Cove on the east.

 

The houses of the historic district, which are representative of twentieth-century residential architecture, were designed in a variety of styles including the many variants of the Colonial Revival, many houses in the English manner incorporating Tudor Revival, English cottage, and Arts and Crafts motifs, as well as the Mediterranean Revival. In most cases, they were designed by local Queens architects, including over a dozen who lived in Douglaston itself.

 

The district includes three houses of the Craftsman type pioneered by Gustav Stickley. Eight of the houses in the district were designed by Josephine Wright Chapman, one of America's earliest successful women architects, and they constitute an important body of her work.

 

The Douglaston Historic District survives today as an important example of an early twentieth-century planned suburb adapted to the site of a nineteenth-century estate. The stylistically varied suburban residences, the distinctive topography, the landscaped setting, and the winding streets create a distinct sense of place and give the district its special character.

 

HISTORICAL AND ARCHITECTURAL BACKGROUND OF THE DOUGLASTON HISTORIC DISTRICT

 

Native American and Colonial antecedents

 

The Native American presence on the Little Neck peninsula today known as Douglaston included the Matinecoc,1 one of a group on western Long Island linked by culture and language to others in the area surrounding Manhattan Island (including the Nayack, Marechkawieck, Canarsee, Rockaway, and Massapequa). A number of finds from those settlements have been identified at various sites on the peninsula.2 The Matinecoc, who fanned the peninsula and apparently also produced wampum, were summarily evicted in the 1660s by Thomas Hicks, later Judge Hicks, in what has been described as the only such seizure of property recorded in Flushing town records. In the 1930s, according to local histories, a Matinecoc burial ground was destroyed to make way for a widening of Northern Boulevard, and the remains reinterred in the cemetery of Zion Church.3

 

The property seized by Thomas Hicks in the 1660s passed through the hands of several of his family members, and several subsequent sales to other families, before being acquired in 1813 by Wynant Van Zandt. In 1819 Van Zandt bought an adjoining farm from the Van Wyck family. Both tracts had been farmed during the eighteenth century. The Van Wycks built and lived in a shorefront house which still stands (the Cornelius Van Wyck House, at 126 West Drive aka 37-04 Douglaston Parkway, a designated New York City landmark).

 

Nineteenth-century country seat: Wynant Van Zandt. George and William Douglas, and Douglas Manor

 

Wynant Van Zandt (1767-1831) kept his property in agricultural use. Unlike his predecessors, mostly local formers, Van Zandt was a prominent New York City merchant, active in New York civic affairs. As a city alderman, Van Zandt served as chairman, starting in 1803, of the building committee for City Hall, and in 1804 as chairman of a committee on water supply, among other duties. Van Zandt established his Queens County property as a country estate, and built himself a manor, or country seat, in 1819; the building survives, with additions, as the Douglaston Club.

 

In May 1835, following Wynant Van Zandt's death, George Douglas acquired the estate from Robert B. Van Zandt; the deed identifies Van Zandt as a "farmer" and Douglas as a "gentleman."5 One obituary, in the Flushing Journal Weekly, described Douglas as "what the world would call an eccentric man."6 Another, in the New York Evening Post, described him as a wealthy young man from Scotland, who during a fifteen-year stay in Europe "collected some very valuable pictures," and later turned to philanthropy.7

 

Douglas's son, William Proctor Douglas, inherited the property after his father's death in 1862. The younger Douglas served as vice-commodore of the New York Yacht Club in 1871-74. During his tenure, Douglas Manor became a center for New York society yachting and polo. In later years, Douglas rented out the estate house to a variety of well-connected tenants, including European royalty.8

 

In 1869, Douglas hired landscape architect William McMillen to, in the words of McMillen's daughter, "superintend the Estate, improve driveways, and lay out plantings and trees and ornamental shrubs."9 McMillen was later associated with Frederick Law Olmsted and his work on the park system in Buffalo, New York.10 Although McMillen spent six years working on the estate, it is not known exactly what he undertook for Douglas. From turn-of-the-century photographs and other records analyzed in a landscape history undertaken in 1994, it appears that under Douglas's

 

ownership the landscape was characterized by "an informal 'English' look...with English ivy, winterberry, Boston ivy and wisteria."11

 

It was also during Douglas's tenure that a number of exotic specimen trees were planted on the property. Local histories suggest a connection with Samuel Parsons (1819-1906), a pioneer horticulturist with a nursery in Flushing; Parsons owned land near the Douglas Estate. The trees have been a distinguishing characteristic of Douglas Manor since William Douglas's day.12

 

Early suburban subdivision

 

Although the suburban development called Douglas Manor dates from 1906, William Douglas apparently attempted a suburban subdivision half a century earlier south of Douglas Manor. The dominant force propelling development was the gradual extension of the Long Island Railroad, which ran as far as Flushing until 1866 (with stage coach connections for points east), when its extension to Great Neck opened. Even in the 1850s, anticipating the railroad's extension to the Little Neck peninsula, William Douglas had subdivided part of his property (the area today known as "the Hill").

 

Douglas donated land for the railroad's right of way, and later, according to local histories, relocated one of his farm buildings to be used as a railroad station, asking in exchange that the new village be called "Douglaston" (instead of Marathon, a competing name).13 He named a number of new streets after the abundant trees on his property (Pine, Poplar, Willow, Cherry).

 

The Rickert-Finlav Realty Company

 

Besides the three early surviving houses already mentioned (the Van Wyck House, the Douglaston Club, and the Allen House), almost all the rest of the houses in the historic district were built as part of the early twentieth-century planned suburb of Douglas Manor, named for Douglas's estate, laid out by the Rickert-Finlay Realty Company. The redevelopment of Douglas Manor was part of the vast transformation of much of the newly created Borough of Queens into new residential neighborhoods. In 1906, the year Rickert-Finlay bought Douglas Manor, several major transportation projects to speed connections between Manhattan and Queens were underway: the Pennsylvania Railroad and Long Island Railroad tunnels under the East River, and the Queensborough Bridge at 59th Street.14 According to the Real Estate Record and Guide of that year:

 

The development of numerous farms into building lots and the erection of hundreds of new buildings have necessarily advanced the value of real estate in that section of Greater New York. It is said that more than 8,000 new apportionments have been made in the Borough of Queens during 1906, and that considerably more than 10,000 acres of land have been cut up into lots....

 

Chief among the new developments cited:

 

Title has just been taken to the Douglass [sic] homestead of about 180 acres by the Douglass Manor Co. This will probably be the highest class development on the island. It has a mile of water front and most magnificent shade trees. This property will be subdivided immediately.16

 

The Rickert-Finlay Realty Company, which bought Douglas Manor, was active in real-estate development in Queens and Nassau Counties in the early years of the century, buying up large farms and estates on the north shore of Long Island, preferably those with attractive topographical features, and subdividing them into new suburban communities. Their projects included Norwood in Long Island City, Broadway-Flushing in Flushing, Bellcourt in Bayside, Douglas Manor in Douglaston, and Westmoreland in Little Neck.17 By 1908, the company, with offices at 45 West 34th Street in Manhattan,18 was advertising itself as "The Largest Developers of Real Estate in Queens Borough ~ over 10,000 lots within the limits of New York City."19

 

The company's typical strategy for selecting development sites was described by E.J. Rickert in a 1914 article in Architecture and Building: "It was selected because it was on high ground, with a splendid outlook . . . and only four blocks from a railway station. It was . . . noted for the magnificent row of maples and lindens, nearly a mile long, extending through the entire property."20 The company then developed each tract according to a formula based on past successes. E.J. Rickert described the progression of the firm's ideas:

 

The first property developed was Bellcourt in Bayside, which was improved along the same lines as had heretofore prevailed on Long Island — that is, gravel sidewalks were laid, streets were graded and shade trees were set out, no other improvements being made. In the sale of Bellcourt, however, it was found that there was a demand for better improvements, and, consequently, when Douglas Manor was developed, cement sidewalks were laid, macadam roads were built and trees and hedges were set out. Broadway-Flushing and Westmoreland, which came next, were developed to about the same extent as Douglas Manor, all then being considered the best improved properties on Long Island.

 

The next development, Kensington, saw the addition of complete "sanitary sewer system, water mains and underground conduit for street lighting."

 

The new suburb of Douglas Manor

 

The qualities of the nineteenth-century Douglas Manor on which the Rickert-Finlay development capitalized included its hilly topography, its mile-long waterfront accessible to the entire narrow peninsula, and its lush plantings, especially the specimen trees planted during Douglas's tenure. The development also based its new road system on the major farm roads already in place, which became West, East, and Centre [Center] Drives.23

 

The company then established a series of protective covenants to guarantee a certain manner of development and density within the new suburb. In an era pre-dating the adoption of zoning regulations,24 the character of a new development could be guaranteed in no other way.

 

The covenants affected the architectural character of the houses only peripherally — by prohibiting flat roofs, thereby encouraging a more romantic roofline. Instead, they focused on the kind and size of houses and the nature of the landscaping of the new development. They required all houses to be single-family residences, with the sole exception of the Douglaston Club (commercial uses and two-family buildings and flats were specifically prohibited). They encouraged an economically mixed development, with a boulevard of substantial mansions along the Shore Road waterfront, while smaller, less expensive houses would predominate on the peninsula's east. (Such conditions were guaranteed by requiring houses of a certain cost and lots of a certain size). A verdant landscape was ensured by requiring houses to be set back 20 feet, leaving room for greenery, and by prohibiting fences and encouraging hedges, creating vistas not of individual, fenced-off gardens, but rather of a continuous, green, park-like, landscaped environment.

 

Rickert-Finlay went even further, taking steps to protect that environment and shape the community's social character by creating, in 1906, the Douglas Manor Association. Its stated objectives were the creation and maintenance of a club house to promote "social intercourse" among the residents, and to preserve and protect the development's physical amenities, including the roads, parks, shorefront, and plantings.26

 

Selling Douglas Manor

 

Promotional brochures prepared by Rickert-Finlay characterized the new neighborhood as a private community of houses, nestled in a landscape similar to Central Park, surrounded with a mile of shorefront, just blocks from each home.27

 

Douglas Manor's convenience to Midtown Manhattan via the Long Island Railroad was compared favorably to subway commutation to new Bronx neighborhoods. The commute was touted at "only 33 Minutes to Manhattan, 52 Trains a Day," and predicted to become "20 Minutes to Herald Square, when Pennsylvania-Long Island Tunnels are completed." The neighborhood was just three blocks from the Douglaston station, itself very near the Long Island Sound, "being the only station on the line near enough to the Sound to bring the shore front within easy walking distance. "28 The history and character of the old Douglas estate were emphasized, especially the trees planted by Douglas: "Scotch Holly, Magnolia, Japanese Maidenhair, Chinese Cypress, European Beech, Scarlet Maple, Horse Chestnut, Tulip, Lime, evergreens... Even Central Park does not possess a greater variety of rare trees....

 

" This park-like effect would be "preserved and increased by setting out hedges along winding roads, following the natural contour of the land as much as possible.... The shore drive, curving along the bay for over a mile, will be made the finest boulevard on Long Island." To all these suburban advantages, Douglas Manor also boasted the services provided by the City of New York: "city water, stone sidewalks, macadamized streets" and the "full benefit of all departments of the city government, including schools, water, police and fire protection."

 

From 1906 through the Depression, several hundred houses were erected in Douglas Manor, following the plan suggested by the Rickert-Finlay covenants. In general, the lots along Shore Road on the west were developed first, with larger, more substantial houses, followed by the more modest

 

homes to the east towards Udalls Cove. Property owners often acquired lots adjacent to those on which their houses were built to accommodate more generous lawns or gardens. The mile-long waterfront remained undeveloped, held in common by the Douglas Manor Association. The large caliper specimen trees planted in Douglas's day remained in place. The grounds of the various houses were separated by perimeter hedges only — no fences. Two smaller lots formed by irregular street intersections were planted as small parks, maintained by the Association. Together, the parks, commonly held shorefront, specimen trees, and hedged gardens created something close to Rickert-Finlay's version of Central Park, surrounded by water, with several hundred houses nestled in the landscape.

 

The Architecture of the Douglaston Historic District

 

The architectural styles of the over 600 houses and some 150 related structures (mostly garages) in the historic district reflect three centuries of Douglaston's built history. From the eighteenth-century colonial Van Wyck House, to the early nineteenth-century Van Zandt House and mid-nineteenth-century Allen House, to the twentiethth-century suburban houses of the Rickert-Finlay development, to the additions of the post-World War II period, they tell the story of the development of this part of eastern Queens, part of the larger developmental story of New York City and the country as a whole.

 

The Cornelius Van Wyck House, at 126 West Drive, survives as the oldest extant house in the district, and one of the oldest in New York City (it is a designated New York City landmark). Built c.1735 for an early Dutch settler as a farmstead, the house reflects eighteenth-century New York colonial styles. Douglas, who transformed the farm to Douglas Manor, is said to have used the house as an "entrance lodge to his estate.w29 In 1907, one year after the acquisition of the Manor by the Rickert-Finlay Company, the Douglaston Country Club enlarged the building for use as a clubhouse. In 1921, the Van Wyck House passed back into use as a single-family residence, and its owner, E.N. Wicht, hired Frank J. Forster, designer of Colonial Revival and Tudor Revival style houses in the new Douglas Manor development, to restore it to its original Dutch Colonial appearance.

 

The Wynant Van Zandt House, at 600 West Drive, reflects both the older and the newer history of Douglaston. Built in 1819 as a home for Wynant Van Zandt, it was significantly altered after 1906 for use as the Douglaston Club, but still reflects some of the character of Van Zandt's original two-story Greek Revival manor house.

 

The Benjamin P. Allen House (a/k/a the Allen-Beville House, a designated New York City landmark) at 29 Center Drive, built c. 1848-50, is another rare Queens farm house. Predominately Greek Revival in style, it also shows the influence of the newly fashionable Italianate style, especially in its cornices and brackets.

 

Almost all the other buildings in the district date from the twentieth century, and the greater number of them from its first three decades, when Douglas Manor was developed by the Rickert-Finlay Company. Douglas Manor is a contemporary of several other planned communities in New York City, notably Fieldston in the Bronx and Forest Hill Gardens in Queens, all three of which began as subdivisions in the first decade of die century, and blossomed in the late teens and twenties. Like them, Douglas Manor was developed with houses based on historic styles of the past.

 

The first few decades of the century constituted a period of ferment and development in the design of American single-family houses. The epoch has been characterized as "a resurgence of individualism and an indulgence in residential architecture, a reaction to the standardization of the previous two decades. Fanciful cottages in fairy-tale styles were part of that image."30 In some ways, that approach is a logical continuation of late nineteenth-century architectural eclecticism, characterized in the 1890s as "rampant eclecticism in all fields of life and taste, of triumphant individualism, when authority sits so lightly on men's interests and lives; in this age of archaeology, when the different periods of history are made to live again in our imagination. "31 At the same time, residential architecture was affected by notions of progress and efficiency, and a drive toward simplicity and sanitary conveniences in home design.

 

Rickert-Finlay's protective covenants left the architectural character of the buildings almost entirely in the hands of owners and architects, requiring only that building roofs not be flat.32 The result was a collection of early twentieth-century eclectic residential styles, ranging from grand Colonial Revival mansions on the Shore Road waterfront, to picturesque Tudor Revival or Mediterranean Revival houses or houses in the English cottage manner or Colonial Revival houses on the blocks between West and East Drives, to modest cottages near Udalls Cove. Houses were sited in harmony with the topography, which tends to get hillier in the southeastern section of the peninsula.

 

One Douglas Manor architect, Alfred Scheffer, expressed his point of view in an article published in 1929. He described the Tudor Revival house he designed for himself at 216 Beverly-Road — a particularly useful indication of both the architect's and the client's point of view. Tellingly, the very first observation he makes is about the siting of the house, overlooking Long Island Sound: "The water is only a stone's throw — of a conservative marksman — from our front door and the second floor bay window has a certain suggestion of the forecastle deck of a ship, for the intervening land and highway are quite lost to sight and I can get a fine sense of sailing the seas, when I stand there." Only then does he turn to the formal style of the design, and sums up in a sentence the attitude of his day towards historically-inspired styles: "The construction is quite definitely in the English manner although / was not concerned with making it exact or authentic [emphasis added]

 

Scheffer then lists the elements that make his house "English": "stucco and halftimber walls with slate roof . . . The substantial chimney of common brick is typical of many English country houses. . . . The main entrance doorway of the house, at the end of a narrow flagstone walk, forms a Gothic arch of oak timber, framing a paneled oak door with iron straps and two small leaded glass windows, the effect completed by a semi-circular stone stoop. Beside the door is a lantern of pierced wrought-iron in the shape of an inverted tunnel, with wrought-iron bracket." Clearly it is details like the paneled oak door and leaded glass windows which give the house the English "effect" Scheffer wanted. But when he turns to describing the interior, practical matters take precedence: "The interior of the house was designed to take full advantage of our gorgeous outlook over the water."

 

Historical details are listed — "The walls are of rough English hand finished plaster" - but so are the "built-in bookshelves," "built-in comer cabinets," and "convenient and numerous closets and the very large closet and bathroom which join the master bedroom and add much to its convenience." "The interior of the house," concludes Scheffer," will probably grow from year to year. Things will be taken out and others put in until eventually, it comes near to realizing my mental image of what it ought to be. Already, I think, it has the liveable quality which is most essential of all."33

 

The majority of houses in the historic district reflect a variety of styles, loosely adapted by architects like Frank Scheffer, typical of suburban residential architecture across the country. The predominant style is the Colonial Revival in several variants, ranging in date from c.1910 to the present. Most are of frame construction with shingle and/or clapboard siding. Besides a generic Colonial Revival style, the district has such distinctive variations as the Dutch Colonial Revival, New England Colonial Revival, and Cape Cod Colonial Revival. Colonial Revival houses of brick, or frame with brick facing, often have a more formal neo-Georgian appearance. The English manner, the other major stylistic mode, is expressed with Tudor Revival, English cottage, or Arts and Crafts details. These houses, too, are often of frame construction with stucco facing and brick and/or stone trim. The Mediterranean Revival style was also popular.

 

These houses usually have stucco facing and tile roofs. The district also has a handful of houses of the Craftsman type pioneered by Gustav Stickley. Suburban houses of the type found in the district were judged by their picturesque qualities. The Architectural Forum, for instance, featured a Douglas Manor house by Frank Forster, the same architect who restored the Van Wyck House to something approaching its original Dutch colonial appearance. The writer praised Forster's "excellent use of half-timber in connection with brick or stucco," but more importantly his "rare skill in grouping, which creates a picturesque and architectural composition, wholly unaffected or exaggerated and involving no sacrifice in the matter of interior planning to secure this effect."

 

An additional group of houses in the historic district, on the south side of Bay Street, predates the Douglas Manor development by several years. Designed c.1900, they are excellent examples of the Colonial Revival and Queen Anne styles popular at the end of the nineteenth century.

 

Playing an important role in the historic district are the many related garage structures, often designed in architectural styles compatible with the houses they serve. Some were constructed originally as carriage houses and stables, often with residential accommodations, and later converted for garage use. By about 1920, the automobile had supplanted the horse, and garages were built as freestanding structures, some with chauffeur's quarters at the second story, usually situated close to a side or rear lot line. By the late 1920s, some houses were constructed with attached garages, or garages were constructed later, atttached to earlier houses. After World War II, many houses were built with basement garages, while other earlier houses were modified to provide basement garages.

 

The Douglas Manor Architects

 

A few prominent New York City architects with Manhattan offices received commissions in the new neighborhood; however, the vast majority of Douglas Manor houses were designed by local Queens and Brooklyn architects, and a surprisingly large number by architects who themselves lived in Douglas Manor or had offices nearby.35

 

Among the better known firms from outside the neighborhood who worked in the historic district, Buchman & Fox, architects of many Manhattan office buildings, designed 1008 Shore Road, a substantial Colonial Revival mansion overlooking the Bay. George Keister, whose practice included churches, hotels and Broadway theaters, designed 24 Knollwood Avenue, an Arts and Crafts style house, and 104 Hollywood Avenue, a Colonial Revival house. Diego DeSuarez, who planned villa gardens at both La Pietra, outside Florence, and Vizcaya, outside Miami, designed a one-story Mediterranean fantasy at 231 Beverly Road. Lionel Moses, of the firm of McKim, Mead & White, designed a house in the English cottage manner at 1102 Shore Road overlooking Little Neck Bay. The architectural firm of McKim, Mead & White is credited with the formal French Renaissance Revival style house at 4 Ardsley Road. Dating from 1919, it is constructed of hollow terra-cotta block, a form of fireproof construction, and faced with stucco.36

 

Architects from Brooklyn and Queens represented in the historic district include Arthur H. Allen, an architect very active in Forest Hills (a Colonial Revival house at 217 Ridge Road); Philip Resnyk (Tudor Revival, English cottage manner, and Colonial Revival houses on Warwick, Beverly, Grosvenor, Hollywood, Knollwood, Richmond, Kenmore, Richmond and Manor); Benjamin Dreisler (an Arts and Crafts/Colonial Revival house at 243 Forest Road); Louis Feldman (English cottage type houses at 211 and 217 Forest Road); J. Sarsfield Kennedy (a Tudor Revival house at 369 Beverly Road and a grand English bungalow/Arts and Crafts house at 1114 Shore Road), and Shampan & Shampan (a Colonial Revival house at 110 Arleigh).

 

Almost 60 of the over 600 houses in the historic district, built in the first decades of the century, are known to be the work of fourteen Douglaston architects.37 Alfred Scheffer, whose views are quoted above, designed at least ten, most in the Colonial Revival style or English cottage manner with Tudor Revival or Arts and Crafts detail.

 

John C.W. Cadoo designed at least sixteen houses, mostly Colonial Revival in style. Frank Forster designed at least three houses, one Colonial Revival, the others in the English cottage manner, as well as overseeing the restoration of the eighteenth-century Van Wyck House. Albert Humble designed at least ten houses, most in the Colonial Revival style.

 

Josephine Wright Chapman

 

Eight houses in the historic district are known to have been designed in the 1910s and 1920s by one of America's earliest successful women architects, Josephine Wright Chapman (1867-?). Chapman was professionally active from 1892 to 1927, but little is known about her education or commissions.

 

She pursued her interest in a career in architecture over opposition from her family, working from 1892 to 1897 as a draftsman in the office of Boston architect Clarence H. Blackall. Very few academically trained women became architects in the last two decades of the nineteenth century, and Chapman may have entered the profession as an apprentice.

 

By 1898 she was listed in the Boston City Directory as an architect, and developed a successful practice, despite the rejection of her application for membership in the American Institute of Architects.

 

Chapman's first major project was the New England Building at the Pan-American Exposition in Buffalo in 1901. Other known work includes the Craigie Arms Apartments (1897) in Cambridge, Mass., the Episcopal Church in Leominster, Mass., and the Women's Clubs in Worcester and Lynn, Mass.

 

In 1905, Chapman began to devote herself to the design of houses. She preferred the "English type," long, low and rambling, with gables and timber and plaster detailing. In 1907 she moved to New York, where she was listed in directories as an architect until 1925. Among her few published works was a sixteen-story apartment building on Park Avenue, described as demonstrating "the feminine idea of correct planning . . .and many innovations were to be introduced."

 

While in New York, she also received the commission for Hillandale, an Italian Renaissance style villa in Washington, D.C., built 1922-25. In the words of historian Gwendolyn Wright: "Neither Chapman's early public success in Boston nor her conversion to professional pursuit more appropriate for a woman qualified her for coverage in the architectural press.

 

But her career was remarkable, for few women had the financial independence to experiment with their own offices."

 

Chapman's known Douglaston houses, which date from 1909 to 1917, are in the historic district's two prevalent stylistic modes — five Colonial Revival and three in the English cottage manner.

 

They share picturesque silhouetttes with rooflines that feature gambrel or gabled roofs with hipped or shed dormers, and exposed brick chimneys; and distinctive entry and porch details, including one with Tuscan columns, one with a pointed-arch batten door, and one with a panelled entrance with side-lights and transom.

 

The Craftsman style houses

 

Several Craftsman style houses, including No. 122 Arleigh Road, 140 Prospect Avenue, and 111 Hollywood Avenue, may be one of the largest such collections in any New York City neighborhood.

 

Furniture designer Gustav Stickley of Rochester, New York, created the Craftsman architectural movement and disseminated it throughout the country via his Craftsman magazine.

 

The Craftsman aesthetic drew on the English Arts and Crafts movement, California Mission design, Japanese architecture, and Native American design, and was supported by an ideology influenced by concepts of socialism, the nobility of work, and the value of manual training.

 

Stickley developed his interest in architecture in the years 1902-05, initially as a way of creating the proper environment for his furniture. He hired architect Harvey Ellis to help develop a Craftsman architecture, and the Craftsman magazine began publishing prototype houses initially designed by Ellis, encouraging the public to take them as models for their own homes.

 

The published houses included floor plans, sketches, renderings of room schemes, elevations, and descriptions of appropriate rugs, fabrics, furniture, and color schemes. Stickley then encouraged his readers to alter the plans to suit local conditions.

 

In 1909, Stickley became involved in the actual construction of houses when he organized the Craftsman Building Company, which constructed houses in New Jersey and on Long Island.

 

The company was active for just under a year; the exact number of houses built is unknown. Most "Craftsman" houses were built by contractors using Craftsman plans.

 

The Craftsman house embodies a number of characteristics in its exterior. It is generally designed to take advantage of its site and views. Picturesque in its composition, it incorporates an "honest" expression of its materials and structure.

 

It makes use of exposed or emphasized structural elements, especially a broad, overhanging roof, often supported by large, open rafters extending beyond the eaves.

 

There may be wooden elements including curved roofs, or exotic piled capitals. Often such houses include pergolas, porches, balconies or verandas. Windows are grouped together to create large openings.

 

Craftsman houses use a variety of materials, preferably local. Stonework is often textured and ornamental, with variegated colors and shapes. Other common materials include clinker brick, and stucco, often mixed with rough sand or bits of glass.

 

Historical and Architectural Introduction

 

No. 111 Hollywood Road was designed by the Craftsman architects in 1914.55 The interior follows the Craftsman aesthetic, while the exterior borrows the distinctive eyebrow window and brick Tudor arched entrance from neighboring houses.

 

No. 122 Arleigh Road corresponds to Craftsman plan number 70, a "Ten-Room House for Town or Country Life" published originally in the Craftsman in July 1909 and again in More Craftsman Homes. Its horizontal orientation, large living porch, emphasis on structural elements including low, spreading, overhanging eaves and extended rafters, and central entrance and symmetrical facade with grouped windows, all reflect the Craftsman mold.

 

No. 140 Prospect Road correspond to Craftsman plan number 85, a "Small Two-Story Cement House with Recessed Porch and Balcony," published originally in the Craftsman in March 1910 and again in More Craftsman Homes. Its low-pitched roof revealing the rafters, porch and balcony, decorative use of structural elements, and grouping of windows and openings, all fit the Craftsman aesthetic.

 

A number of other houses in the historic district reflect the Craftsman aesthetic, even though they do not follow published Craftsman plans.

 

Prominent residents and later history

 

The first residents to move into the new Douglas Manor development, in 1907, were "the Misses Butler, of Flushing." They were followed by a number of newspapermen including "Mr. Mayer, World cartoonist, on Shore Road and Knollwood Ave.," "George C. Minor, of the New York Herald" on West Drive and Knollwood, and "Arthur Greaves, city editor of the New York Times" on West Drive, as well as a Mr. Slater of Manhattan and a Mr. Burtis, "manager of the Brooklyn branch of Swift & Co."56 Country Life in America the following year showed houses for sale in Douglas Manor priced at $8500 and $10,000.

 

Over the years, the historic district has attracted many famous residents, including a number of people in theater and the arts. Besides the above mentioned Herbert Mayer, cartoonist for The World, and architect Elbert McGran Jackson, who also illustrated covers for the Saturday Evening Post, artists included Percy Crosby, author of the "Skippy" comic strip; Robbie Robinson, another

 

illustrator for the Saturday Evening Post, Norwegian born sculptor Trygve Hammer, whose house is at 329 Forest Road,59 and satirist George Grosz.

 

Douglaston's location on the Long Island Rail Road, which made it convenient to the Astoria Studios in Long Island City, an early movie center, attracted many actors in the days before the ascendancy of Hollywood.

 

Residents have included Ginger Rogers, Hedda Hopper, Richard Dix, Ward Bond, Bonita Granville, Clifton Webb, Arthur Treacher, Jack Donahue, and William Collier Sr., as well as Ziegfeld Follies star Margaret Corry.

 

Other notable residents have included author Ring Lardner, as well as Olympic swimmer Annette Kellerman, tennis pro John McEnroe, Jr., and pianist Claudio Arrau.

 

Douglaston resident Anne E. Hayes was one of the first women to attend Cornell University's medical school, and later became a clothing designer.

 

In the half century since the end of World War II, the Douglaston Historic District has seen numerous houses altered or demolished, and much new construction. Some of the new houses have maintained the scale and repeated the materials and styles of earlier houses; others have not.

 

They have ranged in style from ranch houses to modern versions of the Colonial Revival. Overall, however, the Douglaston Historic District survives, maintaining much of its original architectural character as a planned suburban community, as well as rare surviving reminders of the eighteenth and nineteenth centuries, and significant landscape features including the commonly-held waterfront, specimen trees, and generous landscaping.

 

All create a distinct sense of place, recalling a significant period in the history of Queens.

 

- From the 1997 NYCLPC Historic District Designation Report

This photo features two wireframe sculptures resembling human figures. The sculptures are composed of interwoven metal rods or wires, forming abstract yet recognizable shapes of a male and female figure. The image is in black and white, creating a stark contrast between the sculptures and the background.

 

The figures are positioned against an overcast sky, contributing to a dramatic and somewhat melancholic atmosphere. The background includes silhouetted trees and foliage, adding depth to the composition.

 

Overall, the photo conveys a sense of abstraction and introspection, emphasizing the interplay between the human form and its environment.

Pemberton bathroom view.

Ford, McKinney, & Weller vending machine view.

Lincoln & Powell-Norton floor lounge view.

U.S. Air Force Fact Sheet

 

E-3 SENTRY (AWACS)

 

E-3 Sentry celebrates 30 years in Air Force's fleet

  

Mission

The E-3 Sentry is an airborne warning and control system, or AWACS, aircraft with an integrated command and control battle management, or C2BM, surveillance, target detection, and tracking platform. The aircraft provides an accurate, real-time picture of the battlespace to the Joint Air Operations Center. AWACS provides situational awareness of friendly, neutral and hostile activity, command and control of an area of responsibility, battle management of theater forces, all-altitude and all-weather surveillance of the battle space, and early warning of enemy actions during joint, allied, and coalition operations.

 

Features

The E-3 Sentry is a modified Boeing 707/320 commercial airframe with a rotating radar dome. The dome is 30 feet (9.1 meters) in diameter, six feet (1.8 meters) thick, and is held 11 feet (3.33 meters) above the fuselage by two struts. It contains a radar subsystem that permits surveillance from the Earth's surface up into the stratosphere, over land or water. The radar has a range of more than 250 miles (375.5 kilometers). The radar combined with an identification friend or foe, or IFF, subsystem can look down to detect, identify and track enemy and friendly low-flying aircraft by eliminating ground clutter returns that confuse other radar systems.

 

Major subsystems in the E-3 are avionics, navigation, communications, sensors (radar and passive detection) and identification tools (IFF/SIF). The mission suite includes consoles that display computer-processed data in graphic and tabular format on video screens. Mission crew members perform surveillance, identification, weapons control, battle management and communications functions.

 

The radar and computer subsystems on the E-3 Sentry can gather and present broad and detailed battlefield information. This includes position and tracking information on enemy aircraft and ships, and location and status of friendly aircraft and naval vessels. The information can be sent to major command and control centers in rear areas or aboard ships. In time of crisis, this data can also be forwarded to the president and secretary of defense.

 

In support of air-to-ground operations, the Sentry can provide direct information needed for interdiction, reconnaissance, airlift and close-air support for friendly ground forces. It can also provide information for commanders of air operations to gain and maintain control of the air battle.

 

As an air defense system, E-3s can detect, identify and track airborne enemy forces far from the boundaries of the United States or NATO countries. It can direct fighter-interceptor aircraft to these enemy targets. Experience has proven that the E-3 Sentry can respond quickly and effectively to a crisis and support worldwide military deployment operations.

 

AWACS may be employed alone or horizontally integrated in combination with other C2BM and intelligence, surveillance, and reconnaissance elements of the Theater Air Control System. It supports decentralized execution of the air tasking order/air combat order. The system provides the ability to find, fix, track and target airborne or maritime threats and to detect, locate and ID emitters. It has the ability to detect threats and control assets below and beyond the coverage of ground-based command and control or C2, and can exchange data with other C2 systems and shooters via datalinks.

 

With its mobility as an airborne warning and control system, the Sentry has a greater chance of surviving in warfare than a fixed, ground-based radar system. Among other things, the Sentry's flight path can quickly be changed according to mission and survival requirements. The E-3 can fly a mission profile approximately 8 hours without refueling. Its range and on-station time can be increased through in-flight refueling and the use of an on-board crew rest area.

 

Background

Engineering, test and evaluation began on the first E-3 Sentry in October 1975. In March 1977 the 552nd Airborne Warning and Control Wing (now 552nd Air Control Wing, Tinker Air Force Base, Okla.), received the first E-3s.

 

There are 32 aircraft in the U.S. inventory. Air Combat Command has 27 E-3s at Tinker. Pacific Air Forces has four E-3 Sentries at Kadena AB, Japan and Elmendorf AFB, Alaska. There is also one test aircraft at the Boeing Aircraft Company in Seattle.

 

NATO has 17 E-3A's and support equipment. The first E-3 was delivered to NATO in January 1982. The United Kingdom has seven E-3s, France has four, and Saudi Arabia has five. Japan has four AWACS built on the Boeing 767 airframe.

 

As proven in operations Desert Storm, Allied Force, Enduring Freedom, Iraqi Freedom, and Odyssey Dawn/Unified Protector the E-3 Sentry is the world's premier C2BM aircraft. AWACS aircraft and crews were instrumental to the successful completion of operations Northern and Southern Watch, and are still engaged in operations Noble Eagle and Enduring Freedom. They provide radar surveillance and control in addition to providing senior leadership with time-critical information on the actions of enemy forces. The E-3 has also deployed to support humanitarian relief operations in the U.S. following Hurricanes Rita and Katrina, coordinating rescue efforts between military and civilian authorities.

 

The data collection capability of the E-3 radar and computer subsystems allowed an entire air war to be recorded for the first time in the history of aerial warfare.

 

In March 1996, the Air Force activated the 513th Air Control Group, an AWACS Reserve Associate Program unit which performs duties on active-duty aircraft.

 

During the spring of 1999, the first AWACS aircraft went through the Radar System Improvement Program. RSIP is a joint U.S./NATO development program that involved a major hardware and software intensive modification to the existing radar system. Installation of RSIP enhanced the operational capability of the E-3 radar electronic counter-measures and has improved the system's reliability, maintainability and availability.

 

The AWACS modernization program, Block 40/45, is currently underway. Bock 40/45 represents a revolutionary change for AWACS and worldwide Joint Command and Control, Battle Management, and Wide Area Surveillance. It is the most significant counter-air battle management improvement in Combat Air Forces tactical Command and Control history. The Block 40/45 Mission Computer and Display upgrade replaces current 1970 vintage mission computing and displays with a true open system and commercial off-the-shelf hardware and software, giving AWACS crews the modern computing tools needed to perform, and vastly improve mission capability. Estimated fleet upgrades completion in ~2020.

 

General Characteristics

Primary Function: Airborne battle management, command and control

Contractor: Boeing Aerospace Co.

Power Plant: Four Pratt and Whitney TF33-PW-100A turbofan engines

Thrust: 20,500 pounds each engine at sea level

Rotodome: 30 feet in diameter (9.1 meters), 6 feet thick (1.8 meters), mounted 11 feet (3.33 meters) above fuselage

Wingspan: 145 feet, 9 inches (44.4 meters)

Length: 152 feet, 11 inches (46.6 meters)

Height: 41 feet, 9 inches (13 meters)

Weight: 205,000 pounds (zero fuel) (92,986 kilograms)

Maximum Takeoff Weight: 325,000 pounds (147,418 kilograms)

Fuel Capacity: 21,000 gallons (79,494 liters)

Speed: optimum cruise 360 mph (Mach 0.48)

Range: more than 5,000 nautical miles (9,250 kilometers)

Ceiling: Above 29,000 feet (8,788 meters)

Crew: Flight crew of four plus mission crew of 13-19 specialists (mission crew size varies according to mission)

Unit Cost: $270 million (fiscal 98 constant dollars)

Initial operating capability: April 1978

Inventory: Active force, 32 (1 test); Reserve, 0; Guard, 0

  

Point of Contact

Air Combat Command, Public Affairs Office; 130 Andrews St., Suite 202; Langley AFB, VA 23665-1987; DSN 574-5007 or 757-764-5007; e-mail: accpa.operations@langley.af.mil

 

www.af.mil/information/factsheets/factsheet.asp?fsID=98

This is a Cancun model Viking Pool. It is a 16' by 35' pool with a depth range of 3'6" to 5'6". The dealer who installed this pool is Pool Crafters from Palm Beach Gardens, FL. It features a Granite crystite finish, a luxury landscape, creative water features, and a Mystic Spa. To see more Cancun model Viking Pools visit www.vikingpools.net/free-form.php#cancun

SEOUL, SOUTH KOREA - OCTOBER 16: T1 at the League of Legends World Championship 2023 Swiss Features Day on October 16, 2023 in Seoul, South Korea. (Photo by Lee Aiksoon/Riot Games)

BERLIN, GERMANY - NOVEMBER 30: Team Sentinels' Tyson "TenZ" Ngo poses at the VALORANT Champions Features Day on November 30, 2021 in Berlin, Germany. (Photo by Lance Skundrich/Riot Games)

New/more pics from an older (and dusty...) model

  

Some background:

The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).

 

The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.

 

The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.

 

The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.

The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.

 

The following FAST Pack 2.0 system featured two 120.000 kg class P&W+EF-2001 booster thrusters (mounted on the dorsal section of the VF-1) and two CTB-04 conformal propellant/coolant tanks (mounted on the leg/engines), since the VF-1's internal tanks could not carry enough propellant to achieve a stable orbit from Earth bases and needed the help of a booster pack to reach Low Earth Orbit. Anyway, the FAST Pack 2.0 wasn't adapted for atmospheric use, due to its impact on a Valkyrie's aerodynamics and its weight; as such, it needed to be discarded before atmospheric entry.

Included in the FAST Pack boosters and conformal tanks were six high-maneuverability vernier thrusters and two low-thrust vernier thrusters beneath multipurpose hook/handles in two dorsal-mounted NP-BP-01, as well as ten more high-maneuverability vernier thrusters and two low-thrust vernier thrusters beneath multipurpose hook/handles in the two leg/engine-mounted NP-FB-01 systems.

Granting the VF-1 a significantly increased weapons payload as well as greater fuel and thrust, Shinnakasu Heavy Industry's FAST Pack system 2.0 was in every way a major success in space combat. The first VF-1 equipped with FAST Packs was deployed in January 2010 for an interception mission.

Following first operational deployment and its effectiveness, the FAST Pack system was embraced enthusiastically by the U.N. Spacy and found wide use. By February 2010, there were already over 300+ so-called "Super Valkyries" stationed onboard the SDF-1 Macross alone.

 

After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.

 

The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)

 

However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction.

 

General characteristics:

All-environment variable fighter and tactical combat Battroid,

used by U.N. Spacy, U.N. Navy, U.N. Space Air Force

 

Accommodation:

Pilot only in Marty & Beck Mk-7 zero/zero ejection seat

Dimensions:

Fighter Mode:

Length 14.23 meters

Wingspan 14.78 meters (at 20° minimum sweep)

Height 3.84 meters

 

Battroid Mode:

Height 12.68 meters

Width 7.3 meters

Length 4.0 meters

Empty weight: 13.25 metric tons;

Standard T-O mass: 18.5 metric tons;

MTOW: 37.0 metric tons

 

Power Plant:

2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)

4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);

18 x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles

 

The S-FAST Pack added 4x P&W+EF-2001 booster thrusters with 120.000 kg each, plus a total of 28x P&W LHP04 low-thrust vernier thrusters

 

Performance:

Battroid Mode: maximum walking speed 160 km/h

Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87

g limit: in space +7

Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24

 

Design Features:

3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system

 

Transformation:

Standard time from Fighter to Battroid (automated): under 5 sec.

Min. time from Fighter to Battroid (manual): 0.9 sec.

 

Armament:

2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute

1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min

 

4x underwing hard points for a wide variety of ordnance, including

12x AMM-1 hybrid guided multipurpose missiles (3/point), or

12x MK-82 LDGB conventional bombs (3/point), or

6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or

4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,

or a combination of above load-outs

 

The optional Shinnakasu Heavy Industry S-FAST Pack 2.1 augmentative space weapon system added:

6x micro-missiles in two NP-AR-01 micro-missile launcher pods (mounted rearward under center ventral section in Fighter mode or on lower arm sections in GERWALK/Battroid mode)

4x12 micro missiles in four HMMP-02 micro-missile launchers, one inside each booster pod

  

The model and its assembly:

This is a major kit conversion, or better a kitbashing with major scratch work involved. By the time I built this model, there were no convincing 1:100 kits of the so-called "Super / Strike Valkyries" around. These VF-1s carry rocket boosters for non-atmospherical use, so-called FAST packages ("Fuel And Sensor Trays"). However, parts for these space operation packages are included in some ARII Battroid kits.

 

This is the second of such conversions I did on the basis of a 1:100 Bandai (ex Arii) Gerwalk Valkyrie model, with additional leftover pieces from Super Valkyrie kits in Battroid mode and even from vintage Imai transformable kits.

 

The legs in retracted position were completely built through kitbashing, since the FAST packages would hardly fit under the body. The folded arms between the legs were improvised and heavily tailored to fit into the narrow space between the legs as good as possible. Real arm parts would not fit at all!

 

The "UUM-7" rocket launchers with 5 x 3 HMM-01missiles each were built from scratch. other added details include a pilot figure and better cockpit interior parts, plus some other details like antennae that the simple, original kits lack.

 

Painting and markings:

The color scheme is based on the standard VF-1A livery, even though I used a lighter tan (RAF "Hemp", B.S. 4800/10B21, e .g. used on Nimrod sea patrol aircrafts or VC-10 tankers - Humbrol 168) instead of brown. The lighter contrast areas were painted in ivory (Humbrol 41) instead of pure white, the FAST packs received a grey finish (FS 36081, Humbrol 32).

 

What's a bit special about the colored details of this semi-fictional Valkyrie is that the squadron insignia is original Japanese: The panda with the red lightning is the emblem of the 203rd hikotai, a real world JASDF fighter squadron that used to fly F-86 Sabre and F-104 Starfighters – with some fantasy, you can read the "203" in the lightning's outline! The kit's idea was to show what a machine from such a "real" squadron might look like if it was (still) existent in the Macross universe?

 

The United States Astronaut Hall of Fame, located inside the Kennedy Space Center Visitor Complex Heroes & Legends building on Merritt Island, Florida, honors American astronauts and features the world's largest collection of their personal memorabilia, focusing on those astronauts who have been inducted into the Hall. Exhibits include Wally Schirra's Sigma 7 space capsule from the fifth crewed Mercury mission and the Gemini IX spacecraft flown by Gene Cernan and Thomas P. Stafford in 1966.

 

In the 1980s, the six then-surviving Mercury Seven astronauts conceived of establishing a place where US space travelers could be remembered and honored, along the lines of halls of fame for other fields. The Mercury Seven Foundation and Astronaut Scholarship Foundation were formed, and have a role in the ongoing operations of the Hall of Fame. The foundation's first executive director was former Associated Press space reporter Howard Benedict.

 

The Astronaut Hall of Fame was opened on October 29, 1990, by the U.S. Space Camp Foundation, which was the first owner of the facility. It was located next to the Florida branch of Space Camp.

 

The Hall of Fame closed for several months in 2002 when U.S. Space Camp Foundation's creditors foreclosed on the property due to low attendance and mounting debt. That September, an auction was held and the property was purchased by Delaware North Park Services on behalf of NASA and the property was added to the Kennedy Space Center Visitor Complex. The Hall of Fame re-opened December 14, 2002.

 

The Hall of Fame, which was originally located just west of the NASA Causeway, closed to the public on November 2, 2015, in preparation for its relocation to the Kennedy Space Center Visitor Complex 6 miles (9.7 km) to the east on Merritt Island. Outside of the original building was a full-scale replica of a Space Shuttle orbiter named Inspiration (originally named "Shuttle To Tomorrow" where visitors could enter and view a program). Inspiration served only as an outdoor, full scale, static display which visitors could not enter. After the Hall of Fame was transferred to the KSC Visitor Complex, Inspiration was acquired by LVX System and was placed in storage at the Shuttle Landing Facility at the Kennedy Space Center; in 2016, the shuttle was loaded on to a barge to be taken for refurbishment before going on an educational tour.

 

The building was purchased at auction by visitor complex operator Delaware North and renamed the ATX Center, and for a time housed educational programs including Camp Kennedy Space Center and the Astronaut Training Experience. Those programs have since been moved to the KSC Visitor Complex, and as of December 2019, the structure was being offered for lease. In July 2020, Lockheed Martin announced it would lease the building to support work on the NASA Orion crew capsule.

 

Inductees into the Hall of Fame are selected by a blue ribbon committee of former NASA officials and flight controllers, historians, journalists, and other space authorities (including former astronauts) based on their accomplishments in space or their contributions to the advancement of space exploration. Except for 2002, inductions have been held every year since 2001.

 

As its inaugural class in 1990, the Hall of Fame inducted the United States' original group of astronauts: the Mercury Seven. In addition to being the first American astronauts, they set several firsts in American spaceflight, both auspicious and tragic. Alan Shepard was the first American in space and later became one of the twelve people to walk on the Moon. John Glenn was the first American to orbit the Earth and after his induction went on, in 1998, to become the oldest man to fly in space, aged 77. Gus Grissom was the first American to fly in space twice and was the commander of the ill-fated Apollo 1, which resulted in the first astronaut deaths directly related to preparation for spaceflight.

 

Thirteen astronauts from the Gemini and Apollo programs were inducted in the second class of 1993. This class included the first and last humans to walk on the Moon, Neil Armstrong and Eugene Cernan; Ed White, the first American to walk in space (also killed in the Apollo 1 accident); Jim Lovell, commander of the famously near-tragic Apollo 13; and John Young, whose six flights included a moonwalk and command of the first Space Shuttle mission.

 

The third class was inducted in 1997 and consisted of the 24 additional Apollo, Skylab, and ASTP astronauts. Notable members of the class were Roger Chaffee, the third astronaut killed in the Apollo 1 fire and the only unflown astronaut in the Hall; Harrison Schmitt, the first scientist and next-to-last person to walk on the Moon; and Jack Swigert and Fred Haise, the Apollo 13 crewmembers not previously inducted.

 

The philosophy regarding the first three groups of inductees was that all astronauts who flew in NASA's "pioneering" programs (which would include Mercury, Gemini, Apollo, Apollo Applications Program (Skylab), and Apollo-Soyuz Test Project) would be included simply by virtue of their participation in a spaceflight in these early programs. The first group (the inaugural class of 1990) would only include the original Mercury astronauts (most of whom would go on to fly in later programs). The second group of inductees would include those astronauts who began their spaceflight careers during Gemini (all of whom would go on to fly in later programs). The third group of inductees would include those astronauts who began their spaceflight careers during Apollo, Skylab, and ASTP (some of whom would go on to fly in the Space Shuttle program). Since it would not be practical (or meaningful) to induct all astronauts who ever flew in space, all subsequent inductees (Space Shuttle program and beyond) are considered based on their accomplishments and contributions to the human spaceflight endeavor which would set them apart from their peers.

 

Over four dozen astronauts from the Space Shuttle program have been inducted since 2001. Among these are Sally Ride, the first American woman in space; Story Musgrave, who flew six missions in the 1980s and 90s; and Francis Scobee, commander of the ill-fated final Challenger mission.

 

The 2010 class consisted of Guion Bluford Jr., Kenneth Bowersox, Frank Culbertson and Kathryn Thornton. The 2011 inductees were Karol Bobko and Susan Helms. The 2012 inductees were Franklin Chang-Diaz, Kevin Chilton and Charles Precourt. Bonnie Dunbar, Curt Brown and Eileen Collins were inducted in 2013, and Shannon Lucid and Jerry Ross comprised the 2014 class.

 

Those inducted in 2015 were John Grunsfeld, Steven Lindsey, Kent Rominger, and Rhea Seddon. In 2016, inductees included Brian Duffy and Scott E. Parazynski. Ellen Ochoa and Michael Foale were announced as the 2017 class of the United States Astronaut Hall of Fame. Scott Altman and Thomas Jones followed in 2018. The 2019 inductees were James Buchli and Janet L. Kavandi.

 

Michael López-Alegría, Scott Kelly and Pamela Melroy were the 2020 inductees, inducted in a November 2021 ceremony. The 2022 inductees were Christopher Ferguson, David Leestma, and Sandra Magnus. Roy Bridges Jr. and Mark Kelly were the 2023 inductees.

 

The Hall of Heroes is composed of tributes to the inductees. Among the Hall of Fame's displays is Sigma 7, the Mercury spacecraft piloted by Wally Schirra which orbited the Earth six times in 1962, and the Gemini 9A capsule flown by Gene Cernan and Thomas P. Stafford in 1966. An Astronaut Adventure room includes simulators for use by children.

 

The spacesuit worn by Gus Grissom during his 1961 Liberty Bell 7 Mercury flight is on display and has been the subject of a dispute between NASA and Grissom's heirs and supporters since 2002. The spacesuit, along with other Grissom artifacts, were loaned to the original owners of the Hall of Fame by the Grissom family when it opened. After the Hall of Fame went into bankruptcy and was taken over by a NASA contractor in 2002, the family requested that all their items be returned. All of the items were returned to Grissom's family except the spacesuit, because both NASA and the Grissoms claim ownership of it. NASA claims Grissom checked out the spacesuit for a show and tell at his son's school, and then never returned it, while the Grissoms claim Gus rescued the spacesuit from a scrap heap.

 

The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of human spaceflight. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC.[4] Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.

 

Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.

 

Additionally, the center manages launch of robotic and commercial crew missions and researches food production and In-Situ Resource Utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.

 

There are about 700 facilities and buildings grouped across the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex open to the public on site.

 

Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.

 

President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.

 

NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.

 

On November 29, 1963, the facility was given its current name by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.

 

Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.

 

The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S[39] at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.

 

Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery or through their more up-to-date Flickr gallery.

 

A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.

 

The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.

 

The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.

 

It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.

 

In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.

 

The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.

 

Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.

 

Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.

 

There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.

 

Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.

 

President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.

 

NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.

 

On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.

 

Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.

 

From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.

 

On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.

 

As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.

 

In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.

 

KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.

 

On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.

 

Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).

 

Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.

 

All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.

 

In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.

 

In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.

 

On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.

 

As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.

 

From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.

 

Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.

 

The following are current programs and initiatives at Kennedy Space Center:

Commercial Crew Program

Exploration Ground Systems Program

NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.

On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.

Launch Services Program

Educational Launch of Nanosatellites (ELaNa)

Research and Technology

Artemis program

Lunar Gateway

International Space Station Payloads

Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.

 

The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.

 

Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.

 

A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.

 

The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.

 

The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.

The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.

The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).

The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.

The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.

The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]

The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.

 

Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).

 

Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.

 

Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.

 

The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.

a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;

a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;

the Launch Control Center; and

a news media facility.

 

Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.

 

As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:

 

Exploration Park to multiple users (partnership with Space Florida)

Shuttle Landing Facility to Space Florida (who contracts use to private companies)

Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)

Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX

O&C High Bay to Lockheed Martin (for Orion processing)

Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)

Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)

 

The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.

 

It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.

 

In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.

 

Historic locations

NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:

 

Launch Complex 39: Pad A Historic District

Launch Complex 39: Pad B Historic District

Shuttle Landing Facility (SLF) Area Historic District

Orbiter Processing Historic District

Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District

NASA KSC Railroad System Historic District

NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District

There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.

 

Further information: John F. Kennedy Space Center MPS

Other facilities

The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.

ISTANBUL, TURKEY - AUGUST 28: Benedict "Benkai" Tan of Paper Rex poses for a portrait at VALORANT Champions 2022 Istanbul Features Day on August 28, 2022 in Istanbul, Turkey. (Photo by Lance Skundrich/Riot Games)

REYKJAVIK, ICELAND - APRIL 8: Joaquin Ignacio "delz1k" Espinoza Soto of KRU Esports poses for the VALORANT Masters Features Day on April 8, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

REYKJAVIK, ICELAND - APRIL 7: Team OpTic poses for the VALORANT Masters Features Day on April 7, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

THIS... is Doug DeMuro's Land Rover Defender... made with Lego!

 

Instructions Available on Rebrickable: rebrickable.com/mocs/MOC-144350/StudWorks/doug-demuros-la...

 

YouTube Video: www.youtube.com/watch?v=DFsz28a2KrI

 

It is a 1997 North American Spec Defender convertible in 8-wide Speed Champions style with opening doors, hood, rear door, and adjustable seats. Also included is a brick-built Doug DeMuro figure (accurate sizing next to the Defender) and his Border Collie, Noodle!

 

The Story: Three years ago, I posted a render of this MOC on Doug DeMuro's subreddit, and the post absolutely exploded. Doug himself saw my creation, and was enamored, so he posted the render to Twitter, and everybody else was fanatic about Lego Doug too! Then, after getting a pinch-worthy private message, I ordered the parts on BrickLink for two Defenders, two Dougs, and two Noodles, and mailed the other pair to Doug as a commission! You can see Doug's personal copy for yourself at the 13 minute point here: youtu.be/AAGI1TGcqIY?t=780

 

Now finally, you can make your very own Lego Defender, Doug, and Noodle! The high-quality instructions include various quirks and features of the build, like the interior's fire extinguisher, the meat cleaver mirrors, and wheel covers from the Speed Champions F40.

 

I've got another Doug car MOC soon, so stay tuned

REYKJAVIK, ICELAND - APRIL 8: Jake "Boaster" Howlett of team Fnatic poses for the VALORANT Masters Features Day on April 8, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

The postcard features a man in the gardens at Reservoir Park located in Bartonville near Crown Point in East Hamilton.

 

The postcard is addressed to Miss Lillian Bull, Box 68, Brampton, Ont. Canada. The verso has a 2 cent red Canadian stamp featuring King Edward VII with wavy cancellation marks. The return stamp is dated [1907], Hamilton. The recto has the following transcription written on the top "There are other pretty places you have not seen, love R.L." The postcards corners are worn and bent.

 

Ontario Engraving Co.

 

Postcard Collection HPL_PC_s18_104v_32022206616142

 

Cite Hamilton Public Library, Local History & Archives

 

I have been to St Mary on at least four previous occasions, but the last of which was some three or so years ago, and as I had revisited the others in the Nailbourne Valley, I thought we would go here too.

 

Just as well we did, as I saw so many other features and interesting details, and met a nice chap who was on his way to visit friends.

 

There is the most amazing glass here, and wall paintings, complete with the best rose window outside of Barfrestone.

 

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A charming village church with a greater number of interesting furnishings than is usual in this part of the county. There are twelfth-century window openings in the chancel, whilst a lavish south doorway tells of an extremely wealthy medieval church. Next to it are the remains of eight mass dials - which must be a record! Inside the south, or Bifrons, chapel is separated from the aisle by a screen and steps and there is a plain hagioscope to the chancel. Many mural tablets catch the eye and tell of the long association with the village of the Conyngham family. However, it is the stained glass which really deserves our attention at Patrixbourne. Set among very basic nineteenth-century glass are many panels of seventeenth-century Swiss origin, including scenes of the Garden of Gethsemane, St Elizabeth of Hungary and the Raising of Lazarus. With the exception of Temple Ewell. this is the largest collection of pictorial Swiss glass in a Kent church. By way of contrast, the north aisle displays an excellent twentieth-century window by G.C. Abbs.

 

www.kentchurches.info/church.asp?p=Patrixbourne

 

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LOCATION: Situated to the west of centre of the (later) village near the Court Lodge, with Bifrons (now demolished) not far to the north-west. The park was immediately beyond the churchyard on the west with its own gate. It is at c. 70ft above OD on Head brickearth (over chalk) with the road and Nailbourne to the south-east.

 

DESCRIPTION: The coursed whole flints in the west wall of the nave of this church suggest that its earliest fabric may date from the late 11th/early 12th century, though there is no certain evidence for this. A church is mentioned in Domesday Book (1086), so the nave of this church (or the west end of the nave) may well be the early Norman one.

This church is well-known because of its fine late 12th century south doorway under an unusual contemporary south tower-porch. There is also a fine wheel-window in the east gable of the chancel of the same date, as is the chancel arch and other windows in the chancel. The church and particularly the late 12th century features have been discussed and described in various articles (see references below), so will only be briefly described here. As usual, it is Livetts' paper of 1909 (though unfortunately the outside walls were almost completely covered in ivy at that time), and the brief notes of Stuart Rigold (1970) that are most useful for the building history. The various 19th century rebuildings (in c. 1824, 1849 and 1857), however, complicate matters.

As Stuart Rigold suggests, the church was perhaps rebuilt in the 1190s as a cell for the Augustinian canons of Merton Priory, Surrey. The elaborate chancel and the lean-to south aisle, straddled by the tower-porch were both built at about this time, no doubt for the canons (as well as parochial) use. Externally the chancel has been heavily restored with knapped flint and Bathstone, but the general form of all the windows on a string-course must be original, as is the small late 12th century south doorway with scalloped capitals and chevron mouldings. However early 19th century views show the south-east chancel window with 2-lights with trefoiled heads (?13th century), cutting the string-course. There is also a late 13th century piscina below it (and an aumbry) inside the chancel. The simple roof trusses over the chancel are also of later medieval date.

As Livett has ably shown, the tower porch on the south was originally flanked by a contemporary aisle on either side with a shed roof, probably continuing the line of the nave roof. There is external evidence for this at the west end of the aisle, where the lower part of the wall can still be seen to be original. There is also an original west window, and the lower part of a blocked south window (a new two-light window was inserted in the 15th century when the aisle wall was heightened. The heavy knapped flint gable on the west is 19th century. As Livett has also suggested, there was probably a similar aisle on the east side of the tower, but this was completely replaced in the 15th century when the new chapel of ?St John was built.

The tower itself is a fine late-12th century structure with a magnificent monumental decorated south doorway, last restored in 1939, when the flanking brick sloping buttresses were removed, and ties were put in. The upper part of the squat tower has a string-course with, above it, small round belfry windows. There is a later medieval shingled spire on top of it, and a 19th century clock inside (with south clock face). Beneath the tower, there is an original half-round arch into the south-west aisle, and simple pointed arches (?13th century) into the nave and south-east chapel. The chancel arch is also late 12th century but the arcades were replaced by Scott in 1857. A plain late 12th century north doorway to the nave (and the decorated window to the west on it) were reset in the north wall of the c. 1824 north aisle.

The church underwent a major rebuilding in the 15th century when a five-bay crown-post roof was put on the nave, and a 3-light perpendicular window, with its new gable above, was put into the west wall (below it are traces of a filled-up earlier west doorway). Two western buttresses, with plinths, were added, and, as we have seen, the south-west aisle was heightened and given a new 2-light south window with a square hood-mould. The south-east chapel was also rebuilt at this time, but this may be a rebuilding of an earlier rebuilding. The east window of this chapel replaced a simpler perpendicular window with a square hood-mould in the 19th century when the fireplace and chimney flue above (in the gable) were put into the Conyngham `pew'. This chapel has a tomb recess in its south wall, and externally there are two south buttresses and a continuous plinth, but it too has been heavily restored and refaced externally (and given a new roof). There is a squint into the chancel from this chapel, and a reused 12th century niche in the south-east corner.

The fine south door is 17th century (restored in the 19th century).

The north aisle was built in c. 1824 and has triple course of buff-bricks half way up, and reused Caenstone quoins; also cement render around the windows, and some reused windows and doorway (see above). The chancel was restored by Mr Marshall of Canterbury in 1849, when the triple east windows and the south doorway were reopened. (Fine 16th-17th century glass was then put into the windows, and the Conyngham vault was made beneath the chancel. Finally (Sir) Gilbert Scott was brought in, in 1857 to restore the whole church, and he created new arcades in the nave, paid for by the Conynghams. (The screen at the west end of the nave was originally from behind the 19th century high altar - was it first a Rood screen?)

In 1939, the brick buttresses were removed, and metal ties were put into the tower.

 

BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles etc.): The west wall has coursed whole flints, and all the late 12th century work is in fine quality Caenstone, with Ragstone quoins being used in the 15th century for quoins, etc.

 

There are some brick repairs, but much 19th century knapped flintwork with Bathstone dressings. The east quoins of the chancel appear to be of Tunbridge Wells sandstone, as well as the original Caenstone.

 

EXCEPTIONAL MONUMENTS IN CHURCH: Various Conyngham monuments of the 19th century.

 

CHURCHYARD AND ENVIRONS:

Size & Shape: Rectangular area to south and west of church with small 19th century extensions to south and west.

 

Condition: Good

 

Boundary walls: 19th century iron-railings and low flintwall to road on south east.

 

Exceptional monuments: Some good 18th century headstones and memorials.

 

Ecological potential: ? Yes, but mostly now neatly mown. Line of fastigiate yews from south door to iron gate into Bifrons grounds. [It is worth noting that on 19th December 1668 (according to the Registers) the vicar had some Ash trees planted in the churchyard, to replace two very old rotten ash trees.]

 

HISTORICAL RECORD (where known):

Earliest ref. to church: Doomsday Book, where it is just called Bourne.

 

Evidence of pre-Norman status (DB, DM, TR etc): Possibly an early Minster church; it had the Chapelry of Bridge attached to it after the Norman Conquest.

 

Late med. status: Vicarage, appropriated from 1258, with the Chapelry of Bridge attached to it.

 

Patron: Given by the Lord of the Manor to Beaulieu Priory (near Rouen in Normandy) c. 1190. In c. 1410 it was transferred to Merton Priory in Surrey. After the Dissolution to the crown. Then to the owners of Bifrons.

 

Other documentary sources: Hasted IX (1800), 284-6. Test. Cant. (E Kent, 1907), 245 mentions lights of Our Lady and the Holy Cross; also the chapel of St John (? that on the south east).

 

ARCHAEOLOGICAL RECORD

Finds within 0.5km: Pagan Anglo-Saxon cemetery on the higher ground _ mile to the south.

 

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:

Inside present church: Good.

 

Outside present church: Good, except ? disturbed on the north by new aisle.

 

Quinquennial inspection (date/architect): JUNE 1993 A Clague

 

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: An important church because of its late 12th century rebuilding with high quality sculpture. It was, however, over-restored in the 19th century (and given a new north aisle in c. 1824). There was a major rebuilding in the 15th century when the nave was rebuilt along with the south east chapel.

 

The wider context: One of a small group of churches in East Kent showing high quality later 12th century architectural sculpture.

 

REFERENCES: Note by S Rigold Arch J 126 (1970), 214-5 + plan. Note by G M Livett Arch J 86 (1930), 316-7 + plan. W A Scott Robertson `Patricksbourne Church, and Bifrons' Arch. Cant. 14 (1882), 169-184 (with list of vicars). G M Livett `Architectural notes on Patrixbourne church? Arch. Cant. 28 (1909), 305-310. S R Glynne Notes on the Churches of Kent (1877), 26-7 (He visited before 1849).

 

Guide book: Recent leaflet (undated and anon) - not very accurate.

 

Plans and early drawings: Early 19th century view from SE in V+A Museum (nave is covered in ivy). Also Petrie view from SE in 1807 (No Ivy!). Also engravings of Norman doorways in Antiquarian Itinerary, Vol VI.

 

DATE VISITED: 22nd August 1993 REPORT BY: Tim Tatton-Brown

 

www.kentarchaeology.org.uk/01/03/PAT.htm

 

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PATRIXBORNE

IS situated the next parish southward from Bekesborne last-described. It is called in Domesday, Borne, which name it took from the bourn or stream which runs through it; and it was afterwards called Patrixborne, to distinguish it from the neighbouring parishes of Borne, situated on the same stream. There are two boroughs in this parish, viz. of Marten, alias Cheney, and of Patrixborne.

 

The PARISH is pleasantly situated in a fine healthy country; the bourn or stream of the Little Stour runs through this parish, close to it in the valley is the village, with the church, court-lodge, and vicarage near together, the latter a neat genteel habitation; opposite to them is a house called Heart-hall, formerly belonging to the family of Sabine, or Savin, but now to Mr. Taylor, of Bifrons. The upper, or north part of the village, is in the parish of Bekesborne, in which is a house, formerly the residence of the Coppins, now the property of Mr. Milles, of Nackington; and further on, one formerly owned by the Pordages, and afterwards by Mr. Litheridge. Eastward this parish extends up the hill, over the high downs, to within one field of Ileden, and from the village southward, across the Dover road, to a wild hilly country, as far as Whitehill wood, part of which is within this parish. It is well cloathed with trees along the valley, where the soil is fertile, especially towards Hoath, for both hops and corn, but the hill parts round the outskirts, are in general poor chalky land, covered with stones. There is no fair.

 

AT THE TIME of taking the survey of Domesday, in the year 1084, this parish was chiefly owned by Odo, bishop of Baieux, under the general title of whose lands it is thus described in that survey;

 

In Brige hundred, Richard, son of William, holds of the bishop, Borne. It was taxed at six sulings. The arable land is eight carucates. In demesne there are three carucates, and forty-four villeins, with three borderers having ten carucates. There is a church, and one servant, and four mills of sixteen shillings and eight pence. A fishery of six-pence. Pasiure, of which the foreign tenants have plougbed six acres of land. Wood for the pannage of four hogs. In the time of king Edward the Confessor it was worth eighteen pounds, when be received it ten pounds, now nineteen pounds.

 

Four years after the taking of this survey, the bishop was disgraced, and this manor, among the rest of his possessions, escheated to the crown. After which it appears to have been divided into moieties, one of which, called afterwards THE MANOR OF PARTIXBORNE MERTON, was held by Margerie de Bornes, who carried it in marriage to John de Pratellis, or De Pratis, as he was sometimes written, a Norman, who soon after the year 1200, gave it to his new-erected priory of Beaulieu, or De Bello loco, in Normandy, to which it afterwards became an alien cell. (fn. 1) In which state this manor continued till the 11th year of king Henry IV. when it was, with the king's licence, alienated to the priory of the same order of Augustine canons of Merton, in Surry, whence it acquired the name of Patrixborne Merton; and with this priory it remained till the suppression of it by the act of the 31st of king Henry VIII. when this manor coming into the hands of the crown, was granted that year, together with the rectory and advowson of the vicarage of Patrixborne, and all liberties, free-warren, &c. to Sir Thomas Cheney, to hold to him and his heirs male in capite, as of the castle of Rochester. After which, king Edward VI. by new letters patent, in his 4th year, regranted the whole of them, to hold to him and his heirs for ever. He was succeeded in it by his only son Henry Cheney, esq. afterwards lord Cheney; (fn. 2) and he soon afterwards alienated it to Sir Thomas Herbert, who in the 21st year of that reign sold it to Thomas Smith, who passed it away before the end of the same reign to William Partherich, and his grandson Sir Edward Partherich, of Bridge, alienated it in 1638 to Mr. afterwards Sir Arnold Braems, of that parish, the heirs of whose son Walter Braems, sold it in 1704 to John Taylor, esq. of Bifrons, in this parish, in whose descendants it continued down to Edward Taylor, esq.' the present possessor of this manor, with the rectory and advowson of the church of Patrixborne.

 

The OTHER MOIETY of the manor of Patrixborne, called afterwards THE MANOR OF PATRIXBORNE CHENEY, after the bishop's disgrace, came into the possession of the family of Say, in which it continued till Sir William de Say, in Henry III.'s reign, gave it to Sir Alexander de Cheney. He afterwards resided here, whence it gained the name of Patrixborne Cheney; but his son William having married Margaret, daughter and heir of Sir Robert de Shurland, of Shurland, in Shepey, removed afterwards thither. After which it remained in his descendants down to Sir T. Cheney, K. G. of Shurland, who having obtained from Henry VIII. in his 31st year, a grant of the other moiety of the manor of Patrixborne, as above-mentioned, became possessed of the whole of this manor, which, notwithstanding, continued as two separate manors, in both which he was succeeded by his son Henry Cheney, (afterwards created lord Cheney, of Tuddington) who in the beginning of that reign alienated them to Sir Thomas Herbert. Since which they both remained in the same succession of ownership, as has already been mentioned before, in the description of the manor of Patrixborne Merton, down to Edward Taylor, esq. the present possessor of both these manors; which appear now to be united, as one court only is held for both of them, stiled, the court leet and court baron of the manors of Patrixborne Merton and Cheney.

 

BIFRONS is a seat in this parish, situated at a small distance westward from the church, which was originally built by Mr. John Bargar, or Bargrave, whose ancestors were originally of the adjcining parish of Bridge. Robert Bargrave, of Bridge, died in 1600, leaving a numerous issue; of whom John, the eldest son, was the builder of Bifrons, and Isaac, the sixth, was dean of Canterbury, and ancestor of Isaac Bargrave, esq. of Eastry, where further mention will be made of him. They bore for their arms, Argent, on a pale, gules, a sword with the point upwards, the pomel, or, on a chief, azure, three bezants. His grandson John Bargrave, esq. sold it in 1662 to Sir Arthur Slingsby, knight and baronet, descended of a younger branch of the Slingsbys, of Scriven, in Yorkshire, and created a baronet at Brussells in 1657; his arms were, Gules, a chevron, between two leopards faces, in chief, and a bugle born, in base, argent. His son and heir Sir Charles Slingsby, bart. in 1677, alienated it to Mr. Thomas Baker, merchant, of London, (fn. 3) on whose death it came to Mr. William Whotton, gent. of London, and he in 1680 passed it away to Thomas Adrian, esq. who kept his shrievalty here in 1690. He alienated it in 1694 to John Taylor, esq. the son of Nathaniel Taylor, barrister at law, descended of a family at Wlitchurch, in Salop, whose arms were, Gules, three roses, argent, a chief chequy, argent and sable. He died in 1729, leaving four sons and four daughters. Of the former, Brook, the eldest, was LL.D. and F. R. S. a learned and ingenious gentleman, who, among other treatises, wrote one on perspective. He died in 1731, leaving an only daughter Elizabeth, married to Sir William Young, bart. Herbert, in holy orders, of whom hereafter; Charles, a merchant at Moscow; and Bridges. Of the daughters, Mary died unmarried, at Bridge-place, in 1771, and Olive married John Bowtell, D. D. vicar of Patrixborne. The eldest son Dr. Brook Taylor succeeded his father in this seat, but dying without male issue in 1731, his next brother the Rev. Herbert Taylor became possessed of it, and resided here. He died in 1763, leaving by Mary, one of the daughters of Edward Wake, clerk, prebendary of Canterbury, and first-cousin to the archbishop, two sons, Herbert and Edward, the eldest of whom succeeded him in this seat, with his other estates in this county, but dying unmarried in 1767, his brother, the Rev. Edward Taylor, succeeded him in it, and afterwards rebuilt, nearly on the old scite, this seat of Bifrons, so called from its double front, and the builder of it, in commendation of his wife, placed this motto on the fore front: Diruta ædificat uxor bona, ædificata diruit mala. It was a handsome spacious house, the front of which had a very grand and venerable appearance. He died in 1798, leaving by Margaret his wife, daughter of Thomas Turner Payler, esq. of Ileden, who died at Brussells in 1780, four sons and three daughters, of whom Edward, the eldest, is a captain in the Romney fencible dragoons; Herbert is a captain likewise in the army, private secretary, and aid de camp to the duke of York; Brook is private secretary to the secretary of state for foreign affairs; and Bridges, the youngest, is a lieutenant in the navy. Of the daughters, the eldest, Mary Elizabeth married Edward-Wilbraham Bootle, esq. M. P. Charlotte married the Rev. Mr. Northey, and Margaret. Edward Taylor, esq. the esdest son, succeeded on his father's death to this seat, and continues owner of it.

 

HODE, now usually called Hothe, and Hothe-house, in this parish, was antiently part of the possessions of the family of Isaac, who bore for their arms, Sable, a bend, in the sinister point, a leopard's head, or; one of whom, John Isaac, held it in the 20th year of king Edward III. His descendant Edward Isaac had his lands disgavelled by the act of 31 Henry VIII. and his descendant of the same name, at length leaving only three daughters his coheirs, this estate went in marriage by Jane, his only daughter by his first wife, first to Martin Sidley, esq. of Great Chart, and secondly to Sir Henry Palmer, of Howlets, who by his will in 1611, gave it to his son in-law Sir Isaac Sidley, bart. and he conveyed his right in it to his brother-inlaw Sir Henry Palmer, from whose descendant it went by sale to Merriweather, and Edward Merriweather, about the year 1680, alienated it to Thomas Adrian, gent. who conveyed it, with Bifrons and other estates in this parish, in 1694, to John Taylor, esq. in whose descendants it has, in like manner, continued down to Edward Taylor, esq. the present possessor of it.

 

RENVILLE is a manor, in this parish, which formerly belonged to owners of the name of Crippen, one of whom, Thomas Crippen, died possessed of it in the beginning of king James I.'s reign, leaving an only daughter and heir Joane, who carried it in marriage to Robert Naylor, gent. whose arms were,Argent, on a bend, sable, three covered cups of the field, their rims, or. His son John, about the year 1638, sold it to William Kingley, S. T. P. archdeacon of Canterbury, who left a numerous issue, of whom George, the eldest son, succeeded to this estate, whose only son William died in 1701, leaving William, of whom mention will be made hereafter; and Anthony, who was ancestor of Thomas Pincke Kingsley, gent. now of London. From William Kingsley, esq. the eldest son, this estate came down at length to his grandson lieutenant general William Kingsley, who resided at Maidstone, where he died in 1769 unmarried, and bequeathed this manor by will to his first-cousin Mr. Charles Kingsley, of London, for his life, (fn. 4) on whose death in 1785, it came by the entail of the above will to his second son Mr. Thomas Pincke Kingsley, now of London, who is the present possessor of it.

 

HIGHAM is another manor, for it was formerly so accounted, though it has long since lost the reputation of having been one, situated at the boundary of this parish, upon the high grounds, at a small distance from the northern side of Barham-downs. It was antiently owned by a family of the same name, one of whom, Nicholas, son of William de Higham, by a deed of the 13th year of king Edward III. to which his seal is appendant, viz. a lion passant regardant, between six crosses formee, fitchee, appears to have held it at that time, together with the manor of Northington, in the hundred of Downhamford, not far distant. Not long after which it passed into the name of Bourne, and afterwards of Haut, of the adjoining parish of Bishopsborne, in which it remained till at length Elizabeth, daughter and coheir of Sir William Haut, of Bishopsborne, carried it in marriage to Thomas Colepeper, esq. of Bedgbury, and he, in the 34th year of king Henry VIII. alienated it to Sir Anthony Aucher, in whose descendants it continued down to Sir Hewit Aucher, bart. who dying in 1726, s. p. by his will gave it to his sister Elizabeth, who entitled her husband John Corbet, LL. D. of Salop, to the possession of it. He left five daughters his coheirs, viz. Katherine, married to Stephen Beckingham; Elizabeth to Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignatius Geohagan; and Hannah, to William Hougham, who became on his death jointly entitled to it. After which, Ignatius Geohagan, esq. before-mentioned, about the year 1768, built the present seat, called HIGHAM PLACE, and resided in it for some time, and then alienated his fifth part of it, as did the heirs of Katherine, Elizabeth, and Hannah, who were before deceased, their respective fifth parts, about 1781, to James Hallet, esq. who now resides in it, and has since purchased the remaining fifth part of the heirs of Frances, widow of Sir William Hardres, bart. who died in 1783. (fn. 5)

 

Charities.

SIR HENRY PALMER, of Bekesborne, by will in 1611, gave the sum of 10s. to be yearly paid out of his manor of Well-court, towards the relief of the poor of this parish, and he left the like som towards the relief of the poor of several of the neighbouring parishes, none of which has ever been paid to them.

 

The poor constantly maintained are about eight, casually 12.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Mary, consists of one middle and two smaller side isles, a high and a south chancel, having a spire steeple on the south side, in which there is only one bell. This church is but small. It seems very antient. The pillars in it are very large and clumsy, and the arches circular. In the middle isle are several memorials of the Dennes, of this parish. The south chancel, formerly called the Isaac, but now the Bifrons chancel, as belonging to that seat, is covered with pews. In it are monuments for the Taylors, of Bifrons. At the entrance a memorial for John Bargrave, builder of Bifrons. In the north isle, in a window, are the arms of Fogge. Under the steeple, on the south side, is a fine arched doorway, circular, ornamented with much carvework and emblematical figures of Saxon architecture, much like that at Barfriston, (of which a plate is given in Grose's Antiquities, vol. i. præf. p. 66); and a smaller one on the south side of the high chancel, of a similar sort, over which is a small stone figure, having on its head, seemingly, a crown, and head-dress on each side hanging down, with its hands listed up as if having had something between them, perhaps for the virgin and child; but it is so corroded by time, that what it was meant for, can only be guessed at. At the east end of the chancel is a small circular window, of different compartments, like that at Bartriston. In the west part of the church-yard, are tombs for James De Roussell, esq. a truly good and worthy man, obt. 1775, and Elizabeth his wife; and for John Bowtell, D. D. vicar of Patrixborne, and Olive his wife; and one for Mrs. Mary Taylor, who died in 1771.

 

The church of Patrixborne, with the chapel of Bridge annexed, was given and appropriated to the priory of Merton, in Surry, as early as the year 1258, anno 43 Henry III. on condition that three canons should reside, for the performance of all parochial duties; and if the profits increased, more should be sent for that purpose. (fn. 6) In which state this church continued till the dissolution of the priory, by the act of the 31st year of king Henry VIII. when it came, together with the manor of Patrixborne Merton, belonging to the priory, into the king's hands, who granted both that year to Sir Thomas Cheney. Since which they have passed, in the same tract of ownership as has been already related before, in the description of that manor, down to Edward Taylor, esq. the present owner of the appropriation and advowson of the vicarage of this church, with the chapel of Bridge annexed.

 

¶It is, with the chapel of Bridge, valued in the king's books at 5l. 7s. 3½d. and the yearly tenths at 10s. 8¾d. In 1578 here were thirty-nine communicants. In 1640 it was valued at fixty pounds, communicants fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp277-286

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Scottish Hebrides.