20 января 2019, Собор Предтечи и Крестителя Господня Иоанна / 20 January 2019, Synaxis of the Holy Glorious Prophet, Forerunner, and Baptist John

Turbo windmill, or Jet Wind Mill [JWM] / JWM is nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

By now, saving this planet is priority number one, and still all industries and all governments around the world do not see the windsurf formula, which makes it possible to harvest the high winds too.

Windsurfing, forerunner on turbo windmill, same formula, stabilitiy: Even a child can see that windsurfing is sensational. Just look at windsurfing from above. The waves make pipelines, and the only safe course in high winds falls parrallel with them. These pipelines lay, notably per definition, perpendicular on the wind's direction and windsurfing is always done half wind, so that the windsurfers automatically go as fast as possible and have a relatively safe ride between the waves. All in all, the windsurf formula implies that a given sail area is optimally used, that the waves are helping in making speed, that the half wind course is always leading to gliding along with the waves, that windsurfing is therefore relatively safe, that a stable configuration is the condition to make big structures, so that former dangerous windy circumstances at open ocean are just perfect to move a significant amount of mass with high speed. The kinetic energy is measured by the formula: 1/2 times the mass of the composition times the square of the speed. This world is dying for energy. So, please, understand the windsurf formula and please make Spailboats for over water, and turbo wind mills for on land.

The blades -rotors- are at their ends mantled by a ring. The ring is born within wheels in the housing. Because turbo wind mills use high winds, this mantle piece can be placed at/near the ground, so that there is no significant vibrating occurring at the ends of the blades.

In order to use high winds, the blades have to be hold firmly in place, leaving only the opportunity open for the blades to turn, or to move, perpendicular on the winds direction with as a consequence that Pythagoras' law comes in as foundation to calculate the angle of attack in the blades. Further on, one will see that windsurfing is done in the half wind sailing course and waves are swept by the wind, so that wave riding is falling with sailing half wind. Perfect.

High speed, directed perpendicular on the wind, leads also to the fact that a given sail area will be used optimally. And because cavitation, air bubbles around the swords, are restricting the windsurfers' speed, spailboat has wheels for swords. You, as reader, have to take it from here, because I can not force you to swallow dry food. Please, take one step at the time. To get started, you firstly need to understand that when a plate is placed flat -perpendicular- on the wind, there is maximum blockage of the wind by that plate. Next step. We imaginary move this plate with for instance 300 m/s in the direction flat on the wind. Now we'll see that the actual wind speed, S, that hits the blade is to be calculated by Pathagoras' law, S^2 =W^2+V^2, in where, V, is the speed of the blade perpendicular on the winds' direction and W is the wind speed. If now the original wind speed is very low, say, 1 m/s, than we might as well assume that the actual wind speed that hits the blade is still 300 m/s. In other words, when an almost flat on the wind positioned blade is moving with very high speed, perpendicular on the original wind's direction, then the actual wind speed that hits the blades, comes almost from the front. A blade end of a windmill moves faster than that blade does near the center, so that blade ends are almost positioned flat on the wind. The same counts for windsurf sails, although the sails are hold almost flat on the wind, the actual wind flow that hits the sails is coming more or less from the front. This means that we want high speed, in order to get maximum conversion of a given sail area. High speed implies high lift forces, and therefore we need stable and strong configurations that hold the blades.

I worked on stable sailing machines for twenty years now, because the capsizing and the catapulting with my catamaran scared the ........ out off me. Oh, I sailed from six years old, and won in 1988 the second biggest cat race in the world, together with my nephew, Ruud Goudriaan, who still is a class-A cat sailor. I went to college, and later to the technical university in Delft, and therefore I sold my cat, but continued windsurfing on cheap gear. However, windsurfing on old wave boards with old gear is still going much faster than the fastest cat. I kept on wondering why and when I figured it out [in 1994], I started to create a mechanically operated windsurf boat.

Sailing and windsurfing are very much like music, a well written song can be played live on stage over and over again, and every time this song improves itself. I can only ensure you, that the windsurf formula is an outstanding song, in the way to speak. Everything comes together, with as result that the windy circumstances on earth are perfect to use sails, wings, for making axles spin, as well on the oceans, by means of windsurfing -a combination of surfing and sailing stable half wind-, as on land, by means of using turbo windmills.

The only limitations in using the high winds are now caused by preoccupation of the existing economy. For instance, the car industries, the airplane industries, wind turbine industries, sailing boats industries, et cetera, keep our engineers in hostage. If we only could stop the production and the developing of the car making, airplane making et cetera, for just one week, and bring this way all the engineers to one imaginary table then the formula of windsurfing is understood. Once the leading engineers understand the windsurf formula, then the building of the prototypes is a year away. Some floors of the car industries and the airplanes industries can make room for new production lines.

And to make an even bigger example. When the second world war broke out, suddenly all floors of the car industries and airplane industries were making room for the production of tanks, jeeps, fighter planes, bombers et cetera. So, it is just a matter of priorities.

I mean, did you ever see a professor, 60 years old, windsurfing on large waves with 10 bft at open sea? No, that is the problem. These kind of persons rule the world.

Just go on the Internet, and see for yourself that the formula, for calculating the maximum sailing speed, is still only counting for non flying sailing boats. This means that they assume that the hull is still always dragging through water. For the cavitation speed they still assume always that a sword is not moving with respect to the hull. In Spailboats, on the other hand, the water cutting part of a sword does move along with respect to the hull, so that the speed of the hull and the speed of through water dragging sword have two different values. Here in Holland at the university of Delft, a leading professor -who works on his own sailing boat, off course-, once told me in person that no matter what kind of sailing boat, or windsurfer, it could never over top the 100km/hr barrier, because of cavitation around the swords. I came to him, at one of those appointments, to inform him about the new rigging, so that spailboats are almost flying above the water and to inform him about the reason -to overcome cavitation around the water cutting profile of the sword wheels- for using circle shaped spinning swords. So, I walked through his door, showed him my work, and in stead letting me talk about my work, he did not look at my work at all. He talked for half an hour, and by the time he finished, I wanted to reply, but then he said, your time is up, leave, please. I have tried to make another appointment, but in vain. A few months later, he had a full page in one of Holland's main newspapers, the Saturday edition, in where he presented his own sailing boat. The public was misled. This sailing boat was so-called state of the art, but, it did not fly, it did still capsize, it could not operate in high seas, people, it was a worthless piece of ....... . So, I came in, and he asked, what did you study,? I said: civil engineering, and that answer was apparently wrong, because he worked at the aircraft and space department. Pyramids, remember, people, we still build them. The only thing that matters, is that I am a good sailor and windsurfer , and that I made windsurf robot. Even if I did not have any masters degree at the technical university at all, he should have asked me what my work was, and not what my title was. This story goes on, because before I talked to him, the boss so to speak, I had several meetings with his students and they were impressed. But at the moment they found out that I was working outside the university they boycotted me, right away. I had to give earlier given nice 3D pictures of wings back, and also my usb stick with several drawings had to be erased. Since then I am not welcome anymore. My own professor, Marcel Donze, then always brings calm to me, with this: Who would be the worst enemy of the Pope? Jesus Christ. No rank and bare footed, and closer to God as him.

It is therefore that these two new inventions fall under: the environmental revolution.

We, the hard working people, can easily see that windsurfers go faster than the good old sailing boats. And still, billions and billions are spend on sailing boats for the happy few, like the rich men's toys for the Volvo Ocean Race, America's cup, the immense yachts et cetera. The same thing counts for the swallowing up of our best engineers for the car industries, formula 1 racing, jet fighter plane making et cetera.

If only the engineers and the people who rule the world want to save this planet, then the prototypes of the turbo windmills and the spailboats will be operating within a year.

In the past seven years I really tried endlessly to talk with professors around the world. They are just not at home. On the phone it goes like this. Who are you? What did you study, and I say, civil engineering. Oh, that has nothing to do with planes and/or mills, we are not interested.

Off course, I do not talk like them, every error in the conversation means the final cut of the conversation and once such a door is closed, it never opens again.

So, you as reader will never read or hear about windsurf machines and turbo windmills, which can save the planet, other than in this slide show.

I was a good cat sailor and a good windsurfer in the eighties. From childhood on I was at sea. Above that fact, I was born in Zaandam, the place where a cluster of windmills is stacked in an open air museum. I had the kite surfing formula on the drawing board, long before it took off, because the kites are hold just the same as windsurf sails are hold, only now on wires and further away from the board. In fact, I actually kite surfed on a small wooden plank on the beach in the eighties of the past century when I was ten years old. My nephews tried it, but were to heavy, and logically, I had to try. And it worked. Kite surfing is nothing more than using a big kite to move yourself. So, who do you want to believe, me, or the universities?

Get úp, stand up, get up for your right. Bob Marley. He believed that music unites all people one day. Wind sounds like music, doesn't it? No more nuclear power, no more burning fossil fuels.

Turbo windmill, or Jet Wind Mill [JWM] / JWM is a nephew, resp. spin off, of Spailboat, the stable sailing Speed Sail Craft.

Stability: only when stability is firstly established, then a structure might be built tall. A sailing boat might be made endlessly strong, still, it capsizes, so that it is useless to make endlessly strong masts. A Spailboat however is stable, and therefore a Spailboat can be made big, very big, as big oceanliners, with 100 meter long masts. This is part of the windsurf formula. And remember, mass in motion implies the kinetic energy.

We need energy. For making fresh drinking water, for irrigation, for making electricity, making hydrogen, for moving cars, trains, planes and so on.

The windsurf formula is here, for everyone to use in the world, because I dropped my patents. It is free, for you, Africa, Asia, America, Europe, the south pacific continents and islands. Just have a look and run this show a few times. It is like the wheel itself, it is normal, revolutionary and it will change the world. No nuclear power is needed any longer, just usage of high winds and swell on the oceans. And the turbo windmill is spin off, because these blades are in fact circular moving steady in positioned hold windsurf sails.

Enigma Dynamics struck gold when they created the Blitz Mk 1 engine. Such powerful but unpredictable technology had to have a ship built around it, rather than the other way around.

Tesler proposed their Forerunner model featuring a large cooling component that kept the Blitz's heat in the back, where it's put to good use. The Forerunner excels at going straight, and that's about it.

With its flaws the Forerunner had a short production life. Tesler moved on to build the more maneuverable Starpoint cruiser. Folks lucky enough to find this old ship repurpose it for exploration, light cargo, and underground racing.

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

Rzym za Nerona (1865)

Sąsiedzi

Sceny sejmowe. Grodno 1793 (1873)

Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana

Serce i ręka (1875)

Sfinks (1847)

Sieroce dole

Skrypt Fleminga

Sprawa kryminalna

Stara baśń (An Ancient Tale)

Stańczykowa kronika od roku 1503 do 1508 (1841)

Stara Panna

Staropolska miłość

Starosta warszawski: obrazy historyczne z XVIII wieku

Starościna Bełska: opowiadanie historyczne 1770–1774

Stary sługa

Sto Diabłów

Syn marnotrawny (1879)

Szalona (1880)

Szaławiła

Szpieg (1864)

Śniehotowie

Tomko Prawdzic

Trapezologion

Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go

Tułacze (1868)

U babuni

Ulana (1842)

W baśń oblekły się dzieje

W pocie czoła. Z dziennika dorobkiewicza (1884)

W starym piecu

Warszawa 1794 (1873)

Wielki nieznajomy

Wielki świat małego miasteczka

Wilczek i wilczkowa

Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września

Wspomnienia Wołynia, Polesia i Litwy

Z chłopa król

Z siedmioletniej wojny (1875)

Z życia awanturnika

Zadora

Zaklęta księżniczka

Zemsta Czokołdowa

Złote jabłko

Złoty Jasieńko

Zygmuntowskie czasy. Powieść z roku 1572 (1846)

Zygzaki

Żacy krakowscy w roku 1549 (Kraków Students in 1549)

Żeliga

Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)

Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski

Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)

Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)

Adama Polanowskiego dworzanina króla Jegomości Jana III notatki

Bajbuza: czasy Zygmunta III

Banita: czasy Stefana Batorego

Biały książę: czasy Ludwika Węgierskiego

Boleszczyce: powieść z czasów Bolesława Szczodrego

Boży gniew: czasy Jana Kazimierza

Bracia Zmartwychwstańcy: powieść z czasów Chrobrego

Dwie królowe

Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku

Infantka

Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta

Jelita: powieść herbowa z r. 1331

Kraków za Łokietka: powieść historyczna

Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego

Król Piast: (Michał książę Wiśniowiecki)

Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego

Lubonie: powieść z X wieku

Masław

Matka królów: czasy Jagiełłowe

Na królewskim dworze: czasy Władysława IV

Pogrobek: powieść z czasów przemysławowskich

Saskie ostatki: August III

Semko: czasy bezkrólewia po Ludwiku

Jagiełło i Jadwiga

Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego

Stara baśń (An Ancient Tale, 1876)

Strzemieńczyk: czasy Władysława Warneńczyka

Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego

Waligóra: powieść historyczna z czasów Leszka Białego

Za Sasów

(Forerunner of Dump truck)

Dice and their forerunners are the oldest gaming implements known to man. Sophocles reported that dice were invented by the legendary Greek Palamedes during the siege of Troy, whereas Herodotus maintained that they were invented by the Lydians in the days of King Atys. Both “inventions” have been discredited by numerous archaeological finds demonstrating that dice were used in many earlier societies.

ANAGLYPH, conversion of original Realist format stereo transparency in my collection. The following is written on the slide: " Seton Rochwite designer of the Stereo Realist camera with his handmade forerunners of the Realist. Photographic Society of America Convention, Denver. by Glen Thrush 44-54"

This image views in 3D when wearing RED/CYAN 3D glasses.

ANAGLYPH, Conversion of Realist Slide of Actor and Stereo Realist enthusiast Harold Lloyd also by Glen Thrush: www.flickr.com/photos/depthandtime/4498599934/

Also by Glen Thrush: www.flickr.com/photos/depthandtime/4500859253/in/set-7215...

Also by Glen Thrush: www.flickr.com/photos/depthandtime/4500763951/in/set-7215...

Ex-convict and first Headmaster of Sydney Free Public Grammar School, a forerunner to SGS, c. 1825.

Scout Snipers lay in wait as the Forerunners lead the unsuspecting CRF patrol into a trap.

+++ DISCLAIMER +++

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

Some background:

Shortly after the end of World War II, the South Korean Air Construction Association was founded on August 10, 1946, to publicize the importance of air power. Despite the then-scanty status of Korean armed forces, the first air unit was formed on May 5, 1948, under the direction of Dong Wi-bu, the forerunner to the modern South Korean Ministry of National Defense. On September 13, 1949, the United States contributed 10 L-4 Grasshopper observation aircraft to the South Korean air unit. An Army Air Academy was founded in January 1949, and the ROKAF was officially founded in October 1949.

Together with Mustangs, the Corsairs continued flying with USAF, USN, USMC and other ROKAF fighter-bomber units on close support and interdiction missions in Korea until July 1953, when the fighting ended and the Korean Armistice Agreement was signed. By then, most piston engine fighter bombers had been largely replaced by USAF F-84s and by United States Navy (USN) Grumman F9F Panthers. After the war, the ROKAF quickly switched to F-86 Sabre fighters and all ROKAF F4Us were scrapped by late 1953 as they were regarded as outdated and disposable.

General characteristics:

Crew: One

Length: 33 ft 8 in (10.26 m)

Wingspan: 41 ft 0 in (12.50 m)

Height: 14 ft 9 in (4.50 m)

Wing area: 314 sq ft (29.17 m²)

Empty weight: 9,205 lb (4,238 kg)

Gross weight: 14,670 lb (6,654 kg)

Max takeoff weight: 14,533 lb (6,592 kg)

Powerplant:

1× Pratt & Whitney R-2800-18W radial engine with 2,100 hp (1,600 kW),

temporary 2,450 hp (1,830 kW) output when boosted with water/alcohol injection,

driving a 4-bladed propeller

Performance:

Maximum speed: 446 mph (717 km/h, 385 kn) at sea level

Cruise speed: 215 mph (346 km/h, 187 kn) at sea level

Stall speed: 89 mph (143 km/h, 77 kn)

Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)

Combat range with max. ordnance: 328 mi (528 km, 285 nmi)

Service ceiling: 41,500 ft (12,600 m)

Rate of climb: 4,360 ft/min (22.1 m/s)

Armament:

6× 0.5 in (12,7 mm) M2 Browning machine guns in the outer wings, 400 RPG

11× hardpoints under the wings and the fuselage for a total ordnance of 4,000 pounds,

including drop tanks, up to 8× 5 in (12.7 cm) high velocity aircraft rockets and/or bombs or

napalm tanks of up to 1.000 lb (454 kg) caliber

The kit and its assembly:

This what-if model was spawned from a leftover decal sheet from an Academy F-51D kit, which features markings for South Korean aircraft from the Korean War. This made me wonder if there could have been another type supplied to the South Korean forces beyond the Mustang? A fighter bomber would have made sense, and the P/F-47 was an immediate favorite. However, this was quickly discarded since maintenance and supplies for another type in the theatre would have been very complicated, and the potential, small number would also make no sense. So, I looked for alternatives and eventually settled upon the F4U from American sources. The F4U-4 was chosen because it was the oldest type in service at the time, and from there the model unspun almost naturally.

Another selling point for the F4U-4 was that I had a respective Hobby Boss kit in store without a proper plan yet. Since I did not want to change much about the aircraft to represent a former USN/USMC aircraft, I built the simple Hobby Boss kit almost OOB. Purists will certainly look down upon the toylike Hobby Boss offering – and you must not take a close look, esp. at the interior details. But when you only want a “canvas”, the kit is not too bad. You get fine recessed panels, a clear canopy (over a rudimentary cockpit without leg room but with separate gunsight!) in two pieces and a closed single-piece alternative, and the kit’s construction with good fit leaves almost no seam to sand or fill. The fabric-covered outer wing panels are there, but they are IMHO exaggerated and very deep, as if they had been made from corrugated sheet metal?

The weakest point is the kit’s HVAR armament: It comes with eight unguided missiles that are molded onto their launch rails (with separate tail fins, though), and the gap between the two small pylons that hold the rail under the wing in real life are molded into a single massive and deep piece. These pylons are to be mounted into 2mm wide and just as deep “slots” in the lower wing surface – a very crude and toylike solution. Even though I’d have liked to use the HVARs on the model (after all, it’s supposed to be a fighter bomber), I omitted them altogether and filled up the slots. To keep the attack profile visible, I cut the small pylons off from the OOB drop tanks and replaced them with American 750 lb (340 kg) M117 bombs from the spares bin – they look modern, but they were actually introduced during the Korea War.

Painting and markings:

Well, F4Us handed over from American to Korean units would certainly have left them in their typical all-blue paint scheme, with the “Stars and Bars” simply replaced by the South Korean “yin-yang” symbol and former tactical markings painted over. The ex-American F-51s were handled in a similar fashion, just that they came from overstock in bare metal finish.

To provide the ROKAF F4U with an individual touch I decided to strip the original Navy paint off and give it an NMF with colorful markings similar to the Mustangs. And for a weirdo touch the outer foldable wings would become blue donor parts from an American Corsair, together with a single rudder on the stabilizer.

The bare metal fuselage was painted with Revell 99 (Aluminum), post-shaded with Humbrol 27001 (Matt Aluminum MetalCote); the dark blue sections, including the landing gear, were painted with FS 35042 (Modelmaster 1718), the fabric-covered rudders on the tail with Humbrol 56 (Aluminum Dope). The landing gear wells and the cockpit were painted with Humbrol 80 (Grass Green) to simulate Zinc Chromate primer. To hide the lack of space inside of the cowling its interior walls were painted in a darker shade of green, with a dark grey engine block.

An olive drab anti-glare panel was added in front of the windscreen, the red unit markings on cowling, fin and tail tip were painted with Humbrol 19. The yellow ID fuselage band was created with decal sheet.

The ROKAF roundels came from the aforementioned Academy Mustang kit – and, yes, some ROKAF machines had national markings in six places instead of the US-style four. The tagline on the cowling comes from the same sheet, and it might read “I fly with confidence!” (uncertain, though). The tactical codes were created with single USAF 45° numbers from Superscale aftermarket sheets.

Graphite was used to create soot stains around the gun and the exhaust areas, and Tamiya “Smoke” was used to mimic oil spills from the engine around the forward fuselage. Finally, the kit was sealed with acrylic varnish; the bare metal sections became semi-gloss, the blue areas and the fabric-covered tail sections a slightly more matt finish.

An interesting result – an F4U in NMF looks pretty odd, and with the red and blue sections the Corsair somehow looks like a Reno Racer or a Red Bull heritage aircraft? But the ROKAF Corsair appears pretty plausible in its role and in the Korean War’s time frame: a whif nicely shoehorned into a historic framework. The simple Hobby Boss kit is certainly not the best model of the Corsair, but for a simple “livery variant” it was an O.K. basis, and the result is quite presentable. Just do not look into the cockpit or the landing gear wells.

Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.

The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]

Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]

Contents

1 Biography

1.1 Early life and studies

1.2 Adulthood and literary career

1.3 Exile, later life and death

2 Character and style

3 Adaptation

4 Works

5 See also

6 References

7 External links

Biography

Early life and studies

Childhood home in Romanów

Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.

Adulthood and literary career

Photograph of Kraszewski taken before 1886

In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]

Exile, later life and death

In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]

Character and style

An Ancient Tale by Kraszewski, 1876

In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."

Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".

Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.

Page from Kraszewski's 1875 novel Brühl

In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]

Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).

Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.

Adaptation

In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.

Works

Józef Ignacy Kraszewski

Sceny i charaktery z życia powszedniego (1878)

Barani Kożuszek (1881)

Biografia Sokalskiego organisty Kotlety

Boża czekoladka (1858)

Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku

Bracia rywale

Bratanki

Brühl (1874)

Budnik (1847)

Całe życie biedna

Caprea i Roma (1859)

Cet czy licho?

Chata za wsią (The Cottage outside the Village, 1842)

Czarna Perełka (1871)

Czasy kościuszkowskie

Czercza mogiła

Cześnikówny

Cztery wesela

Diabeł (1855)

Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)

Dwa światy (1856)

Dziad i baba

Dziadunio (1868)

Dzieci wieku (1857)

Dziecię Starego Miasta (1863)

Dziennik Serafiny (1876)

Dziwadła

Emisariusz

Ewunia

Głupi Maciuś

Grzechy hetmańskie. Obrazy z końca XVIII wieku

Herod baba

Historia kołka w płocie (1860)

Historia o bladej dziewczynie spod Ostrej Bramy

Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)

Historia Sawki (1842)

Hołota

Hrabina Cosel (1873, e-book)

Interesa familijne

Jak się pan Paweł żenił i jak się ożenił

Jaryna (1850)

Jermoła (Iermola, 1857)

Jesienią

Kamienica w Długim Rynku

Kartki z podróży

Kawał literata (1875)

Klasztor

Klin klinem

Komedianci

Kopciuszek

Kordecki

Kościół Świętomichalski w Wilnie

Król i Bondarywna. Powieść historyczna

Krzyż na rozstajnych drogach

Krzyżacy 1410

Kunigas (1881)

Kwiat paproci

Lalki: sceny przedślubne

Latarnia czarnoksięska (1843–1844)

Listy do rodziny

Lublana

Ładny chłopiec

Ładowa Pieczara (1852)

Macocha

Maleparta

Męczennicy. Marynka

Męczennicy. Na wysokościach

Milion posagu

Mistrz Twardowski (1840)

Mogilna. Obrazek współczesny

Morituri (1874–1875)

Moskal: obrazek współczesny narysowany z natury (1865)

Na bialskim zamku

Na cmentarzu – na wulkanie

Na tułactwie

Na wschodzie. Obrazek współczesny (1866)

Nad modrym Dunajem

Nad Sprewą

Nera

Niebieskie migdały

Noc majowa

Ongi

Orbeka

Ostap Bondarczuk (1847)

Ostatni z Siekierzyńskich (1851)

Ostrożnie z ogniem

Pałac i folwark

Pamiętnik Mroczka (1870)

Pamiętnik panicza

Pamiętniki

Pan i szewc

Pan Karol

Pan Major

Pan na czterech chłopach (1879)

Pan Walery

Panie kochanku: anegdota dramatyczna w trzech aktach

Papiery po Glince

Pod Blachą: powieść z końca XVIII wieku (1881)

Poeta i świat (1839)

Polska w czasie trzech rozbiorów 1772–1799

Pomywaczka: obrazek z końca XVIII wieku

Powieść bez tytułu (1854)

Powrót do gniazda (1875)

Półdiablę weneckie

Profesor Milczek

Przed burzą

Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego

Pułkownikówna

Ramułtowie

Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis

Resurrecturi

Resztki życia

Roboty i prace: sceny i charaktery współczesne

Rzym za Nerona (1865)

Sąsiedzi

Sceny sejmowe. Grodno 1793 (1873)

Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana

Serce i ręka (1875)

Sfinks (1847)

Sieroce dole

Skrypt Fleminga

Sprawa kryminalna

Stara baśń (An Ancient Tale)

Stańczykowa kronika od roku 1503 do 1508 (1841)

Stara Panna

Staropolska miłość

Starosta warszawski: obrazy historyczne z XVIII wieku

Starościna Bełska: opowiadanie historyczne 1770–1774

Stary sługa

Sto Diabłów

Syn marnotrawny (1879)

Szalona (1880)

Szaławiła

Szpieg (1864)

Śniehotowie

Tomko Prawdzic

Trapezologion

Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go

Tułacze (1868)

U babuni

Ulana (1842)

W baśń oblekły się dzieje

W pocie czoła. Z dziennika dorobkiewicza (1884)

W starym piecu

Warszawa 1794 (1873)

Wielki nieznajomy

Wielki świat małego miasteczka

Wilczek i wilczkowa

Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września

Wspomnienia Wołynia, Polesia i Litwy

Z chłopa król

Z siedmioletniej wojny (1875)

Z życia awanturnika

Zadora

Zaklęta księżniczka

Zemsta Czokołdowa

Złote jabłko

Złoty Jasieńko

Zygmuntowskie czasy. Powieść z roku 1572 (1846)

Zygzaki

Żacy krakowscy w roku 1549 (Kraków Students in 1549)

Żeliga

Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)

Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski

Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)

Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)

Adama Polanowskiego dworzanina króla Jegomości Jana III notatki

Bajbuza: czasy Zygmunta III

Banita: czasy Stefana Batorego

Biały książę: czasy Ludwika Węgierskiego

Boleszczyce: powieść z czasów Bolesława Szczodrego

Boży gniew: czasy Jana Kazimierza

Bracia Zmartwychwstańcy: powieść z czasów Chrobrego

Dwie królowe

Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku

Infantka

Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta

Jelita: powieść herbowa z r. 1331

Kraków za Łokietka: powieść historyczna

Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego

Król Piast: (Michał książę Wiśniowiecki)

Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego

Lubonie: powieść z X wieku

Masław

Matka królów: czasy Jagiełłowe

Na królewskim dworze: czasy Władysława IV

Pogrobek: powieść z czasów przemysławowskich

Saskie ostatki: August III

Semko: czasy bezkrólewia po Ludwiku

Jagiełło i Jadwiga

Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego

Stara baśń (An Ancient Tale, 1876)

Strzemieńczyk: czasy Władysława Warneńczyka

Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego

Waligóra: powieść historyczna z czasów Leszka Białego

Za Sasów

Gaydon, British Motor Museum

The Swallow Coachbuilding Company of Blackpool (forerunner of Jaguar) began as a motorcycle sidecar manufacturer and moved into motorcars during the 1920s. The key to expansion was an order for 500 Austin Seven based Swallows, placed by London dealers Henlys Ltd in 1927.

Compared to the utilitarian Austin the Swallow coachwork was dignified, distinctive and up-to-the-minute. The success of this order led to expansion in 1928 and a move nearer the heart of the Britain's motor industry, in Coventry.

By the time this example of the Austin Seven Swallow was bodied, Swallow itself was moving towards building its first complete car, the SS1, which was launched in 1931.

The Halifax Gibbet was the forerunner of the guillotine. In fact, the guillotine was inspired by the Halifax Gibbet with the former working on the same principal as the latter. The principal of the guillotine – a sharp-bladed instrument being held above and then dropped some distance from a condemned person’s neck – was first used in Medieval England. It is believed that this method of execution was first used in Halifax – hence its name – in the C13th. A law known as the Gibbet Law gave the Lord of the Manor for Halifax the power to condemn someone to death by the Halifax Gibbet if they were found guilty of stealing something that was worth more than 13p. The first recorded use of the Halifax Gibbet was in 1286 when John of Dalton was executed – though no records survive to explain what he was guilty of.

The Halifax Gibbet was a wooden structure that was 15 feet high with an axe shaped blade at the top. This was held up by a rope. Once the condemned prisoner had been securely fastened, the executioner would cut the rope. In theory, the weight of the blade and the speed at which it fell would decapitate the condemned. The Halifax Gibbet was used on markets days. This would ensure many people were in the town to witness the execution and the hope was that the fearsome sight of the Gibbet would act as a deterrent to those who might have considered a life of crime. If a condemned prisoner escaped on the day of his/her execution and crossed outside of the town’s boundary, he/she was safe as long as the condemned never returned to Halifax. John Lacey, in the reign of James I, did escape on the day of his execution. He returned to the town in 1623, a full seven years after the year he should have been executed. Lacey was recognised, arrested and executed on the Gibbet. The Halifax Gibbet was last used in 1650. The first recorded use of what was known as the guillotine was in 1789.

www.historylearningsite.co.uk/halifax_gibbet.htm

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

Tamworth Castle, a Grade I listed building, is a Norman castle overlooking the mouth of the River Anker into the Tame in the town of Tamworth in Staffordshire, England. Before boundary changes in 1889, however, the castle was within the edge of Warwickshire while most of the town belonged to Staffordshire.

The site served as a residence of the Mercian kings in Anglo Saxon times, but fell into disuse during the Viking invasions. Refortified by the Normans and later enlarged, the building is today one of the best preserved motte-and-bailey castles in England.

When Tamworth became the chief residence of Offa, ruler of the expanding Mercian kingdom, he built a palace there from which various charters were issued sedens in palatio regali in Tamoworthige, the first dating from 781. Little trace of its former glory survived the Viking attack in 874 that left the town "for nearly forty years a mass of blackened ruins". Then in 913 Tamworth was rebuilt by Æthelflæd, Lady of the Mercians, who newly fortified the town with an earthen burh. This, however, did little to defend the place when it was again sacked by the Danes in 943.

Over the following centuries there is no more mention of Tamworth as a royal residence, although a mint there struck coins for later Anglo-Saxon kings and eventually for the new Norman monarch, William the Conqueror. The place was then granted to William's steward, Robert Despenser, who built a wooden castle during the 1080s in the typical Norman motte and bailey fashion. Occupying the south western part of the earlier burh, this was the forerunner of the present building.

When Robert died childless, the castle passed to his nieces, one of whom, Matilida, married Robert Marmion. The Marmion family, hereditary champions of the Dukes of Normandy and then of the new Kings of England, held the castle for six generations from c.1100 to 1294. It was during their occupancy that the castle began to be remodelled in stone, although on one occasion it was also in danger of being demolished altogether. Robert Marmion, 3rd Baron Marmion of Tamworth, deserted King John in 1215 during the turmoil of his reign. As a consequence, the king ordered Robert's son Geoffrey to be imprisoned, all of Robert's lands to be confiscated and Tamworth Castle to be demolished. But the fabric had only been partially destroyed by the time of John's death the following year, when Robert's sons were able to regain their father's lands.

Early Norman herringbone masonry on the castle causeway

The last male of the family to own the castle was Philip Marmion. Since he had no legitimate sons, the castle passed on his death (c.1291) to his daughter and, after she died without an heir in 1294, to her niece Joan. As she was the wife of Sir Alexander Freville, Joan's descendants initiated the next dynasty of owners who held the castle until 1423. The male line then came to an end with Baldwin de Freville, whose son died a minor, and the castle passed to the eldest daughter, Elizabeth, and her husband, Thomas Ferrers of Groby.

Numerous additions were made to the castle over the centuries, especially in the Jacobean period, from which time the arms of the Ferrers family and those with whom they intermarried came to dominate the interior. The shell keep contains a 12th-century gate tower and later residential accommodation in an H plan comprising a 13th-century three-storey north range, and a 17th-century Jacobean three-storey south range linked by an oak timbered Great Hall of the 15th century. A notable exterior feature surviving from early times is the herring-bone pattern of masonry laid diagonally at the base of the causeway up to the gate tower.

Originally entry to the castle grounds was by a gateway (little of which now remains) fronting onto the town's market-place. In his itinerary of Britain (1539/43), John Leland found the outworks “cleane decayed and the Wall fallen downe”, although on the mound there remained “a great round Tower of Stone, wherein Mr [Humphrey] Ferrers dwelleth, and now repaireth it.”

However adapted as a residence, the castle's defences had been built with the conditions of mediaeval warfare in mind. During the English Civil War, it was captured by Parliamentary forces on 25 June 1643 after only a two-day siege and was garrisoned by them. In July 1645 the garrison comprised ten officers and 77 soldiers under the command of the military governor, Waldyve Willington. Owing to this use, the castle therefore escaped the slighting ordered for so many others at that period.

After 1668 the castle passed to the relatives of the Ferrers, initially the Shirleys of Chartley and then in 1715 to the Comptons when Elizabeth Ferrers married the 5th Earl of Northampton. During their period of ownership, the castle again fell into disrepair but after the Ferrers grandniece, Charlotte Compton, had married George Townshend of Raynham, it was again refurbished. Following his death in 1811, the castle was acquired by an auctioneer, John Robbins in 1814, although he did not move in until 1821: ownership reverted to the Townshend family on his death.

The moat on the town side had fallen into disuse and from the 15th century onwards parts of it were leased to the houses on that side of Market Street. In 1810 a new gatehouse was built at the foot of the Holloway, where the road ran south along the Lady Bridge. From it a carriageway wound up through the grounds to the castle's entrance. The castle mill was sited further along the Anker, where it was depicted in J. M. W. Turner’s panoramic watercolour of the castle from the south-east (1832). Also included there is the Lady Bridge to the left and the square tower of St Editha’s Church on the right.

The castle had earlier made a brief appearance in Walter Scott’s narrative poem Marmion: A Tale of Flodden Field (1808). Set in Tudor times, its anachronistic anti-hero is proclaimed at the banquet in the first canto as “Lord of Fontenaye…Of Tamworth tower and town”, although the barony of Marmion had by then been extinct for more than two centuries.

Finally in 1891 the Marquess Townshend put the castle up for sale by auction and it was purchased by its present owners, Tamworth Corporation (now Tamworth Borough Council), for £3,000 in 1897 to mark Queen Victoria's diamond jubilee. It was then opened to the public by the Earl of Dartmouth as a museum in 1899.

Royal visitors after the Norman Conquest:

King Henry I, sometime between 1109 and 1115

King Henry II, 1158, accompanied by Thomas Becket

King Henry III, 1257

King Edward II, 1325

King Edward III, 1330

King James I, 1619, accompanied by his son Prince Charles.

Tamworth is a market town and borough in Staffordshire, England, 14 miles (23 km) north-east of Birmingham. The town borders North Warwickshire to the east and north, Lichfield to the north, south-west and west. The town takes its name from the River Tame, which flows through it. The population of Tamworth borough (2021) was 78,838. The wider urban area had a population of 81,964.

Tamworth was the principal centre of royal power of the Anglo-Saxon Kingdom of Mercia during the 8th and 9th centuries. It hosts a simple but elevated 12th century castle, a well-preserved medieval church (the Church of St Editha) and a Moat House. Tamworth was historically divided between Warwickshire and Staffordshire until 1889, when the town was placed entirely in Staffordshire.

The town's industries include logistics, engineering, clothing, brick, tile and paper manufacture. Until 2001 one of its factories was Reliant, which produced the Reliant Robin three-wheeler car and the Reliant Scimitar sports car.

The Snowdome, a prototype real-snow indoor ski slope is in Tamworth and 1.7 miles (2.7 km) south is Drayton Manor Theme Park and one of the many marinas serving the Coventry Canal and Birmingham and Fazeley Canal which combine south of the town.

Staffordshire is a landlocked ceremonial county in the West Midlands of England. It borders Cheshire to the north-west, Derbyshire and Leicestershire to the east, Warwickshire to the south-east, the West Midlands county and Worcestershire to the south, and Shropshire to the west. The largest settlement is the city of Stoke-on-Trent, and the county town is Stafford.

The county has an area of 1,713 square kilometres (661 sq mi) and a population of 1,131,052. After Stoke-on-Trent (258,366), the largest settlements are Tamworth (78,646), Newcastle-under-Lyme (75,082) and Burton upon Trent (72,299); the city of Lichfield has a population of 33,816. For local government purposes Staffordshire comprises a non-metropolitan county, with nine districts, and the unitary authority area of Stoke-on-Trent. The county historically included the north-west of the West Midlands county, including Walsall, West Bromwich, and Wolverhampton.

Staffordshire is hilly to the north and south. The southern end of the Pennines is in the north, containing part of the Peak District National Park, while the Cannock Chase AONB and part of the National Forest are in the south. The River Trent and its tributaries drain most of the county. From its source, near Biddulph, the river flows through Staffordshire in a southwesterly direction, meeting the Sow just east of Stafford; it then meets the River Tame and turns north-east, exiting into Derbyshire immediately downstream of Burton upon Trent.

Staffordshire contains a number of Iron Age tumuli and Roman camps, and was settled by the Angles in the sixth century; the oldest Stafford knot, the county's symbol, can be seen on an Anglian cross in the churchyard of Stoke Minster. The county was formed in the early tenth century, when Stafford became the capital of Mercia. The county was relatively settled in the following centuries, and rapidly industrialised during the Industrial Revolution, when the North Staffordshire coalfield was exploited and fuelled the iron and automobilie industries in the south of the county. Pottery is the county's most famous export; a limited amount is still produced in Stoke-on-Trent.

Staffordshire is a landlocked county in the West Midlands of England. It adjoins Cheshire to the north west, Derbyshire and Leicestershire to the east, Warwickshire to the south east, West Midlands and Worcestershire to the south, and Shropshire to the west. The historic county of Staffordshire includes Wolverhampton, Walsall, and West Bromwich, these three being removed for administrative purposes in 1974 to the new West Midlands authority. The resulting administrative area of Staffordshire has a narrow southwards protrusion that runs west of West Midlands to the border of Worcestershire. The city of Stoke-on-Trent was removed from the admin area in the 1990s to form a unitary authority, but is still part of Staffordshire for ceremonial and traditional purposes.

The historic county has an area of 781,000 acres (1,250 sq. miles) and at the first census in 1801 had a population of 239,153.

Early British remains exist in various parts of the county; and a large number of barrows have been opened in which human bones, urns, fibulae, stone hammers, armlets, pins, pottery and other articles have been found. In the neighbourhood of Wetton, near Dovedale, on the site called Borough Holes, no fewer than twenty-three barrows were opened, and British ornaments have been found in Needwood Forest, the district between the lower Dove and the angle of the Trent to the south. Several Roman camps also remain, as at Knave's Castle on Watling Street, near Brownhills.

The county symbol, the Staffordshire Knot, is seen on an Anglian stone cross that dates from around the year 805. The cross still stands in Stoke churchyard. Thus the Knot is either i) an ancient Mercian symbol or ii) a symbol adopted from the Irish Christianity, Christianity having been brought to Staffordshire by Irish monks from Lindisfarne about AD 650.

The district which is now Staffordshire was invaded in the 6th century by a tribe of Angles who settled about Tamworth, afterwards famous as a residence of the Mercian kings, and later made their way beyond Cannock Chase, through the passages afforded by the Sow valley in the north and Watling Street in the south. The district was frequently overrun by the Danes, who in 910 were defeated at Tettenhall, and again at Wednesfield, and it was after Edward the Elder had finally expelled the Northmen from Mercia that the land of the south Mercians was formed into a shire around the fortified burgh which he had made in 914 at Stafford.

The county probably first came into being in the decade after the year 913; that being the date at which Stafford – the strategic military fording-point for an army to cross the Trent – became a secure fortified stronghold and the new capital of Mercia under Queen Æthelflæd.

The county is first mentioned by name in the Anglo-Saxon Chronicle in 1016 when it was harried by Canute.

The resistance which Staffordshire opposed William the Conqueror was punished by ruthless harrying and confiscation, and the Domesday Survey supplies evidence of the depopulated and impoverished condition of the county, which at this period contained but 64 mills, whereas Dorset, a smaller county, contained 272. No Englishman was allowed to retain estates of any importance after the Conquest, and the chief lay proprietors at the time of the survey were Earl Roger of Montgomery; Earl Hugh of Chester; Henry de Ferrers, who held Burton and Tutbury Castles; Robert de Stafford; William Fitz-Ansculf, afterwards created first Baron Dudley; Richard Forester; Rainald Bailgiol; Ralph Fitz Hubert and Nigel de Stafford. The Ferrers and Staffords long continued to play a leading part in Staffordshire history, and Turstin, who held Drayton under William Fitz Ansculf, was the ancestor of the Bassets of Drayton. At the time of the survey Burton was the only monastery in Staffordshire, but foundations of canons existed at Stafford, Wolverhampton, Tettenhall, Lichfield, Penkridge and Tamworth, while others at Hanbury, Stone, Strensall and Trentham had been either destroyed or absorbed before the Conquest.

In the 13th century Staffordshire formed the archdeaconry of Stafford, including the deaneries of Stafford, Newcastle, Alton and Leek, Tamworth and Tutbury, Lapley and Creigull. In 1535 the deanery of Newcastle was combined with that of Stone, the deaneries remaining otherwise unaltered until 1866, when they were increased to twenty. The archdeaconry of Stoke-on-Trent was formed in 1878, and in 1896 the deaneries were brought to their present number; the archdeaconry of Stafford comprising Handsworth, Himley, Lichfield, Penkridge, Rugeley, Stafford, Tamworth, Trysull, Tutbury, Walsall, Wednesbury, West Bromwich and Wolverhampton; the archdeaconry of Stoke-on-Trent comprising Alstonfield, Cheadle, Eccleshall, Hanley, Leek, Newcastle-under-Lyme, Stoke-on- Trent, Trentham and Uttoxeter. In the wars of the reign of Henry III. most of the great families of Staffordshire, including the Bassets and the Ferrers, supported Simon de Montfort, and in 1263 Prince Edward ravaged all the lands of Earl Robert Ferrers in this county and destroyed Tutbury Castle. During the Wars of the Roses, Eccleshall was for a time the headquarters of Queen Margaret, and in 1459 the Lancastrians were defeated at Blore Heath.

The five hundreds of Staffordshire existed since the Domesday Survey, and the boundaries have remained practically unchanged until the twentieth century. Edingale, however, was then included under Derbyshire, and Tyrley under Shropshire, while Cheswardine, Chipnall and part of Bobbington, now in Shropshire, were assessed under Staffordshire. The hundreds of Offlow and Totmonslow had their names from sepulchral monuments of Saxon commanders. The shire court for Staffordshire was held at Stafford, and the assizes at Wolverhampton, Stafford and Lichfield, until by act of parliament of 1558 the assizes and sessions were fixed at Stafford, where they are still held.

The origin of the hundred dates from the division of his kingdom by King Alfred the Great into counties, hundreds and tithings. From the beginning, Staffordshire was divided into the hundreds of Totmonslow, Pirehill, Offlow, Cuttleston and Seisdon.

The hundredal division of Staffordshire differs markedly from that of the counties to the south and west in showing far greater stability. All the Domesday hundreds are kept practically unchanged down to modern times. Also in the size of the hundreds. The Staffordshire hundreds, five in number, are on the whole far larger than any in the adjacent counties; more especially as regards northern Staffordshire. The two hundreds in the south-west are of more normal extent. It seems to be due chiefly to the nature of the county. Northern Staffordshire is to a large extent moorland, which must have been unattractive to early settlers. It is noteworthy, as showing where the centres of these hundreds lay, that the meeting-places of the two northern hundreds (Pirehill and Totmonslow) are in the extreme south of the respective hundreds. Southern Staffordshire was largely a forest-district. The southern part of Seisdon hundred was covered by Kinver Forest, and large parts of the two hundreds in the central part of the county, those of Cuttleston and Offlow, must have been occupied by Cannock Forest. The cultivated areas of these hundreds must in early days have been considerably smaller than at present.

In the English Civil War of the 17th century Staffordshire supported the parliamentary cause and was placed under Lord Brooke. Tamworth, Lichfield and Stafford, however, were garrisoned for King Charles, and Lichfield Cathedral withstood a siege in 1643, in which year the Royalists were victorious at Hopton Heath, but lost their leader, the Earl of Northampton. In 1745 the Young Pretender advanced as far as Leek in this county.

A large proportion of Staffordshire in Norman times was waste and uncultivated ground, but the moorlands of the north afforded excellent pasturage for sheep, and in the 14th century Wolverhampton was a staple town for wool. In the 13th century mines of coal and iron are mentioned at Walsall, and ironstone was procured at Sedgley and Eccleshall. In the 15th century both coal and iron were extensively worked. Thus in the 17th century the north of the county yielded coal, lead, copper, marble and millstones, while the rich meadows maintained great dairies; the woodlands of the south supplied timber, salt, black marble and alabaster; the clothing trade flourished about Tamworth, Burton, and Newcastle-under-Lyme; and hemp and flax were grown all over the county. The potteries are of remote origin, but were improved in the 17th century by two brothers, the Elers, from Amsterdam, who introduced the method of salt glazing, and in the 18th century they were rendered famous by the achievements of Josiah Wedgwood.

Staffordshire was represented by two members in the parliament of 1290, and in 1295 the borough of Stafford also returned two members. Lichfield was represented by two members in 1304, and Newcastle-under-Lyme in 1355. Tamworth returned two members in 1562. Under the Reform Act of 1832 the county returned four members in four divisions, and the boroughs of Stoke-upon-Trent and Wolverhampton were represented by two members each, and Walsall by one member. Under the Act of 1867 the county returned six members in three divisions and Wednesbury returned one member.

The most noteworthy churches in the county are found in the large towns, and are described under their respective headings. Such are the beautiful cathedral of Lichfield, and the churches of Eccleshall, Leek, Penkridge St Mary's at Stafford, Tamworth, Tutbury, and St Peter's at Wolverhampton. Checkley, 4 miles south of Cheadle, shows good Norman and Early English details, and there are carved stones of pre-Norman date in the churchyard. Armitage, south-east of Rugeley, has a church showing good Norman work. Brewood church, 4 miles south-west of Penkridge, is Early English. This village gives name to an ancient forest. Audley church, north-west of Newcastle-under-Lyme, is a good example of Early Decorated work. Remains of ecclesiastical foundations are generally slight, but those of the Cistercian abbey of Croxden, north-west of Uttoxeter, are fine Early English, and at Ranton, west of Stafford, the Perpendicular tower and other portions of an Augustinian foundation remain. Among medieval domestic remains may be mentioned the castles of Stafford, Tamworth and Tutbury, with that of Chartley, north-east of Stafford, which dates from the 13th century. Here is also a timbered hall, in the park of which a breed of wild cattle is maintained. Beaudesert, south of Rugeley, is a fine Elizabethan mansion in a beautiful undulating demesne. In the south-west, near Stourbridge, are Enville, a Tudor mansion with grounds laid out by the poet Shenstone, and Stourton Castle, embodying portions of the 15th century, where Reginald, Cardinal Pole, was born in 1500. Among numerous modern seats may be named Ingestre, Ilam Hall, Alton Towers, Shugborough, Patteshull, Keele Hall, and Trentham.

(1949) (NC93059) Forerunner to the Martin 404, they only made 47 of this type. This type had a wing structural problem that eventually resulted in the pressurized Martin 404. Also, note the absence of the TWA hangars. They were four years away.

FILE MAGAZINE VOL 4 NO 1 (SUMMER 1978) alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine – published from 1972 to 1989.

FILE magazine Summer-1978 General Idea

General Idea: FILE megazine, vol 4, issue 1, summer 1978 (the “1984: A Year in Pictures” issue), edition of 3,000 copies.

FILE MAGAZINE VOL 4 NO 1 (SUMMER 1978). Toronto: General Idea, 1978

35 X 27.5cm, 64pp plus pictorial wrappers. A single number from General Idea's art periodical where the trio published conceptual, mail and intermedia art including the GI's own work - often with a homoerotic element. This number has GI's "General Idea flees the burning pavilion in 1984" and several articles on Miss General idea 1984. One slight crease on the back cover and front lower-right corner and spine wear and, as ever, browned internal newsprint pages else VG+. Scarce.

1978

FILE Megazine ("1984: A Year in Pictures," Vol. 4, #1, summer 1978)

Book Description

Publication Date: 1978

Publisher:General Idea, Toronto

Book Condition: VG+

35 X 27.5cm, 64pp plus pictorial wrappers

GENERAL IDEA 1969-1994

An alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine --published from 1972 to 1989--

Felix Partz, Jorge Zontal and AA Bronson of General Idea lived and worked together for 25 years. Partz and Zontal died in 1994. AA Bronson continues to work under his own name

The General Idea Archive is now on deposit at the National Gallery of Canada. You can access the finding aid here:

national.gallery.ca/english/library/biblio/ngc112.html

In 1974, General Idea founded Art Metropole, an organization devoted to collecting, publishing and distributing artists' books, multiples, audio and video.

Read about FILE Megazine in Artforum here:

www.aabronson.com/art/gi.org/artforum.htm

General Idea, Fluxus, Mail Art, Ray Johnson and the importance of Art Magazines as the forerunners of Social Networking:

The first issues of FILE, the publication launched in April 1972 by the Toronto-based group General Idea (comprising artists AA Bronson, Felix Partz, and Jorge Zontal), leave a different, less sober impression than previous magazine-based Conceptual art projects. Lifting its name and logo from the most famous (and popular) postwar US glossy, Life, FILE clearly anticipated a strategy that today is an everyday youth-cultural ploy: namely, logo-busting, an ironic game with the powerful markers of consumer culture, a small act of semiotic subversion whereby one borrows power from the public side of capital--and momentarily uses it against itself.

For the better part of a century artists have been using the format of the periodical to create and disseminate their work. Yves Klein’s Leap Into the Void, another iconic work, was published in the artist’s broadsheet publication Dimanche, which was sold at Parisian newsstands in 1960. Artists' magazines were integral to numerous important movements, such as Conceptual Art, Mail Art, Performance Art, Intermedia, Concrete Poetry, Neo-Dadaism and Fluxus.

The name Fluxus was originally coined by George Maciunas for the title of a magazine of experimental notation that he had hoped to produce.

For the uninitiated, a simple distinction suffices: the “artist periodical” is a primary source and an “art magazine” is a secondary one. That is to say, whereas an art magazine features reproductions and documentation of artwork as illustrations, the artist periodical is an alternative site for the realization of art works rather than their review.

Like their cousins, artists’ books and multiples, artists’ periodicals were intended to be easily distributable, affordable and accessible. And now – much like artists’ books and multiples – they can be difficult to track down and often costly. Complete sets of FILE megazine can sell for upwards of $5,000. Depending on the issue, a single copy of Aspen magazine might sell for the same price. Putting together complete collections piecemeal is the artworld equivalent of collecting a complete set of baseball cards. Critical discourse, too, has been hard to come by; apart from a few key articles, very little has been published on the subject of artists’ magazines.

Publications by General Idea:

THIS IS A LIST OF PUBLICATIONS DESIGNED AND EDITED BY GENERAL IDEA

(Note: FILE Megazine was published by Art Official Inc. in varying edition sizes ranging from 1,500 to 3,500 copies)

A Side note about A.A. Bronson: He wrote …

Mail art was expanding exponentially as ….

Stena Forerunner Ro-Ro cargo ferry on her maiden call to Liverpool/Birkenhead inbound for Twelve Quays North from Belfast, Northern Ireland. She had a few issues with the starboard shaft and had to be assisted by Svitzer Sussex when berthing

IMO: 9227259

MMSI: 244030593

Call Sign: PCPG

Flag: Netherlands

AIS Vessel Type: Cargo - Hazard A (Major)

Gross Tonnage: 24688

Deadweight: 12300 t

Length Overall x Breadth Extreme: 195.3m × 26.8m

Year Built: 2003

Status: Active

Registered owner: STENA RORO NAVIGATION LTD

Ship manager: STENA LINE BV

Shipyard: Dalian Shipyard, China

Hull number: RO123-3

Contract date: 1999-11-25

Keel laid: 2000-12-27

Launch: 2001-04-24

Date of build: 2003-08-29

Info on the ICA Favorit (forerunner of the Zeiss Ikon Favorit) from a German 1913 catalogue - thanks to Manfred Mornhinweg who provided me with this copy.

After ICA merged with ZEISS IKON in 1927, the type numbers of the cameras changed a little. From the different catalogues I made up the following:

ICA Favorit:

nr. 265 for 9 x 12

nr. 335 for 10 x 15

nr. 425 for 13 x 18

ICA Favorit Tropen:

nr. 266 for 9 x 12

ZEISS IKON Favorit:

nr. 265/7 for 9 x 12

nr. 265/9 for 10 x 15

nr. 265/11 for 13 x 18

ZEISS IKON Favorit Tropen:

nr. 266/7 for 9 x 12

Please note that there are ICA cameras with Zeiss type numbers around. Probably these were made during the year of the merger and shortly thereafter.

Also note that the Favorit Tropen is a different camera than the famous Tropica - they had of course different type numbers.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

10-11 сентября 2019, Усекновение главы Пророка, Предтечи и Крестителя Господня Иоанна / 10-11 September 2019, The Beheading of the Glorious Prophet, Forerunner, and Baptist John.

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The Schooner Aleda was built in 1897 for Allen Taylor at the shipyards of Lane and Brown in Whangaroa, New Zealand; she was registered in Sydney in July 1897. In late 1899 she was purchased by John Breckenridge of Failford. The purchase followed Breckenridge’s acquisition of the Failford from Lane and Brown in 1898. The purchase of these two vessels was to be the forerunner of the development of a strong relationship between the Great Lakes and Whangaroa. John Breckenridge’s son, Henry Miles Breckenridge served his apprenticeship as a shipwright with Lane and Brown. While serving his apprenticeship at Whangaroa he met and married Hannah Mary Lane; they settled at Failford in 1902.

Details

Name: Aleda

Builder: Lane and Brown shipyards, Whangaroa New Zealand

Registration: 106145 – Registered Sydney No. 31 - 13th July 1897

Length: 94.5 ft

Breadth: 24.0 ft

Depth: 4.4 ft

Register Tonnage: (1 shipping ton = 100 cubic feet)

-Gross 83.12

-Net 79.01

Type: Scow with shallow draft – designed for river work

Owners:

1897 Purchase from Lane and Brown, Whangaroa facilitated by agents Nelson and Robertson acting on behalf of Allen Taylor

1897 – 1899 Allen Taylor

1899 – 1911 John Breckenridge, Failford

1911 – 1914 John Breckenridge and Sons Ltd, Drummoyne

John Breckenridge moved to Drummoyne in 1909 and set up John Breckenridge and Sons, Ltd. in 1911; John and his two sons, John Wylie Breckenridge and Henry Miles Breckenridge, were directors. John died on 8th July 1917 and is buried in the Failford cemetery.

Operation

Her initial voyage was from Whangaroa to Sydney – arriving 10th July 1897 carrying 74,570 ft kauri pine timber.

She was then used to transport timber from sawmills along the NSW Coast to Sydney.

In late 1899 she was sold to John Breckenridge of Failford and regularly carried sawn timber and poles/piles between Failford (Cape Hawke area) and Sydney or Newcastle with one voyage from Cape Hawke to New Zealand.

Lucky Escape in 1907

The event occurred when the Aleda was almost wrecked at the Gap outside South Head in Sydney; the event was described in the press as follows:

“The schooner Aleda, a coastal trader outward bound from Sydney to Cape Hawke to load timber, had a narrow escape to-day. After she crossed the Heads her rudder was deranged, with the result that she became unmanageable. The wind was from the north-east, with a nasty swell, and the craft rapidly drifted into great danger. The pilot steamer Captain Cook went at full speed to the rescue, and the craft was within 100 yards of the Gap, when the Aleda was taken in tow.”

Clarence and Richmond Examiner (Grafton, NSW) Tue 11 Jun 1907.

1914 - Aleda Wrecked off Point Plomer north of Port Macquarie 17th June

The Aleda left Sydney on Monday 15th or Tuesday 16th just before a strong gale swept along the coast. She was bound for the Nambucca River, and was to load a full cargo of timber there for Sydney on account of the John Breckenridge and Sons. The vessel had evidently got off Nambucca, but was unable to enter owing to the gale, and when the cyclone burst she was driven helplessly ashore. The spot where the vessel struck is one of the most rugged parts of the north coast, and Point Plomer is surrounded by many hidden dangers. Her crew of six were reported as missing, believed drowned.

On Sunday 21st it was reported that “Mr. Ted Noonan, of Big Hill, three miles north of Point Plomer, brought news to town that a mass of wreckage floating at the headland there indicated that a ketch or vessel of that description had met disaster on Wednesday night while last week's furious storm was at its height in that vicinity. The wreckage comprised parts of decking, portions of a green painted hull, two portions of masts with sail attached, manila hawsers, wire ropes, pieces of smoke stained galley iron, a blanket, and heaps of timber shattered to match wood all churning in the surf, and in which at intervals could be seen the stern board of a little boat with the words "Aleda, Sydney" in yellow letters on a green ground.

Mr. Noonan made the unpleasant discovery late on Friday evening (19th), but the sea was too rough to investigate, though the sight of a spar bobbing out from the cauldron at the bluff, and a freshly fallen shower of newly splint-red timber fully fifty feet up the cliff were sufficiently convincing that some coaster had been rudely cast away.”

The Macleay Chronicle (Kempsey, NSW) Wed 24 Jun 1914.

The following newspaper report sums up the tragic loss

SMASHED TO SPLINTERS.

Mr. H. M. Breckenridge [Henry Miles Breckenridge], of the firm of John Breckenridge and Sons, Ltd., owners of the schooner Aleda, returned to Sydney yesterday after a visit to the scene of the wreck.

"There is not the slightest doubt about the wreckage found having come from the Aleda," said Mr. Breckenridge yesterday. "I carefully examined everything that had been found, and there is no doubt that the Aleda has been smashed to splinters. I am certain that none of the wreckage there came from the Alfred Fenning.

"The Aleda was apparently driven ashore by the gale near Big Hill, as it is called locally. It is the next headland to Point Plomer, and is a very rugged spot. The little vessel would have no chance at all there. There is no possible hope of anyone getting ashore at the spot. There is only one place where one can get up the cliff from the sea, and it takes a strong man to climb up even there." The Sydney Morning Herald (NSW) Saturday 27 June 1914

The lost crew were:

Captain H Siblet (Master),

John Merchant (A.B.),

Hans Nelson (A.B.),

A. Anderson, (A.B),

Alec Kestila (A.B.), and

O Petersen (cook).

Image Source Extract from Register of Australian and New Zealand Shipping 1902-03

Acknowledgements. The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.

All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.

GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List

Tamworth Castle, a Grade I listed building, is a Norman castle overlooking the mouth of the River Anker into the Tame in the town of Tamworth in Staffordshire, England. Before boundary changes in 1889, however, the castle was within the edge of Warwickshire while most of the town belonged to Staffordshire.

The site served as a residence of the Mercian kings in Anglo Saxon times, but fell into disuse during the Viking invasions. Refortified by the Normans and later enlarged, the building is today one of the best preserved motte-and-bailey castles in England.

When Tamworth became the chief residence of Offa, ruler of the expanding Mercian kingdom, he built a palace there from which various charters were issued sedens in palatio regali in Tamoworthige, the first dating from 781. Little trace of its former glory survived the Viking attack in 874 that left the town "for nearly forty years a mass of blackened ruins". Then in 913 Tamworth was rebuilt by Æthelflæd, Lady of the Mercians, who newly fortified the town with an earthen burh. This, however, did little to defend the place when it was again sacked by the Danes in 943.

Over the following centuries there is no more mention of Tamworth as a royal residence, although a mint there struck coins for later Anglo-Saxon kings and eventually for the new Norman monarch, William the Conqueror. The place was then granted to William's steward, Robert Despenser, who built a wooden castle during the 1080s in the typical Norman motte and bailey fashion. Occupying the south western part of the earlier burh, this was the forerunner of the present building.

When Robert died childless, the castle passed to his nieces, one of whom, Matilida, married Robert Marmion. The Marmion family, hereditary champions of the Dukes of Normandy and then of the new Kings of England, held the castle for six generations from c.1100 to 1294. It was during their occupancy that the castle began to be remodelled in stone, although on one occasion it was also in danger of being demolished altogether. Robert Marmion, 3rd Baron Marmion of Tamworth, deserted King John in 1215 during the turmoil of his reign. As a consequence, the king ordered Robert's son Geoffrey to be imprisoned, all of Robert's lands to be confiscated and Tamworth Castle to be demolished. But the fabric had only been partially destroyed by the time of John's death the following year, when Robert's sons were able to regain their father's lands.

Early Norman herringbone masonry on the castle causeway

The last male of the family to own the castle was Philip Marmion. Since he had no legitimate sons, the castle passed on his death (c.1291) to his daughter and, after she died without an heir in 1294, to her niece Joan. As she was the wife of Sir Alexander Freville, Joan's descendants initiated the next dynasty of owners who held the castle until 1423. The male line then came to an end with Baldwin de Freville, whose son died a minor, and the castle passed to the eldest daughter, Elizabeth, and her husband, Thomas Ferrers of Groby.

Numerous additions were made to the castle over the centuries, especially in the Jacobean period, from which time the arms of the Ferrers family and those with whom they intermarried came to dominate the interior. The shell keep contains a 12th-century gate tower and later residential accommodation in an H plan comprising a 13th-century three-storey north range, and a 17th-century Jacobean three-storey south range linked by an oak timbered Great Hall of the 15th century. A notable exterior feature surviving from early times is the herring-bone pattern of masonry laid diagonally at the base of the causeway up to the gate tower.

Originally entry to the castle grounds was by a gateway (little of which now remains) fronting onto the town's market-place. In his itinerary of Britain (1539/43), John Leland found the outworks “cleane decayed and the Wall fallen downe”, although on the mound there remained “a great round Tower of Stone, wherein Mr [Humphrey] Ferrers dwelleth, and now repaireth it.”

However adapted as a residence, the castle's defences had been built with the conditions of mediaeval warfare in mind. During the English Civil War, it was captured by Parliamentary forces on 25 June 1643 after only a two-day siege and was garrisoned by them. In July 1645 the garrison comprised ten officers and 77 soldiers under the command of the military governor, Waldyve Willington. Owing to this use, the castle therefore escaped the slighting ordered for so many others at that period.

After 1668 the castle passed to the relatives of the Ferrers, initially the Shirleys of Chartley and then in 1715 to the Comptons when Elizabeth Ferrers married the 5th Earl of Northampton. During their period of ownership, the castle again fell into disrepair but after the Ferrers grandniece, Charlotte Compton, had married George Townshend of Raynham, it was again refurbished. Following his death in 1811, the castle was acquired by an auctioneer, John Robbins in 1814, although he did not move in until 1821: ownership reverted to the Townshend family on his death.

The moat on the town side had fallen into disuse and from the 15th century onwards parts of it were leased to the houses on that side of Market Street. In 1810 a new gatehouse was built at the foot of the Holloway, where the road ran south along the Lady Bridge. From it a carriageway wound up through the grounds to the castle's entrance. The castle mill was sited further along the Anker, where it was depicted in J. M. W. Turner’s panoramic watercolour of the castle from the south-east (1832). Also included there is the Lady Bridge to the left and the square tower of St Editha’s Church on the right.

The castle had earlier made a brief appearance in Walter Scott’s narrative poem Marmion: A Tale of Flodden Field (1808). Set in Tudor times, its anachronistic anti-hero is proclaimed at the banquet in the first canto as “Lord of Fontenaye…Of Tamworth tower and town”, although the barony of Marmion had by then been extinct for more than two centuries.

Finally in 1891 the Marquess Townshend put the castle up for sale by auction and it was purchased by its present owners, Tamworth Corporation (now Tamworth Borough Council), for £3,000 in 1897 to mark Queen Victoria's diamond jubilee. It was then opened to the public by the Earl of Dartmouth as a museum in 1899.

Royal visitors after the Norman Conquest:

King Henry I, sometime between 1109 and 1115

King Henry II, 1158, accompanied by Thomas Becket

King Henry III, 1257

King Edward II, 1325

King Edward III, 1330

King James I, 1619, accompanied by his son Prince Charles.

Tamworth is a market town and borough in Staffordshire, England, 14 miles (23 km) north-east of Birmingham. The town borders North Warwickshire to the east and north, Lichfield to the north, south-west and west. The town takes its name from the River Tame, which flows through it. The population of Tamworth borough (2021) was 78,838. The wider urban area had a population of 81,964.

Tamworth was the principal centre of royal power of the Anglo-Saxon Kingdom of Mercia during the 8th and 9th centuries. It hosts a simple but elevated 12th century castle, a well-preserved medieval church (the Church of St Editha) and a Moat House. Tamworth was historically divided between Warwickshire and Staffordshire until 1889, when the town was placed entirely in Staffordshire.

The town's industries include logistics, engineering, clothing, brick, tile and paper manufacture. Until 2001 one of its factories was Reliant, which produced the Reliant Robin three-wheeler car and the Reliant Scimitar sports car.

The Snowdome, a prototype real-snow indoor ski slope is in Tamworth and 1.7 miles (2.7 km) south is Drayton Manor Theme Park and one of the many marinas serving the Coventry Canal and Birmingham and Fazeley Canal which combine south of the town.

Staffordshire is a landlocked ceremonial county in the West Midlands of England. It borders Cheshire to the north-west, Derbyshire and Leicestershire to the east, Warwickshire to the south-east, the West Midlands county and Worcestershire to the south, and Shropshire to the west. The largest settlement is the city of Stoke-on-Trent, and the county town is Stafford.

The county has an area of 1,713 square kilometres (661 sq mi) and a population of 1,131,052. After Stoke-on-Trent (258,366), the largest settlements are Tamworth (78,646), Newcastle-under-Lyme (75,082) and Burton upon Trent (72,299); the city of Lichfield has a population of 33,816. For local government purposes Staffordshire comprises a non-metropolitan county, with nine districts, and the unitary authority area of Stoke-on-Trent. The county historically included the north-west of the West Midlands county, including Walsall, West Bromwich, and Wolverhampton.

Staffordshire is hilly to the north and south. The southern end of the Pennines is in the north, containing part of the Peak District National Park, while the Cannock Chase AONB and part of the National Forest are in the south. The River Trent and its tributaries drain most of the county. From its source, near Biddulph, the river flows through Staffordshire in a southwesterly direction, meeting the Sow just east of Stafford; it then meets the River Tame and turns north-east, exiting into Derbyshire immediately downstream of Burton upon Trent.

Staffordshire contains a number of Iron Age tumuli and Roman camps, and was settled by the Angles in the sixth century; the oldest Stafford knot, the county's symbol, can be seen on an Anglian cross in the churchyard of Stoke Minster. The county was formed in the early tenth century, when Stafford became the capital of Mercia. The county was relatively settled in the following centuries, and rapidly industrialised during the Industrial Revolution, when the North Staffordshire coalfield was exploited and fuelled the iron and automobilie industries in the south of the county. Pottery is the county's most famous export; a limited amount is still produced in Stoke-on-Trent.

Staffordshire is a landlocked county in the West Midlands of England. It adjoins Cheshire to the north west, Derbyshire and Leicestershire to the east, Warwickshire to the south east, West Midlands and Worcestershire to the south, and Shropshire to the west. The historic county of Staffordshire includes Wolverhampton, Walsall, and West Bromwich, these three being removed for administrative purposes in 1974 to the new West Midlands authority. The resulting administrative area of Staffordshire has a narrow southwards protrusion that runs west of West Midlands to the border of Worcestershire. The city of Stoke-on-Trent was removed from the admin area in the 1990s to form a unitary authority, but is still part of Staffordshire for ceremonial and traditional purposes.

The historic county has an area of 781,000 acres (1,250 sq. miles) and at the first census in 1801 had a population of 239,153.

Early British remains exist in various parts of the county; and a large number of barrows have been opened in which human bones, urns, fibulae, stone hammers, armlets, pins, pottery and other articles have been found. In the neighbourhood of Wetton, near Dovedale, on the site called Borough Holes, no fewer than twenty-three barrows were opened, and British ornaments have been found in Needwood Forest, the district between the lower Dove and the angle of the Trent to the south. Several Roman camps also remain, as at Knave's Castle on Watling Street, near Brownhills.

The county symbol, the Staffordshire Knot, is seen on an Anglian stone cross that dates from around the year 805. The cross still stands in Stoke churchyard. Thus the Knot is either i) an ancient Mercian symbol or ii) a symbol adopted from the Irish Christianity, Christianity having been brought to Staffordshire by Irish monks from Lindisfarne about AD 650.

The district which is now Staffordshire was invaded in the 6th century by a tribe of Angles who settled about Tamworth, afterwards famous as a residence of the Mercian kings, and later made their way beyond Cannock Chase, through the passages afforded by the Sow valley in the north and Watling Street in the south. The district was frequently overrun by the Danes, who in 910 were defeated at Tettenhall, and again at Wednesfield, and it was after Edward the Elder had finally expelled the Northmen from Mercia that the land of the south Mercians was formed into a shire around the fortified burgh which he had made in 914 at Stafford.

The county probably first came into being in the decade after the year 913; that being the date at which Stafford – the strategic military fording-point for an army to cross the Trent – became a secure fortified stronghold and the new capital of Mercia under Queen Æthelflæd.

The county is first mentioned by name in the Anglo-Saxon Chronicle in 1016 when it was harried by Canute.

The resistance which Staffordshire opposed William the Conqueror was punished by ruthless harrying and confiscation, and the Domesday Survey supplies evidence of the depopulated and impoverished condition of the county, which at this period contained but 64 mills, whereas Dorset, a smaller county, contained 272. No Englishman was allowed to retain estates of any importance after the Conquest, and the chief lay proprietors at the time of the survey were Earl Roger of Montgomery; Earl Hugh of Chester; Henry de Ferrers, who held Burton and Tutbury Castles; Robert de Stafford; William Fitz-Ansculf, afterwards created first Baron Dudley; Richard Forester; Rainald Bailgiol; Ralph Fitz Hubert and Nigel de Stafford. The Ferrers and Staffords long continued to play a leading part in Staffordshire history, and Turstin, who held Drayton under William Fitz Ansculf, was the ancestor of the Bassets of Drayton. At the time of the survey Burton was the only monastery in Staffordshire, but foundations of canons existed at Stafford, Wolverhampton, Tettenhall, Lichfield, Penkridge and Tamworth, while others at Hanbury, Stone, Strensall and Trentham had been either destroyed or absorbed before the Conquest.

In the 13th century Staffordshire formed the archdeaconry of Stafford, including the deaneries of Stafford, Newcastle, Alton and Leek, Tamworth and Tutbury, Lapley and Creigull. In 1535 the deanery of Newcastle was combined with that of Stone, the deaneries remaining otherwise unaltered until 1866, when they were increased to twenty. The archdeaconry of Stoke-on-Trent was formed in 1878, and in 1896 the deaneries were brought to their present number; the archdeaconry of Stafford comprising Handsworth, Himley, Lichfield, Penkridge, Rugeley, Stafford, Tamworth, Trysull, Tutbury, Walsall, Wednesbury, West Bromwich and Wolverhampton; the archdeaconry of Stoke-on-Trent comprising Alstonfield, Cheadle, Eccleshall, Hanley, Leek, Newcastle-under-Lyme, Stoke-on- Trent, Trentham and Uttoxeter. In the wars of the reign of Henry III. most of the great families of Staffordshire, including the Bassets and the Ferrers, supported Simon de Montfort, and in 1263 Prince Edward ravaged all the lands of Earl Robert Ferrers in this county and destroyed Tutbury Castle. During the Wars of the Roses, Eccleshall was for a time the headquarters of Queen Margaret, and in 1459 the Lancastrians were defeated at Blore Heath.

The five hundreds of Staffordshire existed since the Domesday Survey, and the boundaries have remained practically unchanged until the twentieth century. Edingale, however, was then included under Derbyshire, and Tyrley under Shropshire, while Cheswardine, Chipnall and part of Bobbington, now in Shropshire, were assessed under Staffordshire. The hundreds of Offlow and Totmonslow had their names from sepulchral monuments of Saxon commanders. The shire court for Staffordshire was held at Stafford, and the assizes at Wolverhampton, Stafford and Lichfield, until by act of parliament of 1558 the assizes and sessions were fixed at Stafford, where they are still held.

The origin of the hundred dates from the division of his kingdom by King Alfred the Great into counties, hundreds and tithings. From the beginning, Staffordshire was divided into the hundreds of Totmonslow, Pirehill, Offlow, Cuttleston and Seisdon.

The hundredal division of Staffordshire differs markedly from that of the counties to the south and west in showing far greater stability. All the Domesday hundreds are kept practically unchanged down to modern times. Also in the size of the hundreds. The Staffordshire hundreds, five in number, are on the whole far larger than any in the adjacent counties; more especially as regards northern Staffordshire. The two hundreds in the south-west are of more normal extent. It seems to be due chiefly to the nature of the county. Northern Staffordshire is to a large extent moorland, which must have been unattractive to early settlers. It is noteworthy, as showing where the centres of these hundreds lay, that the meeting-places of the two northern hundreds (Pirehill and Totmonslow) are in the extreme south of the respective hundreds. Southern Staffordshire was largely a forest-district. The southern part of Seisdon hundred was covered by Kinver Forest, and large parts of the two hundreds in the central part of the county, those of Cuttleston and Offlow, must have been occupied by Cannock Forest. The cultivated areas of these hundreds must in early days have been considerably smaller than at present.

In the English Civil War of the 17th century Staffordshire supported the parliamentary cause and was placed under Lord Brooke. Tamworth, Lichfield and Stafford, however, were garrisoned for King Charles, and Lichfield Cathedral withstood a siege in 1643, in which year the Royalists were victorious at Hopton Heath, but lost their leader, the Earl of Northampton. In 1745 the Young Pretender advanced as far as Leek in this county.

A large proportion of Staffordshire in Norman times was waste and uncultivated ground, but the moorlands of the north afforded excellent pasturage for sheep, and in the 14th century Wolverhampton was a staple town for wool. In the 13th century mines of coal and iron are mentioned at Walsall, and ironstone was procured at Sedgley and Eccleshall. In the 15th century both coal and iron were extensively worked. Thus in the 17th century the north of the county yielded coal, lead, copper, marble and millstones, while the rich meadows maintained great dairies; the woodlands of the south supplied timber, salt, black marble and alabaster; the clothing trade flourished about Tamworth, Burton, and Newcastle-under-Lyme; and hemp and flax were grown all over the county. The potteries are of remote origin, but were improved in the 17th century by two brothers, the Elers, from Amsterdam, who introduced the method of salt glazing, and in the 18th century they were rendered famous by the achievements of Josiah Wedgwood.

Staffordshire was represented by two members in the parliament of 1290, and in 1295 the borough of Stafford also returned two members. Lichfield was represented by two members in 1304, and Newcastle-under-Lyme in 1355. Tamworth returned two members in 1562. Under the Reform Act of 1832 the county returned four members in four divisions, and the boroughs of Stoke-upon-Trent and Wolverhampton were represented by two members each, and Walsall by one member. Under the Act of 1867 the county returned six members in three divisions and Wednesbury returned one member.

The most noteworthy churches in the county are found in the large towns, and are described under their respective headings. Such are the beautiful cathedral of Lichfield, and the churches of Eccleshall, Leek, Penkridge St Mary's at Stafford, Tamworth, Tutbury, and St Peter's at Wolverhampton. Checkley, 4 miles south of Cheadle, shows good Norman and Early English details, and there are carved stones of pre-Norman date in the churchyard. Armitage, south-east of Rugeley, has a church showing good Norman work. Brewood church, 4 miles south-west of Penkridge, is Early English. This village gives name to an ancient forest. Audley church, north-west of Newcastle-under-Lyme, is a good example of Early Decorated work. Remains of ecclesiastical foundations are generally slight, but those of the Cistercian abbey of Croxden, north-west of Uttoxeter, are fine Early English, and at Ranton, west of Stafford, the Perpendicular tower and other portions of an Augustinian foundation remain. Among medieval domestic remains may be mentioned the castles of Stafford, Tamworth and Tutbury, with that of Chartley, north-east of Stafford, which dates from the 13th century. Here is also a timbered hall, in the park of which a breed of wild cattle is maintained. Beaudesert, south of Rugeley, is a fine Elizabethan mansion in a beautiful undulating demesne. In the south-west, near Stourbridge, are Enville, a Tudor mansion with grounds laid out by the poet Shenstone, and Stourton Castle, embodying portions of the 15th century, where Reginald, Cardinal Pole, was born in 1500. Among numerous modern seats may be named Ingestre, Ilam Hall, Alton Towers, Shugborough, Patteshull, Keele Hall, and Trentham.

Sealink car ferry entering Portsmouth Harbour from Fishbourne around 1980.

Sealink, the shipping arm of British Rail, was the forerunner to Wightlink.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

The New York City Fire Museum

278 Spring Street, NYC

by navema

www.navemastudios.com

The “gratacap,” developed by NYC volunteer firefighter Mr. Gratacap in the early 1830s, is a forerunner of the present fire hat. The chief characteristics of this type of hat are its large back brim that allows water to run away from the body, and a leather shield (or hat front) at the anterior, held on by an eagles or other animal holder. The use of shield shaped hat fronts has been traced to Hessian helmets worn during the American Revolution. Fancy decorative helmets were used in parades.

ABOUT THE MUSEUM:

The New York City Fire Museum opened as the Fire College Museum on Long Island City in 1934. In 1959 the Museum moved to a firehouse at 100 Duane Street in Manhattan, where it remained until the Home Insurance Company presented its collection of fire memorabilia to the city in 1981, making a move to larger quarters imperative. The Friends raised funds to renovate a 1904 Beaux-Arts firehouse on Spring Street in Soho, which is now the Museum's home.

Displays illustrate the evolution of firefighting from the bucket brigades of Peter Stuyvesant's New Amsterdam through the colorful history of volunteer firefighters to modern firefighting techniques and equipment. The building also houses a special memorial to the 343 firefighters who died on 9/11. A video room and a miniature apartment with an artificial smoke machine and black-lighted fire hazards are used in the museum's fire education program for school children ages k through 12.

The Museum attracts over 30,000 visitors a year, many of them foreign tourists, and, using light-duty and retired firefighter volunteers, conducts an active tour program for visitors in addition to self-guided visits.

The New York City Fire Museum houses one of the nation's most important collections of fire related art and artifacts from the late 18th Century to the present. Among its holdings are painted leather buckets, helmets, parade hats and belts, lanterns and tools, pre Civil War hand pumped fire engines, horse drawn vehicles and early motorized apparatus.

The history of an organized firefighting force began with the Rattle Watch, men who would prowl the streets at night, keeping a watchful eye for fires. If fire was spotted they would spin their rattles and the racket would alert the residents to grab their buckets and run to the fire.

One of the earliest fire engines in the collection is the "Farnam" style engine, which was built in New York around 1790, and is one of the oldest fire engines in North America. Many other engines are housed at the museum, like the four-wheeled hose reels (the Steinway Hose No. 7 and Astoria Hose No. 8), a horse drawn 1901 LaFrance steam engine, a 1912 steamer with a gas powered Van Blerck tractor, a horse-drawn ladder wagon, as well as early rescue gear and breathing equipment, alarm boxes from various eras, and motorized vehicles (such as a 1921 American La France engine).

Besides apparatus, the Museum exhibits an astonishing number of other fire service accouterments from New York City's early years. Rare painted parade hats, speaking trumpets, leather fire buckets, uniform parts and insignia, tools and lanterns, and decorative elements from equipment are on view in quantity. It has a collection of over 2,000 fire marks, the fire insurance company advertising emblems. Also on display are the modern tools and clothing of the modern firefighters. The transition from turnout coats to all encompassing bunker gear can be seen on a series of mannequins. Tools such as the Halligan forcible entry tool and the Jaws of Life are on view.

For more info, visit: www.nycfiremuseum.org/

Designed by Sir Robert Smirke for Jack Fuller in 1810, the Brightling Observatory was completed in 1818. It is located on the Brightling-Burwash road, at latitude 50 57 44 and in longitude 0 22 42E, and is now a private residence.

The Observatory was equipped with expensive equipment including a Camera Obscura. During the 19th century, room Camera Obscuras became very popular across Europe. Originating from the Latin meaning " dark room " the Camera Obscura is considered the forerunner of the modern portable camera. Through a tiny hole in one wall, replaced in later models by a lens, an image was projected onto the opposite wall. Artists used different types of Camera Obscura to trace accurate images from nature and incorporate these images into their drawings and paintings. With this in mind, one wonders if frequent visitor to Rose Hill, J M W Turner may have made use of the Camera Obscura while there.

Fuller was not the only Georgian Squire to construct an Observatory that incorporated a residence. The Armagh Observatory, Ireland, perhaps the best preserved example. It was designed by Francis Johnston and completed in 1791. More typically western European observatories of the day were towers erected basically to raise the observer to a better vantage point.

In the autumn of 1964 John Vetterlein was engaged by Commander Hugh Malleson (Royal Navy retired), then owner of the observatory, to assess its viability. The following is an abstract from a mongraph written by Vetterlein and published by Spring Ast LIX, Springfield, Rousay, Orkney, 2001.

The observatory was close to the highest piece of ground (620 feet OD marked by an obelisk) for many miles and was ideally suited (or was in the days of its inception, Eastbourne now posing a light pollution hazard) for astronomical work. I found the dome (approximately 8 feet in diameter) had been surmounted by a Negretti and Zambra cup anemometer, the control panel being read in the main room of the house on the ground floor. The narrow shutters were hinged but immovable, as was the dome itself, the large iron wheels on which it stood having seized.

We undertook to remove the shutters and to replace them with a single lateral sliding stainless steel shutter. In addition we agreed to free the wheels and to conduct experiments to see if it might be possible to attach a motor drive for rotating the dome.

Freeing the dome for rotation was not such a great problem but, owing to the nature of the wheels and the track, rotation by hand proved a strenuous exercise. This was partly solved by fitting a low geared 1/3 h.p. electric motor acting by pressure and friction on the inner rim of the base of the dome. The speed of rotation was necessarily slow.

Installation of a Cassegrain type telescope of 8.5 inches (22 cm) aperture was proposed. However, the aperture of the original dome was deemed too narrow for effective use.for a telescope of this aperture to function effectively. Vetterlein was commissioned to design a new dome which was constructed at R N Irving.

This comprised a mild steel frame clad with stove enamelled duralumin sheeting. (It is to be noted that the anemometer was retained. This necessarily obstructed access to the zenith as well as posing some problems for the shutters.) The dome rotated by means of ballraced wheels mounted on a circular track and driven by a small electric motor. The dome could be locked against rotation from the wind. There was also provision to prevent the dome from lifting. The Dall-Cassegrain telescope was completed towards the end of 1966.

Suffice to say the instrument was something of a prototype (the forerunner to the now familiar Schmidt-Cassegrain). Dall was a highly competent optical draftsman and the system, once adjusted, gave good results. I was fortunate in that Jupiter was close to opposition (20 January). I noted that powers of 180x gave excellent image quality, but that there was considerable vibration from the observatory floor. This was especially so whenever anybody mounted the stairs. This weakness proved the limiting factor where the telescope was concerned. Long exposure photography was difficult since one had scarcely to move one's body

throughout the exposure!

I had to conclude from this that the dome itself would have had limited use in Fuller's time, presumably more as a "lookout" housing a small refractor, possibly. The larger instruments would have been used at ground level. I was unable to find any information as to the specification for the transit instrument. The equatorial telescope mounting was by Ron Irving. There were some problems with the manual slow motion drives but the electric drive, once it had been fitted with a frequency stabilizer, proved satisfactory for most work. Hugh Malleson used the telescope mostly for interest. His photographs of the Moon were of a high standard.

© 2001 Annette Lloyd Thomas

(further informations you can see by clicking on the link at the end of page, even in English!)

History of the applied

From the Imperial School of Applied Arts to present "Applied"

In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".

Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.

With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.

The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.

(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)

In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".

After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.

In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.

Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".

Patrick Werkner

www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...

11 сентября 2022, Неделя 13-я по Пятидесятнице. Усекновение главы Пророка, Предтечи и Крестителя Господня Иоанна / 4 September 2022, 13th Sunday after Pentecost. The Beheading of the Holy Glorious Prophet, Forerunner and Baptist of the Lord, John

Chittorgarh Fort (Hindi/Rajasthani: चित्तौड दुर्ग Chittorgarh Durg) is the largest fort in India and the grandest in the state of Rajasthan. It is a World Heritage Site. The fort, plainly known as Chittor, was the capital of Mewar and is today situated several kilometres south of Bhilwara. It was initially ruled by Guhilot and later by Sisodias, the Suryavanshi clans of Chattari Rajputs, from the 7th century, until it was finally abandoned in 1568 after the siege by Emperor Akbar in 1567. It sprawls majestically over a hill 180 m in height spread over an area of 280 ha above the plains of the valley drained by the Berach River. The fort precinct with an evocative history is studded with a series of historical palaces, gates, temples and two prominent commemoration towers. These monumental ruins have inspired the imagination of tourists and writers for centuries.

The fort was sacked three times between the 15th and 16th centuries; in 1303 Allauddin Khilji defeated Rana Ratan Singh, in 1535 Bahadur Shah, the Sultan of Gujarat defeated Bikramjeet Singh and in 1567 Emperor Akbar defeated Maharana Udai Singh II who left the fort and founded Udaipur. Each time the men fought bravely rushing out of the fort walls charging the enemy but lost every time. Following these defeats, Jauhar was committed thrice by more than 13,000 ladies and children of the Rajput heroes who laid their lives in battles at Chittorgarh Fort, first led by Rani Padmini wife of Rana Rattan Singh who was killed in the battle in 1303, and later by Rani Karnavati in 1537 AD.

Thus, the fort represents the quintessence of tribute to the nationalism, courage, medieval chivalry and sacrifice exhibited by the Mewar rulers of Sisodia and their kinsmen and women and children, between the 7th and 16th centuries. The rulers, their soldiers, the women folk of royalty and the commoners considered death as a better option than dishonor in the face of surrender to the foreign invading armies.

GEOGRAPHY

Chittorgarh, located in the southern part of the state of Rajasthan, 233 km from Ajmer, midway between Delhi and Mumbai on the National Highway 8 (India) in the road network of Golden Quadrilateral. Chittorgarh is situated where National Highways No. 76 & 79 intersect.

The fort rises abruptly above the surrounding plains and is spread over an area of 2.8 km2. The highest elevation at the fort is 1,075 m. It is situated on the left bank of the Berach river (a tributary of the Banas River) and is linked to the new town of Chittorgarh (known as the 'Lower Town') developed in the plains after 1568 AD when the fort was deserted in light of introduction of artillery in the 16th century, and therefore the capital was shifted to more secure Udaipur, located on the eastern flank of Aravalli hill range. Mughal Emperor Akbar attacked and sacked this fort which was but one of the 84 forts of Mewar,but the capital was shifted to Aravalli hills where heavy artillery & cavalry were not effective. A winding hill road of more than 1 km length from the new town leads to the west end main gate, called Ram Pol, of the fort. Within the fort, a circular road provides access to all the gates and monuments located within the fort walls.

The fort that once boasted of 84 water bodies has only 22 of them now. These water bodies are fed by natural catchment and rainfall, and have a combined storage of 4 billion litres that could meet the water needs of an army of 50,000. The supply could last for four years. These water bodies are in the form of ponds, wells and step wells.

HISTORY

Chittorgarh Fort is considered to be the largest fort of India in terms of area. It is stated that the fort was constructed by the Mauryans during the 7th century AD and hence derives its name after the Mauryan ruler, Chitrangada Mori, as inscribed on coins of the period. Historical records show Chittorgarh fort as the capital of Mewar for 834 years. It was established in 734 AD by Bappa Rawal, founder ruler in the hierarchy of the Sisodia rulers of Mewar. It is also said that the fort was gifted to Bappa Rawal as part of Solanki princess’s dowry in the 8th century. The fort was looted and destroyed at the hands of Emperor Akbar in 1568 AD and subsequently never resettled but only refurbished in 1905 AD. Three important battles were fought for control of the fort; in 1303, Ala-ud-din Khilji besieged the fort; in 1535, Sultan of Gujarat Bahadur Shah besieged the fort; and in 1568, Mughal Emperor Akbar attacked the fort. Not that there were only defeats at the fort. Excluding the periods of siege, the fort had always remained in possession of the Sisodias of the Guhilot (or Gehlot/Guhila) clan of Rajputs, who descended from Bappa Rawal. There were also success stories of establishment of the fort and its reconstruction after every siege, before it was finally abandoned in 1568, all of which are narrated.

Chittor is cited in the Mahabharat epic. It is said that Bhima, the second of the Pandava brothers of Epic Mahabaharata fame, known for his mighty strength gave a powerful hit with his fist to the ground that resulted in water springing up to form a large reservoir. It is called Bhimlat kund, an artificial tank named after Bhima. Folk legend also mentions that Bhima started building the fort.

BAPPA RAWAL

The earliest history linked to the Bappa Rawal's fort is that of the Huna Kingdom of Sialkot (of Mihir Kula 515-540 AD) that was destroyed by Yashodharman. This was subsequently seized by a new dynasty of kshatriyas called Tak or Taxaka. According to historians, the Taxak Mori were the lords of Chittor from a very early period. After a few generations, the Guhilots supplanted them. From 725 to 735 AD, there were numerous defenders who appear to have considered the cause of Chittor their own, the Tak from Asirgarh. This race appears to have retained possession of Asirgarh for at least two centuries after this event and one of its chieftain Bappa Rawal was the most conspicuous leader in the lineage of Prithvi Raj. In the poems of Chandar he is called the "Standard, bearer, Tak of Asir."

SIEGE OF 1303

Ala ud din Khilji, Sultan of Delhi, rallied his forces against Mewar, in 1303 AD. The Chittorgarh fort was till then considered impregnable and grand, atop a natural hill. But his immediate reason for invading the fort was his obsessive desire to capture Rani Padmini, the unrivalled beautiful queen of Rana Ratan Singh and take her into his harem. The Rana, out of politeness, allowed the Khilji to view Padmini through a set of mirrors. But this viewing of Padmini further fired Khilji’s desire to possess her. After the viewing, as a gesture of courtesy, when the Rana accompanied the Sultan to the outer gate, he was treacherously captured. Khilji conveyed to the queen that the Rana would be released only if she agreed to join his harem. But the queen had other plans. She agreed to go to his camp if permitted to go in a Royal style with an entourage, in strict secrecy. Instead of her going, she sent 700 well armed soldiers disguised in litters and they rescued the Rana and took him to the fort. But Khilji chased them to the fort where a fierce battle ensued at the outer gate of the fort in which the Rajput soldiers were overpowered and the Rana was killed. Khilji won the battle on August 26, 1303. Soon thereafter, instead of surrendering to the Sultan, the royal Rajput ladies led by Rani Padmini preferred to die through the Rajput’s ultimate tragic rite of Jauhar (self immolation on a pyre). In revenge, Khilji killed thirty thousand Hindus. He entrusted the fort to his son Khizr Khan to rule and renamed the fort as 'Khizrabad'. He also showered gifts on his son by way of

a red canopy, a robe embroidered with gold and two standards one green and the other black and threw upon him rubies and emeralds.

He returned to Delhi after the fierce battle at the fort.

RANA HAMMIR & SUCCESSORS

Khizr Khan’s rule at the fort lasted till 1311 AD and due to the pressure of Rajputs he was forced to entrust power to the Sonigra chief Maldeva who held the fort for 7 years. Hammir Singh, usurped control of the fort from Maldeva by “treachery and intrigue” and Chittor once again regained its past glory. Hammir, before his death in 1364 AD, had converted Mewar into a fairly large and prosperous kingdom. The dynasty (and clan) fathered by him came to be known by the name Sisodia after the village where he was born. His son Ketra Singh succeeded him and ruled with honour and power. Ketra Singh’s son Lakha who ascended the throne in 1382 AD also won several wars. His famous grandson Rana Kumbha came to the throne in 1433 AD and by that time the Muslim rulers of Malwa and Gujarat had acquired considerable clout and were keen to usurp the powerful Mewar state.

RANA KUMBHA & CLAN

There was resurgence during the reign of Rana Kumbha in the 15th century. Rana Kumbha, also known as Maharana Kumbhakarna, son of Rana Mokal, ruled Mewar between 1433 AD and 1468 AD. He is credited with building up the Mewar kingdom assiduously as a force to reckon with. He built 32 forts (84 fortresses formed the defense of Mewar) including one in his own name, called Kumbalgarh. But his end came in 1468 AD at the hands of his own son Rana Udaysimha (Uday Singh I) who assassinated him to gain the throne of Mewar. This patricide was not appreciated by the people of Mewar and consequently his brother Rana Raimal assumed the reins of power in 1473. After his death in May 1509, Sangram Singh (also known as Rana Sanga), his youngest son, became the ruler of Mewar, which brought in a new phase in the history of Mewar. Rana Sanga, with support from Medini Rai (a Rajput chief of Alwar), fought a valiant battle against Mughal emperor Babar at Khanwa in 1527. He ushered in a period of prestige to Chittor by defeating the rulers of Gujarat and also effectively interfered in the matters of Idar. He also won small areas of the Delhi territory. In the ensuing battle with Ibrahim Lodi, Rana won and acquired some districts of Malwa. He also defeated the combined might of Sultan Muzaffar of Gujarat and the Sultan of Malwa. By 1525 AD, Rana Sanga had developed Chittor and Mewar, by virtue of great intellect, valour and his sword, into a formidable military state. But in a decisive battle that was fought against Babar on March 16, 1527, the Rajput army of Rana Sanga suffered a terrible defeat and Sanga escaped to one of his fortresses. But soon thereafter in another attack on the Chanderi fort the valiant Rana Sanga died and with his death the Rajput confederacy collapsed.

SIEGE OF 1534

Bahadur Shah who came to the throne in 1526 AD as the Sultan of Gujarat besieged the Chittorgarh fort in 1534. The fort was sacked and, once again the medieval dictates of chivalry determined the outcome. Following the defeat of the Rana, it is said 13,000 Rajput women committed jauhar (self immolation on the funeral pyre) and 3,200 Rajput warriors rushed out of the fort to fight and die.

SIEGE OF 1567

The final Siege of Chittorgarh came 33 years later, in 1567, when the Mughal Emperor Akbar invaded the fort. Akbar wanted to conquer Mewar, which was being ably ruled by Rana Uday Singh II, a fine prince of Mewar. To establish himself as the supreme lord of Northern India, he wanted to capture the renowned fortress of Chittor, as a precursor to conquering the whole of India. Shakti Singh, son of the Rana who had quarreled with his father, had run away and approached Akbar when the later had camped at Dholpur preparing to attack Malwa. During one of these meetings, in August 1567, Shakti Singh came to know from a remark made in jest by emperor Akbar that he was intending to wage war against Chittor. Akbar had told Shakti Singh in jest that since his father had not submitted himself before him like other princes and chieftains of the region he would attack him. Startled by this revelation, Shakti Singh quietly rushed back to Chittor and informed his father of the impending invasion by Akbar. Akbar was furious with the departure of Shakti Singh and decided to attack Mewar to humble the arrogance of the Ranas. In September 1567, the emperor left for Chittor, and on October 20, 1567, camped in the vast plains outside the fort. In the meantime, Rana Udai Singh, on the advice of his council of advisors, decided to go away from Chittor to the hills of Udaipur. Jaimal and Patta, two brave army chieftains of Mewar, were left behind to defend the fort along with 8,000 Rajput warriors under their command. Akbar laid siege to the fortress. The Rajput army fought valiantly and Akbar himself had narrowly escaped death. In this grave situation, Akbar had prayed for divine help for achieving victory and vowed to visit the shrine of the sufi saint Khwaja at Ajmer. The battle continued till February 23, 1568. On that day Jaymal was seriously wounded but he continued to fight with support from Patta. Jayamal ordered jauhar to be performed when many beautiful princesses of Mewar and noble matrons committed self-immolation at the funeral pyre. Next day the gates of the fort were opened and Rajput soldiers rushed out bravely to fight the enemies. Jayamal and Patta who fought bravely were at last killed in action. One figure estimates that 30,000 soldiers were killed in action. Akbar immediately repaired himself to Ajmer to perform his religious vow.

RETURN OF THE FORT TO MEWAR

But in 1616, Jehangir returned Chittor fort to the Rajputs, when Maharana Amar Singh was the chief of Mewar. However, the fort was not resettled though it was refurbished several centuries later in 1905 during British Raj.

PRECINCTS

The fort which is roughly in the shape of a fish has a circumference of 13 km with a maximum width of 3 km and it covers an area of 700 acres. The fort is approached through a zig zag and difficult ascent of more than 1 km from the plains, after crossing over a bridge made in limestone. The bridge spans the Gambhiri River and is supported by ten arches (one has a curved shape while the balance have pointed arches). Apart from the two tall towers, which dominate the majestic fortifications, the sprawling fort has a plethora of palaces and temples (many of them in ruins) within its precincts.

The 305 hectares component site, with a buffer zone of 427 hectares, encompasses the fortified stronghold of Chittorgarh, a spacious fort located on an isolated rocky plateau of approximately 2 km length and 155m width.

It is surrounded by a perimeter wall 4.5 kilometres long, beyond which a 45° hill slope makes it almost inaccessible to enemies. The ascent to the fort passes through seven gateways built by the Mewar ruler Rana Kumbha (1433- 1468) of the Sisodia clan. These gates are called, from the base to the hill top, the Paidal Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jorla Pol, Laxman Pol, and Ram Pol, the final and main gate.

The fort complex comprises 65 historic built structures, among them 4 palace complexes, 19 main temples, 4 memorials and 20 functional water bodies. These can be divided into two major construction phases. The first hill fort with one main entrance was established in the 5th century and successively fortified until the 12th century. Its remains are mostly visible on the western edges of the plateau. The second, more significant defence structure was constructed in the 15th century during the reign of the Sisodia Rajputs, when the royal entrance was relocated and fortified with seven gates, and the medieval fortification wall was built on an earlier wall construction from the 13th century.

Besides the palace complex, located on the highest and most secure terrain in the west of the fort, many of the other significant structures, such as the Kumbha Shyam Temple, the Mira Bai Temple, the Adi Varah Temple, the Shringar Chauri Temple, and the Vijay Stambh memorial were constructed in this second phase. Compared to the later additions of Sisodian rulers during the 19th and 20th centuries, the predominant construction phase illustrates a comparatively pure Rajput style combined with minimal eclecticism, such as the vaulted substructures which were borrowed from Sultanate architecture. The 4.5 km walls with integrated circular enforcements are constructed from dressed stone masonry in lime mortar and rise 500m above the plain. With the help of the seven massive stone gates, partly flanked by hexagonal or octagonal towers, the access to the fort is restricted to a narrow pathway which climbs up the steep hill through successive, ever narrower defence passages. The seventh and final gate leads directly into the palace area, which integrates a variety of residential and official structures. Rana Kumbha Mahal, the palace of Rana Kumbha, is a large Rajput domestic structure and now incorporates the Kanwar Pade Ka Mahal (the palace of the heir) and the later palace of the poetess Mira Bai (1498-1546). The palace area was further expanded in later centuries, when additional structures, such as the Ratan Singh Palace (1528–31) or the Fateh Prakash, also named Badal Mahal (1885-1930), were added. Although the majority of temple structures represent the Hindu faith, most prominently the Kalikamata Temple (8th century), the Kshemankari Temple (825-850) the Kumbha Shyam Temple (1448) or the Adbuthnath Temple (15th- 16th century), the hill fort also contains Jain temples, such as Shringar Chauri (1448) and Sat Bis Devri (mid-15th century) Also the two tower memorials, Kirti Stambh (13th-14th century) and Vijay Stambha (1433-1468), are Jain monuments. They stand out with their respective heights of 24m and 37m, which ensure their visibility from most locations of the fort complex. Finally, the fort compound is home to a contemporary municipal ward of approximately 3,000 inhabitants, which is located near Ratan Singh Tank at the northern end of the property.

GATES

The fort has total seven gates (in local language, gate is called Pol), namely the Padan Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jodla Pol, Laxman Pol and the main gate named the Ram Pol (Lord Rama's Gate). All the gateways to the fort have been built as massive stone structures with secure fortifications for military defense. The doors of the gates with pointed arches are reinforced to fend off elephants and cannon shots. The top of the gates have notched parapets for archers to shoot at the enemy army. A circular road within the fort links all the gates and provides access to the numerous monuments (ruined palaces and 130 temples) in the fort.

During the second siege, Prince Bagh Singh died at the Padan Pol in 1535 AD. Prince Jaimal of Badnore and his clansman Kalla were killed by Akbar at a location between the Bhairon Pol and Hanuman Pol in the last siege of the fort in 1567 (Kalla carried the wounded Jaimal out to fight). Chhatris, with the roof supported by corbeled arches, have been built to commemorate the spots of their sacrifice. Their statues have also been erected, at the orders of Emperor Akbar, to commemorate their valiant deaths. At each gate, cenotaphs of Jaimal (in the form of a statue of a Rajput warrior on horseback) and Patta have also been constructed. At Ram Pol, the entrance gate to the fort, a Chaatri was built in memory of the 15 year old Patta of Kelwa, who had lost his father in battle, and saw the sword yielding mother and wife on the battle field who fought valiantly and died at this gate. He led the saffron robed Rajput warriors, who all died fighting for Mewar’s honour. Suraj Pol (Sun Gate) provides entry to the eastern wall of the fort. On the right of Suraj Pol is the Darikhana or Sabha (council chamber) behind which lie a Ganesha temple and the zenana (living quarters for women). A massive water reservoir is located towards the left of Suraj Pol. There is also a peculiar gate, called the Jorla Pol (Joined Gate), which consists of two gates joined together. The upper arch of Jorla Pol is connected to the base of Lakshman Pol. It is said that this feature has not been noticed anywhere else in India. The Lokota Bari is the gate at the fort’s northern tip, while a small opening that was used to hurl criminals into the abyss is seen at the southern end.

VIJAY STAMBHA

The Vijay Stambha (Tower of Victory) or Jaya Stambha, called the symbol of Chittor and a particularly bold expression of triumph, was erected by Rana Kumbha between 1458 and 1468 to commemorate his victory over Mahmud Shah I Khalji, the Sultan of Malwa, in 1440 AD. Built over a period of ten years, it raises 37.2 metres over a 4.4 m2 base in nine stories accessed through a narrow circular staircase of 157 steps (the interior is also carved) up to the 8th floor, from where there is good view of the plains and the new town of Chittor. The dome, which was a later addition, was damaged by lightning and repaired during the 19th century. The Stamba is now illuminated during the evenings and gives a beautiful view of Chittor from the top.

KIRTI STAMBHA

Kirti Stambha (Tower of Fame) is a 22 metres high tower built on a 9.1 m base with 4.6 m at the top, is adorned with Jain sculptures on the outside and is older (probably 12th century) and smaller than the Victory Tower. Built by a Bagherwal Jain merchant Jijaji Rathod, it is dedicated to Adinath, the first Jain tirthankar (revered Jain teacher). In the lowest floor of the tower, figures of the various tirthankars of the Jain pantheon are seen in special niches formed to house them. These are digambara monuments. A narrow stairway with 54 steps leads through the six storeys to the top. The top pavilion that was added in the 15th century has 12 columns.

RANA KUMBHA PALACE

At the entrance gate near the Vijaya Stamba, Rana Kumbha's palace (in ruins), the oldest monument, is located. The palace included elephant and horse stables and a temple to Lord Shiva. Maharana Udai Singh, the founder of Udaipur, was born here; the popular folk lore linked to his birth is that his maid Panna DaiPanna Dhai saved him by substituting her son in his place as a decoy, which resulted in her son getting killed by Banbir. The prince was spirited away in a fruit basket. The palace is built with plastered stone. The remarkable feature of the palace is its splendid series of canopied balconies. Entry to the palace is through Suraj Pol that leads into a courtyard. Rani Meera, the famous poetess saint, also lived in this palace. This is also the palace where Rani Padmini, consigned herself to the funeral pyre in one of the underground cellars, as an act of jauhar along with many other women. The Nau Lakha Bandar (literal meaning: nine lakh treasury) building, the royal treasury of Chittor was also located close by. Now, across from the palace is a museum and archeological office. The Singa Chowri temple is also nearby.

FATEH PRAKASH PALACE

Located near Rana Khumba palace, built by Rana Fateh Singh, the precincts have modern houses and a small museum. A school for local children (about 5,000 villagers live within the fort) is also nearby.

GAUMUKH RESERVOIR

A spring feeds the tank from a carved cow’s mouth in the cliff. This pool was the main source of water at the fort during the numerous sieges.

PADMINI´S PALACE

Padmini's Palace or Rani Padmini's Palace is a white building and a three storied structure (a 19th-century reconstruction of the original). It is located in the southern part of the fort. Chhatris (pavilions) crown the palace roofs and a water moat surrounds the palace. This style of palace became the forerunner of other palaces built in the state with the concept of Jal Mahal (palace surrounded by water). It is at this Palace where Alauddin was permitted to glimpse the mirror image of Rani Padmini, wife of Maharana Rattan Singh. It is widely believed that this glimpse of Padmini's beauty besotted him and convinced him to destroy Chittor in order to possess her. Maharana Rattan Singh was killed and Rani Padmini committed Jauhar. Rani Padmini's beauty has been compared to that of Cleopatra and her life story is an eternal legend in the history of Chittor. The bronze gates to this pavilion were removed and transported to Agra by Akbar.

OTHER SIGHTS

Close to Kirti Sthamba is the Meera Temple, or the Meerabai Temple. Rana Khumba built it in an ornate Indo–Aryan architectural style. It is associated with the mystic saint-poet Mirabai who was an ardent devotee of Lord Krishna and dedicated her entire life to His worship. She composed and sang lyrical bhajans called Meera Bhajans. The popular legend associated with her is that with blessings of Krishna, she survived after consuming poison sent to her by her evil brother-in-law. The larger temple in the same compound is the Kumbha Shyam Temple (Varaha Temple). The pinnacle of the temple is in pyramid shape. A picture of Meerabai praying before Krishna has now been installed in the temple.

Across from Padmini’s Palace is the Kalika Mata Temple. Originally, a Sun Temple dated to the 8th century dedicated to Surya (the Sun God) was destroyed in the 14th century. It was rebuilt as a Kali temple.

Another temple on the west side of the fort is the ancient Goddess Tulja Bhavani Temple built to worship Goddess Tulja Bhavani is considered sacred. The Tope Khana (cannon foundry) is located next to this temple in a courtyard, where a few old cannons are still seen.

JAUHAR MELA

The fort and the city of Chittorgarh host the biggest Rajput festival called the "Jauhar Mela". It takes place annually on the anniversary of one of the jauhars, but no specific name has been given to it. It is generally believed that it commemorates Padmini’s jauhar, which is most famous. This festival is held primarily to commemorate the bravery of Rajput ancestors and all three jauhars which happened at Chittorgarh Fort. A huge number of Rajputs, which include the descendants of most of the princely families, hold a procession to celebrate the Jauhar. It has also become a forum to air one's views on the current political situation in the country.

Stena Forerunner Ro-Ro cargo ferry moored up at Twelve Quays South.

Flare effect caused by water from rain smudges on my lens. Partially deliberate mostly accidental!

IMO: 9227259

MMSI: 244030593

Call Sign: PCPG

Flag: Netherlands

AIS Vessel Type: Cargo - Hazard A (Major)

Gross Tonnage: 24688

Deadweight: 12300 t

Length Overall x Breadth Extreme: 195.3m × 26.8m

Year Built: 2003

Status: Active

Registered owner: STENA RORO NAVIGATION LTD

Ship manager: STENA LINE BV

Shipyard: Dalian Shipyard, China

Hull number: RO123-3

Contract date: 1999-11-25

Keel laid: 2000-12-27

Launch: 2001-04-24

Date of build: 2003-08-29

11 сентября 2014, Литургия в день памяти Усекновения главы Пророка, Предтечи и Крестителя Господня Иоанна / 11 September 2014, Liturgy on the Beheading of the Glorious Prophet, Forerunner, and Baptist John

Captured on a *freezing* cold Sunday evening, Leyland National FDV 829V in 'Devon General' livery approaches the halfway cafe on the Great Orme's Marine Drive. This was the first vehicle of this evening's road run, as organised by the Llandudno Transport Festival. All vehicles traverse this cliff-hugging route on the Sunday outing (Saturday road runs visit Conwy).

2nd May 2010.

The California legislature authorized the creation of the Southern California Rapid Transit District (RTD) to take over the failed concept LA Metropolitan Transit Authority in 1964. RTD took over all bus routes and was in charge of planning for rapid transit in Los Angeles. The 1968 plan is the basic forerunner of the subway and light rail lines exist today. Major differences is that the Long Beach line was in a subway under Broadway and the LAX line was in a subway under Flower Street. Interestingly, the LAX line had an airport express option that got passengers from Metroport (Union Station) to LAX in only 15 minutes. The Valley line was in an open-cut paralleling Western Avenue.

Basically, the Long Beach line is the A Line (former Blue Line), the San Gabriel line (is the J Line (the Silver Line Busway or El Monte Busway), the LAX line is a combination of the E Line and the new Crenshaw line, the Wilshire line is the D Line (former Purple Line), and the Valley line is a combination of the B Line (former Red Line) and the G Line (former Orange Line). The lines to Pasadena, East L.A., and the Expo Line were outgrowths from 1980s and 1990s planning.

Ref. KT5060.

Volkswagen "Hippie" Classical Bus (1962).

Doors open, pull action, green.

Escala 1/32.

Kinsmart.

Made in China.

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Volkswagen Type 2

From Wikipedia, the free encyclopedia

"The Volkswagen Type 2, known officially (depending on body type) as the Transporter, Kombi or Microbus, or, informally, as the Bus (US) or Camper (UK), is a cabover panel van introduced in 1950 by the German automaker Volkswagen as its second car model. Following – and initially deriving from Volkswagen's first model, the Type 1 (Beetle) – it was given the factory designation Type 2.

As one of the forerunners of the modern cargo and passenger vans, the Type 2 gave rise to forward control competitors in the United States in the 1960s, including the Ford Econoline, the Dodge A100, and the Chevrolet Corvair 95 Corvan, the latter adopting the Type 2's rear-engine configuration. European competition included the 1960s FF layout Renault Estafette and the FR layout Ford Transit.

Like the Beetle, the van has received numerous nicknames worldwide, including the "microbus", "minibus", and, because of its popularity during the counterculture movement of the 1960s, "Hippie van"."

(...)

"The concept for the Type 2 is credited to Dutch Volkswagen importer Ben Pon. (...) Pon visited Wolfsburg in 1946, intending to purchase Type 1s for import to the Netherlands, where he saw an improvised parts-mover and realized something better was possible using the stock Type 1 pan. He first sketched the van in a doodle dated April 23, 1947, proposing a payload of 690 kg (1,520 lb) and placing the driver at the very front. Production would have to wait, however, as the factory was at capacity producing the Type 1.

When capacity freed up, a prototype known internally as the Type 29 was produced in a short three months. The stock Type 1 pan proved to be too weak so the prototype used a ladder chassis with unit body construction. Coincidentally the wheelbase was the same as the Type 1's. Engineers reused the reduction gear from the Type 81, enabling the 1.5 ton van to use a 25 hp (19 kW) flat four engine."

(...)

- First generation (T1; 1950–1967)

"The first generation of the Volkswagen Type 2 with the split windshield, informally called the Microbus, Splitscreen, or Splittie among modern fans, was produced from 8 March 1950 through the end of the 1967 model year.

From 1950 to 1956, the T1 (not called that at the time) was built in Wolfsburg; from 1956, it was built at the completely new Transporter factory in Hanover.

Like the Beetle, the first Transporters used the 1100 Volkswagen air-cooled engine, an 1,131 cc (69.0 cu in), DIN-rated 18 kW (24 PS; 24 bhp), air-cooled flat-four-cylinder 'boxer' engine mounted in the rear.

This was upgraded to the 1200 – an 1,192 cc (72.7 cu in) 22 kW (30 PS; 30 bhp) in 1953. A higher compression ratio became standard in 1955; while an unusual early version of the 30 kW (41 PS; 40 bhp) engine debuted exclusively on the Type 2 in 1959. This engine proved to be so uncharacteristically troublesome that Volkswagen recalled all 1959 Transporters and replaced the engines with an updated version of the 30 kW engine. Any 1959 models that retain that early engine today are true survivors. Since the engine was totally discontinued at the outset, no parts were ever made available.

The early versions of the T1 until 1955 were often called the "Barndoor" (retrospectively called T1a since the 1990s), owing to the enormous rear engine cover, while the later versions with a slightly modified body (the roofline above the windshield is extended), smaller engine bay, and 15" roadwheels instead of the original 16" ones are nowadays called the T1b (again, only called this since the 1990s, based on VW's restrospective T1,2,3,4 etc. naming system.).

From the 1963 model year, when the rear door was made wider (same as on the bay-window or T2), the vehicle could be referred to as the T1c.

1964 also saw the introduction of an optional sliding door for the passenger/cargo area instead of the outwardly hinged doors typical of cargo vans.

In 1962, a heavy-duty Transporter was introduced as a factory option. It featured a cargo capacity of 1,000 kg (2,205 lb) instead of the previous 750 kg (1,653 lb), smaller but wider 14" roadwheels, and a 1.5 Le, 31 kW (42 PS; 42 bhp) DIN engine. This was so successful that only a year later, the 750 kg, 1.2 L Transporter was discontinued.

The 1963 model year introduced the 1500 engine – 1,493 cc (91.1 cu in) as standard equipment to the US market at 38 kW (52 PS; 51 bhp) DIN with an 83 mm (3.27 in) bore, 69 mm (2.72 in) stroke, and 7.8:1 compression ratio.

When the Beetle received the 1.5 L engine for the 1967 model year, its power was increased to 40 kW (54 PS; 54 bhp) DIN.

German production stopped after the 1967 model year; however, the T1 still was made in Brazil until 1975, when it was modified with a 1968–79 T2-style front end, and big 1972-vintage taillights into the so-called "T1.5" and produced until 1996. The Brazilian T1s were not identical to the last German models (...)"

Production

1950–1967 (Europe and US)

1950–1975 (Brazil)

Assembly

Wolfsburg, Germany

Hanover, Germany

São Bernardo do Campo, Brazil

Melbourne, Australia

(...)

- Second generation (T2; 1967–1979)

- Third generation (T3; 1979–1992)

- Fourth generation (T4; 1990–2003)

- Fifth generation (T5; 2003–present)

Source: en.wikipedia.org/wiki/Volkswagen_Type_2

History

On March 31, 1913, Faisanterie Buitenlust, the forerunner of the current modern animal park Burgers' Zoo, opens its doors to the public for the first time. Since its foundation by Johan Burgers, the first owner and the one who named the animal park in Arnhem, the park has always remained a real family business.

Already from its inception the zoo caused a sensation due to its daring new organisation, which naturally is in the way the animals' accommodations are shaped as well as in the way the experiences for the visitors are created. Burgers' Zoo has a rich history, which has shaped the zoo into the way it is today, and as you can still find it now in the wooded area just north of Arnhem.

More: www.burgerszoo.com/

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

DESCO Rebreathers

DESCO began producing equipment for the U.S. Navy in 1942 to support the war effort. The Office of Strategic Services (forerunner to the CIA) needed rebreathers for covert operations. DESCO was contracted to design and produce the needed units. After that contract was completed subsequent units were sold to the Navy. With the end of WW II DESCO applied the technology to commercial and sport diving. SCUBA was still a few years away from wide acceptance. To supplement the commercial equipment business DESCO also marketed a line of sporting goods. The A-lung was targeted to this market segment. It was small and simple to use. The B-lung was the unit that DESCO developed during the war and was aimed at the commercial diver. The C-lung was a DESCO lightweight suit fitted with a heavy duty rebreather. In the late 40's and early 50's a fatal flaw in rebreathers surfaced. The breathing of pure oxygen under pressure caused a buildup of oxygen in the body actually poisoning the user. Several accidents caused manufacturers to reconsider the use of rebreathers by amateurs. This and the emergence of SCUBA compressed air tank diving spelled the end of production of rebreathers for sport use at that time. Today new technology has allowed rebreathers to make a comeback by onboard computers monitor the system thus reducing the risks.

Here is a look at the DESCO rebreathers:

The DESCO A-Lung

Also known as the Adventurer, and the Sportster Lung. This unit was designed in the early 1950's. It was a simpler, more compact design than the B-Lung. The unit evolved during its short run. Early units had a canvas breather bag, while later units had a vinyl bag. The A-Lungs were only produced for a few years in the mid-50's.

The DESCO A-Lung

The DESCO B-Lung

Also known as the Buccaneer Lung. This is the unit first developed for the OSS and U.S. Navy during WWII. The first units used a oval mask with a nose bump out. Later units were fitted with a modified Jack Browne mask. B-Lungs were produced until the early 1960's. On the 1960 DESCO pricelist the B-Lung cost $205.00.

The forerunner of Hudson's (and later Farmer Jack) in Lincoln Park, Fort Street and Emmons. (Jennifer Guest collection)

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

(further information you can see by clicking on the link at the end of page, even in English!)

History of the applied

From the Imperial School of Applied Arts to present "Applied"

In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".

Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.

With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.

The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.

(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)

In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".

After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.

In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.

Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".

Patrick Werkner

www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...

This is what you will see in the project heading for BrickCon later this year.

Second BC MOC since our BrickCon HALO Reach project: New Alexandria

Don't forget we will be making New Mombasa as well. 2012 will be a LEGO Halo year to remember.

NOTE: You cannot join the group as it is private. If you get a invite you are one of the fortunate people that I have chosen to participate in the project.

25/04/2018, arriving in the New Waterway for Hook of Holland, Netherlands.

Keel laid on 27/12/2000, launched on 26/04/2001 and entered into service on 29/08/2003, by Dalian Shipyard Co., Dalian, China (ro123-3)

24,688 g.t and 12,300 dwt., as:

'Stena Forerunner'.

Source: www.dantestella.com/technical/retina.html

The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:

Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.

Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.

The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).

The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.

Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.

Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.

The Czech Moravian Brethren of Bethel (and German Lutherans).

Moravia is a province of the Czech Republic (around Prague) which was formerly part of Bohemia. The origins of the Brethren go back to John Huss a Catholic heretic, who in 1415 was burned at the stake by the Catholic Church. Heretic followers of Huss formed a breakaway group from the Catholic Church in 1467 including some forerunners of the Moravian Brethren. Luther created the big break from the Catholic Church in Germany in 1517. Eventually during the Counter Reformation and the Thirty Years War (1618-48), a new group of Moravian Brethren moved to Saxony in 1722 to the town of Herrnhut. A new spiritual awakening and the founding of a Moravian Church occurred in 1727 led by Count Zinzendorf (1700-1760). In 1735 many Moravians went to America and founded the church there in Georgia, Pennsylvania and North Carolina. About 825,000 people worldwide are members of the Moravian Brethren (Unitas Fratrum). They base everything on the Bible and bishops are elected from the most spiritual members. They pursue missionary work, especially in Africa, and the largest concentration of Moravians today is in Tanzania! They allow members lots of freedom and members can be members of other churches, such as the Lutheran or Presbyterian Churches with which they maintain close links. The Moravian Church is part of the Lutheran World Federation. In Australia Moravians settled in the Wimmera as well as at Bethel near Tarlee. Bethel is a German word meaning “place of God.” The Moravians formed “utopian like” communities with communal lands etc.

Moravian Brethren are perhaps best known for their system of houses or “choirs” whereby they maintained separate seating in church for women, men, and single sisters and widows who were separated from the rest of the community. Virgins and single women were usually required to live in one large house together so that their spiritual needs could be dealt with separately. When a girl turned sixteen she was obliged to always wear some pink, usually a scarf or shawl but for church she might wear a pink blouse. Married women would always wear a rich red scarf or shawl. This practice of separating men and women carried over to the cemetery as well, with women being buried on one side and men on the other. You can see this today in the old part of the Bethel cemetery.

In 1854 a pastor by the name of Schondorf was sent out by the parent church at Herrnhut in Bohemia to establish a traditional Moravian Christian commune. Schondorf bought up 1,912 acres near Tarlee. A church and school were built and families allocated land which they thought they were buying. There was a Band Hall, for music performances. All went well for the first twenty years until families discovered they were not buying land, they were only renting it. The community wrote to the mother church in Herrnhut asking for a new priest. A few of the community stayed loyal to Schondorf and they moved with him and built another church and community nearby in 1876. A legal battle began over land ownership. The community committee took Schondorf to court but they lost the case. The community rift was then permanent. A new Moravian Brethren pastor Jacobi, also arrived in 1876. Pastor Jacobi continued until 1891, when he died. (Schondorf had died in 1877 a broken man after the legal battles.) Herrnhut then sent out another man, Pastor Buch, but just a few years (1895) later the Lutherans had built a large church at Bethel in the middle of the community. Most of the remaining Moravian Brethren began to attend the Lutheran Church. Pastor Buch was recalled to Bohemia in 1906 so the community severed their connection with Herrnhut and joined the Lutheran Synod. Many of the Moravians were not happy with the new arrangement as the Lutheran pastor (Benman) progressively brought in the practices of the Lutherans including robes, fees for weddings and funerals etc. Not far away from Bethel other Lutherans and Wends ( now called Sorbs) built another Lutheran Church only a kilometre or so away at Steinthal. The Moravians continued in SA with an offshoot community at South Kilkerran on Yorke Peninsula. The ruins of Schondorf’s second house, church and graveyard can be seen from the Bethel Lutheran Church. The Moravian church and large school has now been demolished. The Lutheran manse was built in 1908. The Moravian burials are numbered chronologically, with men and women separated. Below is Schondorf’s second house at Bethel.

Forerunner of the XKE

SOURCE: Wikipedia -

en.wikipedia.org/wiki/Jaguar_Mark_2

An excellent video that shows the MK1 morphing into the MK2 (plus 1990's vintage I am guessing ...):

The Car's The Star:

www.youtube.com/watch?v=1IB2i_SNHPM