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This ship is the forerunner for all of the other Lego space ships: in 1969, this crucial piece of history launched from LegoLand Space Port for a mission to the moon. This was very soon after the failed 1965 launch of 801 series Space Rocket ( brickset.com/sets/801-3/Space-Rocket ), which killed the the brave crew of Kat Aclysm: female rocket science genius and designer of the experimental ship, and Abraham "Abe" Normal, the best test pilot in the academy. Their deaths at the Samsonite launch pad were not in vain though, as the newly founded LegoLand Aero-Space Authority (renamed Classic Space Command in 1978) rebuilt their reputation as the premier brick-built space agency by launching the "Innovator", also known as LL001 which in early August 1969 made history as the first mini figure - built object on the moon!
In reality, this model was inspired by set 3831, (Rocket Ride, from the 2008 Spongebob line) albeit with one more section height-wise and a more organized inside with NO stickers! Since last uploading this, I rounded off the ship's angular walls and added some height via the curved fins near the bottom of the ship... it should also improve vertical stability. Also, The two astronaut figures have also been removed.
( The story line is 100% fiction.)
LDD file: www.moc-pages.com/user_images/80135/1468615952m.lxf
This photograph contrasts a German anti-tank rifle with a British rifle. It seems likely that the British weapon is a Lee-Enfield rifle, which was issued to soldiers as a general infantry weapon. This German anti-tank weapon was most likely a 13.2mm rifle made by the Mauser company.
The German anti-tank rifle made its debut in February 1918, in direct response to the increasingly important role that the tank was beginning to have on the Western Front. By May 1918, the Mauser Company had started to mass-produce this new weapon. To begin with, these weapons were issued to soldiers who belonged to special anti-tank units. This German idea of using heavy calibre and high velocity rifles to stop tanks was the forerunner of the modern bazooka weapon.
[Original reads: 'OFFICIAL PHOTOGRAPH TAKEN ON THE BRITISH WESTERN FRONT IN FRANCE. A German anti-tank rifle compared with a British rifle.']
(another pictures you can see by clicking on the link at the end of page!)
The history of Vienna's Christmas market
The assumption, forerunners of the Viennese Christmas market had been held for more than 600 years ago, is not true. In the year 1382, to which these assumptions relate, renewed Duke Albrecht III only the market law of the City of Vienna. This allowed, among other things, the holding of fairs, which took place 14 days before and after Christ's ascension, and 14 days before and after St. Kathrein (November 25). These markets, however, were not related with the celebration of Christmas.
In medieval Vienna, there was no Christmas markets. The urban settlements from this period have no income and expenditure in such a context. The invoices from the 17th Century exist only patchy.
Therefore no reliable date can be specified for the first occurrence of Christmas markets. Records from 1600 show that cabins on the trench (Graben) and on the fire place (Brandstätte), ie before Sankt Stephan, on 9 January have been dismantled and on 16 and 17 December re-erected. This market bore the name "Thomas market". In these stalls Peckn (Baker), gingerbread maker and Zuggerpacher (confectioners) offered their goods. These stands were found around Christmas time in the area Graben - Stephansplatz to the year in 1761. Then, this market was closed.
First mentioned in 1722
Already in 1722 found a on Freyung held "St. Nicholas, Christmas and Nativity market" mention. Since at the same time was a regular market there, conflicts between the state holders of the one and the other market in 1842 led to the tentative relocation of Nicholas and Christmas market on the square Am Hof. This relocation was definitely 1843, each time on the 5th December, the 132 cribs market stalls were set up and remained standing until the New Year.
End of Fairs
Black and white photo of the Christmas market in the winter with snow 1917
The Christmas market am Hof (1917 )
1872 the old Viennese markets were closed by a decision of the council, as they had lost their original meaning in the modern city. The exception was the Christmas Market. 1903, the 128 stands were renewed and received first electric lighting.
First and Second World War
A difficult time for the now regular "Christkindlmarkt" named event began with the First World War. In 1923 it was held again on the Freyung, 1924-1928 modest extent before the Stephansdom. From 1929 on the Neubaugürtel - above the Hesserdenkmals (Monument) - relocated, the Christmas market came 1938 on the Am Hof square back. During the Christmas time of 1943 once again the Stephansplatz was its location. Then the fast to the city approaching and across moving war prevented its holding. At Christmas 1946, a new start on the square before the Trade Fair Palace was attempted.
Last Location Town Square
Black and white photo : Entrance to the Christmas Market with visitors and cottages 1950
The Christmas market at the Neubaugürtel (1950 )
1949 the Christmas Market moved back to the Neubaugürtel, where he remained until 1957. Then again held before the Trade Fair Palace, failed in 1963 an attempt to establish the Christkindlmarkt as a counterpart to fasting market in the Kalvarienberggasse in the 17th district. 1975 had to be found an alternative venue because of the construction of the underground car park in front of the Messepalast (trade fair palace). First, temporarily set up at the town hall square, soon the combination of the Christmas market and the "Magic of Advent" in both sides of the adjacent City Hall Park created such a moody atmosphere that this location for years to come seems certain for the Christmas market .
www.wien.gv.at/wirtschaft/marktamt/maerkte/geschichte/chr...
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
In a ceremony in Strasbourg’s hemicycle, MEPs marked the creation of the Common Assembly of the European Coal and Steel Community in 1952, the EP’s forerunner
EP President Roberta Metsola opened the ceremony and stressed how, in the 70 years since the first meeting of the Common Assembly of the European Coal and Steel Community (ECSC) in 1952, the “Assembly grew from strength to strength”. She said: “The European Parliament has become the only directly elected, multilingual, multi-party transnational parliament in the world. Its 705 directly elected members are the expression of European public opinion (...). Today more than ever – this House stands for upholding the democratic voice of citizens and the democratic European values."
Her speech was followed by contributions from the prime ministers of the three countries hosting Parliament’s seat.
Belgium’s Prime Minister Alexander de Croo said “today’s European political project is mainly driven forward by visionary citizens, the people of Europe” who demand an EU response to crises such as migration, COVID-19 and energy. The EP is, he said, “one of the most powerful legislators in the world. Today Europeans can be proud of the road we travelled together.” He concluded: “This house represents the catharsis of a long history of violence among European countries, it represents the best in us, Europeans.”
Luxembourg’s Prime Minister Xavier Bettel said: “Seven years after World War II, it was decided to create something together. In those days, people did not have the right to live because they were different; today we live in a territory where citizens are free. He concluded: “I would not have had the right myself to be free during the Second World War: I am liberal, have Jewish heritage and am married to a man. And here I am today, a head of government. This is the European project. You may be different, but that is where our richness lies: in this diversity”.
France’s Prime Minister Élisabeth Borne stressed the role of France in building the European Union, and the symbolic importance of Strasbourg as one of its official places of work. Additionally, she emphasized the commitment of France to a common European future: “Strasbourg is the idea of Europe – Europe that has its past but that also has its common future,” she said. “And we must not lose track of what Europe is, where it has come from and where it is going to.”
Read more: www.europarl.europa.eu/news/en/press-room/20221118IPR5570...
This photo is free to use under Creative Commons license CC-BY-4.0 and must be credited: "CC-BY-4.0: © European Union 2022– Source: EP". (creativecommons.org/licenses/by/4.0/) No model release form if applicable. For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
In a ceremony in Strasbourg’s hemicycle, MEPs marked the creation of the Common Assembly of the European Coal and Steel Community in 1952, the EP’s forerunner
EP President Roberta Metsola opened the ceremony and stressed how, in the 70 years since the first meeting of the Common Assembly of the European Coal and Steel Community (ECSC) in 1952, the “Assembly grew from strength to strength”. She said: “The European Parliament has become the only directly elected, multilingual, multi-party transnational parliament in the world. Its 705 directly elected members are the expression of European public opinion (...). Today more than ever – this House stands for upholding the democratic voice of citizens and the democratic European values."
Her speech was followed by contributions from the prime ministers of the three countries hosting Parliament’s seat.
Belgium’s Prime Minister Alexander de Croo said “today’s European political project is mainly driven forward by visionary citizens, the people of Europe” who demand an EU response to crises such as migration, COVID-19 and energy. The EP is, he said, “one of the most powerful legislators in the world. Today Europeans can be proud of the road we travelled together.” He concluded: “This house represents the catharsis of a long history of violence among European countries, it represents the best in us, Europeans.”
Luxembourg’s Prime Minister Xavier Bettel said: “Seven years after World War II, it was decided to create something together. In those days, people did not have the right to live because they were different; today we live in a territory where citizens are free. He concluded: “I would not have had the right myself to be free during the Second World War: I am liberal, have Jewish heritage and am married to a man. And here I am today, a head of government. This is the European project. You may be different, but that is where our richness lies: in this diversity”.
France’s Prime Minister Élisabeth Borne stressed the role of France in building the European Union, and the symbolic importance of Strasbourg as one of its official places of work. Additionally, she emphasized the commitment of France to a common European future: “Strasbourg is the idea of Europe – Europe that has its past but that also has its common future,” she said. “And we must not lose track of what Europe is, where it has come from and where it is going to.”
Read more: www.europarl.europa.eu/news/en/press-room/20221118IPR5570...
This photo is free to use under Creative Commons license CC-BY-4.0 and must be credited: "CC-BY-4.0: © European Union 2022– Source: EP". (creativecommons.org/licenses/by/4.0/) No model release form if applicable. For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
Taken 20/01/18: From the Mid-Hants Railway's website:
"The Class 11 shunter as it became classified by British Railways, was the forerunner of the standard BR shunting engine (the Class 08). 106 class 11’s were built between 1945 and 1952, by the LMS and latterly British Railways, and they differ slightly from the Class 08 in that they have smaller wheels 48 1/2" in diameter (08 = 54”), and also other minor differences.Built to replace ageing tank engines on yard shunting duties or local loose coupled goods trains the class 11’s were never equipped with vacuum train brakes. Their inability to operate fully fitted trains and their non standard nature eventually saw BR decide to withdraw the whole class around 1970, with many locomotives passing into industries such as the National Coal Board etc.
The original 12049 was purchased by DAY Aggregates at Brentford, South West London, and used to shunt their internal sidings. Sadly 12049 was damaged beyond repair by a fire at Ropley in 2010, and has subsequently been replaced by sister 12082 from Barrow Hill and numbered as 12049.
Service History:
12082 was built at Derby Works in November 1950 and initially allocated to Carlisle Kingmoor shed (68A). She moved around between Kingmoor, Carlisle Upperby, Speke Junction and Toton sheds before moving to Crewe Diesel Depot (5A) on 10/12/66. Her final allocation for British Rail was to Llandudno Junction (6G) on 15/08/70, staying there until being withdrawn from service on 03/10/71.
From this point onwards 12082 worked in industrial service for the NCB and latterly the Harry Needle Railway Company, before moving to the Mid Hants Railway in 2010.
preservation.watercressline.co.uk/stock/view/12049-class-...
(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...
(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...
Forerunner of the Harrier only six P.1127 were built XP984 being the last P.1127 prototype to be produced.
She crashed at RAE Bedford 31/10/75 being declared a w/o and sent to the Royal Navy Engineering College Manadon Plymouth.
XP984 now resides inside at Brooklands in the new hanger after languishing for many years outside after arriving from Plymouth via Dunsfold where she was rebuilt.
20 января 2019, Собор Предтечи и Крестителя Господня Иоанна / 20 January 2019, Synaxis of the Holy Glorious Prophet, Forerunner, and Baptist John
The Museum's Huff-Daland Duster is one of eighteen airplanes that were specifically designed by Huff-Daland to perform aerial crop dusting. In addition, the Huff-Daland Duster was the first aircraft to be used by the forerunner of the international airline Delta Air Lines.
Dr. B.R. Coad, a government entomologist, conceived the idea that dusting the cotton industry's nemesis, the boll weevil, would be more efficient if it could be done from the air rather than from mule-drawn wagons. Initial trials with Curtiss Jenny biplanes convinced him that researchers were on the right track, but also highlighted the need for an aircraft specially designed for crop dusting. The Huff-Daland Manufacturing Company of Ogdensburg, New York received the contract to design and produce the Duster biplane which was completed in 1925. It was a derivative of a Huff-Daland military/commercial design, called the Petrel 5, which was used by the U.S. Navy both in landplane and seaplane versions. Fairchild Aerial Survey Company also used it for aerial photography.
The Huff-Daland Duster was a fabric-covered, cantilever-winged biplane that was structurally designed so that it had none of the wing brace wires that were common of the biplane designs of that era. The fuselage and tail surfaces were made of welded steel tubing and the wings were single-piece units made of spruce and mahogany. The entire airplane, except for the area behind the engine, was fabric covered. The wing struts and landing gear were made of streamlined steel tubing. The landing gear was a conventional double-tripod split-axle type with 26x4 wire wheels and used Oleo struts for absorbing the landing loads. The dust hopper carried 800 pounds of calcium arsenate. Although some documentation says the Petrel 5's 200 hp Wright J-4 Whirlwind air-cooled 9-cylinder radial was replaced with a 400 hp Liberty 12 engine for the Duster, Delta officials said that their Dusters flew with the J-4B.
In 1923, C .E. Woolman, an agricultural engineer and research assistant with the U.S. Department of Agriculture, joined the Huff-Daland Duster Company, located in Macon, Georgia, a subsidiary of Huff-Daland Manufacturing and the first company devoted to dusting operations. Three years later the Huff-Daland Duster Company relocated to Monroe, Louisiana. Because of the seasonal nature of the crop dusting business, Woolman began to operate in Peru in 1926 during the North American off-season, dusting more than 50,000 acres in Peruvian valleys in 1927. He expanded their business during 1928 by carrying passengers and freight in a Fairchild FC-2 and other aircraft, in association with Peruvian Airways Corporation, however the chronically unstable South American political climate caused him to abandon crop dusting and sell out this portion of the air service business.
Woolman returned to the U.S. in 1928 and found the Huff-Daland Duster Company in financial difficulty. Huff-Daland Airplanes, then part of Keystone Aircraft, wanted to divest itself of Huff-Daland Duster so Woolman took it over, and, with the help of some Monroe investors, founded a new company, Delta Air Service, headquartered there. Woolman became senior Vice President and General Manager and planned to carry passengers and freight as well as continuing in the crop dusting business. They inaugurated their passenger and mail service with a route between Dallas and Jackson, Mississippi, flying six-passenger Travel Air 6000s. Thus began what was eventually to become Delta Air Lines. Woolman became president of Delta in 1945 and was appointed Chairman of the Board in 1965. The Dusters remained in service as dusters until they were replaced by Stearman C3Bs.
Two original Huff-Daland Dusters were stored for many years at Monroe, but in 1963, they were removed from storage and brought to Delta's facilities in Atlanta, Georgia. Beginning in 1967, parts of one of the airplanes were restored to original condition by volunteer Delta Air Line personnel as a tribute to their founder C. E. Woolman. Although the fourteen original aircraft registration numbers are recorded, it was not possible to determine this particular aircraft's identity. A Wright Whirlwind J4B engine from the Museum's collection was installed on the aircraft along with a propeller.
In a formal ceremony on January 18, 1968, Delta dignitaries officially donated the airplane to NASM. It was displayed in the Smithsonian's Arts and Industries Building for about six months before being earmarked for storage. The airplane was subsequently loaned back to Delta Airlines in the late 1970s for display in their own museum in Atlanta, Georgia. The airplane was temporarily displayed at the Louisiana World Exhibition from May to November 1984 and then was again temporarily relocated during 1997 at the Cincinnati/Northern Kentucky International Airport for their 50th Anniversary celebration. It then returned to Delta's Museum in Atlanta before finally being returned to NASM for display at the Stephen F. Udvar-Hazy Center at Dulles Airport in Chantilly, Virginia.
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.
LEWIS INSTITUTE
Report of Murray, Robert
Quarter ending Dec. 16, 1898
Source: Robert Heffron Murray scrapbook, 1898-1905
About Robert Heffron Murray....
Robert Heffron Murray was born Wednesday, October 18, 1881, in Washington Heights, Cook County, Illinois, the son of George William Murray and Cora May (Heffron) Murray. After attending the Lewis Institute (forerunner of Illinois Institute of Technology) in Chicago for secondary school education, Robert enrolled and later graduated from The University of Chicago on Tuesday, June 14, 1904. Robert married Sue Mary Horton on Saturday, November 4, 1905, in Richmond, Virginia; no children resulted from their union. Sue was a childhood neighbor of Robert and the daughter of Horace E. Horton, the founder of Chicago Bridge and Iron. In 1917, Robert joined the United States Army and was commissioned as a Captain in the Army Reserves. He was elevated to Major when ordered to report for deployment to Europe during World War I. Upon return from active duty in Europe, he was promoted to Lieutenant Colonel, and was therefore commonly referred to as Colonel Murray. He started developing Sunset Hill Farm in 1934, which is located in the northwest quarter of Section 25 in Liberty Township, Porter County, Indiana. Leroy "Pete" Hanrahan, who served as Colonel Murray's farm manager from 1934 until his death in 1952, was instrumental in assisting Colonel Murray develop Sunset Hill Farm. Today, Sunset Hill Farm operates as a county park. After Robert's wife Sue died on Monday, February 26, 1962, he remarried Elizabeth (Linn) Allen, the widow of John B. Allen, on Saturday, January 11, 1964, in Liberty Township, Porter County, Indiana. Elizabeth, commonly referred to as Bips, was a member of the Chicago Board of Education and the grandniece of Jane Addams, a very well known early Twentieth Century progressive and the founder of Hull House in Chicago. Colonel Murray died on Saturday, October 28, 1972, in Valparaiso, Porter County, Indiana. Elizabeth "Bips" Murray died on Saturday, June 14, 1997, in Washington, DC.
About Lewis Institute....
Founded in 1895 from the estate of the Chicago real estate investor Allen Cleveland Lewis, Lewis Institute stood where the United Center now stands. Allen C. Lewis was one of many investors to descend on Chicago after the 1871 Chicago fire, and helped to rebuild the city's west side. Under its first director, George Noble Carman, Lewis Institute was the first institution to offer adult education programs, making it the first junior college in the United States. The Institute offered courses in engineering, sciences, and technology, but also featured courses in home economics and other domestic arts. Lewis Institute offered a program in which a young child was borrowed from a member of the community and would be cared for by students for up to a year. As the first President, Carman helped create North Central Association of Colleges and Schools, the first educational accreditation board. In July 1940, Lewis Institute merged with its local competitor - the Armour Institute - to form Illinois Institute of Technology (IIT).
Copyright 2012. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
(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 image was obtained from an album specifically assembled with Robert Heffron Murray as the topic. There are no notations next to this photograph in the album.
Robert Heffron Murray was born Wednesday, October 18, 1881, in Washington Heights, Cook County, Illinois, the son of George William Murray and Cora May (Heffron) Murray. After attending the Lewis Institute (forerunner of Illinois Institute of Technology) in Chicago for secondary school education, Robert enrolled and later graduated from The University of Chicago on Tuesday, June 14, 1904. Robert married Sue Mary Horton on Saturday, November 4, 1905, in Richmond, Virginia; no children resulted from their union. Sue was a childhood neighbor of Robert and the daughter of Horace E. Horton, the founder of Chicago Bridge and Iron. In 1917, Robert joined the United States Army and was commissioned as a Captain in the Army Reserves. He was elevated to Major when ordered to report for deployment to Europe during World War I. Upon return from active duty in Europe, he was promoted to Lieutenant Colonel, and was therefore commonly referred to as Colonel Murray. He started developing Sunset Hill Farm in 1934, which is located in the northwest quarter of Section 25 in Liberty Township, Porter County, Indiana. Leroy "Pete" Hanrahan, who served as Colonel Murray's farm manager from 1934 until his death in 1952, was instrumental in assisting Colonel Murray develop Sunset Hill Farm. Today, Sunset Hill Farm operates as a county park. After Robert's wife Sue died on Monday, February 26, 1962, he remarried Elizabeth (Linn) Allen, the widow of John B. Allen, on Saturday, January 11, 1964, in Liberty Township, Porter County, Indiana. Elizabeth, commonly referred to as Bips, was a member of the Chicago Board of Education and the grandniece of Jane Addams, a very well known early Twentieth Century progressive and the founder of Hull House in Chicago. Colonel Murray died on Saturday, October 28, 1972, in Valparaiso, Porter County, Indiana. Elizabeth "Bips" Murray died on Saturday, June 14, 1997, in Washington, DC.
Robert's sister, Louise Murray, was born on Thursday, December 20, 1883, in Washington Heights, Cook County, Illinois. Louise married Huber Hurd Ellsworth on Saturday, July 14, 1906, in Chicago. Huber graduated from the Colorado School of Mines in Golden, Jefferson County, Colorado, in 1908 and soon after entered a business venture with J. F. Klaner called Ellsworth-Klaner Construction Company, which was based in Pittsburg, Crawford County, Kansas. Klaner-Ellsworth was involved in the construction of the Rio Grande Dam and operated a coal mining company. Huber was born on Saturday, August 30, 1884, in Rockford, Winnebago County, Illinois, and died on Wednesday, September 25, 1940, in Chicago. Louise and Huber were the parents of at least two children: Cora May Ellsworth (born Sunday, September 8, 1907, in Chicago; married Charles H. Magee on Saturday, August 5, 1933, in Chicago; died February 15, 1992, in Bloomington, McLean County, Illinois) and Henry Murray Ellsworth (born Thursday, August 3, 1911, in Chicago; died Friday, August 4, 1911, in Chicago). Louise passed away in September 1972 in the Morgan Park area of Chicago and was interred at Mount Greenwood Cemetery in Chicago.
Copyright 2012. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
View the route on Google Maps
View the route with mile markers on www.mapmyrun.com/route/united-states/ut/park-city/6254096...
View a screen shot where you can actually see the values for the elevation.
Workflow:
- Tracked GPS location with Garmin Forerunner 301
- Uploaded Track History using Garmin Training Center™ 2.1.6 on Mac OS X
- Imported Routes into TrailRunner 1.8v301 from Garmin Training Center™ 2.1.6
- From TrailRunner I launch Google Earth with the Route and then exported the route to a KML file("Save Place As").
- Uploaded the KML file to mapmyrun.com
- Uploaded the KML file to sigmirror so that I could then use the maps.google.com search feature to overlay the KML.
- Recorded Playback Route Video in TrailRunner using ScreenRecord 2.1 with the following recording options:
Compression: Apple DV/DVCPRO NTSC
Frame Rate: 30 fps
Quality: 100%
NOTE: I tried several various recording options where both flickr and vimeo couldn't handle the video (ie H.264 30fps, Apple Motion JPEG A 30 fps, Apple DVCPRO50 - NTSC 30 fps, Apple MPEG4 Compressor 30 fps). Any help in this area would be greatly appreciated especially since H.264 is much better quality then this fuzzy Apple DV/DVCPRO NTSC crap! I've already emailed vimeo showing them how poorly they handle all of the various encoded videos.
Update: After a lot of monkeying around, I was able to get H.264 and MPEG4 videos working on flickr. I've posted those videos to my blog
Kiddicraft bricks 2x4, forerunner of LEGO. Designed by Hilary Page a briljant kids toy inventor. There are a few different bottom designs.
Very nice bricks, my first Kiddicrafts, traded with Diana whom I met for the first time in real live. Loved chatting and trading, I had a great time talking to another LEGO nutcase.
We met at a LEGO convention were Arnoud had a stand with Leggodt, see his picture of how it looked. I missed the white round building which he had to set up, hope to see it here sometime:)
Thank you two, I had a great time:)
The Tiger Cave is a rock-cut Hindu temple complex located in the hamlet of Saluvankuppam near Mahabalipuram in Tamil Nadu, India. It gets its name from the carvings of tiger heads on the mouth of a cave which forms a part of the complex. The Tiger Cave is considered to be one of the Mahabalipuram rock-cut temples constructed by the Pallavas in the 8th century AD. The site is located on the Bay of Bengal coast and is a popular picnic spot and tourist destination. The temple is maintained by the Archaeological Survey of India (ASI).
The discovery of an inscription on a rocky outcrop in the Tiger Cave complex in 2005 led to the excavation of a Sangam period Subrahmanya Temple close by.
The Cave Temples of Mahabalipuram are located on the hillock of Mahabalipuram town, overlooking the Coromandel Coast of the Bay of Bengal in Kancheepuram District in Tamil Nadu, India. Also called mandapas or rock-cut caves, they are sanctuaries or temples covered with bas-reliefs. The earliest period of use of these caves as sanctuaries is traced to the Buddhist and Jain periods. They were excavated on rock faces which were cut and then carved using chisel and iron mallet. Of the eleven mandapas or caves seen in Mahabalipuram, the most notable are the Varaha Cave Temple, Krishna Cave Temple, Panchapandava Cave Temple, and the Mahishasuramardini mandapa. They are cut and decorated with panels in the Mamalla style of the Pallava period in the 7th century. They are differentiated from the Adiranchanda cave temples which are dated to the Mahendraverman period of the 8th century. Remnants seen in the caves also indicate that they were plastered and painted when built. One of the most impressive sculpture panels, bas-reliefs, carved on the walls in the caves is that of the goddess Durga (a form of goddess Shakti) who killed Mahishasura the buffalo-headed demon which has a natural beauty with elegance of sense of movement, and this bas-relief panel in the Mahsisuramardhini Cave Temple is considered a masterpiece of Indian art. Many of the caves of the Pallava period have remained incomplete. The procedure in creating these caves involved creation of a smooth rock face, then cutting columns through the polished rock faces of required size and then carving bas-reliefs on the walls of the cave. Some of the cave temples are covered by the UNESCO inscription while others are not, such as the Koneri Mantapa, the Yali Mantapa, and the Kotikaal Mantapa. All caves here with simple plan and elegant architectural style, and have no deities deified in the sanctum sanctorum. It is one of the Group of Monuments at Mahabalipuram that were designated as a UNESCO World Heritage Site since 1984 under the heading mantapas.
ETYMOLOGY
There are many rock-cut monuments in Mahabalipuram. UNESCO uses the term of "cut-ins" to refer to the rock-cut caves which are used as temples (locally, "mandapas" or "mantapas"). They use the term "cut-outs" for the granite-cut monoliths which are not used as temples (locally, "rathas").
GEOGRAPHY
The cave temples of Mahabalipuram are located on the hills of Mahabalipuram town, on the Coromandel Coast of the Bay of Bengal of the Indian Ocean. Now in the Kanchipuram district, they are approximately 58 kilometres from Chennai city (previously, Madras) and about 32 km from Chingelpet.
HISTORY
The caves reflect a transitional style architecture evolved during the rule of kings Mahendra Varman I and Rajasimha or Narasimhavarman I known as Mamalla and this style was continued by his son Parameshvaravarman I. Historical research has also confirmed that Mahabipuram town came to be established only after it was named after Mamalla and the caves and rathas are dated to his period during the year 650 AD. That Mahabalipuram was a busy port and prosperous during Mamalla's rule is attested by the fact that Xuan Zang, the Chinese traveller stayed here in 642 AD as a guest of the court recording the greatness of the town and its king. Thirumangai Alvar, a vaishnava saint of Tamil Nadu has also recorded glowingly about the town’s richness as seen from the loaded ships exporting goods. The caves excavated during this period though similar to the earlier caves but were more sophisticated in their decorations. The Varaha Cave temple or Mandapa has fluted columns separating the openings. Certain Greco-Roman architectural styles could also be discerned and the sitting statues are said to have likeness to the sitting styles seen in European architecture, as against the Indian cross legged style. The style thus created at Mahabalipuram became a forerunner for Dravidian style of architecture. The Pallavas were great patrons of art.
LAYOUT
Cave temples, monolithic temples and structural temples of Pallava sculpture are different. Compared to the Ajanta Caves, they are of smaller dimensions and have simple plans. The columns are slender, columns are multifaceted and sometimes fluted or round with cushion-shaped capitals and seated lions at the base. Adivaraha cave is preceded by a tank. A distinctive feature of the Pallava style is that the frontage of the caves have, without exception, finely carved columns mounted on lions in a sitting posture.
FEATURES
They have distinctive styles which do not compare with the Gupta period sculptures of North India. In these caves, the carvings of the faces of the human figures are oval shaped with high cheekbones. The body looks slim with tapering limbs. They have several striking mythological scenes carved in relief. Vishnu rescuing the earth, Vishnu taking three strides, and Gaja Laksmi and Durga are all in the Adi-Varaha Cave. Mahishasura Mardhini is in Durga Cave. Krishna lifting mountain is seen in the Pancha-Panadava cave. The relief carving in the Pallava caves is generally shallower than the Deccan caves. The main figures are slender, delicate and elegant. Their hair dresses and crowns are simple and they show no jewellery. Another particular feature noted in the caves is that the lingas are individual carvings and in prismatic shape. However, the drainage as normally provided in the form of pranala or water chute with the linga to drain the abhisheka (Hindu ritual) offering water is not provided in the caves.
LANDMARKS
KRISHNA
The Krishna Cave Temple is dated to mid-7th century. Its excavated entry is seen with columns leading to a hall. A notable carving in side the cave is a sculpted panel which brings out the myth of Krishna lifting the Govaradhan hill to protect the cow herds and gopis (milk maids) from heavy rains and floods, and also scenes of Krishna frolicking with the milk maids.
MAHISHASURAMARDINI
The Mahishasuramardini Cave Temple is close to the lighthouse on the top of the hill. It has two very beautifully carved frescoes of Durga, the mother goddess at both ends of the long hall of the cave. She is shown seated on lion her mount or vehicle with all her weapons. The depiction also features her posture of slaying the buffalo headed Mahishasura. At the other end of the hall, opposite to the Durga panel, the scene carved is of Vishnu in a reclining posture on the bed of Ananta multi-hooded serpent. He is surrounded by the divine beings of heaven appealing him to continue with the creation of the universe. There is also a third chamber which shows a carved fresco of Vishnu.
VARAHA
The Varaha Cave Temple (also known as Adivaraha) is dated to the 7th century. The most prominent sculpture is that of Vishnu in the incarnation form of a boar lifting mother earth from the sea. Also carved are many mythical figures. In the entry porch carved on the rock face the columns are carved on lion bases. At the centre of the rear wall, guardian figures are depicted flanking a shrine. The side walls have carved sculpture panels of Vishnu as Trivikrama and Vishnu in the incarnation of Varaha, the boar, lifting Bhudevi, the earth goddess.
TRIMURTI
The Trimurti Cave Temple is dated to the early 8th century. It has separate sections in a sequenced dedicated to each of the Hindu trinity gods of Brahma, Vishnu and Shiva or Maheshwara. The three shrines are cut out from the rock-face. Each shrine is flanked by pilasters with guardian figures. On the rear wall of the cave, individual carvings of Brahma, Vishnu and Shiva attended by devotees are carved.
KOTIKAL
The Kotikal Cave Temple is dedicated to goddess Durga. Its entrance faces west and is in continuation of the Dharmaraja Mandapa. The rock cut façade has two supporting pillars and two pilasters in Mahendravarman style of architecture with an octagonal shaft built over a cubical base, and a similar top. The cave chamber inside is 6.6 m long, 2.4 m wide and has a height of 2.4 m. There is also a small chamber on the rear wall flanked by female dvarpalas (guards); the dvarapala on the left, facing to the front, is carved in a standing posture with one hand holding a club and the other hand holding a sword. The dvarapala on the right is carved with one hand holding a dhanush (bow) and the other arm is resting on her waist. The dvarpalas are in a dancing pose, called tribhanga (triple break). Though there is no deity inside this shrine now, it is conjectured that the sanctum inside housed goddess Durga with the female guardians protecting her at the entrance to the cell.
TIGER
The Tiger Cave Temple (also known as Yali) is dated to the early 8th century. It is a shallow cave but is unusual and unique when compared to the other caves here. The entrance to the cave faces south-east. It is close to the Atiranachanda Mandapa and located at Saluvankuppam village, 4 kilometres to the north of Mamallapuram. This is a refined cave which is carved about 1.8 m above the ground level and has a pavilion which is closed on three sides. The front cavern is 1.8 m in height and has a width of 1.2 m. Approach to the cavity is over a series of steps, and the protection parapets on either side of the staircase are decorated with lions. The two niches on either side of central cavity do not have any carvings. It has been carved out of a boulder with a portico which has sculpted garland of eleven yali heads, mythical animals in the shape of tigers. The main carving here is that of Durga riding a tiger. It is also inferred that this cave may have been used for holding open-air shows or as utsava mantapa (festival pavilion) for the festival of Indra. The lion pilasters carved at the corners of this cavity also show a female riding a ferocious looking lion, which is reported as the first of its kind in Mahabalipuram caves, and hence credited to the Pallava King Rajasimha; there is also a carving of its creator Rajasimha.
ATIRANACHANDA
The Atiranachanda Cave Temple is east facing. It is situated at Saluvankuppam village, about 4 kilometres away on the Mahabalipuram – Chennai road. Its layout is 8.5 m in length and 1.8 m in width on plan, with a height of 2.0 m. The façade carved on the rock face has two pillars and two pilasters, typical of Mahendravarman style, with an octagonal shaft with square base at the top and the bottom. The corbels of the pillars are curved and of roll-moldings. Horizontal friezes in the form of mini shrines are also carved above the corbels, though incomplete. There are three chambers in the cavern with the central chamber being a square of 1.1 m, whereas the other cells are integral to the wall.
PANCHAPANDAVA
The Panchapandava Cave Temple is near the open air bas-relief of Arjuna’s Penance. The cave entrance is east facing and is the largest cavern at 15 m length. The cave is unfinished. The length of the opening is indicative of creating a circumambulatory passage within the cave to go round the main shrine. At present only a small chamber has been carved at the ceenter and has remained attached to the main rock. At the entrance, the curved cornice has a series of shrines with the four central shrines projecting out. The vaulted roofs of the shrines are carved with horse-shoe (kudu) shaped windows and each houses another smaller shrine. The niche below the kudu has a carved deity. Ferocious looking lions are also carved. From the architectural features carved here it is conjectured that this style could be assigned to Narasimhavarman I Mamalla period extending to Narasimhavarman II Rajasimha period.
WIKIPEDIA
The Morpeth was a forerunner of mass running events in the North-East, having started in 1904 over a distance of 13.6 miles down the Great North Road. Sadly, the last was held in 2004 because it was no longer possible to marshall it in accordance with modern traffic and health and safety concerns.
Little did I know when I took this picture that 50 years later I'd be taking part in my 10th Great North Run!
Even in 1965 the traffic issues were getting difficult. This picture is of the front runner entering Newcastle after the dip down from Gosforth, the final mile ahead all gently downhill.
Delighted to see this shot appeared as the first profile picture for the restored Morpeth to Newcastle Facebook page - since removed when they were unable to get permission to run the event down the old Great North Road! Eventually run as a combined full and half marathon, plus cycle race via Whitley Bay and the river side in 2016.
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.
Como usuario de Garmin en entrenamientos y maratones, no puedo más que asombrarme ante las innovaciones en los recién lanzados Forerunner como son la estimación del VO2 max, medición de la cadencia, del tiempo de contacto, entre otras. Esperamos pronto poder probarlos para hacerles una reseña.
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Predice cuánto tiempo realizarás en tu siguiente carrera, planea tus tiempos de recuperación y conoce si estas corriendo de la forma correcta.
Conoce la estimación de VO2 max, entre más oxígeno puedan utilizar los corredores, más energía pueden producir.
Ciudad de México a 17 de septiembre de 2013. Garmin, el líder global en navegación por satélite, anunció hoy el Forerunner 620 y Forerunner 220, relojes para correr con GPS, dos de los más ligeros, más delgados, y más avanzados relojes para correr de Garmin, y la mejor opción para tener un entrenador personal.
El Forerunner 620 ofrece características avanzadas como asesor de recuperación, predictor de carreras y estimación de VO2 max para ayudar a los atletas a entrenar de manera más inteligente y lograr nuevas metas de carrera. Cuando se utiliza con el nuevo Monitor Cardiaco HRM-Run™, el 620 también proporciona información sobre la forma de correr. Para el entrenamiento en interiores, como en una caminadora, el 620 y el 220 con acelerómetro incorporado registra la distancia y el ritmo, por lo que los corredores no necesitan un sensor por separado...
6-7 июля 2022, Рождество пророка Предтечи и Крестителя Господня Иоанна / 6-7 July 2022, The Nativity of the Prophet Forerunner and Baptist of the Lord John
Dude, my friends (near and far) are awesome. Here I am with some of my birthday presents. Check out the comments for details.
Sri Lanka National bird. This bird is a faraway cousin of Gallus gallus, the chicken forerunner !
L'Oiseau National du Sri Lanka. Un lointain cousin de Gallus gallus, l'ancêtre du poulet !
(another pictures you can see by clicking on the link at the end of page!)
The history of Vienna's Christmas market
The assumption, forerunners of the Viennese Christmas market had been held for more than 600 years ago, is not true. In the year 1382, to which these assumptions relate, renewed Duke Albrecht III only the market law of the City of Vienna. This allowed, among other things, the holding of fairs, which took place 14 days before and after Christ's ascension, and 14 days before and after St. Kathrein (November 25). These markets, however, were not related with the celebration of Christmas.
In medieval Vienna, there was no Christmas markets. The urban settlements from this period have no income and expenditure in such a context. The invoices from the 17th Century exist only patchy.
Therefore no reliable date can be specified for the first occurrence of Christmas markets. Records from 1600 show that cabins on the trench (Graben) and on the fire place (Brandstätte), ie before Sankt Stephan, on 9 January have been dismantled and on 16 and 17 December re-erected. This market bore the name "Thomas market". In these stalls Peckn (Baker), gingerbread maker and Zuggerpacher (confectioners) offered their goods. These stands were found around Christmas time in the area Graben - Stephansplatz to the year in 1761. Then, this market was closed.
First mentioned in 1722
Already in 1722 found a on Freyung held "St. Nicholas, Christmas and Nativity market" mention. Since at the same time was a regular market there, conflicts between the state holders of the one and the other market in 1842 led to the tentative relocation of Nicholas and Christmas market on the square Am Hof. This relocation was definitely 1843, each time on the 5th December, the 132 cribs market stalls were set up and remained standing until the New Year.
End of Fairs
Black and white photo of the Christmas market in the winter with snow 1917
The Christmas market am Hof (1917 )
1872 the old Viennese markets were closed by a decision of the council, as they had lost their original meaning in the modern city. The exception was the Christmas Market. 1903, the 128 stands were renewed and received first electric lighting.
First and Second World War
A difficult time for the now regular "Christkindlmarkt" named event began with the First World War. In 1923 it was held again on the Freyung, 1924-1928 modest extent before the Stephansdom. From 1929 on the Neubaugürtel - above the Hesserdenkmals (Monument) - relocated, the Christmas market came 1938 on the Am Hof square back. During the Christmas time of 1943 once again the Stephansplatz was its location. Then the fast to the city approaching and across moving war prevented its holding. At Christmas 1946, a new start on the square before the Trade Fair Palace was attempted.
Last Location Town Square
Black and white photo : Entrance to the Christmas Market with visitors and cottages 1950
The Christmas market at the Neubaugürtel (1950 )
1949 the Christmas Market moved back to the Neubaugürtel, where he remained until 1957. Then again held before the Trade Fair Palace, failed in 1963 an attempt to establish the Christkindlmarkt as a counterpart to fasting market in the Kalvarienberggasse in the 17th district. 1975 had to be found an alternative venue because of the construction of the underground car park in front of the Messepalast (trade fair palace). First, temporarily set up at the town hall square, soon the combination of the Christmas market and the "Magic of Advent" in both sides of the adjacent City Hall Park created such a moody atmosphere that this location for years to come seems certain for the Christmas market .
www.wien.gv.at/wirtschaft/marktamt/maerkte/geschichte/chr...
The N-1M (Northrop Model 1 Mockup) Flying Wing was a natural outgrowth of John K. "Jack" Northrop’s lifelong concern for an aerodynamically clean design in which all unnecessary drag caused by protruding engine nacelles, fuselage, and vertical and horizontal tail surfaces would be eliminated. Developed in 1939 and 1940, the N-1lM was the first pure all-wing airplane to be produced in the United States. Its design was the forerunner of the larger all-wing XB-35 and YB-49 bomber! reconnaissance prototypes that Northrop hoped would win Air Force production contracts and eventually change the shape of modern aircraft.
After serving apprenticeships with the Lockheed brothers and Donald Douglas in the early 1920s and designing the highly successful and innovative Lockheed Vega in 1927, Northrop in the late 192Os turned his attention to all-wing aircraft. In 1928, he left the employ of Lockheed and organized the Avion Corporation; a year later he produced his first flying wing, which incorporated such innovative features as all-metal, multicellular wing and stressed-skin construction. Although the 1929 flying wing was not a true all-wing design because it made use of external control surfaces and outrigger tail booms, it paved the way for the later N-1 M, which proved the basic soundness of Northrop’s idea for an all-wing aircraft. At the time, however, Northrop did not have the money to continue developing the all-wing idea.
In 1939, Northrop formed his own aircraft company, Northrop Aircraft, Inc., and as a result was in a position to finance research and development of the N-1M. For assistance in designing the aircraft, Northrop enlisted the not aerodynamicist Dr. Theodore von Karman, who was at the time Director of the Guggenheim Aeronautical Laboratory at the California Institute Technology, and von Karman’s assistant, Dr. William R. Sears. Walter J. Cerny, Northrop’s assistant design chief, became the overall supervisor for the project. To determine the flight characteristics of an all-wing design, Northrop Cerny conducted extensive wind tunnel tests or flying wing models. Ultimately, the design of the N-1 M benefited from the new low-drag, increase stability NACA airfoils as well as improved flaps spoilers, and other aerodynamic devices.
After a period of a year, the N-1M, nicknamed the "Jeep," emerged in July 1940 as a boomerang-shaped flying scale mockup built 01 wood and tubular steel with a wingspan of 38 feet a length of 17 feet, and a height of 5 feet. Pitch and roll control was accomplished by means of elevons on the trailing edge of the wing, which served the function of both elevator and aileron the place of the conventional rudder was a split flap device on the wing tips; these were originally drooped downward for what was thought to be better directional stability but later straightened.
Controlled by rudder pedals, the split flaps, or "clamshells," could be opened to increase the angle of glide or reduce airspeed and thus act as air brakes. The center of gravity, wing sweep, arrangement of control surfaces, and dihedral were adjustable on the ground. To decrease drag, the aircraft’s two 65-hp Lycoming 0-145 four-cylinder engines were buried within the fuselage. These were later discovered to be lacking in sufficient power to sustain lift and were replaced by two 120-hp six-cylinder 6AC264F2 air-cooled Franklin engines.
The N-1M made its first test flight on July 3, 1940, at Baker Dry Lake, California, with Vance Breese at the controls. Breese’s inaugural flight in the N-1 M was inauspicious. During a high-speed taxi run, the aircraft hit a rough spot in the dry lake bed, bounced into the air and accidentally became airborne for a few hundred yards. In the initial stages of flight testing, Breese reported that the aircraft could fly no higher than 5 feet off the ground and that flight could only be sustained by maintaining a precise angle of attack. Von Karman was called in and he solved the problem by making adjustments to the trailing edges of the elevons.
When Vance Breese left the N-1 M program to test-fly the North American B-25, Moye Stephens, the Northrop company secretary, took over testing of the aircraft. By November 1941, after having made some 28 flights, Stephens reported that when attempting to move the N-1M about its vertical axis, the aircraft had a tendency to oscillate in what is called a Dutch roll. That is, the aircraft’s wings alternately rose and fell tracing a circular path in a plane that lies between the horizontal and the vertical. Although Stephens was fearful that the oscillations might not be controllable, he found that adjustments to the aircraft’s configuration cleared up the problem. In May 1942, Stephens was replaced by John Myers, who served as test pilot on the project for approximately six months.
Although the exact period of flight testing for the N-1M is difficult to determine because both Northrop and Army Air Forces records have been lost, we do know that after its initial test flight at Baker Dry Lake, the aircraft was flown at Muroc and Rosamond Dry Lake, and at Hawthorne, California, and that late in the testing program (probably after January 1943) it was towed by a C-47 from Muroc to Hawthorne on its last flight with Myers as the pilot.
From its inception, the N-1M was plagued by poor performance because it was both overweight and chronically underpowered. Despite these problems, Northrop convinced General H. H. Hap" Arnold that the N-1 M was successful enough to serve as the forerunner of more advanced flying wing concepts, and the aircraft did form the basis for Northrop’s subsequent development of the N-M9 and of the larger and longer-ranged XB-35 and YB-49 flying wings.
In 1945, Northrop turned the N-1M over to the Army Air Forces in the hope that it would someday be placed on exhibit. On July 12, 1946, the aircraft was delivered to Freeman Field, Indiana. A little over a month later, the N-1M was given to the National Air Museum and placed in storage at Park Ridge, Illinois. On May 1,1949, the aircraft was placed in the Museum’s collection, and a few years later moved in packing crates to the Museum’s Preservation, Restoration and Storage Facility in Suitland, Maryland. In 1979, the restoration of the N-1M began, and by early 1983, some four decades after it had made its final flight, the aircraft had been returned to its original condition.
Manufacturer: Northrop Aircraft Inc.
Date: 1940
Country of Origin: United States of America
Dimensions:
Wingspan: 11.6 m (38 ft)
Length: 5.2 m (17 ft)
Height: 1.5 m (5 ft)
Weight, gross: 1,814 kg (4,000 lb)
Top speed: 322 km/h (200 mph)
Engine: 2 Franklin 6AC264F2, 120 hp
Overall: 72in. (182.9cm)
Other: 72 x 204 x 456in. (182.9 x 518.2 x 1158.2cm)
Materials:
Overall: Plywood
Physical Description:
Twin engine flying wing: Wood, painted yellow.
Smithsonian National Air and Space Museum Steven F. Udvar-Hazy Center Virginia
Forerunner of the hot tub?
Packwood House Gardens
Warwickshire, UK
Polaroid Colorpack II
Fuji FP100C Instant Colour Film
The forerunner
SS (Standard Swallow) didn't quite disappear as its boss, stylist and moving force, William Lyons, renamed it Jaguar after WW2. The first SS1, a small two-seater grew into this larger model without losing any of its elegance. The Four stood for four windows. When the current owner recuperated it in 1993 it was a wreck : he has restored i to its original pristine state.
2.663 cc
6 in-line
The Former English Marques (Pre-War)
Chantilly Arts & Elegance Richard Mille
Château de Chantilly
Chantilly
France - Frankrijk
September 2016
Transcription:
The forerunner of the famous sky visitor, Halley's comet, which has been traveling through space for, lo, these many centuries, has arrived this spring in the guise of a stunning hat. This comet hat is the chicest[?] turban shape you ever did see, and the illustration gives only a faint idea of its real beauty. The hat is of dark blue straw trimmed with velvet a shade lighter. The comet effect is carried out with the cabuchon of velvet on which is mounted a silver star. A feathered algret of mingled tones of gray and blue symbolizes the tail of the astronomical phenomenon.
Source:
"The Halley Comet Hat Is Here." The Record [Greenville, KY], 12 May 1910, page 4. Chronicling America. 11 June 2018.
H.E. Archbishop Elpidophoros Officiated The Divine Liturgy at St. John the Forerunner and Baptist Cathedral (Slavic Vicariate) in Brooklyn, NY on the feast of Its. Cyril and Methodios.
Photos:© GOA/DIMITRIOS PANAGOS
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.
The Traditions and Glamour of Insignia
By Arthur E. Du Bois Chief of Heraldic Section, Office of the Quartermaster General, United States TVaI' Department
THE knight of the Middle Ages, with an identifying symbol on his shield, was the forerunner of the young Amer- ican of today who wears upon his left sleeve at the shoulder an arrow "shot through a line," to recall that in World War I the men of his division, the Thirty-second, "shot through every line the Boche put before them'"
Insignia are a modern phase of heraldry. They are distinguishing devices of authority, rank, office, or service. A red rose in a but- tonhole at the railroad station mav be the insigne * of a blind date.Joseph'~ coat of many colors was the sign by which his father, Jacob, believed him dead.
Great is the variety and wide the use of insignia within the armed forces of the United S t a t e s : the Army, the Navy, Marine Corps, and the Coast Guard. To which service a man belongs, what rank he holds, what skills he has-these are some of the questions insignia answer.
Insignia, form of shorthand, are kin to peacetime fancy jerseys on the gridiron, to pins of fraternal lodges and college fraterni- ties. The soldier, sailor, marine, or Coast Guardsman, displaying insignia, makes known his organization and his place within it.
Sleeves, shoulders, lapels, and collars, as well as hats and breasts of uniforms, are thus adorned. Devices are made of metal, embroi- dered or woven cloth; lately, plastics. Colors are most effective when solid and substantial -gold or yellow, silver or white, blue, red, green, purple, and black. Once adopted, designs are followed faithfully.
Insignia Speak in Symbols
Those devices which reveal a man's per- sonal heroism (decorations); his participa- tion in specified campaigns (medals); or his attainments, such as expert rifleman (marks- manship badges), are not included in the present article. Certain insignia of attain- ment or qualification, most numerous in the Kavy, do appear, but they fall within a dif- ferent category.
Here the chief purpose is to set forth in- signia by which to tell organization and grade.
No heraldic Gregg or Pitman has arisen to systematize these devices uniformly through- out the services.To an extent it may be said that the Army has one system, the Navy another, the Marine Corps a combination of
the first two, and the Coast Guard an abbre- viation of the Navv system.
Insignia of United States armed forces closelv resemble those of armies and navies of other countries.Insignia for each service have grown out of the particular needs of that service. New devices have come in, old ones have gone out, as conditions have changed.
One may wonder why fighting men through- out the world pay so much heed to insignia, why specifications for each device and direc- tions for wearing it are drawn up so minutely and followed so exactly. Why would it not be better for each man to put on a good stout suit of clothes and to assume the business of war- fare without bothering about insignia? With- out caring whether he is properly garbed, like all his fellows, in accord with standards so highly refined that the stitches in embroidered designs actually are counted before approved?
The experienced officer replies that close attention to dress, both as to what is worn and as to how it is worn, is important not only as an aid to recognition and as an ele- ment to create and support pride, but also as a means of establishing and maintaining discipline.
Obviously, recognition of individuals, in connection with their organizations and posi- tions of authority, is simplified by the insig- nia worn upon their uniforms. Conceivably, identification could be attained bv some less colorful and less distinctive insigni~than those in use--a string of numbers, possibly, sewn to a man's coat. But to adopt so prosaic a code would be to ignore the truth that human beings respond more forcefully and more hap- pily to beauty, poetry, and romance, all of which insignia convey, than to cold fact.
Symbols Build Morale
MIilitary and naval insignia, all the way from the least involved to the most intricate. express a warmth and a fraternity which men -and, more recently, women-of all services know from experience. These devices are sources of pride in oneself and in one's or- ganization. From this pride springs discipline: not discipline born of necessity and fear, but that which essentially is self-discipline, the essence of respect for self, for service, for country.
*Within the services custom has abolished the singular "insigne." "Insignia," plural, does for both.
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.
(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...
The N-1M (Northrop Model 1 Mockup) Flying Wing was a natural outgrowth of John K. "Jack" Northrop’s lifelong concern for an aerodynamically clean design in which all unnecessary drag caused by protruding engine nacelles, fuselage, and vertical and horizontal tail surfaces would be eliminated. Developed in 1939 and 1940, the N-1lM was the first pure all-wing airplane to be produced in the United States. Its design was the forerunner of the larger all-wing XB-35 and YB-49 bomber! reconnaissance prototypes that Northrop hoped would win Air Force production contracts and eventually change the shape of modern aircraft.
After serving apprenticeships with the Lockheed brothers and Donald Douglas in the early 1920s and designing the highly successful and innovative Lockheed Vega in 1927, Northrop in the late 192Os turned his attention to all-wing aircraft. In 1928, he left the employ of Lockheed and organized the Avion Corporation; a year later he produced his first flying wing, which incorporated such innovative features as all-metal, multicellular wing and stressed-skin construction. Although the 1929 flying wing was not a true all-wing design because it made use of external control surfaces and outrigger tail booms, it paved the way for the later N-1 M, which proved the basic soundness of Northrop’s idea for an all-wing aircraft. At the time, however, Northrop did not have the money to continue developing the all-wing idea.
In 1939, Northrop formed his own aircraft company, Northrop Aircraft, Inc., and as a result was in a position to finance research and development of the N-1M. For assistance in designing the aircraft, Northrop enlisted the not aerodynamicist Dr. Theodore von Karman, who was at the time Director of the Guggenheim Aeronautical Laboratory at the California Institute Technology, and von Karman’s assistant, Dr. William R. Sears. Walter J. Cerny, Northrop’s assistant design chief, became the overall supervisor for the project. To determine the flight characteristics of an all-wing design, Northrop Cerny conducted extensive wind tunnel tests or flying wing models. Ultimately, the design of the N-1 M benefited from the new low-drag, increase stability NACA airfoils as well as improved flaps spoilers, and other aerodynamic devices.
After a period of a year, the N-1M, nicknamed the "Jeep," emerged in July 1940 as a boomerang-shaped flying scale mockup built 01 wood and tubular steel with a wingspan of 38 feet a length of 17 feet, and a height of 5 feet. Pitch and roll control was accomplished by means of elevons on the trailing edge of the wing, which served the function of both elevator and aileron the place of the conventional rudder was a split flap device on the wing tips; these were originally drooped downward for what was thought to be better directional stability but later straightened.
Controlled by rudder pedals, the split flaps, or "clamshells," could be opened to increase the angle of glide or reduce airspeed and thus act as air brakes. The center of gravity, wing sweep, arrangement of control surfaces, and dihedral were adjustable on the ground. To decrease drag, the aircraft’s two 65-hp Lycoming 0-145 four-cylinder engines were buried within the fuselage. These were later discovered to be lacking in sufficient power to sustain lift and were replaced by two 120-hp six-cylinder 6AC264F2 air-cooled Franklin engines.
The N-1M made its first test flight on July 3, 1940, at Baker Dry Lake, California, with Vance Breese at the controls. Breese’s inaugural flight in the N-1 M was inauspicious. During a high-speed taxi run, the aircraft hit a rough spot in the dry lake bed, bounced into the air and accidentally became airborne for a few hundred yards. In the initial stages of flight testing, Breese reported that the aircraft could fly no higher than 5 feet off the ground and that flight could only be sustained by maintaining a precise angle of attack. Von Karman was called in and he solved the problem by making adjustments to the trailing edges of the elevons.
When Vance Breese left the N-1 M program to test-fly the North American B-25, Moye Stephens, the Northrop company secretary, took over testing of the aircraft. By November 1941, after having made some 28 flights, Stephens reported that when attempting to move the N-1M about its vertical axis, the aircraft had a tendency to oscillate in what is called a Dutch roll. That is, the aircraft’s wings alternately rose and fell tracing a circular path in a plane that lies between the horizontal and the vertical. Although Stephens was fearful that the oscillations might not be controllable, he found that adjustments to the aircraft’s configuration cleared up the problem. In May 1942, Stephens was replaced by John Myers, who served as test pilot on the project for approximately six months.
Although the exact period of flight testing for the N-1M is difficult to determine because both Northrop and Army Air Forces records have been lost, we do know that after its initial test flight at Baker Dry Lake, the aircraft was flown at Muroc and Rosamond Dry Lake, and at Hawthorne, California, and that late in the testing program (probably after January 1943) it was towed by a C-47 from Muroc to Hawthorne on its last flight with Myers as the pilot.
From its inception, the N-1M was plagued by poor performance because it was both overweight and chronically underpowered. Despite these problems, Northrop convinced General H. H. Hap" Arnold that the N-1 M was successful enough to serve as the forerunner of more advanced flying wing concepts, and the aircraft did form the basis for Northrop’s subsequent development of the N-M9 and of the larger and longer-ranged XB-35 and YB-49 flying wings.
In 1945, Northrop turned the N-1M over to the Army Air Forces in the hope that it would someday be placed on exhibit. On July 12, 1946, the aircraft was delivered to Freeman Field, Indiana. A little over a month later, the N-1M was given to the National Air Museum and placed in storage at Park Ridge, Illinois. On May 1,1949, the aircraft was placed in the Museum’s collection, and a few years later moved in packing crates to the Museum’s Preservation, Restoration and Storage Facility in Suitland, Maryland. In 1979, the restoration of the N-1M began, and by early 1983, some four decades after it had made its final flight, the aircraft had been returned to its original condition.
Manufacturer: Northrop Aircraft Inc.
Date: 1940
Country of Origin: United States of America
Dimensions:
Wingspan: 11.6 m (38 ft)
Length: 5.2 m (17 ft)
Height: 1.5 m (5 ft)
Weight, gross: 1,814 kg (4,000 lb)
Top speed: 322 km/h (200 mph)
Engine: 2 Franklin 6AC264F2, 120 hp
Overall: 72in. (182.9cm)
Other: 72 x 204 x 456in. (182.9 x 518.2 x 1158.2cm)
Materials:
Overall: Plywood
Physical Description:
Twin engine flying wing: Wood, painted yellow.
Smithsonian National Air and Space Museum Steven F. Udvar-Hazy Center Virginia
Like new, original price was 240euros it is including, the watch, the charger, the manual, heart rate band and all the specifics.
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thank you Ԑtά-2 Ѧctiṩ for most of the design. The Flood (Latin Inferi redivivus[1] meaning "The dead reincarnated"[2] or The Parasite,[3] as they are known to the Covenant), are a species of highly virulent parasitic organisms that reproduce and grow by consuming sentient life forms of sufficient biomass and cognitive capability. The Flood was responsible for consuming most of the sentient life in the galaxy, notably the Forerunners, during the 300-year-long Forerunner-Flood War.[4] The Flood presents the most variable faction in the trilogy, as it can infect and mutate Humans and Covenant species, such as Sangheili, and Jiralhanae, into Combat Forms. They are widely considered to be the greatest threat to the existence of life, or, more accurately, biodiversity, in the Milky Way galaxy. (taken from the halopedia)