The Postcard

 

A postally unused carte postale that was printed by L. Menard in 1926.

 

Marie Antoinette

 

Marie Antoinette was born Maria Antonia Josepha Johanna on the 2nd. November 1755. She was the last queen of France before the French Revolution.

 

Marie was born an Archduchess of Austria, and was the penultimate child and youngest daughter of Empress Maria Theresa and Emperor Francis I.

 

Marie became Dauphine of France in May 1770 at the age of 14 upon her marriage to Louis-Auguste, heir apparent to the French throne. On the 10th. May 1774, her husband ascended the throne as Louis XVI, and she became queen.

 

Marie Antoinette's position at court improved when, after eight years of marriage, she started having children. She became increasingly unpopular among the people, however, with the French libelles accusing her of being profligate, promiscuous, harbouring sympathies for France's perceived enemies - particularly her native Austria - and her children of being illegitimate.

 

The false accusations of the Affair of the Diamond Necklace damaged her reputation further. During the Revolution, she became known as Madame Déficit because the country's financial crisis was blamed on her lavish spending and her opposition to the social and financial reforms of Turgot and Necker.

 

Several events were linked to Marie Antoinette during the Revolution after the government had placed the royal family under house arrest in the Tuileries Palace in October 1789.

 

The June 1791 attempted flight to Varennes and her role in the War of the First Coalition had disastrous effects on French popular opinion. On the 10th. August 1792, the attack on the Tuileries forced the royal family to take refuge at the Assembly, and they were imprisoned in the Temple Prison on the 13th. August.

 

The Death of Louis XVI

 

On the 21st. September 1792, the French monarchy was abolished. Louis XVI was executed by guillotine on the 21st. January 1793.

 

The Death of Marie Antoinette

 

Marie Antoinette's trial began on the 14th. October 1793, and two days later she was convicted by the Revolutionary Tribunal of high treason and executed, also by guillotine, on the Place de la Révolution on the 16th. October 1793.

 

The Palace of Fontainebleau

 

The Palace of Fontainebleau, or Château de Fontainebleau, is located 55 kilometers (34 miles) southeast of the centre of Paris.

 

The castle and subsequent palace served as a residence for French monarchs from Louis VII to Napoleon III.

 

Francis I and Napoleon were the monarchs who had the most influence on the Palace as it stands today.

 

It became a national museum in 1927, and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance.

 

The Medieval Palace

 

The earliest record of a fortified castle at Fontainebleau dates to 1137. It became a favorite residence and hunting lodge of the Kings of France because of the abundant game and many springs in the surrounding forest.

 

Fontainebleau took its name from one of the springs, la Fontaine de Bliaud, located now in the English Garden, next to the wing of Louis XV.

 

Fontainebleau was used by King Louis VII, for whom Thomas Becket consecrated the chapel in 1169; also by Philip II; by Louis IX (later canonised as Saint Louis), who built a hospital and a convent, the Couvent des Trinitaires, next to the castle; and by Philip IV, who was born and died in the castle.

 

The Renaissance Château of Francis I (1528–1547)

 

In the 15th. century some modifications and embellishments were made to the castle by Isabeau of Bavaria, the wife of King Charles VI, but the medieval structure remained essentially intact until the reign of Francis I (1494–1547).

 

He commissioned the architect Gilles Le Breton to build a palace in the new Renaissance style, recently imported from Italy. Le Breton preserved the old medieval donjon, where the King's apartments were located, but incorporated it into the new Renaissance-style Cour Ovale, built on the foundations of the old castle.

 

It included the monumental Porte Dorée, as its southern entrance. as well as a monumental Renaissance stairway, the Portique de Serlio, to give access the royal apartments on the north side.

 

Beginning in about 1528, Francis constructed the Galerie François I, which allowed him to pass directly from his apartments to the chapel of the Trinitaires. He brought the architect Sebastiano Serlio from Italy, and the Florentine painter Rosso Fiorentino, to decorate the new gallery.

 

Between 1533 and 1539 Fiorentino filled the gallery with murals glorifying the King, framed in stucco ornament in high relief, and panelling sculpted by the furniture maker Francesco Scibec da Carpi.

 

Another Italian painter, Francesco Primaticcio from Bologna, joined later in the decoration of the palace. Together their style of decoration became known as the first School of Fontainebleau. This was the first great decorated gallery built in France. Fontainebleau introduced the Renaissance to France.

 

In about 1540, Francis began another major addition to the château. Using land on the east side of the château purchased from the order of the Trinitaires, he began to build a new square of buildings around a large courtyard.

 

The château was surrounded by a new park in the style of the Italian Renaissance garden, with pavilions and the first grotto in France.

 

The Château of Henry II and Catherine de' Medici (1547–1570)

 

Following the death of Francis I, King Henry II decided to continue and expand the château. The King and his wife chose the architects Philibert de l'Orme and Jean Bullant to do the work.

 

They extended the east wing of the lower court and decorated it with the first famous horseshoe-shaped staircase which was built between 1547 and 1559. The staircase was subsequently re-built for Louis XIII by Jean Androuet du Cerceau in about 1632-1634.

 

In the Oval Court, they transformed the loggia planned by Francois into a Salle des Fêtes or grand ballroom with a coffered ceiling. Facing the courtyard of the fountain and the fish pond, they designed a new building, the Pavillon des Poeles (destroyed), to contain the new apartments of the King.

 

The decoration of the new ballroom and the gallery of Ulysses with murals by Francesco Primaticcio and sculptured stucco continued.

 

At Henri's orders the Nymphe de Fontainebleau by Benvenuto Cellini was installed at the gateway entrance of Château d'Anet, the domain of Henri's primary mistress Diane de Poitiers (the original bronze lunette is now in the Musée du Louvre, with a replica in place).

 

Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici, continued the construction and decoration of the château. She named Primaticcio as the new superintendent of royal public works.

 

He designed the section known today as the wing of the Belle Cheminée, noted for its elaborate chimneys and its two opposing stairways. In 1565, as a security measure due to the Wars of Religion, she also had moat dug around the château to protect it against attack.

 

Château of Henry IV (1570–1610)

 

King Henry IV made more additions to the château than any King since Francis I. He extended the oval court toward the west by building two pavilions, called Tiber and Luxembourg.

 

Between 1601 and 1606, he remade all the façades around the courtyard, including that of the chapel of Saint-Saturnin, to give the architecture greater harmony. On the east side, he built a new monumental domed gateway, the Porte du Baptistère.

 

Between 1606 and 1609, he built a new courtyard, the Cour des Offices or Quartier Henry IV, to provide a place for the kitchens as well as residences for court officials.

 

Two new galleries, the Galerie de Diane de Poitiers and the Galerie des Cerfs, were built to enclose the old garden of Diane. He also added a large Jeu de Paume, or indoor tennis court, the largest such court in the world.

 

A Second School of Fontainebleau painters and decorators went to work on the interiors. The architect Martin Fréminet created the ornate chapel of the Trinity, while the painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for the salons. A new wing, named after its central building, La Belle Cheminée, was built next to the large carp pond.

 

Henry IV also devoted great attention to the park and gardens around the Château. The garden of the Queen or garden of Diane, created by Catherine de' Medici, with the fountain of Diane in the centre, was located on the north side of the palace.

 

Henry IV's gardener, Claude Mollet, who trained at Château d'Anet, created a large parterre of flower beds, decorated with ancient statues and separated by paths into large squares.

 

The fountain of Diana and the grotto were made by Tommaso Francini, who may also have designed the Medici Fountain in the Luxembourg Garden for Marie de Medici.

 

On the south side, Henry created a park, planted with pines, elms and fruit trees, and laid out a grand canal 1200 meters long, sixty years before Louis XIV built his own grand canal at Versailles.

 

The Château from Louis XIII through Louis XVI

 

King Louis XIII was born and baptized in the Château, and continued the works begun by his father. He completed the decoration of the chapel of the Trinity, and assigned the court architect Jean Androuet du Cerceau to re-construct the horseshoe stairway on the courtyard that had become known as the Cour de Cheval Blanc.

 

After his death, his widow, Anne of Austria, re-decorated the apartments within the Wing of the Queen Mothers (Aile des Reines Mères) next to the Court of the Fountain, designed by Primatrice.

 

King Louis XIV spent more days at Fontainebleau than any other monarch. He liked to hunt there every year at the end of summer and the beginning of autumn.

 

He made few changes to the exterior of the Château, but did build a new apartment for his companion Madame de Maintenon. He furnished it with major works of André-Charles Boulle. He also demolished the old apartments of the baths under the Gallery of Francis I to create new apartments for the royal princes.

 

The architect Jules Hardouin-Mansard built a new wing alongside the Galerie des Cerfs and the Galerie de Diane in order to provide more living space for the Court.

 

Louis XIV made major changes to the park and gardens; he commissioned André Le Nôtre and Louis Le Vau to redesign the large parterre into a French formal garden. He destroyed the hanging garden which Henry IV had built next to the large carp lake, and instead built a pavilion, designed by Le Vau, on a small island in the centre of the lake.

 

Louis XIV signed the Edict of Fontainebleau at the Château on the 22nd. October 1685, revoking the policy of tolerance towards Protestants begun by Henry IV.

 

Louis welcomed many foreign guests at the Château, including the former Queen Christina of Sweden, who had just abdicated her crown. While a guest in the Château on the 10th. November 1657, Christina suspected her Master of the Horse and reputed lover, the Marchese Gian Rinaldo Monaldeschi, of betraying her secrets to her enemies.

 

Her servants chased him through the halls of the Château and stabbed him to death. Louis XIV came to see her at the Château, did not mention the murder, and allowed her to continue her travels.

 

On the 18th. and 20th. May 1717, following the death of Louis XIV, the Russian Czar Peter the Great was a guest at Fontainebleau. A hunt for stags was organized for him, along with a banquet.

 

Although officially the visit was a great success, later memoires revealed that Peter disliked the French style of hunting, and that he found the Château too small, compared to the other royal French residences.

 

The routine of Fontainebleau also did not suit his tastes; he preferred beer to wine (and brought his own supply with him) and he liked to get up early, unlike the French Court.

 

The renovation projects of Louis XV were more ambitious than those of Louis XIV. To create more lodging for his enormous number of courtiers, in 1737–38 the King built a new courtyard, called the Cour de la Conciergerie or the Cour des Princes, to the east of the Galerie des Cerfs.

 

On the Cour du Cheval Blanc, the wing of the Gallery of Ulysses was torn down and gradually replaced by a new brick and stone building, built in stages in 1738–1741 and 1773–74, extending west toward the Pavilion and grotto of the pines.

 

Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel to build a new wing along the Cour de la Fontaine and the carp lake.

 

The old Pavilion des Poeles was demolished and replaced by the Gros Pavilion, built of cream-colored stone. Lavish new apartments were created inside this building for the King and Queen. The new meeting room for the Royal Council was decorated by the leading painters of the day, including François Boucher, Carle Vanloo, Jean-Baptiste Marie Pierre and Alexis Peyrotte. A magnificent small theatre was created on the first floor of the wing of the Belle Cheminée.

 

King Louis XVI also made additions to the Château in order to create more space for his courtiers. A new building was constructed alongside the Gallery of Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the windows on the north side of the Gallery of Francis I.

 

The apartments of Queen Marie-Antoinette were redone, a Turkish-style salon was created for her in 1777, a room for games in 1786–1787, and a boudoir in the arabesque style. Louis XVI and Marie-Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution.

 

The Château during the Revolution and the First Empire

 

During the French Revolution the Château did not suffer any significant damage, but all the furniture was sold at auction. The buildings were occupied by the Central School of the Department of Seine-et-Marne until 1803, when Napoleon I installed a military school there.

 

As he prepared to become Emperor, Napoleon wanted to preserve as much as possible of the palaces and protocol of the Old Regime. He chose Fontainebleau as the site of his historic 1804 meeting with Pope Pius VII, who had travelled from Rome to crown Napoleon Emperor.

 

Napoleon had a suite of rooms decorated for the Pope, and had the entire Château refurnished and decorated. The bedroom of the Kings was transformed into a throne room for Napoleon. Apartments were refurnished and decorated for the Emperor and Empress in the new Empire style.

 

The Cour du Cheval Blanc was re-named the Cour d'Honneur. One wing facing the courtyard, the Aile de Ferrare, was torn down and replaced with an ornamental iron fence and gate, making the façade of the Palace visible.

 

The gardens of Diane and the gardens of the Pines were replanted and turned into an English landscape garden.

 

Napoleon's visits to Fontainebleau were not frequent, because he was occupied so much of the time with military campaigns. Between 1812 and 1814, the Château served as a very elegant prison for Pope Pius VII. On the 5th. November 1810, the chapel of the Château was used for the baptism of Napoleon's nephew, the future Napoleon III, with Napoleon serving as his godfather, and the Empress Marie-Louise as his godmother.

 

Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on the 4th. April 1814. On the 20th. April, after failing in an attempt to commit suicide, he gave an emotional farewell to the soldiers of the Old Guard, assembled in the Court of Honor. Later, during the One Hundred Days, he stopped there on the 20th. March 1815.

 

In his memoires, written while in exile on Saint Helena, he recalled his time at Fontainebleau:

 

"The true residence of Kings, the house of

the centuries. Perhaps it was not a rigorously

architectural palace, but it was certainly a place

of residence well thought out and perfectly

suitable. It was certainly the most comfortable

and happily situated palace in Europe.”

 

The Château during the Restoration and the Reign of Louis-Philippe (1815–1848)

 

Following the restoration of the Monarchy, Kings Louis XVIII and Charles X each stayed at Fontainebleau, but neither made any major changes to the palace. Louis-Philippe was more active, both restoring some rooms and redecorating others in the style of his period.

 

The Hall of the Guards and Gallery of Plates were redecorated in a Neo-Renaissance style, while the Hall of Columns, under the ballroom, was remade in a neoclassical style. He added new stained glass windows, made by the royal manufactory of Sèvres.

 

The Château During the Second Empire

 

Emperor Napoleon III, who had been baptised at Fontainebleau, resumed the custom of long stays at the Château, particularly during the summer. Many of the historic rooms, such as the Galerie des Cerfs, were restored to something like their original appearance, while the private apartments were redecorated to suit the tastes of the Emperor and Empress.

 

Numerous guest apartments were squeezed into unused spaces within the buildings. The old theatre of the palace, built in the 18th. century, was destroyed by a fire in the wing of the Belle Cheminée 1856. Between 1854 and 1857 the architect Hector Lefuel built a new theatre in the style of Louis XVI.

 

On the ground floor of the Gros Pavilion, the Empress Eugénie built a small but well-stocked museum, containing gifts from the King of Siam in 1861, and works of art taken during the pillage of the Summer Palace in Beijing.

 

The museum also featured paintings by contemporary artists, including Franz Xaver Winterhalter, and the sculptor Charles Henri Joseph Cordier. Close by, in the Louis XV wing, the Emperor established his office, and the Empress made her Salon of Lacquer.

 

These were the last rooms created by the royal residents of Fontainebleau. In 1870, during the Franco-German War, the Empire fell, and the Château was closed.

 

The Château from the Third Republic to the Present Day

 

During the Franco-Prussian War, the palace was occupied by the Prussians on the 17th. September 1870, and briefly used as an army headquarters by Frederic Charles of Prussia from March 1871.

 

Following the war, two of the buildings became the home of the advanced school of artillery and engineering of the French Army, which had been forced to leave Alsace when the province was annexed by Germany.

 

The Château was occasionally used as a residence by the Presidents of the Third Republic, and to welcome state guests including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895) and King Alphonse XIII of Spain (1913).

 

It also received a visit by the last survivor of its royal residents, the Empress Eugenie, on the 26th. June 1920.

 

The façades the major buildings received their first protection by classification as historic monuments on the 20th. August 1913.

 

In 1923, following the Great War, the Château became the home of the Écoles d'Art Américaines, schools of art and music, which still exist today. In 1927 it became a national museum. Between the wars the upper floors of the wing of the Belle Cheminée, burned in 1856, were rebuilt by a grant from the Rockefeller Foundation.

 

During World War II, Fontainebleau was occupied by the Germans on the 16th. June 1940, and occupied until the 10th. November 1940, and again from the 15th. May to the end of October 1941.

 

Following the war, part of the Château became a headquarters of the Western Union and later NATO's Allied Forces Central Europe/Supreme Headquarters Allied Powers Europe, until 1966.

 

The general restoration of the Château took place between 1964 and 1968 under President Charles De Gaulle and his Minister of Culture, Andre Malraux. It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased the royal stables, and began their restoration.

 

Beginning in 2007, restoration began of the theatre of the Château, created by Napoleon III during the Second Empire. The project was funded by the government of Abu-Dhabi, and in exchange the theater was renamed after Sheik Khalifa Bin Zayed al Nahyan. It was inaugurated on the 30th. April 2014.

 

On the 1st. March 2015, the Chinese Museum of the Château was robbed by professional thieves. They broke in at about six in the morning, and, despite alarms and video cameras, in seven minutes stole about fifteen of the most valuable objects in the collection, including the replica of the crown of Siam given by the Siamese government to Napoleon III, a Tibetan mandala, and an enamel chimera from the reign of the Qianlong Emperor (1736–1795).

 

The Grand Apartments at Fontainebleau

 

The Gallery of Francis I

 

The Gallery of Francis I is one of the first and finest examples of Renaissance decoration in France. It was originally constructed in 1528 as a passageway between the apartments of the King with the oval courtyard and the great chapel of the convent Trinitaires, but in 1531 Francis I made it a part of his royal apartments, and between 1533 and 1539 it was decorated by artists and craftsmen from Italy, under the direction of the painter Rosso Fiorentino, in the new Renaissance style.

 

The lower walls of the passage were the work of the master Italian furniture maker Francesco Scibec da Carpi; they are decorated with the coat of arms of France and the salamander, the emblem of the King. The upper walls are covered by frescoes framed in richly sculpted stucco. The frescoes used mythological scenes to illustrate the virtues of the King.

 

On the side of the gallery with windows, the frescoes represent Ignorance Driven Out; The Unity of the State; Cliobis and Biton; Danae; The Death of Adonis; The Loss of Perpetual Youth; and The Battle of the Centaurs and the Lapithes.

 

On the side of the gallery facing the windows, the frescoes represent: A Sacrifice; The Royal Elephant; The Burning of Catane; The Nymph of Fontainebleau (painted in 1860–61 by J. Alaux to cover a former entry to the gallery); The Sinking of Ajax; The Education of Achilles and The Frustration of Venus.

 

The Ballroom

 

The Ballroom was originally begun as an open passageway, or loggia, by Francis I. In about 1552 King Henry II closed it with high windows and an ornate coffered ceiling, and transformed it into a room for celebrations and balls.

 

The 'H', the initial of the King, is prominent in the decor, as well as figures of the crescent moon, the symbol of Henry's mistress Diane de Poitiers.

 

At the western end is a monumental fireplace, decorated with bronze statues originally copied from classical statues in Rome. At the eastern end of the room is a gallery where musicians played during balls.

 

The decor was restored many times over the years. The floor, which mirrors the design of the ceiling, was built by Louis-Philippe in the first half of the 19th. century.

 

The frescoes on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate, following drawings by Primatice. On the garden side of the ballroom, they represent: The Harvest; Vulcan forging weapons for Love at the request of Venus; Phaeton begging the sun to let him drive his chariot; and Jupiter and Mercury at the home of Philemon and Baucis.

 

The frescoes on the side of the Oval Courtyard represent: The feast of Bacchus; Apollo and the Muses on Mount Parnassus; The Three Graces dancing before the gods; and The wedding feast of Thetis and Peleus.

 

St. Saturnin's Chapel

 

Behind the ballroom, there is St. Saturnin's Chapel. The lower chapel was originally built in the 12th. century, but was destroyed and completely rebuilt under Francis I. The windows made in Sèvres were installed during Louis Philippe's period, and were designed by his daughter Marie, an artist herself.

 

The upper chapel was the royal chapel decorated by Philibert de l'Orme. The ceiling, made in the same style as the ballroom, ends with a dome.

 

Room of the Guards

 

A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX. Some traces of the original decor remain from the 1570's, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri.

 

In the 19th. century Louis Philippe turned the room into a salon, and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, along with a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms that were built the 15th. and early 16th. century.

 

The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II.

 

The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832.

 

During the reign of Napoleon III, the hall was used as a dining room.

 

Stairway of the King

 

The stairway of the King was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu, the Duchess of Étampes, a favorite of the King.

 

It was designed by the architect Ange-Jacques Gabriel, who used many decorative elements from the earlier room, which had originally been decorated by Primatice.

 

The upper portion of the walls is divided into panels, oval and rectangular, with scenes representing the love life of Alexander the Great. The paintings are framed by large statues of women by Primatice. The eastern wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th. century with paintings by Abel de Pujol.

 

The Queen's Bedroom

 

All of the Queens and Empresses of France from Marie de Medici to the Empress Eugènie slept in the bedchamber of the Queen. The ornate ceiling over the bed was made in 1644 by the furniture-maker Guillaume Noyers for the Dowager Queen Anne of Austria, the mother of Louis XIV, and bears her initials.

 

The room was redecorated by Marie Leszczynska, the Queen of Louis XV in 1746–1747. The ceiling of the alcove, the decoration around the windows and the wood panelling were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. The decoration of the fireplace dates to the same period.

 

The doors have an arabesque design, and were made for Marie-Antoinette, as were the sculpted panels over the doors, installed in 1787. The bed was also made especially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. it was used instead by Napoleon's wives, the Empress Josephine and Marie-Louise of Austria.

 

The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model.

 

The furniture in the room all dates to the First Empire. The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The armchairs with a sphinx pattern, the consoles and screen and the two chests of drawers were placed in the room in 1806.

 

The Boudoir of Marie-Antoinette

 

The boudoir next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and permitted the Queen to have a measure of privacy.

 

The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork.

 

The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect Pierre Rousseau (1751-1829); the wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé.

 

Eight figures of the Muses were made in plaster by Roland; the ornate mantle of the fireplace was made by Jacques-François Dropsy, and decorated with glided bronze works by Claude-Jean Pitoin.

 

The mahogany parquet floor, decorated with the emblems of the Queen, was made by Bernard Molitor, and finished in 1787. The painted ceiling, by Jean-Simon Berthélemy, shows Aurora with a group of angels.

 

The furnishings were designed for the room by Jean-Henri Riesener, using the finest materials available; mother of pearl, gilded bronze, brass, satin and ebony. Some of the original furnishings remain, including the cylindrical desk and the table, which were made between 1784 and 1789.

 

The two armchairs are copies of the originals made by Georges Jacob which are now in the Gulbenkian Museum in Lisbon, while the footstool is the original.

 

The Throne Room of Napoleon (former bedroom of the King)

 

The Throne Room was the bedroom of the Kings of France from Henry IV to Louis XVI.

 

In 1808 Napoleon decided to install his throne in the former bedroom of the Kings of France in the location where the royal bed had been. Under the Old Regime, the King's bed was a symbol of royal authority in France and was saluted by courtiers who passed by it. Napoleon wanted to show the continuity of his Empire with the past monarchies of France.

 

The majority of the carved wood ceiling, the lower part of the wood panelling, and the doors date to the reign of Louis XIII. The ceiling directly over the throne was made at the end of the reign of Louis XIV.

 

Louis XV created the portion of the ceiling directly over the throne, a new chimney, sculpted wooden medallions near the fireplace, the designs over the doors, and the fine carved woodwork facing the throne (1752–54).

 

He also had the ceiling painted white and gilded and decorated with mosaics, to match the ceiling of the bedroom of the Queen.

 

Napoleon added the standards with his initial and the Imperial eagle. The decoration around the throne was originally designed in 1804 by Jacob-Desmalter for the Palace of Saint-Cloud, and the throne itself came from the Tuileries Palace.

 

The chimney was originally decorated with a portrait of Louis XIII painted by Philippe de Champaigne, which was burned in 1793 during the French Revolution. Napoleon replaced it with a portrait of himself, by Robert Lefèvre. In 1834, King Louis-Philippe took down Napoleon's picture and replaced with another of Louis XIII.

 

The Council Chamber

 

The Council Chamber, where the Kings and Emperors met their closest advisors, was close to the Throne Room. It was originally the office of Francis I, and was decorated with painted wooden panels showing following designs of Primatice, the virtues and the heroes of antiquity.

 

The room was enlarged under Louis XIV, and the decorator, Claude Audran, followed the same theme.

 

The room was entirely redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel, with arcades and wooded panels showing the virtues, and allegories of the seasons and the elements, painted by Jean-Baptiste Marie Pierre and Carle van Loo.

 

The painter Alexis Peyrotte added another series of medallions to the upper walls depicting floral themes, the sciences and arts. The five paintings on the vaulted ceiling were the work of François Boucher, and show the seasons and the sun beginning its journey and chasing away the night.

 

A half-rotonda on the garden side of the room was added by Louis XV in 1773, with a painted ceiling by Lagrenée depicting Glory surrounded by his children.

 

The room was used as a council chamber by Napoleon I, and the furnishings are from that time. The armchairs at the table for the ministers are by Marcion (1806) and the folding chairs for advisors are by Jacob-Desmalter (1808).

 

Apartment of the Pope and of the Queen-Mothers

 

The apartment of the Pope, located on the first floor of the wing of the Queen Mothers and of the Gros Pavillon, takes its name from the 1804 visit of Pope Pius VII, who stayed there on his way to Paris to crown Napoleon I the Emperor of France.

 

He stayed there again, involuntarily, under the close supervision of Napoleon from 1812 to 1814. Prior to that, beginning in the 17th. century it was the residence of the Queen Mothers Marie de' Medici and Anne of Austria.

 

It was also the home of the Grand Dauphin, the oldest son of Louis XIV. In the 18th. century it was used by the daughters of Louis XV, and then by the Count of Provence, the brother of Louis XVI.

 

During the First Empire it was used by Louis, the brother of Napoleon, and his wife Queen Hortense, the daughter of the Empress Josephine. During the reign of Louis-Philippe, it was used by his eldest son, the Duke of Orleans.

 

During the Second Empire, it was occupied by Stephanie de Bade, the adopted niece of Napoleon I. It was restored in 1859–1861, and used thereafter for guests of high rank. It was originally two apartments, which were divided or joined over the years depending upon its occupants.

 

The Grand Salon, the Antechamber to the Bedroom of the Queen-Mother (Mid-17th. century)

 

The Salon de Reception was the anteroom to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies.

 

The room was created in 1558 by Ambroise Perret as the bedroom of Henry II in the pavilion des Poeles, a section of the Château that was later destroyed. Anne had it moved and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period.

 

The decor of the bedroom dates largely to the 1650's; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard; richly carved wood paneling featuring oak leaves and putti; and paintings over the doors of Anne of Austria costumed as Minerva and Marie-Therese of Austria costumed as Abundance, both painted by Gilbert de Sève.

 

The bedroom was modified in the 18th. century by the addition of a new fireplace and sculptured borders of cascades of flowers around the mirrors added in 1784. During the Second Empire, painted panels imitating the style of the 17th. century were added above the mirrors and between the mirrors and the doors.

 

The Gallery of Diana

 

The Gallery of Diana, an eighty-metre (242 feet) long corridor now lined with bookcases, was created by Henry IV at the beginning of the 17th. century as a place for the Queen to promenade. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represented scenes from the myth of Diana, goddess of the Hunt.

 

At the beginning of the 19th. century, the gallery was in ruins. In 1810 Napoleon decided to turn it into a gallery devoted to the achievements of his Empire. A few of the paintings still in good condition were removed and put in the Gallery of Plates.

 

The architect Hurtault designed a new plan for the gallery, inspired by the Grand Gallery of the Louvre, featuring paintings on the ceiling illustrating the great events of Napoleon's reign.

 

By 1814 the corridor had been rebuilt and the decorative frames painted by Moench and Redouté, but the cycle of paintings on the Empire had not been started when Napoleon fell from power.

 

Once the monarchy was restored, King Louis XVIII had the gallery completed in a neoclassical style. A new series of the goddess Diana was done by Merry-Joseph Blondel and Abel de Pujol, using the painted frames prepared for Napoleon's cycle.

 

Paintings were also added along the corridor, illustrating the history of the French monarchy, painted in the Troubador style of the 1820's and 1830's, painted by a team of the leading academic painters.

 

Beginning in 1853, under Napoleon III, the corridor was turned into a library and most of the paintings were removed, with the exception of a large portrait of Henry IV on horseback by Jean-Baptiste Mauzaisse. The large globe near the entrance of the gallery, placed there in 1861, came from the office of Napoleon in the Tuileries Palace.

 

The Apartments of Napoleon

 

In 1804 Napoleon decided that he wanted his own private suite of apartments within the Palace, separate from the old state apartments. He took over a suite of six rooms which had been created in 1786 for Louis XVI, next to the Gallery of Francis I, and had them redecorated in the Empire style.

 

The Emperor's Bedroom

 

Beginning in 1808, Napoleon had his bedroom in the former dressing room of the King. From this room, using a door hidden behind the drapery to the right of the bed, Napoleon could go directly to his private library or to the offices on the ground floor.

 

Much of the original decor was unchanged from the time of Louis XVI; the fireplaces, the carved wooden panels sculpted by Pierre-Joseph LaPlace and the sculpture over the door by Sauvage remained as they were.

 

The walls were painted with Imperial emblems in gold on white by Frederic-Simon Moench. The bed, made especially for the Emperor, was the summit of the Empire style; it was crowned with an imperial eagle and decorated with allegorical sculptures representing Glory, Justice, and Abundance.

 

The Emperor had a special carpet made by Sallandrouze in the shape of the cross of the Legion of Honor; the branches of the cross alternate with symbols of military and civilian attributes.

 

The chairs near the fireplace were specially designed, with one side higher than the other, to contain the heat from the fire while allowing the occupants to see the decorations of the fireplace.

 

The painting on the ceiling of the room was added later, after the downfall of Napoleon, by Louis XVIII. Painted by Jean-Baptiste Regnault, it is an allegory representing The clemency of the King halting justice in its course.

 

The study was a small room designated as Napoleon's work room. In 1811 he added the camp bed, similar to the bed he used on his military campaigns, so he could rest briefly during a long night of work.

 

The salon of the Emperor was simply furnished and decorated. It was in this room, on the small table on display, that the Emperor signed his abdication in 1814.

 

The Theatre

 

Concerts, plays and other theatrical productions were a regular part of court life at Fontainebleau. Prior to the reign of Louis XV these took place in different rooms of the palace, but during his reign, a theatre was built in the Belle-Cheminée wing. It was rebuilt by the architect Gabriel, but was destroyed by a fire in 1856.

 

It had already been judged too small for the court of Napoleon III, and a new theatre was begun in 1854 at the far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the opera theatre at the palace of Versailles and that of Marie-Antoinette at the Trianon Palace.

 

The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856.

 

The theatre was closed after the end of the Second Empire and was rarely used. A restoration began in 2007, funded with ten million Euros by the government of Abu-Dhabi. In exchange, the theatre was renamed after Sheik Khalifa Bin Zayed al Nahyan.

 

It was inaugurated on the 30th. April 2014. The theatre can be visited, but it no longer can be used for plays because some working parts of the theater, including the stage, were not included in the restoration.

 

The Chinese Museum

 

The Chinese Museum, on the ground floor of the Gros Pavillon close to the lake, was among the last rooms decorated within the Chateau while it was still an imperial residence.

 

In 1867, the Empress Eugenie had the rooms remade to display her personal collection of Asian art, which included gifts given to the Emperor by a delegation sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Summer Palace near Beijing by a joint British-French military expedition to China in 1860.

 

The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th. century Chinese screens, along with specially designed cases to display antique porcelain vases.

 

Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III.

 

The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre-Alexandre Schoenewerk. The room also served as a place for games and entertainment; an old bagatelle game and a mechanical piano from that period are on display.

 

In addition to the Chinese Museum, the Empress created a small office in 1868, the Salon of Lacquerware, which was also decorated with lacquered panels and Asian art objects, on the ground floor of the Louis XV wing. This was the last room decorated before the fall of the Empire, and the eventual transformation of the Château into a museum.

 

The Chapel of the Trinity

 

The Chapel of the Trinity was built at the end of the reign of Francis I to replace the old chapel of the convent of the Trinitaires. It was finished under Henry II, but was without decoration until 1608, when the painter Martin Freminet was commissioned to design frescoes for the ceiling and walls.

 

The sculptor Barthèlemy Tremblay created the vaults of the ceiling out of stucco and sculpture. The paintings of Freminet in the central vaults depict the redemption of Man, from the appearance of God to Noah at the launching of the Ark (Over the tribune) to the Annunciation.

 

They surrounded these with smaller paintings depicting the ancestors of the Virgin Mary, the Kings of Judah, the Patriarchs announcing the coming of Christ, and the Virtues.

 

Between 1613 and 1619 Freminet and Tremblay added paintings in stucco frames between the windows on the sides of the chapel, depicting the life of Christ. Freminet died in 1619, and work did not resume until 1628.

 

The Trinity chapel, like Sainte-Chapelle in Paris other royal chapels, had an upper section or tribune, where the King and his family sat, with a separate entrance; and a lower part, where the rest of the Court was placed.

 

Beginning in 1628, the side chapels were decorated with iron gates and carved wood panelling, and the Florentine sculptor Francesco Bordoni began work on the marble altar. The figure to the left depicts Charlemagne, with the features of Henry II, while the figure on the right depicts Louis IX, or Saint Louis, with the features of Louis XIII, his patron.

 

Bordoni also designed the multicolored marble pavement before the altar and on the walls of the nave. The painting of the Holy Trinity over the altar, by Jean Dubois the Elder, was added in 1642.

 

In the mid-17th. century the craftsman Anthony Girault made the sculpted wooden doors of the nave. while Jean Gobert made the doors of the tribune where the Royal family worshipped.

 

In 1741 the royal tribune was enlarged, while ornate balconies of wrought iron were added between the royal tribune and the simpler balconies used by the musicians and those who chanted the mass. In 1779, under Louis XVI, the frescoes of Freminet illustrating the life of Christ, which had deteriorated with time, were replaced by new paintings on the same theme. The paintings were done in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture.

 

Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by the architect Maximilien Hurtault.

 

Beginning in 1824, the chapel underwent a program of major renovation and restoration that lasted for six years. The twelve paintings of the life of Christ were removed, as well as the gates to the side chapels.

 

During the Second Empire, the wood panelling of the side chapels was replaced. The restoration was not completed until the second half of the 20th. century, when the twelve paintings, which had been scattered to different museums, were brought together again and restored in their stucco frames. Between 1772 and 1774, a small organ made by François-Henri Cilquot was installed on the left side of the chapel, near the altar.

 

On the 5th. September 1725, the chapel was the setting for the wedding of Louis XV and Marie Leszczynska. Napoleon III was baptized there on 4 November 1810, and Ferdinand-Philippe d'Orleans, the son of King Louis-Philippe, was married there to Helene de Mecklembourg Schwerin on the 30th. May 1837.

 

The Gardens and the Park at Fontainebleau

 

From the time of Francis I, the palace was surrounded by formal gardens, representing the major landscaping styles of their periods; the French Renaissance garden, inspired by Italian Renaissance gardens; the French formal garden, the favorite style of Louis XIV; and, in the 18th. and 19th. century, the French landscape garden, inspired by the English landscape garden.

 

The Garden of Diana

 

The Garden of Diana was created during the reign of Henry IV; it was the private garden of the King and Queen, and was visible from the windows of their rooms.

 

The fountain of Diana was originally in the centre of the garden, which at that time was enclosed by another wing, containing offices and later, under, Louis XIV, an orangery. That building, and another, the former chancellery, were demolished in the 19th. century, thereby doubling the size of the garden.

 

From the 17th. until the end of the 18th. century, the garden was in the Italian and then the French formal style, divided by straight paths into rectangular flower beds centred on the fountains, and decorated with statues, ornamental plants and citrus trees in pots.

 

It was transformed during the reign of Napoleon I into a landscape garden in the English style, with winding paths and trees grouped into picturesque landscapes, and it was enlarged during the reign of Louis-Philippe. it was opened to the public after the downfall of Napoleon III.

 

The fountain in the centre was made by Tommaso Francini, the master Italian fountain-maker, whose work included the Medici Fountain in the Jardin du Luxembourg in Paris.

 

The bronze statue of Diana, the goddess of the hunt, with a young deer, was made by the Keller brothers in 1684 for another royal residence, at Marly. It is a copy of an antique Roman statue, Diana of Versailles, which was given by the Pope to King Henry IV, and which is now in the Louvre.

 

The original statue of the fountain, made by Barthelemy Prieur in 1602, can be seen in the Gallery of the Cerfs inside the palace. The sculptures of hunting dogs and deer around the fountain were made by Pierre Biard.

 

The Carp Lake, English Garden, Grotto and Spring

 

The lake next to the palace, with an area of four hectares, was made during the reign of Henry IV, and was used for boating parties by members of the Court, and as a source of fish for the table and for amusement.

 

Descriptions of the palace in the 17th. century tell of guests feeding the carp, some of which reached enormous size, and were said to be a hundred years old. The small octagonal house on an island in the center of the lake, Pavillon de l'Étang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and is decorated with his initial.

 

The English garden also dates back to the reign of Henry IV. In one part of the garden, known as the garden of pines, against the wing of Louis XV, is an older structure dating to Francis I; the first Renaissance-style grotto to be built in a French garden, a rustic stone structure decorated with four statues of Atlas.

 

Under Napoleon, his architect, Maximilien-Joseph Hurtault, turned this part of the garden into an English park, with winding paths and exotic trees, including catalpa, tulip trees, sophora, and cypress trees from Louisiana, and with a picturesque stream and boulders.

 

The garden also features two 17th. century bronze copies of ancient Roman originals, the Borghese gladiator and the Dying Gladiator. A path leads from the garden through a curtain of trees to the spring which gave its name to the palace, next to a statue of Apollo.

 

The Parterre and Canal

 

On the other side of the Château, on the site of the garden of Francis I, Henry IV created a large formal garden, or parterre Along the axis of the parterre, he also built a grand canal 1200 metres long, similar to one at the nearby château of Fleury-en-Biere.

 

Between 1660 and 1664 the chief gardener of Louis XIV, André Le Nôtre, and Louis Le Vau rebuilt the parterre on a grander scale, filling it with geometric designs and paths bordered with boxwood hedges and filled with colourful flowerbeds.

 

They also added a basin, called Les Cascades, decorated with fountains, at the head of the canal. Le Nôtre planted shade trees along the length of the canal, and also laid out a wide path, lined with elm trees, parallel to the canal.

 

The fountains of Louis XIV were removed after his reign. More recently, the Cascades were decorated with works of sculpture from the 19th. century. A large ornamental fountain was installed in the central basin in 1817.

 

A bronze replica of an ancient Roman statue, "The Tiber", was placed in the round basin in 1988. It replaced an earlier statue from the 16th. century which earlier had decorated the basin.

 

Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal.

 

Immersive water created by Chalice Yao and myself for the PoundLife viewer. This is the second video I made to show it off back in July of 2018.

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Natural Ways To Improve Vaginal Tightness

5MP-9G4 Digital Camera

List of changes:

#1 More defined eyes

#2 Fixed fur details

#3 Less yellow, but looks like this due to lighting

+++ DISCLAIMER +++

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

  

Some background:

The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.

In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.

 

Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.

 

This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.

The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).

Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.

 

The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.

 

Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.

 

The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.

 

New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.

During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.

 

After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!

 

After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.

In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.

  

General characteristics:

Crew: 1

Length: 33’ 4” (10.173 m)

Wingspan: 37‘ (11.28 m)

Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade

Wing area: 235 sq ft (21.83 m²)

Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100

Empty weight: 7.180 lb (3,260 kg)

Gross weight: 9,650 lb (4,381 kg)

Max takeoff weight: 11,800 lb (5,357 kg)

Fuel capacity: 255 US gal (212 imp gal; 964 l)

Aspect ratio: 5.83

 

Powerplant:

1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp

(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller

 

Performance:

Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)

Cruise speed: 362 mph (583 km/h, 315 kn)

Stall speed: 100 mph (160 km/h, 87 kn)

Range: 855 mi (1,375 km, 747 nm) with internal fuel

1,200 mi (1,930 km, 1,050 nmi) with external tanks

Service ceiling: 30,100 ft (9,200 m)

Rate of climb: 3,200 ft/min (16.3 m/s) at sea level

Wing loading: 30.5 lb/sq ft (149 kg/m²)

Power/mass: 0.19 hp/lb (315 W/kg)

Lift-to-drag ratio: 14.6

Recommended Mach limit 0.8

 

Armament:

6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds

2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,

or 6 or 10 5” (127 mm) T64 HVAR rockets

  

The kit and its assembly:

A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.

The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:

- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult

- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage

- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.

- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.

- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.

- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!

- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage

- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away

 

On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.

 

The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.

While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.

  

Painting and markings:

Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.

 

The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.

The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.

Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.

The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).

 

In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.

Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.

 

The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.

 

The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.

 

Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.

  

After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).

+++ DISCLAIMER +++

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

  

Some background:

The AMD Mystère S represents one of the many evolutionary steps in French 2nd generation jet fighter aircraft design, which began with the straight-wing Dassault Ouragan and progressed through the Mystère II/III and Mystère IV to the supersonic Super Mystère SM2B. Internally designated AMD 461 and originally called the Mystère X (Roman numeral “10”, not the letter “X”), the new aircraft was the attempt to improve the successful Mystère IV from 1953 in many respects, following Marcel Dassaults strategy to take small, evolutionary steps instead of radical quantum leaps. While the overall outlines were similar and followed the proven layout of the former Dassault jet fighters, the AMD 461 was a completely new design, though.

 

First of all, the machine was from the start designed around the indigenous axial-flow Atar 101 jet engine, since it had become obvious that the former radial-flow engines used in Dassault’s fighters, like the Rolls-Royce Tay and its French-built version, the Hispano-Suiza Verdon 350, did not offer the potential for sustained supersonic performance in level flight. As a result, the fuselage became thinner and the aircraft had a less tubby look. Furthermore, in order to achieve the ambitious performance goals, a new wing was devised, and it incorporated leading edges made from novel composite materials. The wing shape was more complex than previous AMD designs: unlike the simple trapezoid Mystère II and IV wing designs, the AMD 461’s wings had kinked wing leading edges at about half span, so that the wing root sections were extended forward and had a slightly stronger sweep than the outer wing sections (47° vs. 45°), resulting in a crescent planform with rounded tips. Dogteeth at the kinks’ position increased the wings’ critical Mach number, augmented by small boundary layer fences. A novelty were power-operated ailerons. The tail surfaces were swept, too, and featured a variable-incidence tail plane.

 

The Mystère IV’s circular nose air intake arrangement was retained, but the intake received a sharper lip for better aerodynamic efficiency at high speed. The intake ducts were split deeper down inside of the fuselage, flanking the cockpit and the weapon bay behind it (see below) on both sides. The small ranging radar, originally developed for the upgraded Mystère IVB (which never made it into series production due to a fatal prototype crash and the progress of AMD’s other supersonic projects), was relocated and now mounted on top of the intake section, reminiscent of the F-86’s arrangement. A gun camera was placed outside of the intake in a small fairing on the starboard side. Two pitots under the air intake (one main and a secondary sensor) replaced the Mystère IV’s single wing-mounted sensor boom.

 

Being a classic “gunfighter”, the AMD 461’s main armament comprised a pair of 30mm DEFA cannon in the lower front fuselage, taken over from the Mystère IV, and a retractable Type 103 pannier for 45 unguided MATRA missiles against air or ground targets behind the front wheel well. Four underwing hardpoints could carry a total payload of 1.500 kg (3.300 lb), including a pair of supersonic 625 l drop tanks on the inner pair of pylons. A typical fighter weapon were lightweight Matra Type 116M launchers, each with 19 unguided SNEB-68 air-to-air rockets. Up to four could be carried under the wings. In a secondary attack/fighter bomber role, bombs of various caliber (up to 500 kg/1.100 lb on the inner and 250 kg/550 lb on the outer hardpoints) and other unguided missiles/pods were possible, too.

 

The first Mystère X prototype was powered by the Atar 101D with 29,420 N (6,610 lbf) of thrust, and it flew successfully in June 1953. However, due to the lack of an afterburner at this stage, the machine could only become supersonic in a dive, just like the former Mystère fighters, and it offered in this guise only minimal performance improvements – even though the handling near Mach 1 was already noticeably better. The initial flight test program was successful, though, and the Armée de l’Air immediately placed an order for 100 Mystère X aircraft, intended to improve the Armée de l’Air’s interception capabilities as soon as possible. Serial production started instantaneously, even while the flight tests were still ongoing, and the production machines were powered by the newly developed Atar 101F, which had just been cleared for production and operation on the Mystère X prototype. The Atar 101F was basically a D model with an afterburner added to it, to produce a temporary thrust of 37,300 N (8,400 lbf) and ensure the desired top speed in level flight of more than Mach 1. As a result, the Mystère X’s tail section had to be modified to accommodate the new engine’s longer tailpipe, which did not feature an adjustable nozzle yet – it was simply extended beyond the fin’s trailing edge, and even then the longer jet pipe protruded from the hull. However, this modification was successful and incorporated into the serial aircraft. With the Atar 101F, the serial production Mystère X’s performance was appreciably improved: beyond supersonic top speed, initial rate of climb was almost doubled in comparison with the Mystère IV, but the thirsty afterburner engine almost nullified any gain in range from the new type’s higher internal fuel capacity. Drop tanks had to be carried almost all the time.

 

The quick (if not hastened) order for the Mystère X also served as an insurance policy in the event of the AMD effort failing to produce an even more capable supersonic aircraft with the Mystère XX, a project that had been under development as a private venture in parallel, but with a time lag of about two years and benefitting from the research that had been done for the AMD 461. However, both designs turned out to be successful and both were adopted for service. They became known to the public as the Mystère S (for ‘supersonique’) and the Super Mystère, respectively. The first Super Mystère prototype, powered by a Rolls-Royce Avon RA.7R, took to the air on 2 March 1955, and the promising aircraft already broke the sound barrier in level flight the following day. The Super Mystère turned out to be the more capable and modern aircraft thanks to its new, more powerful Atar 109G-2 engine.

 

The more capable Super Mystère was immediately favored and, as a consequence, the running Mystère S order was cancelled in May 1955 and its initial production run limited to a mere 54 airframes - the number that had been completed until that point. The Super Mystère became the Armée de l’Air’s standard fighter for the late Fifties and production was quickly switched to the new type, 180 specimen were eventually built. Since a mix of types in the operational fighter squadrons was not economical, the Armée de l’Air decided to separate them and find a different role for the young but relatively small Mystère S fleet. Since the aircraft had a rugged airframe and had shown very good handling characteristics at medium to low altitude, and because the Armée de l’Air was lacking a fast, tactical and indigenous reconnaissance aircraft at that time (the standard type was the RF-84F), the Armée de l’Air decided in 1956 to convert the Mystère S fighters accordingly.

 

This modification was a relatively easy task: The retractable missile pannier (which was hardly ever used) was removed and its well behind the cockpit offered sufficient internal space for optical reconnaissance equipment in a conditioned compartment. This comprised four OMERA cameras (less than the RF-84F’s six cameras), covered by a ventral canoe fairing. One camera was facing forward, two were set on mounts that allowed vertical photography or camera orientation to either port or starboard, and the fourth camera had a panoramic field of view. After these modifications, the machines were re-designated Mystère SR to reflect their new role and capabilities.

 

Initially, the converted machines retained the twin DEFA cannon armament and full external stores capability. Typical load in the new photo-recce role was the standard pair of drop tanks, plus optional flares for night photography. In this guise the Mystère SR fleet was distributed among two reconnaissance units, ER 2/33 “Savoie” and ER 3/33 “Moselle” in Eastern France, close to the German border, starting service in April 1957.

Later in their career, the Mystère SR’s guns and also the ranging radar equipment (even though the empty small radome was retained) were often removed. This was initially a weight-saving measure for better performance, but due to their short legs many Mystère SRs had extra fuel tanks added to the former gun and ammunition bays. In some cases the space was used to house additional mission equipment, the aircrafts’ designation did not change, though. The integration of the new Matra R.550 Magic AAM was considered briefly in 1970, but not deemed relevant for the Mystère SR’s mission profile. However, eight late-production Mystère SRs received a new, bigger panoramic OMERA camera, which necessitated a larger ventral fairing and some other internal changes. These machines were re-designated Mystère SRP (‘panoramique’). Another early Mystère SR was used for the development of indigenous infra-red linescan and side looking airborne radar systems, which were both later incorporated in an under-fuselage pod for the Mirage IIIR.

 

Having become quickly obsolete through the introduction of 3rd generation jet fighters in the early Sixties – namely the Mirage III – the Mystère SR’s active career only lasted a mere 10 years, and the Mirage III’s fighter variants quickly replaced the Super Mystère, too. Due to its many limitations, the Mystère SR was soon replaced by the Mirage IIIR reconnaissance version, by 1974 all aircraft had been retired. Another reason for this early operational end were durability problems with the composite elements on the aircraft’s wings – there had been no long-term experience with the new material, but the elements tended to become brittle and collapse under stress or upon bird strikes. AMD conceived a plan to replace the affected panels with light metal sheets, but this update, which would have prolonged service life for 10 more years, was not carried out. After spending 5 years in mothballed storage, all surviving Mystère SR airframes were scrapped between 1980 and 1981.

  

General characteristics:

Crew: 1

Length: 42 ft 3 in (12.88 m) overall

42 ft 3 in (12.88 m) w/o pitots

Wingspan: 32 ft 4 in (9.86 m)

Height: 3.75 m (12 ft 4 in)

Wing area: 345.5 sq ft (32.2 m²)

Empty weight: 13,435 lb (6,094 kg)

Gross weight: 21,673 lb (9,831 kg)

Fuel capacity: 3,540 l (778 imp gal; 934 US gal) internally

plus 2x 625 l (72 imp gal; 165 US gal) drop tanks

 

Powerplant:

1× Atar 101F turbojet, rated at 29.42 kN (6,610 lbf) dry thrust

and with 37.3 kN (8,400 lbf) with afterburner

 

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph) at sea level

1,180 km/h (637 kn 732 mph,) at 11,000 m (36,089 ft)

Combat range: 915 km (494  nmi, 570 mi) with internal fuel only

Maximum range: 1,175 km (730 mi, 634 nmi)

Service ceiling: 45,800 ft (14,000 m)

Rate of climb: 14,660 ft/min (74.5 m/s)

Time to altitude: 40,000 ft (12,000 m) in 4 minutes 41 seconds

 

Armament:

2x 30mm (1.18 in) DEFA 552 cannon with 150 rounds per gun (later frequently deleted)

Four underwing hardpoints for 1.500 kg (3.300 lb) of ordnance,

including a pair of 625 liter drop tanks, flares and various unguided missiles and iron bombs

  

The kit and its assembly:

A project I had on my idea list for a long time – there were so many AMD jet fighter designs (both that entered service but also many paper projects and prototypes) during the Fifties and Sixties that I wondered if I could smuggle a what-if type somewhere into the lineage. A potential basis appeared when I recognized that the British Supermarine Swift had a fuselage shape quite similar to the contemporary French fighters, and from this impression the idea was born to “Frenchize” a Swift.

 

This called for a kitbash, and I used a Matchbox Mystère IV (Revell re-boxing) for the French donor elements that would be grafted onto an Xtrakit FR.5 model, which looks good in the box but has serious fit issues, e.g. between the rear fuselage halves or when the wings have to be mated with the completed fuselage.

The transplantations from the rather primitive/blunt Matchbox Mystère included the whole cockpit section except for the interior, which was taken from the in this respect much better Swift, the glazing, the spine and the whole tail with fin and stabilizers. The Swift provided most of the fuselage, the wings and the landing gear, even though I used the Mystère’s main wheels because of their characteristic hub caps/brake arrangement.

Mating the fuselage sections from the two models became a major stunt, though, because the diameters and shapes were rather different. Three-dimensional gaps and steps behihd the cockpit had to be bridged, initially with 2C putty for the rough overall shape and then with NC putty for a smooth finish. A gap in the spine in front of the fin had to be improvised/filled, too, and the Mystère’s fin had to be tailored to the different Swift rear fuselage shape, too.

The result looks a little odd, though, the Swift’s original air intake ducts now look from certain angles like hamster cheeks – but after all, the ducts have to pass the central cockpit section on both sides somehow, so that the arrangement makes nonetheless sense. And the small dorsal spine taken over from the Mystère changes the Swift’s profile considerably, as well as the shorter Dassault-style canopy.

 

The small ranging radar radome is just a piece of sprue from the Mystère kit, blended into the rest of the fuselage with putty. The interior of the air intake was heavily modified – the original splitter, positioned directly inside of the intake, was deleted and the walls trimmed down for a much thinner/sharper lip. Inside of the intake a bulkhead was added as a sight blocker, and a new splitter was mounted to the new bulkhead in a much deeper position. The gun camera fairing is a piece of styrene profile, the new twin pitots (reminiscent of the SM2B’s arrangement) were made from heated sprue material.

The camera fairing is the lower half from a P-47 drop tank, left over from a Hobby Boss kit, IIRC, and in order to fit the Swift’s cockpit tub into the Mystère’s fuselage the rear bulkhead had to be re-created with the help of paper tissue drenched with white glue.

The drop tanks come from a KP MiG-19, which had the benefit of integral, thin pylons at a suitable position for the Mystère SR. For a different look I just canted their fins downwards.

  

Painting and markings:

For a subtle impression I settled for an authentic livery: the French rendition of the USAF SEA scheme for the F-100 with local CELOMER tones, which was not only applied to the Armée de l’Air’s F-100s (these were originally delivered in NMF and camouflaged later in the Sixties), but also to the Super Mystères - the SM2Bs actually carried a quite faithful adaptation of the USAF’s F-100 pattern! However, the indigenous CELOMER paints differed from the original U.S. Federal Standard tones (FS 30219, 34102, 34079 and 36622, respectively), esp. the reddish light tan was more of an earth tone, and the dark green had a more bluish hue.

 

This offered some freedom – even more so because real life pictures of French reference aircraft show a wide range of shades of these basic tones and frequent serious weathering. Instead of the U.S. tan I went for RAF Dark Earth (Humbrol 29), the dark Forest Green was replaced with Humbrol 75 (Bronze Green). The light green became a 2:1 mix of Humbrol 117 (the original FS 34102) with Humbrol 78 (RAF Cockpit Green), for more contrast and less yellow in the tone. The undersides were painted with Humbrol 166 (RAF Light Aircraft Grey).

After a black ink wash I gave the model a thorough panel post-shading and recreated some lost panel lines with the help of silver paint, too. I also added some paint patches and touch-ups, for a rather worn look of the aircraft.

The black areas around the gun muzzles were created with the help of decal material, generic black decal sheet material was also used to create the camera windows. Grey (Revell 75) dielectric panels were added to the fin tip and behind the cockpit. The cockpit interior became very dark grey (Revell 09, Anthracite, with some dry-painted medium grey on top), while the landing gear and the respective wells were left in aluminum (Humbrol 56).

 

The decals are a mix from various sources. The ER 2/33 markings came from a Heller Mirage III sheet, which offers an optional IIIR from 1984. I also settled for relatively small roundels (from a Mirage F.1C) – a trend which started in the Armée de l’Air in the early Seventies and also comprised the deletion of the fin flash. Contemporary real world SM2Bs with the French SEA cammo frequently carried a similar type of subdued markings instead of earlier, bigger roundels found on the machines in NMF finish or on the aircraft from EC 1/12 "Cambresis" with their unique and different camouflage in two shades of green and a rather sandy tan, almost like a desert paint scheme. The white tactical code “33-PS” was improvised with single 4mm letters from TL Modellbau. The stencils were puzzled together from various Mirage III/V/F.1C sheets and also from an IAI Kfir.

 

The kit received some additional dry-painting with silver to simulate more wear, and was finally sealed with a coat of matt acrylic varnish.

  

Another “missing link” build, but I think that my Mystère S fits stylistically well into the (non-existent, though) gap between the Mystère IV and the Super Mystère, sporting vintage details like the round air intake but coupled with highly swept wings and the Swift’s elegant lines. The “traditional” French paint scheme adds to the realism - and, when put in the right background/landscape context, turns out to be very effective. Not a spectacular model, despite serious body work around the cockpit, but a convincing result.

Quite a common species locally. I had captured him in Puenta Arena of Chile 2 year ago.

In the rehearsal before the taping of a new infomercial for the new and improved ShamWowie 2, one of the show's demonstrators had put on his bathing suit, jumped into a tub of water, wrapped himself in the jumbo-sized ShamWowie 2 and then laid down on the floor- as he would during the taping- so then the host would proclaim that he would be completely dry in a matter of a few minutes as an example of the much greater absorbency of the new and improved product. However, he then fell asleep and was discovered a bit later by shocked backstage technicians as they realized just how vastly more absorbent the ShamWowie 2 is.

 

Oil on canvas 20x24"in

This is my first portrait .It is an other version of a painting of my "My Ideal Beauty".I did not like the origional painting so I painted the face again.I hope you like it!!!

If you want to see the other painting here is the link:

www.flickr.com/photos/jdcl/3047651433/in/set-721576086073...

And please stop asking whether my paintings are digital manipulated photographs because none of my painting are manipulated or copied,they are all free hand draw and painted on canvas.

improve yourself.

To improve safety for people travelling along Highway 19A through the shopping

district at the north end of Nanaimo, the Ministry of Transportation and Infrastructure is

reducing the speed limit to 70 km/h, effective Sunday, March 15, 2020.

Learn more: news.gov.bc.ca/21737

Improved Luke custom and Leia from Splinter Of The Mind's Eye with custom backpacks.

IMG_4973_181004-1_Low

Since I bought a softbox for the SR-2 Bioware social platforms "shoot" I am starting to get a few photos with better lighting/overall quality...

improved version

Improved switch mechanic for my gearbox.

 

It's an animated gif. To watch it:

-go to "download this photo"

-select "view all sizes"

-choose "original"

Karoonda Pioneer Park.

It is located in what was once the encircling parklands of Karoonda. These parklands, however we resurveyed for building blocks in 1928 but did not sell. It was reinstituted as parklands in 1982 and the Pioneer Park was started. The museum/park concentrates on pioneer farming techniques from 1910 to 1950 and the era when the railway was paramount in the Mallee. Old buildings in the Park include the Wynarka Methodist Church (1913), Bolt’s Bush Shed and Stables (1944), Westover’s Horse Shaft chaff cutter (1920s), Kunlara Post Office (about 1914), the first Hood family farmhouse (1913), and Brown’s blacksmith works (1914.) Structures from the railway era are quite prolific and include: railcar stock- sheep wagons, goods van, louvred van, Y truck for mallee roots, a 75 class railcar; Yurgo Railway Station; a railway siding; Mindarie Railway Pump House (1917); a pull trike; and an American made Brill(Barwell Bull) Railcar from Philadelphia which entered service in 1924. The Philadelphia Company provided chassis and the Islington Railway workshops built the body of the carriage. An improved version entered the service of South Australian Railways in 1927. The petrol running Brill cars were retired from service in 1971 after serving on almost all SAR country rail lines for nearly 50 years. (Henry Barwell was Premier of South Australia from 1920-1924 when the Brill cars first entered service and he was the man who authorised the erection of the current Adelaide Railway station. He also appointed William Webb from Colorado as the Chief Commissioner of the Railways in 1923. It was Webb who modernised SAR, expanded railway operations in Murray Bridge and Tailem Bend and introduced large, faster and heavier railway engines which necessitated rebuilding much of the railway line from Adelaide to Mount Lofty and elsewhere in SA. Webb returned to the USA in 1930 leaving SAR in debt but with good infrastructure which proved to be invaluable with troop and equipment movement during World War Two.

 

Karoonda.

Karoonda is the government town for the Hundred of Marmon-Jabuk which like the Hundred of Hooper was opened for sale in 1911.The town itself is right on the edge of the hundred because of the Brown’s Well railway line alignment which veered to this point because of a deep government well (220 feet) located here. Steam trains always needed good water supplies and so wells and bores were sunk across the Murray Mallee. There are excellent quality water supplies across the region which is why Lameroo and Pinnaroo have become major irrigation areas for vegetables. Beyond Karoonda the next deep government bore for water for steam trains was located at Alawoona. Regular passenger and freight trains started arriving at Karoonda from early 1913 but by then the government had already released plans for more railways in the Murray Mallee to Peebinga( the so-called railway to nowhere) and to Waikerie on the upper Murray.

 

Thus Karoonda was destined to be a major railway junction point from its inception with railway engines and cars and railway employees based in the future town. In fact the refreshment rooms were erected in 1914 as trains stopped in Karoonda for 10 minutes. Major work was done on the railway station in 1916 and from its inception the rail yards always had piles of mallee roots destined for the winter fires of Adelaide. Roots were obtained for the process of clearing the dense mallee and provided farmers with an additional source of income. Karoonda was the base for rail cars used on services to Peebinga, Waikerie, Barmera and Loxton. The rail services were a boon for Karoonda businessmen as Karoonda bakery sent items to stations most of the way to Loxton ; the blacksmith sent metal parts and repairs to sidings etc.

 

But most of the Mallee lines radiating out from Karoonda were closed during the 1980s but the Tookayerta Railway was converted to standard gauge in 1998. It allows standard gauge trains to operate between Tailem Bend and the Viterra Grain Terminal just outside of Loxton. It has grain stops at Karoonda, Mindarie, Wanbi, Alawoona and Loxton (Tookayerta). The only other rail line in the Mallee converted to standard gauge was the Pinnaroo line which also has grain trains in season. It also branches out from Tailem Bend. The railway lines north from Karoonda to Waikerie and east to Peebinga were closed in 1990 and Karoonda is no longer a rail junction.

 

Karoonda grew quickly despite the misgivings some had about the viability of farming in the Mallee. The town was

proclaimed in December 1913 and town lots were sold in January 1914. All the 103 allotments were purchased with prices for blocks opposite the railway line fetching the highest prices. One allotment was set aside by the government for an institute and in September 1914 a fine stone Institute hall had opened. This hall was crucial to the early settlers in Karoonda as the town school started in the hall in January 1915 and the first Anglican, Catholic and Methodist church services were held in this building. (The school was opened in 1917 and added to in 1928.) The first purchasers of town lots included a solicitor, blacksmith, butcher, greengrocer, storekeeper, hotelkeeper, fruiterer, carpenter, saddler, baker etc. Most of the first buildings were galvanised iron or timber framed and one example was the Bank of Adelaide which opened in 1914. The Karoonda Hotel opened in 1914 as the licensee of the hotel in Parrakie near Lameroo transferred his licensee to Karoonda. By the end of 1914 Karoonda had a police station, hotel, institute, four stores, a bakery, blacksmith, saddler, boarding house and some dwellings. Many of the early stone buildings were erected in 1915. Around 1918 Male Brothers from Murray Bridge opened their carriage and blacksmith works. By 1920 it had 40 employees.

 

In the 1920s Karoonda continued to grow and expand. New town subdivisions (1925 and 1928) were created south of the railway line and to the west of the existing town. The stone Post Office was completed in 1925; the Karoonda Hotel was extended in 1927 and 1930 (and again in 1961); the Institute had a movie projection box added to the front; the Masonic Lodge although formed in 1925 had their Temple open in 1930; the first Council Chambers were finished in 1927( before then a wooden prefab room was used); the Methodist church opened in 1925; All Hallows Anglican Church opened in July 1926; and St. Finian of Clonard Catholic Church opened in February 1930 and St. Johns Lutheran Church was completed in 1927. Then the Great Depression hit the town and drought years exacerbated its effects. The main structure built in the thirties was a new Police Station in 1938. Since the thirties a new besser block front has been added to the old Institute building (1962), new Council Chambers opened in 1981, and a new hospital was added to the town in 1970. As mentioned before Karoonda Area School was formed in 1940 with its official opening in January 1941. Its creation meant the closing of five surrounding small schools in 1940 and a further four school closures in 1941. Karoonda Area was the first in the state. New classrooms were built for it in 1963 and 1970. Karoonda is now surviving well as higher prices for wool and lamb and a more diversified range of cereal and legume crops adapted to low winter rainfall avoids low crop yields except in severe drought years.

Karoonda has a claim to fame that no other SA town can match. On 30th November 1930 a ball of fire was seen in the sky near Karoonda. A search by Professor Kerr Grant of the University of Adelaide located the meteorite that had landed near Karoonda two weeks after the sightings. It shattered on landing and 92 fragments of the meteorite were gathered. Professor Douglas Mawson the Professor of Geology analysed and described the meteorite for a 1934 scientific publication. It was an unusual meteorite type known as chondritic asiderite.It mainly consisted of olivine with minor amounts of a range of unusual minerals. A small fragment is kept in the Council Chambers. Its chemical composition was re-analysed in America in the 1950s. The town has a small plaque about the meteorite.

 

Just making it better-ish by adding new pieces due to the horrendous original design, and poor use of space.

My Toyo Nishiki Improved began its life as 5 cuttings. I originally called this tree a forest, because I viewed the cutting as separate. Now I view them as joined, but instead of a forest, I call it a thicket.

  

Brent Walston has had some difficulty with the Toyo Nishiki Improved, because apparently the stock plants have reverted to their original form.

  

With my tree, there have been changes but nothing quite so severe as what has happened to the stock plants. My tree is not a pure Toyo Nishiki, because the colors of the flowers aren’t pure red, pink and white.

  

My tree is beautiful to look at, so I’m intent on enjoying it for what it is, no matter what its name is.

Posting shots of churches we have visited has shown me that my photography has improved now I don't use the ultrawide angle lenses, so many churches need a revisit.

 

And with the orchid season now at an end, nearly, it is time to turn to churchcrawling.

 

And the easiest non-Kent church to revisit was Winchelsea, just over the border in East Sussex, also gave us the chance to call in at the fishmongers in Rye for some smoked haddock.

 

After the early morning coffee and then the rush round Tesco, back home to pack it all away and for me to make bacon butties and another brew.

 

And then: go west.

 

Traffic is not so mad now, so it was easy to drive to Folkestone then up the motorway to Ashford, before turning off, past the inland border facility, then out onto the Marsh past Hamstreet.

 

West of Brookland, the road meanders about, bend after bend, crossing and recrossing the railway until we reach Rye.

 

We stop to buy the fish, then round the river, over the bridge and out the other side, five miles to Winchelsea, turning off to go up the hill under the old town gate, parking near the village shop.

 

Whereas Rye was already busy, Winchelsea was quiet, and just past ten meaning the church had just opened.

 

We walk across the large churchyard through the ruins of the tower and into the church, where the triple wide nave was lines on the north and south walls with fine wall tombs.

 

I photograph each on in turn, and the corbel heads on each too.

 

I rephotograph the fine windows too, as despite being modern, they really are on another level.

 

One or two people come in, a family of three last 30 seconds before the mother and teenage son leave.

 

After completing the shots, I go out to meet up with Jools so we can walk to the shop to have ice cream, and sit to eat them on a bench looking at the north wall of the church.

  

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The town was planned on a gridiron pattern with the church occupying a dominant two-acre site near the centre. It was planned on a grand scale and work started in 1288 to erect a magnificent Gothic edifice, with a chancel and choir, two side chapels, a central tower, transepts and a great nave.

 

Building stone came from Caen in Normandy, marble from the west of Sussex and timber rafters made of sound Sussex oak. Highly skilled stonemasons worked on the carvings which include handsome sedilia in the chancel and side chapel. Three effigies of polished marble – once thought to have been rescued from the church in Old Winchelsea – were placed on the north side in memory of an unknown warrior, his wife and son, possibly the Godfrey family.

 

The first of the two chantries on the south side was endowed in 1312 by Stephen Alard to contain a tomb of supreme workmanship in memory of Gervase Alard, Admiral of the Western Fleet, probably Stephen’s father. The stone effigy is in full armour with raised hands to enclose a heart and a lion crouching at the feet. Two large angels supported the double cushion on which the head rests. A marginal inscription promises fifty days of pardon for those who pray for his soul. The delicately carved arch of the recessed canopy springs from the heads of King Edward I and his second wife, Margaret. The tomb provided the background for Sir John Millais’ painting ’L’Enfant du Regiment.’

 

The second monument is of a later date, with the arch springing from the heads of Edward II and Queen Isabella, sometimes known as ‘the she-wolf of France.’ It is reputed to be the tomb of Stephen Alard himself, who became Admiral of the Cinque Ports and the Western Fleet.

 

The centre of each canopy is surmounted by the head of a Green Man, a prominent pagan figure, associated with tree worship from at least as early as 500BC.

 

In 1337, in one of the first skirmishes of the Hundred Years War, the new town of Winchelsea was attacked and badly damaged in a French raid. Eleven years later the town was struck by the Black Death, which carried off, among many others, the Rector of St Thomas’, John Glynde.

 

In 1359 the French returned with a force of some three thousand men, gaining entrance one Sunday morning through the New Gate. There was little resistance as the men of the town were away on a similar mission of destruction in France. The women and children sheltered in St. Giles’s Church, now lost, where many of them were butchered ‘without regard to age, sex, degree or order.’

 

There was a further French raid in 1360 and, in 1380, a powerful Franco-Castilian fleet arrived to ‘fire Winchelsea and the approaches of London’. It is likely that this raid resulted in severe damage to the original nave. Over the next 100 years further deterioration occurred, including the collapse of the tower and transepts. Only very limited restoration work was affordable, particularly as the wealth of Winchelsea was ebbing away with the sea. The church was blocked off at the west end of the choir and a new entrance porch added in Tudor times.

 

During the Sixteenth Century Reformation, Winchelsea’s Dominican and Franciscan endowments were confiscated and later pulled down, including the hospitals.

On the accession of Queen Mary in 1547, the rector Peter Danyell was deprived of his living and replaced by the Catholic Robert Jordan. Danyell was reinstated on the accession of Queen Elizabeth in 1559.

 

During these turbulent years the interior of the church fell into a deplorable state of repair, made worse by the decline of trade due to the silting up of the town’s harbour and, possibly, to damage by Puritan iconoclasts. By the 1660s the diarist John Evelyn wrote of the ‘forlorn ruins’ he found in Winchelsea.

 

By the eighteenth century John Wesley, who came to preach here, wrote of ‘that poor skeleton of Ancient Winchelsea with its large church now in ruins.’

 

long serving rector at the time was the formidable Drake Hollingberry who held the living from 1767 to 1822. During his incumbency a large Georgian rectory was built on the site of the old St. Giles’, with many of its stones going to build a new harbour wall at Winchelsea Beach. An ancient Saxon tower which stood in the churchyard was also demolished for this purpose.

 

During the Napoleonic Wars several different regiments were lodged in Winchelsea‘s Barrack Square. The Church Register records that 72 soldiers belonging to various regiments were buried in the churchyard during the Peninsular War (1808-14).

 

In the early years of the nineteenth century, the church had become so dilapidated that it was declared ‘almost unfit for public worship’, but in 1850 the perilous condition of the fabric was finally realised and extensive repairs carried out. Since that time a constant watch has been kept on the state of the fabric, both inside and outside the church.

 

The three windows in the south aisle are dedicated to the themes of Land, Air and Fire, and Sea. The work of Dr Douglas Strachan (1875-1950) they are regarded as some of the finest stained glass of the modern era. They were presented to the church as a gift from Lord Blanesborough of Greyfriars and dedicated in 1933 by the Archbishop of Canterbury, in the presence of representatives of the Cinque Ports and the Ancient Towns.

 

The altar and retable in the Lady Chapel were also presented by Lord Blanesborough at this time as was the splendid organ above the west porch.

 

The windows on the south aisle were also designed and installed by Dr Strachan, including the beautiful east window which dominates the view of the church when entering through the west porch. The unusual window over the sedilia in the south wall commemorates the heroism of the crew of the Rye lifeboat, the Mary Stanford, who lost their lives while going to the rescue of another ship during a great storm in November 1928.

 

The clock on the north side of the tower was overhauled in Jubilee Year 1977 and again in 1998/9 when the beautiful dial was repainted. The cost was partly born by the Friends of Winchelsea Church, a voluntary organisation started in 1966 to raise money to help maintain the fabric of this beautiful church and to whom the parish owes a great debt of gratitude for the maintenance work that has been carried out in recent years.

 

winchelsea-icklesham-churches.org.uk/winchelsea/st-thomas...

Class 43 HST power car, 43062 "John Armitt" leads the Network Rail New Measurement Train ("NMT") into Crewe as it works 1Q30 10:55 Derby RTC to Crewe Carriage Sidings L&NWR Site via Chester, Holyhead and Liverpool Lime Street (amongst other places).

Posting shots of churches we have visited has shown me that my photography has improved now I don't use the ultrawide angle lenses, so many churches need a revisit.

 

And with the orchid season now at an end, nearly, it is time to turn to churchcrawling.

 

And the easiest non-Kent church to revisit was Winchelsea, just over the border in East Sussex, also gave us the chance to call in at the fishmongers in Rye for some smoked haddock.

 

After the early morning coffee and then the rush round Tesco, back home to pack it all away and for me to make bacon butties and another brew.

 

And then: go west.

 

Traffic is not so mad now, so it was easy to drive to Folkestone then up the motorway to Ashford, before turning off, past the inland border facility, then out onto the Marsh past Hamstreet.

 

West of Brookland, the road meanders about, bend after bend, crossing and recrossing the railway until we reach Rye.

 

We stop to buy the fish, then round the river, over the bridge and out the other side, five miles to Winchelsea, turning off to go up the hill under the old town gate, parking near the village shop.

 

Whereas Rye was already busy, Winchelsea was quiet, and just past ten meaning the church had just opened.

 

We walk across the large churchyard through the ruins of the tower and into the church, where the triple wide nave was lines on the north and south walls with fine wall tombs.

 

I photograph each on in turn, and the corbel heads on each too.

 

I rephotograph the fine windows too, as despite being modern, they really are on another level.

 

One or two people come in, a family of three last 30 seconds before the mother and teenage son leave.

 

After completing the shots, I go out to meet up with Jools so we can walk to the shop to have ice cream, and sit to eat them on a bench looking at the north wall of the church.

 

After we had finished our ice creams, we climbed back in the car. It wasn't yet half ten. Time for some more churches!

 

So, after driving back through Rye and into Kent, we call into Brookland so I could check if the tower was open, as I have never found it open. The church was, but the candlesnuff tower was locked.

 

No worries, there's always New Romney.

 

I first came here with my friend, Simon, in 2014 when there was a formal dinner being prepared, and a year ago, we arrived just after one to find the building being locked for the day.

 

We parked opposite and I see the sign advertising a craft and record fair, along with refreshments.

 

Inside there were stall set up, and people in the Chancel drinking tea and eating cake.

 

I was able to get shots of some of the memorials and details, which is why I came back, really.

 

The fair happens on only one Saturday per month, just my luck to pick a day when it was on.

 

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A wonderful church of grand proportions, the exterior of which is best seen from the east where the three reticulated windows chancel and chapels of the Decorated period may be clearly seen. The nave is Norman, with interesting decoration on the arcades and solid circular piers. The church was owned by Potigny Abbey and in the thirteenth and fourteenth centuries it invested heavily in rebuilding the east end, with fine octagonal pillars, piscinae and sedilia in each of the three eastern chapels. Between the chancel and chapels are hagioscope openings. It is interesting that the floor remains unrestored, with brick, tile and old ledger slabs. This is the result of the intervention of the Society for the Protection of Ancient Buildings when John Oldrid Scott started over-restoring the church in 1878. The early aisles must have been very low as the Norman clerestory windows rise straight from the top of the arcade. The best place to see Norman work at New Romney is in the main west door where the zigzag decoration has few parallels in the county.

 

www.kentchurches.info/church.asp?p=New+Romney

 

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THE TOWN AND PORT OF NEW ROMNEY,

WRITTEN in the survey of Domesday, Romenel, lies the next adjoining southward from Old Romney, to distinguish it from which it was called New Romney. The greatest part of it is within the liberty of the cinque ports, and of the corporation of the town and port of New Romney; another part is within the level of Romney Marsh, and the liberty and jurisdiction of the justices of it; and the residue is within the level of Walland Marsh, and the jurisdiction of the justices of the county.

 

THE TOWN of New Romney is supposed to owe its origin to the decay of the antient port and haven of Old Romney, which being rendered useless by the withdrawing of the sea from it, that of New Romney became frequented in its stead, and being esteemed a large and commodious harbour for shipping, and the town adjoining to it increasing to a considerable size, and being well filled with inhabitants, it gained the privilege of being one of the cinque ports, and had annexed as members to it Lid, Old Romney, Dengemarsh, and Oswardestone, and that part of the parish of Promhill within this county, with which jointly it was bound to provide five ships, with twenty one men and one boy to each of them. After the battle of Hastings, William the Conqueror, on his march to Dover castle, passed this town, where he is said to have revenged himself on the inhabitants, for having killed some of his men, who by mistake had landed here. (fn. 1) After which this haven seems to have been in danger of ruin; and king Henry III. being informed of its danger of being destroyed, by stoppage from the river at Newenden, directed Nicholas de Handloe to re pair hither in person, with the sheriff of Kent and twenty four knights and lawful men, to examine into it. And among the patent rolls in the tower is one, in consequence of it, for the new making of this port. In this state New Romney, in all probability continued till king Edward I.'s reign, when the river Limen, or Rother, as it was afterwards called, being forced from its old channel hither, by a violent tempest, which destroyed likewise part of the town and several villages near it, and the sea at the same time retiring to a still further distance from it, the haven was soon irretrievably choaked up by the beach and became dry land, and the town itself never regained its former consequence; yet in the regin of king Edward the Confessor, it seems to have been of considerable note; for at the time of taking the survey of Domesday, in the 15th year of the Conqueror's reign, which was little more than fourteen years from king Edward's death, it appears by the following mention of it, that there were in it eighty-five burgesses, which belonged to the archbishop's manor of Aldington.

 

In Romenel there are four times twenty and five burgesses, which belonged to the archbishop's manor of Aldington, and were, and now are worth to the lord sixpounds.

 

Besides which, Robert de Romenel, who held the manor of Lamport of the archbishop by knight's service, had twenty one burgesses here, which belonged to that manor, and fifty which he held of the bishop of Baieux, as may be seen by the following entries in the same record:

 

To this manor (viz. Lamport) belong twenty-one burgesses, which are in Romenel, of whom the archbishop has three forfeitures—theft, breach of the peace, and robbery on the highway. But the king has all service from them, and they have all customs and other forfeitures for service of the sea, and they are in the king's hands .

 

And further, under the general title of the bishop of Baieux's possessions:

 

The same Robert (de Romenel) has fifty burgesses in the burgh of Romenel, and of them the king has all service, and they are quit from the service of the sea, from all custom except in three—thest, breach of the peace, and forstel .

 

In the time of king Edward the Confessor, and afterwards, it was forty shillings, now fifty shillings. Alsi held it of earl Godwin .

 

Robert de Romenel certainly took his name from his possessions in this place. He is mentioned several times in the record of Domesday. Albritha de Rumenel, in the reign of king John, was marshal of the king's birds by inheritance, and married William de Iarpenvile; their daughter and heir Alice, married Thomas Fitzbernard, to whom and their heirs for ever, on the petition of their mother, the king granted that office after her death. The latter afterwards gave to the abbot and convent of St. Augustine, for her sepulture there, twelve pounds sterling of Old Rumenell and Langport, to be received of Stephen deAudintune, or whomsoever should posses the same. (fn. 2) Camden, in his Remains, says, Sir Robert de Romney, for so the name was afterwards spelt, bore for his arms, in imitation of the family of Criol, Two chevrons, and a canton, to which he added, on the latter, three leopards faces; and so late as the 1st year of king James I. Sir William Rumney, was sheriff of London, and there are some of this name still remaining. But to return, so great a number of burgesses as one hundred and fifty-six, serves to give us an idea of its antient state and populousness, and even at the time of the dreadful tempest which caused its ruin in king Edward I.'s reign, as mentioned before, it is said to have been divided into twelve wards, and to have had in it five parish churches, a priory, and an hospital for the sick. But when the river, by so tremendous a convulsion of nature, which not only destroyed men and cattle, but whole towns and villages, had been driven from its proper channel, and its antient mouth here being stopped up, had opened for itself a nearer passage into the sea by Rye, then the sea began to withdraw itself from this town, which afterwards decayed apace, insomuch, that in king Henry VIII.'s reign the sea was two miles distant from it, and there was only one parish church remaining, and that scarce well maintained. Leland, who wrote his Itinerary in that reign, says, "Rumeney is one of the v portes, and hath bene a netely good haven, yn so much that withyn remembrance of men shyppes have cum hard up to the towne and cast ancres yn one of the church yardes. The se ys now a ii myles fro the towne so sore therby now decayed that where ther wher iii great paroches and chirches sumtyme, is now scant one wel mayteined."

 

There were certainly four other parish churches besides the present one of St. Nicholas, as will be further mentioned hereafter, to which, on the decay of the others about the beginning of king Henry VIII.'s reign, the parishes belonging to them were, united and made one parish, as at this time. The town stands rather higher than the neighbouring country, on a soil of gravel and sand. There are about one hundred houses in it, which are mostly modern, neatly built of brick, and sashed, and about five hundred inhabitants. It consists principally of one very wide street, well paved, running the whole length of it, and a cross street, in that part of which leading to the church stands the hall, or brotherhood-house, where the mayor, jurats, and commons of the cinque ports and two antient towns usually keep their court, called a brotherhood, of late newly built in a handsome manner, but not large enough to hold the several members to sit there with them in their court, called a guestling, which is therefore kept in the church, usually on the Tuesday after the feast of St. Margaret, being the 20th of July. In the midst of the high-street is the market-place, a neat modern building, the market being kept here weekly on a Saturday; and there is a fair held yearly on the feast of St. Laurence, now, by the alteration of the stile, on August 21. There is an establishment of the customs here, under the out-port of Dover. On the east side of the town is a large common, of about three quarters of a mile in length, called Romney Warren, belonging to the corporation, the soil of which is a deep sand, and the surface of it exceedingly uneven, and thrown up in that form, as to induce us to believe the whole of it was once covered at times by the sea, and then deserted by that inconstant element. It consists of four hundred acres of land. The rest of the grounds round the town are an entire flat of marshes, very fertile; and those on the south side especialy, have a plain appearance of having been left by the sea, and since inclosed and made pasture ground of.

 

THE CINQUE PORTS were in very early times enfranchised with divers privileges and customs, though of what antiquity they were, or when enfranchised, has not as yet been with any certainty discovered; and therefore; they are held to enjoy all their earliest liberties and privileges as, time out of mind, by prescription, and these were confirmed to them and their members by magna charta, by the stile of, barons of the cinque ports; and again by one general charter of king Edward I. which by inspeximus received confirmation, and sometimes additions from most of the succeeding kings and queens of this realm. New Romney being one of the cinque ports, became thus a corporation by prescription, and in Edward III.'s time was incorporated, by the stile of barons of the town and port of New Romeny; afterwards by that of jurats and commonaltie of the town and port of New Romney; and lastly, by queen Elizabeth, who by her letters patent, in her 5th year, anno 1562, again incorporated this town, by the stile of the mayor, jurats, and commonaltie of the town and port of New Romney, and she by the same letters patent ratified all the privileges which they had enjoyed in the reign of king Edward the Confessor, or any other since. And likewise granted to them the soil of the river Rother, from the entrance of its haven here to Redhill beyond Apledore. The members mentioned in this charter, being a mayor, five jurats, and twentysix freemen, or commoners. But the charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to Colonel Strode, then governor of Dover castle, and were never returned again. By the above-mentioned charter of queen Elizabeth, the corporation is governed at this time. It consists at present of a mayor, ten jurats, (the mayor being one) and fifteen commoners or freemen, together with a chamberlain, recorder, and town clerk. The mayor, who is coroner by virtue of his office, is chosen on Lady-day, March 25th, yearly, and together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of the record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the cinque ports. It has the privilege of two maces. The arms of this town and port are, Azure, three lions passant-guardant, in pale, or.

 

The cinque ports, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons, to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.

 

Charities.

MARGREAT, daughter of James Boyes, late wife of William Swan, of St. Nicholas in New Romney, by her will anno 1502, gave every year perpetual, a thousand billets, against Christmas, to be delivered among poor people. to be paid out of her principal messuage, in which the then dwelt, by the possessors of it for ever.

 

ADRIAN MARDEN, of the town and port of New Romney. by his will in 1554, devised his smiths shop or forge, with the garden adjoining, to the use and intent that there should yearly for ever, be distributed among the poor people of the town, in the presence of the bailiffs, jurats, and churchwardens, the yearly rent of the premises, the reparations thereof being first deducted; and in default of such distribution, or reparation, then he gave the premises to the bailiffs, &c. their successors and assigns, for ever, for the like intent and uses.

 

ROBERT DODD, of Lid, by his will in 1570, gave his barn and lands in the town of New Romney, to be by the mayor and three of the jurats put to farm yearly for ever, the money thereof to be bestowed upon the reparations of the church of New Romney.

 

JOHN SOUTHLAND, gent. of New Romney, by his will in 1610, gave all his houses, lands, and tenements, to his executor Thomas Broadnax, of Godmersham, his son-in-law, upon condition that he should make over by due course of law, to remain and continue for ever, the house wherein his schoolmaster then dwelt, and all his houses and lands in the parishes of Harrietsham, Ulcombe, and Smarden, to the only use of a schoolmaster, and the relief of two couple of poor folk, and the said houses and lands his said executor should make a body politique and incorporate, for ever to endure, for their maintenance; the schoolmaster to pay out of those lands to the poor folk, 5l. by half-yearly payments clearly, and to the churchwardens of St. Nicholas, in New Romney, 5l. by like half-yearly payments to the reparations of the church for ever; and he ordered that the schoolmaster should keep the reparations of the houses and the closures, and should teach from time to time two poor children to write and read the English tongue, and cast accoumpt, until they should come to the age of 14 years clearly; and that the poor folk and poor children should be placed and displaced by the mayor from time to time; the schoolmaster to be a scholar of Oxford or Cambridge, sufficient to teach the Latin tougue as well as the English.

 

This hospital and school-house is situated in St. Nicholas. and is made use of for the residence of the schoolmaster, now called the governor, and the four poor folk. It was incorporated anno 30 Elizabeth. The estates left for the support of it consist of 30 acres of land and 18 acres of wood in Smarden, and one tenement with 51 acres of land in Harrietsham, and one other tenement and 12 acres of land in Ulcombe. The Rev. William Wing Fowle, A. M. of New Romney, is now governor or schoolmaster of it.

 

THOMAS BAKER, by his will in 1728, gave for the benefit of the four poor persons living in Southlands hospital, to be paid half yearly for ever, the rents of 20 acres of land in Ivychurch, now of the annual product of 25l. which is given away by the mayor and jurats. Likewise 5l. per annum, being part of an annuity of IIl. per annum, out of lands formerly belonging to Epps, but now of the widow Coates, lying in Old and New Romney and Midley, to be given yearly on the 14th day of October, for the benefit of poor persons, so estimated by the mayor and jurats; the same being annually distributed by the mayor of New Romney for the time being.

 

The poor constantly maintained are about fifty-four.

 

NEW ROMNEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.

 

The church, which is exempt from the jurisdiction of the archdeacon, is dedicated to St. Nicholas the bishop. It is very large and handsome, consisting of three isles and three chancels, having a square tower, with four pinnacles on it, at the west end, in which hang eight bells. The church is antient, the pillars between the isles being very large, with circular arches and Saxon ornaments. The tower at the west end seems still more so, having several ranges of small circular arches on the sides, and at the bottom is a circular arch, over a door-way, with zig-zag ornaments. The stone pinnacles on the top are of unequal sizes. On the roof is a stone work, of an octagon form, carried up a few feet only, seemingly for the purpose of continuing a spire of the same form on it. The inside of the church is fitted up exceedingly handsome and elegant. In the middle chancel, on the wainscot, on one side, are painted the arms of Furnese, with the hand of Ulster, impaling Broughe, and underneath Sir Henry Furnese beautified this chancel at his cost, and made the mayor and jurats seats, 1712. On the other side are the arms of Furnese impaling Balam, and underneath, Sir Robert Furnese, bart. combaron, completed the work of this chancel, begun by his fa ther Sir Henry Furnese, in 1713. Throughout the church and chancels are numerous monuments and memorials, mostly for those who have been mayors and jurats of the town, and their families, among which are those of Wilcocke, Martin, Wightwick, Mascall, Coates, Hassenden, Brett, Bassett, Pix, Baker, Cobbe, and Bachelor. In the middle chancel is a memorial for Arthur Kight, A. M. rector and vicar of Newchurch, obt. March 18, 1765. In the south chancel, a memorial for Joseph Philpot, gent. son of Joseph Philpot, of Worde, obt. 1768. A monument in the south chancel for Thomas Lancaster, obt. 1728, arms, Lancaster, argent, two bars, gules, on a canton of the second, a lion passant of the first . A like monument for Isaac Warguin, M. D. born in France, who fled from persecution to New Romney in 1689, where he practised physic, obt. 1725. In the north chancel is a fine tomb of Bethersden marble, with the figures in brass of a man and woman, and behind her of one daughter, for Thomas Smith, jurat, obt. 1610. A tomb of black marble for Thomas Tookey, gent. jurat, and once mayor and bailiff of Yarmouth, obt. 1653, arms at the east end, Tookey, a chevron engrailed, between three estoiles of six points , impaling ermine, on a chief dancette, three crowns . A stone, with a figure in brass, for Thomas Lambarde, of Romene, obt. 1514. Several memorials for the Tookeys. A memorial for Edward Goulstone, esq. sixth son of John, of Widdall, in Hertfordshire, esq. prothonotary of the king's bench, who married Joane, daughter and heir of Thomas Tookey, gent. of Romney; she afterwards married Mr. John Goulstone, late of Tutsham hall, who lies buried here. He died leaving Edward Goulstone, of Tutsham-hall, arms, Goulstone, two bars nebule, over them, on a bend, three balls . In the north isle, several memorials for the Normans, arms, A lion rampant; and for the Durants, arms, Argent, on a cross, gules, five fleurs de lis, or. A stone, with an inscription in brass, the figure gone, for William Holyngbroke, obt. 1375, arms, A chevron, between three estoiles; and several memorials for the Wilsons.

 

When this town was in its most flourishing state, there were four other parish churches in it besides the present one of St. Nicholas, named St. Laurence, St. Martin, St. John, and St. Michael, all which there is frequent mention of in the several wills in the Prerogative-office, Canterbury. The last of them I find mentioned in wills in the beginning of Henry VIII.'s reign, and the three former as late as the 25th year of it, but before the end of that reign they seem to have been all disused, and the present one of St. Nicholas to have been the only one in use, and to have been accounted the only parochial church of this town and parish of New Romney. Besides the church-yard adjoining to St. Nicholas's church, there are five others belonging to it, viz. that of St. Laurence, in Mr. Russell's land, and of St. Michael in the Hardres land, both near Old Romney; of St. John, St. Martin, and another of St. Laurence converted into a garden, all three in the town of New Romney. All which are now part of the glebe belonging to the vicar of New Romney. The church of St. Nicholas seems to have had some pre-eminence over the others; for though mention is made in the several wills in the Prerogative-office, in Canterbury, of the other churches, their church-yards, and the parish priests and curates of them, yet the several vicars of this church are always stiled in them, from the year 1458 downwards, vicars of New Romney, without any other distinction.

 

The church of St. Nicholas, of New Romney, was antiently part of the possessions of the abbot and convent of Pontiniac, in France, who had a cell or priory here, to which abbey this church was appropriated before the 8th year of king Richard II. anno 1384, at which time the church appropriate was valued at twenty pounds perannum, and the vicarage, among the small benefices not taxed to the tenth, at four pounds. On the suppression of the above abbey, among the rest of the alien priories, in the 2d year of Henry V. anno 1414, this church, with the advowson of the vicarage, came into the hands of the crown, where it remained till Henry VI. on the petition of archbishop Chicheley, in his 17th year, settled it on the warden and fellows of All Souls college, in Oxford, with whom the parsonage appropriate, and the advowson of the vicarage, still remain.

 

It appears by the valuation in the king's books, taken anno 26 Henry VIII. that the several parishes before-mentioned in this town, had been before then united to the mother church of St. Nicholas, which was at that time the only parish in it, and that the churches of St. Martin and St. Laurence were accounted but as chapels of ease to it. The vicarage of St. Nicholas, with those chapels, is valued in them at 6l. 16s. 3d. and the yearly tenths at 13s. 7½d. In 1588 it was valued at ninety pounds, communicants three hundred and sixty-one. In 1640, at 105l. the like number of communicants The parsonage is usually demised by the college of All Souls to the vicar for the time being, at the yearly rent of seven pounds, which is nearly the full annual produce of it. There are seven acres of glebe land.

 

The vicarage of New Romney was endowed by archbishop Arundel, in 1402, and a competent portion assigned to the vicar for his maintenance.

 

¶There were formerly continual controversies between the vicars of New Romney and their parishioners, concerning the payment of tithes in kind, and especially for setting aside the custom for the payment of two-pence an acre in money, in lieu of tithe-wool and pasturage in kind, other tithes being paid by composition at such rates as could be agreed on; and two suits were commenced in particular, by Knight, vicar, against Brett and Clark, on the same custom, the former in 1637, and the latter in 1640, at the king's bench bar. In the first of which, the jury gave their verdict against the vicar, and in the latter he was nonsuited; but the custom in the latter trial was so plainly proved, that it has been uniformly acquiesced in by the vicars to the present time.

 

www.british-history.ac.uk/survey-kent/vol8/pp446-464

Some background:

The G.91Y was an increased-performance version of the Fiat G.91 funded by the Italian government. Based on the G.91T two-seat trainer variant, the single Bristol Orpheus turbojet engine of this aircraft was replaced by two afterburning General Electric J85 turbojets which increased thrust by 60% over the single-engined variant. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats.

 

The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being licence-manufactured in Italy.

 

Flight testing of three pre-production aircraft was successful, with one aircraft reaching a maximum speed of Mach 0.98. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly.

 

An initial order of 55 aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered. In fact, the development of the new G.91Y was quite long, and the first order was for about 20 pre-series examples that followed the two prototypes. The first pre-series 'Yankee' (the nickname of the new aircraft) flew in July 1968.

 

AMI (Italian Air Force) placed orders for two batches, 35 fighters followed by another 20, later cut to ten. The last one was delivered around mid 1976, so the total was two prototypes, 20 pre-series and 45 series aircraft. No export success followed. These aircraft served with 101° Gruppo/8° Stormo (Cervia-S.Giorgio) from 1970, and later, from 1974, they served with the 13° Gruppo/32° Stormo (Brindisi).

 

Those 'Gruppi' (Italian equivalent of British 'squadrons', usually equipped with 18 aircraft) lasted until the early '90s, as the only ones equipped with the 'Yankee', using them as attack/recce machines, both over ground and sea, until the AMX replaced them. All in all, Italy operated 65 Fiat G.91Ys until 1994.

  

General characteristics:

Crew: one

Length: 11.67 m (38 ft 3.5 in)

Wingspan: 9.01 m (29 ft 6.5 in)

Height: 4.43 m (14 ft 6.3 in)

Wing area: 18.13 m² (195.149 ft²)

Empty weight: 3,900 kg (8,598 lb)

Loaded weight: 7,800 kg (17,196 lb)

Max. takeoff weight: 8,700 kg (19,180 lb)

Powerplant:

2 × General Electric J85-GE-13A turbojets, 18.15 kN (4,080 lbf) each

 

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph. (Mach 0.95 at 10,000 m (33,000 ft)

Range: 3,400 km (ferry range with droptanks) (2,110 mls)

Service ceiling: 12,500 m (41,000 ft)

Rate of climb: 86.36 m/s (17,000 ft/min)

Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)

Thrust/weight: 0.47 at maximum loading

 

Armament:

2× 30 mm (1.18 in) DEFA cannons

4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)

  

The kit and its assembly:

A real world model, and IMHO one of the nicest special paint schemes I've come across because it's so simple. For its 70th anniversary in 1987, the Italian Air Force's 13° Gruppo turned one of its 32° Stormo G.91Y fighter bombers (as far as I could tell it's 32-13, confirmed by a small code number on the frontal landing gear cover) into a fill-fledged shark, taking the squadron's markings (a classic shark mouth on the aircraft's nose) literally to full scale.

 

But instead of adding lots of glitter and colors, the scheme remained very simple - a black shark on a white background, with minimal markings and stencils. I've already built this aircraft many years ago when I saw it in a print magazine in 1988 or so (remember - there was no internet at that time!), but I had the plan to re-create it on the basis of more and better photo footage.

 

Said and done, I dug a Matchbox G.91Y out of the pile and started. The kit is pretty simple, and in this case the fit of the fuselage halves was questionable, calling for massive PSR along the seams. In some areas the kit is really primitive, so I made some minor cosmetic mods:

 

The cockpit "tub" with an integrated seat is a clumsy joke and was replaced by a cockpit floor with side consoles from a Revell G.91. The seat comes from a Matchbox Gnat trainer and was pimped with ejection handles made from thin wire.

 

The kit's landing gear is rather simple, too, but I took it OOB since noone would later look into the wells.

 

The jet exhausts were drilled open (OOB these are just blank covers, only 0.5 mm deep!) and inside some afterburners were simulated.

 

The molded guns were cut away, to be later replaced with free-standing hollow steel needles. In order to add some more exterior detail I also scratched the thin protector frames around the nozzles with thin wire.

 

Finally, the drop tanks were replaced by F-86 alternatives with end plate fins, which were typically carried by Italian G.91s, including the anniversary G.91Y (as confirmed by photo footage).

  

Painting and markings:

I must admit that the paint scheme is, to a certain degree, the result of a guessing game, because any shots I found are profiles views, even in flight! Some details, like the black fins on the wings and the stabilizers could be deduced from the material at hand, but I have no idea how the wings' undersides look like. I think that they remained all-white, just like the aircraft's belly - at least that's what the information I have suggest.

 

And even though the two-tone paint scheme is rather simple it's still challenging - esp. because I do not use an airbrush. As a consequence, I had to improvise with the means at hand, which meant a basic coat of acrylic white (actually an off-white Volkswagen car color called "Grauweiss") from the rattle can with the shark added on top of that with matt black (in this case from Modelmaster). This is not the smartest way to create the scheme, but I wanted to avoid tedious multi-layers of uneven, brushed white. Horror... :-(

 

Anyway, the white basic layer ended up thicker than I expected (the paint turned out to be a bit pastous due to age), but the black shark would cover many problem zones, anyway. Painting was done free-handedly, the only masking was used on the canopy during the white base spraying.

 

The finish was not perfect, but I did not want a "uniform" aircraft, anyway, since most of the aircraft's pictures show it in a used state and not as a pristine museum piece. After a black ink wash (in order to emphasize surface details) the final blemisches were covered under some post-shading and dry-brushing with various shades of black, very dark grey and white that would add some more structure to the hull.

 

The few markings of this aircraft were taken from the OOB sheet. Since I was not able to find pictures that show it from above or below. I guesstimated the warning stencils on the wings.

 

The drop tanks became all-white and the "70 anni" slogan on the outer flanks was created with single, black 3mm letters from TL Modellbau.

 

Finally the kit was sealed with rather matt varnish, a mix of matt and semi-gloss Italeri acyrlic varnish in a 4:1 ratio. Apparently, 32-13 had been painted in a rather dull finish, despite carrying an anniversary scheme.

  

Well, I am not 100% happy with the result, I had hoped for a better, sharper finish. But it's an improvement when compared to my first attempt to build this machine 30 years ago, and I still find this simple anniversary to be very stylish and elegant, since it goes so well with the G.91Y's lines.

 

The Museum of the Moon was still supposed to be on. Or, to be more accurate, I had not checked that it was still on, but would be a good excuse to return to Rochester for the first time in over a decade.

 

Last time here I took seven or so shots, I was hoping to improve on that.

 

But, as I was to find, the Moon moved out on Wednesday, so there was just the cathedral to look at and record, and I pretty much had the cathedral to myself.

 

There was a service in the chancel, so that and the Quire were out of bounds for a while, but once over I was given the nod I could go in.

 

How do you describe a cathedral? Especially one as grand and old as Rochester?

 

From the west, the cathedral doesn't look too big, but there is a viewing place from the High Street that shows the cathedral to be a large and complicated building.

 

Inside the nave is huge, with the organ towering over the altar. Through the doorway into the quire and the sanctuary beyond, and all the while, above the white vaulted ceiling reached from the high walls and columns.

 

All around the walls are memorials to the great and good of Kent, some tombs too. The step leading from the aisles to the sanctuary are worn down by the millions of feet that have climbed them over the centuries.

 

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

 

The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)

 

The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]

 

Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.

 

The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]

 

Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]

 

In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]

 

The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]

 

In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.

 

Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his

 

Gundulf's church

 

Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.

 

Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.

 

In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]

 

During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.

 

Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]

 

The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.

 

Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.

 

The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.

 

The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.

 

The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.

 

There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.

 

The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.

 

The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]

 

The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]

 

In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]

 

In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.

 

Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.

 

The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.

 

Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]

 

The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]

 

To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.

 

The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]

 

On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.

 

he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]

 

The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]

 

The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.

 

The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.

 

The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.

 

he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.

 

The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.

 

The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.

 

The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.

 

en.wikipedia.org/wiki/Rochester_Cathedral

So now that I have Photomatix 4.1 which can cope with moving objects, I decided to revisit my favourites. I was able to use my 3 RAW files and improve on the cloud definition of this image ( previous attempts were done with 1 RAW). Still used the cartoon filter ( I like the increased defintion) and added a flare in GIMP

List of changes:

#1 New hairdo, w/ Melee tiara

#2 Improved torso design

#3 Now has sword holder thingy (can even hold the sword)

#4 Used chopped up cape bits for the lower part of his clothes for more flexibility. (Not trying to copy Deku)

#5 Now has a blue sword tip (reference to the sweetspot in his attacks)

It's been over a year since I built my Mk1 coaches, so it's about time they got an upgrade. I've changed the colour to dark red, added some more structure so they're a lot more secure, changed the bogie design to be Commonwealths instead of BR1s and I added some more end detailing such as the doors in the gangways and the Electric Train Supply sockets. I'm pretty happy with the new design, they look classier and have that extra detail.

The new creator castle was fun to build and I am very happy that we finally have a castle set again. There are, however, a few aspects that can be vastly improved by actually very simple steps (not requiring too many special bricks).

So, here is my first take at a MOD of the castle - what are your ideas?

 

5: Increase the height of the tower walls.

The MTA is making improvements you see every day.

Always trying to improve my Still Life photography. These are my latest efforts. I used a strobe light in a soft box with a honeycomb grid to the left of the compositions. Homemade textures used in post processing to create the Dutch Master look.

Today Abe produces over 5 million eggs a year and enough chicken meat to feed 108,000 people.

  

Improvement is a gradual process. If you believe you're finished improving, then you're finished. #motivational #inspirational #dailymotivation #goodday #iloveNL #iloveCanada #exploreNL #exploreCanada

yellows 9

Sandia researcher Yifeng Wang examines a clay sample from South Dakota as part of iodide experiments. A team of Sandia researchers is working to understand how fast iodine-129 released from spent nuclear fuel would move through a deep clay-based geological repository.

 

Read more at bit.ly/2ZJM54Y.

 

Photo by Randy Montoya.

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Improved on our past commissioned Super G outfit with a more show accurate design for the belt and boots and some padding for the deltoid muscle of each arm. The new costume is made to fit the more muscular build of the Phicen S23B Body.

 

For one sixth scale tailoring commissions, please email you inquiries to geewhizcustoms@gmail.com

 

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Before putting the top on the culvert and rebuilding the road over it, crews very carefully place specific material in set locations to create a more natural creek bed habitat. This is determined early in the design process with many environmental partners: youtu.be/u7HT6oMqAco

improved re-upload (old version gets deleted)

The Watch

 

2016 Rolex Explorer 214270 (the 39mm with 3-hands) has a more relevant display. New hands, new indexes were with improved proportions. The iconic 3 – 6 – 9 indexes – considered the most important part of the Explorer – are now coated with blue Chromalight luminous material, as are the indexes and the hands.

 

The 2016 Rolex Explorer 214270 still features its 39mm Oyster case, in 904L stainless steel, water resistant to 100m, with flat and a polished bezel and a 3-link Oyster bracelet with brushed surfaces and the Oysterlock clasp, with the Easylink adjustment.

 

The 2016 Rolex Explorer 214270 also has the Superlative Chronometer certification, done in-house by Rolex and with stricter criteria (-2/+2 seconds per day). It also is guaranteed for 5 years.

 

Brief History of the Rolex Explorer

 

Most people believe the Explorer I was launched by Rolex for commemorating the Everest expedition and that this watch was with the British explorer team consisting of Edmund Hillary and Sherpa Tenzing Norgay on 29th, May of 1953 when they climbed to the top of Everest. This story sounds appealing, however, it is not accurate. Rolex supported the Himalayan expeditions beginning in 1933, and later the Everest expeditions. Rolex was the official supporter, and each explorer team was provided with Rolex wristwatches. The fact is, Rolex was not the only supporter. It is reported that when Edmund Hillary climbed to the top of Everest, he was wearing a watch from the British supporter Smith. Climber Tenzing Norgay wore a Rolex.

 

The Explorer was based on the already existing tough and hard wearing bubbleback, which was modified by Rolex for the more active and adventurous customers. In 1952, the references 6098 and 6150 (both using the A296 movement) were the first prototypes of Explorer to be used by climbers; they were watches with white dials and leaf shaped hands and did not bear the name Explorer yet.

 

Before Hillary and Norgay climbed Everest, Rolex did not name their watches Explorer. Although Rolex registered the trade mark Explorer in Geneva on 26th, Jan of 1953, the Explorer gained its name after Hillary and Norgay climbed Everest. “Explorer” was added on Ref.6350 after the successful climbing of 1953.

 

Improved cookstoves, Kenya. Photo: Flore de Preneuf / World Bank

 

Photo ID: FP-KE-0759

I tried using the flash on second curtain mode with a long shutter speed again, and this was the result. It could have been significantly improved if I had taken the photo a lot later, as the train would have been closer to the camera, and the lash therefore brighter.