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I haven't been at the workbench much lately but I did manage to get the handrails installed on one of the slugs. And once I get some drill bits to replace the ones I broke I can start on the other one and hopefully the S-13s that will be mated to them.
Atlantic Coast Line A-15 class modernized 52 seat coach # 1078, wearing the Royal Purple paint scheme, is seen at a station platform, ca late 1950's. These old heavyweight coaches in the A-15 class were rebuilt from the ground up in the ACL Emerson Shops. In many ways these cars were almost equal to the modern stainless steel lightweight ACL cars from Budd, PS & ACF. These cars rode on straight equalized six wheel roller bearing equipped integral cast trucks with brake cylinders included. You may observe the SKF roller bearings that are utilized in the six wheel trucks. The car had modern 52 seat layout with large up to date restrooms, new lighting and flooring. New AC systems and larger steam lines were installed. The exterior received welded side sheets, one vestibule was removed, large Thermopane windows, turtle back roof with flush ends and originally outside diaphragms, plus skirts and folding steps. The existing vestibule was rebuilt with stainless steel sheet flooring. Later the skirts were removed and the cars were painted in a dark coach green paint scheme. According to numerous passengers, including myself, it give a choice to ride in one of the A-15 coaches or in a lightweight stainless steel coach, this car would be chosen because it was quieter and provide I believe a smoother ride. A conductor is standing on the vestibule steps of the next modernized car that is painted in the coach green paint scheme. As a side note: These modernized heavyweight cars stood approximately 6 to 8 inches taller than the conventional lightweight cars of the time period, or as an Amtrak reference, the former Heritage lightweight fleet cars.
The name of the photographer that captured this image on film is unknown. This photo came from the Internet and was provided to me.
Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Sea Installer loads up on 3 MHI Vestas V164 8.0MW turbines bound for Burbo Bank extension offshore windfarm.
Belfast, Northern Ireland
installed a 0.8 mm nozzle and loaded up some red T-glase PETEish filament and set the layer thickness to 0.3 mm
this lowers the resolution, but improves the transparency
Technicians at NASA’s Michoud Assembly Facility in New Orleans have installed the first of four RS-25 engines on the core stage of the agency’s SLS (Space Launch System) rocket that will help power NASA’s first crewed Artemis mission to the Moon. During Artemis II, NASA astronauts Reid Wiseman, Victor Glover, Christina Koch, and CSA (Canadian Space Agency) astronaut Jeremy Hansen will launch on SLS and journey around the Moon inside the Orion spacecraft during an approximately 10-day mission in preparation for future lunar missions.
The Sept. 11 engine installation follows the joining of all five major structures that make up the SLS core stage earlier this spring. NASA, lead RS-25 engines contractor Aerojet Rocketdyne, an L3 Harris Technologies company, and Boeing, the core stage lead contractor, will continue integrating the remaining three engines into the stage and installing the propulsion and electrical systems within the structure.
All four RS-25 engines are located at the base of the core stage within the engine section, which protects the engines from the extreme temperatures during launch and has an aerodynamic boat tail fairing to channel airflow. During launch and flight, the four engines will fire nonstop for over eight minutes, consuming propellant from the core stage’s two massive propellant tanks at a rate of 1,500 gallons (5,678 liters) per second.
Each SLS engine has a different serial number. The serial number for the engine installed Sept. 11 in position two on the core stage is E2059. It along with the engine in position one, E2047, previously flew on space shuttle flights. E2047 is the most veteran engine of the entire set flying on Artemis II with 15 shuttle flights, including STS-98, which delivered the Destiny Laboratory Module to the International Space Station in 2001. The engines installed in positions three and four (E2062 and E2063) are new engines that include previously flown hardware.
NASA is working to land the first woman and first person of color on the Moon under Artemis. SLS is part of NASA’s backbone for deep space exploration, along with Orion and the Gateway in orbit around the Moon, and commercial human landing systems. SLS is the only rocket that can send Orion, astronauts, and supplies to the Moon in a single mission.
Image credit: NASA
#NASA #NASAMarshall #sls #spacelaunchsystem #nasasls #exploration #rocket #artemis #MichoudAssemblyFacility #ArtemisII
The Piaggio P166C model I-PIAS flew his last flight of his first life in early summer of 1985 landing in a little city airport of Milan (Milano Bresso LIMB)
Born in 1963 in Genova it was originally a B version of the particular twin engine pushing propeller seagull wing light transport aircraft. Soon after the first flights Piaggio following the request of some Australian commuting Airlines developed a special version of the P166. The main undercarriage had a different kinematik mechanism which retracted the landing gear in two external nacelles on the fuselage bottom sides. Two additional side windows were installed over the main gear to permit an unobstructed view at the 5 more passengers that could find place in the bigger rear compartment of the aircraft. This way the aircraft equipped with the new more powerful 380HP Lyicoming IGSO540 A1C engines could easily transport 1pilot and 12 passengers.
This aircraft construction number 411 was the demonstration aircraft of Piaggio and was flown to the main aeronautical events all over the world. At the end of the seventies I-PIAS (this were the first registration marks) was sold to an Italian commuting company called Transavio and was mainly used for passenger line flights from Milan (LIML) and Pisa(LIRP) to Elba Island. Increasing fuel costs and company problems lead to the grounding of the aircraft which was literally abandoned on Milano Bresso field for more than 18 years.
And here starts the second life of our beauty. It is early 2002 and 2 really mad Italian air force officers, one pilot and his chief of technical department who is a private pilot have the insane idea to restore to flight condition an old Piaggio. The P166 is their choice. After several months of research the I-PIAS was found and finally bought from Transavio for the stunning price of 50 euros. The aircraft was home of thousands of wasps and had been for a long time “home” of some homeless immigrates.(ethnical graffiti have been found decorating the inside of the aircraft) and its outer skin was used to promote DJ NELSON ( the career of this young artist probably did not improved too much, see airliners .net I-PIAS picture.)
Under the technical supervision of FEDERAZIONE CAP with full cooperation of his senior engineer Mr Rodolfo Galli and with total support of the president Alberto Folchini.
The aircraft was dismantled, Propellers ,engines, wings, were taken away two trucks were used to transfer the Piaggio for its 600 km trip to Guidonia a little city east of Rome. A hangar near the old military airport of LIRG one of the oldest airports in Italy, became the beauty clinic of our Piaggio until 2009 . Nine years, 17500 working hours and a bloody river of money, the complete reconstruction of all the aircraft systems:
Electrical system from the first wire to the n° 10000 with the complete reconstruction of the missing overhead panel and main electrical system box. Every component changed, bench tested or overhauled following the original Piaggio or manufacturer manuals.
Hydraulic system, Fuel System, Air system pretty the same, the aircraft painting was removed until the bare aluminium came in sight and was retreated to the final painting.
Fin, elevator, stabilizer, flaps, ailerons, flight controls and engines cables , every single bolt, nut, changed.
Engines overhauled with new pistons kit, fuel pumps and carburetors flying back and forth from Italy to USA.
Windshields, windows ,seats lighting system, passenger seats, pilot seats all changed with new components or undergone heavy maintenance. All the internal fittings removed and renewed.
Landing gear removed from the aircraft was refitted from Piaggio ,new tires were installed.
Propellers overhauled, fuel tanks refitted, I simply get too tired to recall every single work done on the aircraft.
Complete reconstruction of the main instrument panel.(every single instrument had been taken away in the easiest way just simply cutting wires and connectors!)
Time, a lot of Time spent especially from Giuseppe Anastasi and some goodwilling ex ITAF warrant officers working on what was slowly becoming again a flying machine.
November 2010 the new ANASTASI/PIVETTA R166C with new registration marks I-FENI (coming from the Italian word FENICOTTERI that means Flamingos, two of these birds were present on the insigna of the 303°squadron of the ITAF where both our crazy boys had the honor to serve, was transferred again on trucks inside the military airport of Guidonia.
A real Hangar, with several Siai Marchetti S208 as neighbours is I-FENI home for the last year of the restoration.
Engines, propellers, gear, week by week every single piece comes again in place and during the summer of 2011 the final inspection from ENAC (Italian CAA) gives the ok to the test flights of the aircraft.
Some more months of taxi and high speed taxi cks on the runway and finally :
The 2 November 2011 the crew Anastasi/Pivetta followed on the ground by a little crowd of friends and collegues, took off with I-FENI in a sunny day for the first flight of the second life of cn 411.
Soon after the take off a Piaggio P166DL3 of the Italian air force, in one of the last flights before the grounding off the P166 line, joined our Piaggio for a formation flight which was photographically fixed from a Siai Marchetti S208 that was the vector of the “press”.
From that moment after the non eventful test flights, and the achievement of the final Permit to Fly the aircraft has flown the happy crew to destinations like Lampedusa, Pantelleria, Figari, Bastia, Catania, Venice and more and more other fantastic places.
At the annual meeting of the Federazione Cap in Reggio Emilia I-FENI won the first place as best Italian reconstruction project.
This story is a tribute to all the people that day by day with their work make restoration projects all over the world possible and must be a clear help to all those people that during the way are losing determination to complete their projects.
Some background:
Instead of a story compiled/edited by myself, a very good “real” source: an article about the “American Spirit” project from 1996, scanned from a magazine and posted elsewhere:
This and some more information, including a drawing of the (apparently never) finished aircraft and a photo of the semi-finished airframe on airliners.net were the basis for my build.
The kit and its assembly:
This is my third and last entry to the “Racing” group build at whatifmodelers.com that ended in Feb. 2019. It is nothing less than the attempt to re-create the potentially fastest piston engine aircraft in the world as a model, based on the sparse information I was able to gather (see above). The aircraft’s design is quite odd, and it is worth reading the design background in the article, because it was a true “garage build” with the intention to use as many existing components in order to save costs and development time.
This was, more or less, mirrored during the building process, and like the real “American Spirit” the model consists at its core of a Matchbox T-2 “Buckeye” jet trainer! The T-2 fuselage lost its nose section, the ventral engine bay and the original cockpit fairing. This left a lot of fuselage surface to be re-constructed. The fin was clipped, too, just like in real life. At the fin’s base I added a cockpit opening and implanted a cockpit tub, taken from a Revell G.91. A new bucket seat (probably from an Academy Fw 190) was installed, and a new, tight canopy – I think it originally came from a Revell Go 229, but it was trimmed down considerably to match the T-2’s fuselage lines. The canopy was blended into the fin root with massive 2C putty sculpting, and the area in front of the windscreen was created with 2C putty, too. Both a tedious PSR process.
Once the upper fuselage shape was finished I started searching for a cowling and a matching propeller. After several attempts with bigger engines (e. g. from a Super Constellation) I eventually settled upon a rather narrow (but bleak) cowling from an Pioneer2/Airfix Hawker Sea Fury, which turned out to have just the right diameter for the re-constructed T-2 fuselage and matched the “American Spirit” drawing’s well.
It also had at the front end the right diameter for the propeller: it comes, just like in real life, from a C-130 Hercules, even though I used a late variant with six blades, a resin aftermarket piece, taken from an Attack Squadron engine nacelle set. Unfortunately, the spinners were molded onto the engines, so that I had to cut my donor part away. Three of the six propeller blade attachment points were faired over. While the original “American Spirit” carried clipped blades from an Electra airliner, I used parts from a P-3 Orion – the come very close in shape and size, and were easy to install. Finally, the propeller received a metal axis and a matching styrene tube adapter in the Sea Fury cowling.
Once the engine was in place, the cowling was filled with as much lead as possible, since the model would be built with an extended landing gear.
However, a large ventral section was still missing, and it was created with a leftover underwater section from a model ship hull, and lots of more putty, of course. A small tail bumper was added under the fin.
Once the fuselage was more or less finished, I turned my attention to the wings and stabilizers. The latter were supposed to be “un-swept F-86H stabilizers”, but unfortunately I could not find visual evidence of what this would have looked like. I tried some donor parts, including stabilizers from an F-86A and D, as well as from a MiG-15, and eventually decided to use individual parts, because nothing looked convincing to me, either swept or straight. Actually the MiG-15 parts looked the best, but they were too small, so I used the wings from an 1:144 Panavia Tornado (Dragon) and tailored them into a sweep angle similar to the MiG-15 parts, but with more depth and span. Not certain how “realistic” this is, but it looks good and compliments the swept T-2 fin well.
The T-2 wings saw only minor modifications: the wing tip tanks were cut off and the tips as well as the flaps faired over, since the “American Spirit” did not feature the latter anymore. The small LERXs were cut away, too, and instead I added small air intakes – the “American Spirit” probably did not feature them, but I wondered where the aircraft’s engine would feed its carburetor or an oil cooler? The respective gaps on the fuselage flanks were filled accordingly.
Some more work waited on the fuselage, too. The aircraft’s drawing showed shallow openings on the forward fuselage’s flanks, but their function was not clear – I assume that the exhausts from the 18 cylinder engine were collected there, 9 on each side, so I carved the openings into the massive plastic and putty fuselage with a mini drill tool and added exhaust stubs as well as deflector plates.
Another issue was the well for the front landing gear – this came, together with the complete front leg, from an Italeri F-100, just like in real life. The good thing about the Italeri kit is that it comes with a separate well tub, which made the installation quite easy. I just cut a square section out of the lower fuselage behind the engine and the landing gear well snuggly fell into place, with only little PSR effort. And, to my surprise, the end result seems to be a very good match to the real life design – even though I was not able to confirm this with picture material.
The main landing gear was taken OOB from the Matchbox T-2 – and it is really a weird sight, since the T-2’s track is very wide while the wheelbase is unusually short. But the source article indicates that this must have been the designers’ plans!
Painting and markings:
While the model’s hardware came quite close to the real thing, the livery of the “American Spirit” was totally open, so I created my own. I felt that two design directions would be appropriate: either a relatively dry and clean design, e. g. in overall silver or white with a little trim, or something patriotic, reflecting the aircraft’s name.
I eventually settled for the latter, and considered several approaches in white, red and blue, and eventually settled for one of my first ideas, a kind of “flying American flag” in an asymmetrical design, somewhat inspired by a Bicentennial F-106A from 1976: this machine carried a white fuselage with some red trim stripes and a blue nose section that featured lots of tiny white stars. I took this layout a little further and gave the “American Spirit” a dark blue engine cowling and front fuselage section, as well as a single blue wing. From that, wide red and white stripes stream backwards across the other wing, the fuselage and the tail. The design was mirrored on the undersides.
The stripes were painted with a wide brush with Humbrol 19 and 22, after the kit had been primed with white and had received an overall white basic coat with acrylic paint from the rattle can, too. The blue section was painted with Revell 350 (RAL 5013/Lufthansa Blue). I tried to add some “wavy flag texture” effect to the basic paints with slightly different tones, added wet-in-wet to the basic paints, but the visual effect turned out to be minimal, so I left it like that.
The stars are all individual waterslide decals, coming from an 1:87 Allied WWII markings sheet from TL Modellbau. The big white stars that are the background for the starting numbers on top and below the blue wing come from an 1:72 F4U. The red and blue starting numbers themselves were taken from a TL Modellbau sheet for firefighting vehicles: they are actually parts of German emergency telephone numbers…
Some stencils and leading edges on all wings, created with generic silver decal material, completed the outside, and finally I painted some fake panel lines onto the hull with a soft pencil. The T-2 air brakes, which were retained for the “American Spirit”, were re-created with fine black decal lines. Similar material in silver was used to simulate panel lines for the cooling air outlet flaps on the cowling. Unfortunately, the T-2 kit itself did not come with much surface detail, and any leftover rest (like the air brakes) disappeared during the extensive PSR sessions and under the primer and paint coats. Finally, the kit was sealed with a coat of semi-gloss acrylic varnish (Italeri).
A massive scratch-build. While challenging the work on this model was fun because it followed in its creation a similar process as the real “American Spirit”, which was, AFAIK, sold and never completed. In the end, I am positively surprised how close the overall outlines seem to come to the real (and odd-looking) aircraft, even though the garish livery is purely speculative, so that this model is, despite its roots in the real world and the attempt to stay true to the original, a fictional/whif piece. The finish is a bit rough, though, but that’s probably the price to pay when you create things from scratch.
The manager of my apartment building has installed "smart" locks on our front doors. It did not go well until management updated their records. [collaborative photo with Eugene Marangoni]
This is the Donside Village Hydro Turbine located within the nature reserve , I've taken some info from their website on the story behind the project to install and utilise the turbine to produce HydroElectricity.
The micro hydro scheme is located at a bend of the River Don, at the edge of the former papermill which is now being re-developed for a variety of other purposes, including residential housing, with the riverside being developed by the community for recreational use and wildlife value.
The land for the hydro was secured from the landowner and developer, Sanctuary Group, by the community for the generation of renewable energy.
By short-cutting this bend in the river, the hydro makes use of the gradually sloping river bed that falls over a depth of about 2.5m and covers a distance of 200m. The hydro scheme will be fed by a new lade and make full extent of the natural fall by cutting across the bend.
A feasibility study indicated that the site has the potential to generate about 400kW of power but under the current government energy subsidy regime (Feed-in-Tariff ) a scale of 100kW is the most economically feasible.
Donside Village has an enviable location on the banks of the River Don approximately 4km from the city centre of Aberdeen. It is on the site of the former Donside Papermill in the wider Tillydrone community. The papermill occupied the site until its closure in 2001 and demolition in 2006.
The site has been, and continues to be re-developed into a sustainable mixed community one of the UK’s largest Registered Social Landlords; Sanctuary Housing.
Inside the original boundary of the former papermill, new modern energy efficient flats and houses have been built, with a mix of social housing, part buy and owner occupied properties. The properties overlook the river which will be designed and landscaped by the community as an amenity for people and wildlife from the local community and beyond.
This community is known as Donside. It is represented by the Donside Community Association, made up of the residents and friends of Donside Village.
Hydroelectricity involves the conversion of energy stored in water held at a height as it travels to a lower level. The flow of water drives a mechanical shaft which then drives an electric generator.
The vertical fall of the water, known as the head, is essential for hydropower generation. Fast-flowing water on its own does not contain sufficient energy for useful power production.
Aberdeen Community Energy have purchased and installed a Landustrie Hydropower Screw Turbine for the Donside Hydro.
Made from a pair of modified “weed-eater” engines this racing engine was slated to power a model speed boat. Ed coupled the two crankcases together, installed a custom made double throw crankshaft and modified the cylinders to accept his large capacity water jacketed heads. It is equipped with a belt driven peristaltic water pump to keep the engine cool while on the running stand. The stand houses the fuel tank and fuel pump, a water tank and radiator, and a pair of electronic ignitions; one for each spark plug. A special ring gear was added to the flywheel that can easily be accessed from above once the engine is installed in a boat. Ed wanted a fast engine that makes noise so he opted for a pair of upright exhaust stacks for audible effect.
See More 2-Cylinder Engines at: www.flickr.com/photos/15794235@N06/albums/72157649352645204
See More Inline Engines at: www.flickr.com/photos/15794235@N06/albums/72157638336677194
See More Model Boat and Car Engines at: www.flickr.com/photos/15794235@N06/sets/72157641089388694/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
Visit Our Photo Albums at: www.flickr.com/photos/15794235@N06/albums
Courtesy of Shirley Miller Anglemyer and Patricia Miller Jimerson
Pat McElroy, Mike Gombert
Paul and Paula Knapp
Miniature Engineering Museum
This huge, multi-coloured stencil decorated the gallery walls for the charity exhibition by c215, focusing on CARF's kids.
IES : Voitures de contrôle des installations électriques.
IES 143 n° 63 87 99 97 143-4
Source :
www.trains-en-voyage.com/forum/forum/archives-annuelles/l...
Installing linux (small Linux):
486 Processor
4 MB RAM memory
120 MB hard disc
Black/white monitor
- Small Linux, is a live-Diskette distribution (2 diskettes)
La Tarjeta PCMCIA con la disketera es CASi mas grande que el mismo portatil.
more artworks from the series 'Islands and Other Experiments' by Darlene Charneco
mixed media, 25 pieces. installed at artsites art+ architecture. mouse over to see titles and whether each is sold/available.
view set here
Luminothérapie 9e édition, 2019
"Le concours Luminothérapie est le plus important au Québec en matière d’installations temporaires destinées à l’espace public. Chaque année, il propose une expérience hivernale originale, interactive et captivante dans le Quartier des spectacles de Montréal avec une installation à grand déploiement sur la place des Festivals. Luminothérapie vise à stimuler la créativité dans le domaine des installations urbaines et de l’art numérique.
Plusieurs quartiers culturels dans le monde manifestent de l’intérêt pour ces installations d’art participatif et interactif créées pour l’espace public, par des artistes et créateurs d’ici. Au cours des deux dernières années, cinq œuvres créées dans le cadre de Luminothérapie et pour le Quartier des spectacles ont voyagé dans plus de 25 villes canadiennes et étrangères.
Ingrid Ingrid, Effet domino, 2019
Faites chuter les dominos l’un à la suite de l’autre pour déclencher une harmonie musicale et former un arc coloré et lumineux aux tons pastel. Résultat : un orchestre de dominos multicolores !
Chacun des modules propose un univers sonore différent : voix, percussions, marimba, balafon, flûte. Chaque domino émet un son qui lui est propre, improvisez-vous DJ en « scratchant » un domino en le déplaçant sur lui-même à des vitesses différentes ou en le tapotant.
Jouez ensemble pour remettre les dominos plus rapidement à la verticale et provoquer une nouvelle chute ou poussez-les en sens contraire pour inverser la séquence sonore.
Ingrid Ingrid
Ingrid Ingrid est un studio de design d’expériences interactives basé à Montréal. Fondé en 2014 par Geneviève Levasseur, Ingrid Ingrid initie et développe des projets innovants qui se situent à la rencontre des arts et de la technologie. Ses créations sont souvent ludiques, hors écran, montrant une sensibilité particulière pour le contenu. Ingrid Ingrid bouscule les habitudes ; elle expérimente, documente et réinvente la relation avec ce qui nous entoure."
www.quartierdesspectacles.com/fr/evenement/211/luminother...
Installed in the 1920s after a major renovation, the triptych of stained glass chancel windows were created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s.
Across the bottom of the three are written "Behold a voice cut of a cloud saying this is my beloved Son in whom I am well pleased. Hear ye Him", which is taken from the book of Matthew.
The left hand window shows Moses clutching the tablets on which are inscribed the Ten Commandments. The right window features Saint Peter, one of the Twelve Apostles of Jesus, holding his Gospel book. The central window of the triptych features Jesus descending from heaven. Alpha and Omega appear in the quatrefoil windows above Moses and Saint Peter, whilst "Father, Son and Holy Ghost" appear in the quinfoil window above the central lancet window of Jesus.
Blackwood reredos beneath the triptych, dating from 1939, feature a mosaic of the last supper also created by stained glass and church outfitters Brooks, Robinson and Company. A similar one may be found at St. Matthews Church of England in High Street, Prahran.
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
Another blurry opening day photo, but interesting now since several weeks later some of the local flair photos would make their way to this wall! Guess they thought they would make a good backdrop for the ribbon cutting ceremony that would finally occur in late January 2017, once the fuel center was relocated.
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Kroger Marketplace, 2016 built, Commerce St. at E. Parkway, Hernando, MS