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Constructed between 1847 and 1849 by the Manchester, Sheffield and Lincolnshire Railway, (MS&LR - later became the Great Central), this is Torksey railway Viaduct, which crosses the River Trent between Lincolnshire & Nottinghamshire, roughly half way between Lincoln and Gainsborough. Designed by John Fowler (1817-1898), who later was one of the two engineers for the Forth Rail Bridge, Torksey Viaduct is a rare, and early surviving example of a tubular girder bridge.
There are two 130-foot spans over the River Trent, each consisting of two massive wrought iron girders - as seen here.
These are supported on stone piers - one in the centre and one at each side. On the Lincolnshire side is a 570-foot approach viaduct of 20 spans, and the bridge proper starts over a small natural island in the river. The position of the Bridge was chosen to use this island to simplify the task.
Captain Lintorn Simmons, the Board of Trade’s inspector, refused to grant permission for the viaduct to be opened, having “entertained doubts as to the ultimate security” of the bridge. After much argument, Fowler, supported by the Engineering profession, won the day, and the first train passed over in April 1850.
The bridge was twice strengthened - in 1877 & 1897, because increasing traffic and train loads. A conventional steel lattice girder (again, seen in this photograph) was inserted centrally into both main spans in the 1897 works, whilst the northern girders were moved out to maintain track clearances.
The "Leverton Branch", as this line (which ran between Sykes Junction near Lincoln and Clarborough, just West of Gainsborough), was known, was closed on November 3rd 1959, with Lincoln-Sheffield trains taking the only slightly less direct route through Gainsborough Lea Road. However, the line to the West of the Trent was reinstated in 1969 to serve the new power station at Cottam's need for coal, whilst on the Lincolnshire side, the line was run from Sykes Junction to the Shell petrol depot at Torksey. Only the viaduct itself remained closed.
The Oil traffic ceased in the late 1980s, and the track is now all lifted (and the road bridge on the Gainsborough-Lincoln road was removed).
Until the early 1990s it was possible the walk across the viaduct - this was no longer possible by the 1990s as the track bed had been removed on the bridge itself, and that part was fenced off. Happily, this was resolved during the las 12 months. The cycling and footpath charity Sustrans have installed the required safety fencing and reinstated the bridge bed on the North side. There is now a fine footpath over the impressive bridge to the riverbank on the Western (Nottinghamshire) side of the river. This shot shows the (still without a track bed) South side of the bridge.
The viaduct is rightly covered by a Grade II* listing but worryingly, also features on English Heritage's Buildings at Risk register.
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
On the Mt Olympus of automotive gods, no names are more revered than those of Gottlieb Daimler and Carl Benz.
On January 29, 1886 Benz submitted a Patent application for his “vehicle with gas operation” to the Imperial Patent Office giving it what the company today, calls the birth certificate of the first automobile and the name Benz Patent Motorwagen.
Daimler and Wilhelm Maybach developed their one cylinder, “Grandfather Clock” engine in 1884. They install it in the 1885 Daimler Reitwagen or Riding Car. On August 28, 1885 Daimler is awarded the Patent for “vehicle with gas or petroleum drive machine”. We would say, the world’s first motorcycle.
It looks more like something from Leonardo DaVinci’s workshop in the 15th or 16th century than a product of the industrial revolution of the 19th century.
Just a few months after Benz patents his Motorwagen, Daimler installs a 1.1 hp version of his grandfather clock engine into a 4 seat coach to create the first gas powered car with four wheels to reach 10 MPH.
It is not until 1926 that the two companies merge to form Daimler-Benz AG. It is also in 1926 that the 3 pointed star emblem first appears.
Both models are 1/8 scale and made by Franklin Mint.
Now, we suspect there are a few of you saying, “Wait one minute there. What are you guys trying to pull? Isn’t this the same script from a couple of weeks ago?”
Not quite, this photo is in color so you can appreciate more of the wonderful details these models have to offer. You may notice, there is no foreground tree shadow either, making your viewing just a little easier as well.
We also saved one juicy factoid for this post. Did you notice? Did you know? The Benz Patent Motorwagen was also the first car with rack and pinion steering. Look closely and you can see the toothed rack attached to the front wheel. The steering pillar has a pinion gear at the base, completing the connection between the steering lever and wheel.
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.
Archives du Musée McCord / Studio Notman & Son.
Résidence d'été de la famille Gurd, au bord de la rivière des Prairies à Sault-au-Récollet (actuellement Ahuntsic).
La maison adopte le style Second Empire. Sur cette photo d'époque, elle paraît récemment construite.
En 1876, on inaugure la ligne Montréal-Saint-Jérome, premier tronçon du futur Canadien Pacifique. La voie ferrée franchit la rivière à la hauteur de l'île Perry, à proximité d'un ancien moulin, celui dit du Gros Sault. Des familles s'installent près de la petite gare, côté Sud de Back River road (boul. Gouin). Des hôtels accueillent les vacanciers, venus admirer la beauté sauvage et respirer l'air pur de la campagne. De riches hommes d'affaires montréalais y ont fait construire leur résidence d'été; pour s'y rendre ils prennent le train à une gare du vieux centre ville, à deux pas de leur place d'affaires. Plus tard viendra le Tramway, véritable moteur de l'expansion de la ville de Montréal vers le Nord.
Mission accomplie ! La structure pour les futurs panneaux solaires et un nouveau déperditeur statique sont installés et fonctionnels ☑️ Incroyable d’avoir vécu ça avec Aki à l’extérieur : c’est le genre d’expérience qui vous lie encore plus. Et grâce au professionnalisme de Megan, Mark et Shane à l’intérieur, aidés par Oleg et Piotr qui se remettaient tout juste de leur sortie à eux et avaient du travail tout le weekend, et des équipes sur 🌎, on ne s’est jamais senti seuls dans le grand vide. (Et on nous a même gardé de la 🍦 pour le retour, si ce n’est pas un équipage de rêve…) (oui, après presque 7 heures à se mouvoir dans un scaphandre aussi rigide que protecteur, les calories et un dîner roboratif sont *très* bienvenus). Emploi du temps léger aujourd'hui pour récupérer, puis retour des expériences mardi. 💪
My first spacewalk without Shane is a wrap, more than happy to be with Aki though! Even though it was just the two of us outside, we never feel alone, with Mark, Megan and Shane on the inside following and helping, and the best teams on Earth over the radio we felt like an extension of a well-oiled machine! They even saved some 🍨 for us afterwards, #dreamteam. Spacewalks last 7 hours and are like top sport so we need the calories afterwards! The new solar panels are ready to be slotted in to the base structure we assembled, these will be installed sometime next year, handing over to the next team to keep maintaining and improving the station and what it stands for.
Credits: ESA/NASA
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ESA astronaut Alexander Gerst : "Fascinating: Canadarm & Dextre installed the RapidScat Experiment on Columbus!"
Credit: ESA/NASA
I have used a circular cutter to make 180 degree cuts in 0.040 inch styrene sheet for a couple of tunnel portals that I will install on my N scale model railroad. The cutter is made by Olfa, and I purchased it at a local art supply store rather than a hobby shop that sells train stuff. Art supply stores sell lots of tools, paints, craft items, and materials useful to a model railroader. The circular cutter has a strong, sharp compass point that is mounted on a sturdy head which has an adjustment screw. By loosening the screw, a horizontal beam can slide in or out a variable distance from the center point and then be locked down at the desired distance. The replaceable cutting blade (held into place by another screw) is mounted on the horizontal beam.
Nobody makes an N scale tunnel portal the size and shape that I want, so I had to cut my own. The tunnel opening has a radius of 8 ½ scale feet from the track center line, so that is what I set on my circular cutter. The straight vertical dimension for each side is 20 scale feet above the top on the rails plus another 3 feet for the height of the rails, crossties, and roadbed. Both of the vertical sides have to be exactly tangent to the semicircle above, so determining where to position my straight edge for the first side was the trickiest part of the whole project. From that line, I used a steel drafting triangle (also purchased from the art supply store) to place the cutting point and center compass point. I swung a 180 degree arc to locate the position of the other vertical side. My N scale ruler (shown here) is 10 scale feet wide, so my first vertical cut was 10 scale feet from the edge of the styrene sheet. After the circular cut and both vertical cuts were completely through the plastic, I could easily remove the excess from each side.
Figuring the geometry of where to position my circular cutter and the straight edge to guide my razor blade required a lot of thought before doing any of the actual cutting. Once I began cutting, I had to be careful to keep my blades in the right places, but the cutting itself was very repetitive and time consuming. Each tunnel portal required an hour or two of MANY short, little cuts before I broke through the plastic sheet. Then there was sanding to smooth it out and trimming the overall piece to fit the future mountain that I haven’t built yet. This photo shows the positioning of the circular cutter, but I took the photo after the job was done (and my nails repainted). For all this cutting, I used my Dupli-Cutter to hold my work in place. The Dupli-Cutter has clamps that can be positioned in several places, an adjustable slide sheet held down by the clamps, and a frame whose jaws can be opened up to hold various thicknesses of plastic for making precise, square cuts.
Sea Installer loads up on 3 MHI Vestas V164 8.0MW turbines bound for Burbo Bank extension offshore windfarm.
Belfast, Northern Ireland
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English
The Museu Nacional d'Art de Catalunya (Catalan pronunciation: [muˈzɛw nəsiuˈnaɫ ˈdard də kətəˈɫuɲə], English: "National Art Museum of Catalonia"), abbreviated as MNAC, is the national museum of Catalan visual art located in Barcelona, Catalonia, Spain. Situated on Montjuïc hill at the end of Avinguda de la Reina Maria Cristina, near Pl Espanya. The museum is especially notable for its outstanding collection of romanesque church paintings, and for Catalan art and design from the late 19th and early 20th centuries, including modernisme and noucentisme. The Museum is housed in the Palau Nacional, a huge, Italian-style building dating to 1929. The Palau Nacional, which has housed the Museu d'Art de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. That same year, a thorough renovation process was launched to refurbish the site, based on plans drawn up by the architects Gae Aulenti and Enric Steegmann, who were later joined in the undertaking by Josep Benedito. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, and the various collections were installed and opened over the period from 1995 (when the Romanesque Art section was reopened) to 2004. The Museu Nacional d'Art de Catalunya (Museu Nacional) was officially inaugurated on 16 December 2004.
Spanish
El Museo Nacional de Arte de Cataluña (en catalán: Museu Nacional d'Art de Catalunya), también conocido por sus siglas MNAC, está situado en la ciudad de Barcelona, (España). Destaca por su colección de arte Románico, considerada una de las más completas del mundo. Su director es Josep Serra i Villalba.
El actual museo se constituyó en 1990 con la unión de las colecciones del Museo de Arte Moderno, creado en 1945, y el Museo de Arte de Cataluña, inaugurado en 1934. A las piezas procedentes de estos museos se les añadieron una nueva sección de numismática, otra de grabados así como los fondos de la Biblioteca General de Historia del Arte. Más tarde, en 1996, se añadió un nuevo departamento dedicado a la fotografía. En 2006 el fondo del museo poseía ya casi 250.000 obras en las diferentes colecciones. Además de las exposiciones temporales y de las itinerantes, el museo realiza también otras funciones como son las de estudio, conservación y restauración de obras de arte.
El MNAC es un consorcio constituido por la Generalidad de Cataluña, el Ayuntamiento de Barcelona y, desde principios de 2005, la Administración General del Estado. En el patronato del museo están representadas, además de las administraciones públicas, los particulares y las entidades privadas que colaboran con el museo.
La sede principal se encuentra ubicada en el Palacio Nacional, edificio situado en la montaña de Montjuïc, inaugurado en 1929 con motivo de la Exposición Internacional celebrada en la Ciudad Condal. Además, otras tres instituciones forman parte del conjunto del museo: la Biblioteca Museo Víctor Balaguer de Villanueva y la Geltrú; el Museo Comarcal de la Garrotxa en Olot; y el Museo Cau Ferrat de Sitges.
Wikipedia
Fascinating: Canadarm & Dextre installed the RapidScat Experiment on Columbus!
Faszinierend: heute mit Canardarm und Dextre das RapidScat-Experiment am Columbus-Labor installiert.
Credits: ESA/NASA
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Divers 2022 - The world of Banksy
Banksy exhibition with life-size reconstructions by the Bristol-based artist. A geographical journey through the cities around the world where Banksy has painted his most emblematic murals. An invitation to discover the most mysterious street artist of the moment from a new angle. Easy access and recommended for everyone!
The World of Banksy - Brussels is an exhibition that brings together the largest number of life-size murals by the Bristol-based street artist. These reconstructed works and other pieces of Banksy's rich career have been installed in the mythical premises of a former fabric house at 28 rue de Laeken (1000 BRUSSELS).
The exhibition aims to present Banksy and his original approach through the murals he has painted in the streets of the world. Visitors will discover the master of street art in a complete and immersive experience that breathes new life into Banksy's - almost entirely lost - creations.
The exhibition is open every day of the week from 10am to 7pm (last entry at 6.15pm).
( Divers albums de photos prisent en 2022 sans sujet precis.
Various albums of pictures taken in 2022 without subject. )
museumPASSmusees 2020 - Mima - Zoo
Installations in situ et peintures jalonnent la visite de ZOO, la nouvelle expo du MIMA. En toile de fond,les references pop,l'humour et l'art anthropomorphique.
Les artistes
Parra (NL), Pablo Dalas (FR), Egle Zvirblyte (LTU), Todd James (US), Russell Maurice (UK), MARTI SAWE (ES), Steven Harrington (US), Ryan Travis Christian (US), Rhys Lee (AUS), Finsta (SW), Laurent Impeduglia (BE).
Direction artistique
Alice van den Abeele et Raphael Cruyt
( 170 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
267 expositions )
Lockheed Martin engineers installing NASA JPL’s High-resolution Volatiles and Minerals Moon Mapper (HVM3) – a spectrometer that measures infrared light absorbed by water – on the Lunar Trailblazer spacecraft. NASA’s Lunar Trailblazer mission will map water content on the Moon. Credit: Lockheed Martin.
This huge, multi-coloured stencil decorated the gallery walls for the charity exhibition by c215, focusing on CARF's kids.
Kings College Chapel, Cambridge
Produced in Cologne about 1510, and probably installed in one of the Cologne religious houses. After the desecration of the monasteries it was bought by the Norwich glass dealer JC Hampp, probably on his 1804 tour, and by the 1820s he had sold it to the antiquarian William Wilkins, who installed it in a house he had built on Lensfield Road in Cambridge.
After Wilkins's death it was auctioned off, eventually being donated and installed in the College WWI Memorial Chapel in 1921 as a memorial to Laurence Humphry.
The Holy Hunt. The Archangel Gabriel as a huntsman, holding four hounds in leash, pursues a unicorn, which takes refuge with the Virgin Mary, as she sits within a closed garden, surrounded by her symbols. (Hilary Wayment, 1988).
The Medieval bestiaries suggested that a uncorn can only be trapped by a maiden. As soon as the unicorn sees her, it lays its head on her lap and falls asleep. The allegory drawn from this was that the unicorn represented the Incarnation of Jesus, and the maiden his mother Mary.
The scene is often depicted in medieval art with a hunter approaching. The juxtaposition between the maiden and the hunter is similar to that between Mary and Gabriel in Annunciation scenes. In the chapel glass the hunter is clearly depicted as Gabriel.
As well as the famous 16th Century glass in the main chapel windows, there is a large collection of late medieval and early modern English and Continental glass in the side-chapels. Some of it is not very well displayed in comparison with the similar collection at Glasgow Cathedral, being set in front of, and in some cases behind, glazing bars.
The Chapel was begun by Henry VI, completed under the direction of Henry VII, the great window glass scheme installed under the somewhat-disinterested Henry VIII. 'The heart and soul of early 20th Century Anglicanism' according to M R James, was the Festival of Nine Lessons and Carols which began here during the First World War and helped to invent the modern Christmas. The fan vaulting is spectacular, the proportions (300ft long, 40ft wide, 90ft high) almost shocking in their single-minded Perpendicular triumphalism. The Chapel vies with Ely and Peterborough Cathedrals as the best single medieval building in Cambridgeshire, but the vast scheme of early 16th Century glass in the main windows is undoubtedly the biggest and best of its kind anywhere in the British Isles.