View allAll Photos Tagged midsection
My attempt at an O-scale Porsche 911.
The use of Technic beams in the midsection stolen from Zeto Vince.
Sandstone linga made in the 600s AD, found in 2008 at Wat Komnou, Angkor Borei, Takeo Province, Cambodia.
A linga is a stylized pahllus associated with the Hindu god Shiva, denoting his pre-manifested formless presence and the potential for creation.
This linga has a square base, octagonal midsection, rounded top, and central line, something quite different from lingas found in India. The square base was designed to fit into the center of a yoni (altar).
This is one of 12 lingas found at the ancient royal residence of Angkor Borei.
The Chrysler 300 "letter series" are high-performance personal luxury cars that were built by Chrysler in the U.S. from 1955 to 1965. After the initial year, which was named 300-C, the 1956 cars were designated 300B. Successive model years given the next letter of the alphabet as a suffix (skipping "i"), reaching the 300L by 1965, after which the model was dropped.
The 300 "letter series" cars were among the vehicles that focused on performance built by domestic U.S. manufacturers after World War II, and thus can be considered one of the muscle car's ancestors, though full-sized and more expensive.
The automaker began using the 300 designations again for performance-luxury sedans, using the 300M nameplate from 1999 to 2004, and expanding the 300 series with a new V8-powered 300C, the top model of a relaunched Chrysler 300 line, a new rear-wheel drive car launched in 2004 for the 2005 model year. Unlike the first "letter series" series, the successive variants do not feature standard engines producing at least 300 hp (220 kW), except for Chrysler's current top-line 300C models.
1955 C-300
This first of the letter series cars did not bear a letter, but can retroactively be considered the '300A'. The 'C-' designation was applied to all Chrysler models; however for marketing purposes the numerical series skipped more than 225 numbers forward in sequence in order to further reinforce the 300's bhp rating. The 300 originally stood for the 300 hp (220 kW) engine. The C-300 was really a racecar aimed at the NASCAR circuits that was sold for the road for homologation purposes, with Chrysler's most powerful engine, the 331 cu in (5.4 L) FirePower "Hemi" V8, due to the hemisperic shape of the combustion chambers, fitted with twin 4-barrel carburetors, a race-profiled camshaft setup, solid valve lifters, stiffer suspension, and a performance exhaust system. By 1956 this would be the first American production car to top 355 hp (265 kW), and the letter series was for many years the most powerful car produced in the United States.
The car's "Forward Look" styling can be attributed as much to the Chrysler parts bin as designer Virgil Exner. The front clip, including the grille, was taken from the Imperial of the same year, but the rest of the car did not look like an Imperial. The midsection was from a New Yorker hardtop, with a Windsor rear quarter. Exner also included base-model Chrysler bumpers and removed many exterior elements such as back-up lights, hood ornament, side trim, and exterior mirrors. An electric clock and two-speed windshield wipers were standard. There were few options available including selection of three exterior colors (red, white and black) and only one color of tan leather interior. Power windows and power seat were available but air conditioning was not available in 1955.
Measured at 127.58 mph (205.32 km/h) in the Flying Mile, and doing well in NASCAR, the C-300 aroused interest that was not reflected in its modest sales figure of 1,725.
When the C300 competed in NASCAR, it was painted to advertise that it was the "world's fastest stock car".
[Text from Wikipedia]
The fighter bays were an engineering nightmare, because the midsection of the ship has no wall on one side and very little interior support. Its strength comes from Technic frames in both the floor and ceiling, and three layers of solid brick beneath the floor.
Reardeck done, Cargorails done, Midsection done.
To do: cranes, RIBs, Winch drums, mast details on the forcastle deck etc etc.
Member of the Royal Family is executed by firing squad. A single .22 calibre bullet to the midsection.
Master martial magician Alexander Victor and his assistant Lizz perform Robert Harbin's "Zig Zag Girl" with a twist! Once Lizz is sliced in thirds and slid in opposing directions, she will attempt to break boards (out of view) with her foot from the midsection!
Created on my overnight shift
Crayola, Derwent, Blick Art, Sargent Art, Prismacolor Premier/Verithin, and Progresso colored pencils; Prismacolor Ebony graphite pencil, No. 2 pencil, Wexford ballpoint pens, Crayola art markers, Super Sharpie, Sharpie metallic markers, Prismacolor Premier fine line illustration marker, Crayola watercolors, coffee
Blick Studio drawing pad
8" x 10"
2020
The extended-range C-130E model entered service in 1962 after it was developed as an interim long-range transport for the Military Air Transport Service. Essentially a B-model, the new designation was the result of the installation of 1,360 US gal (5,150 L) Sargent Fletcher external fuel tanks under each wing's midsection and more powerful Allison T56-A-7A turboprops. The hydraulic boost pressure to the ailerons was reduced back to 2,050 psi (14.1 MPa) as a consequence of the external tanks' weight in the middle of the wingspan. The E model also featured structural improvements, avionics upgrades and a higher gross weight. Australia took delivery of 12 C130E Hercules during 1966–67 to supplement the 12 C-130A models already in service with the RAAF. Sweden and Spain fly the TP-84T version of the C-130E fitted for aerial refueling capability.
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
The largest of the double-gauge railships, the Fortress, named for its bristling weaponry, is armed with a seven medium cannon turrets; four forward, two rear, and one in the midsection. It is also armed with one super-heavy howitzer, two quadruple-barreled anti-aircraft cannons, two incendiary anti-airship cannons, and six automatic rifles, two of which are mounted in armored cupolas. Unlike the Mark XLVIII railship, geared drivers with interior pistons proved to be insufficient in providing enough power given the available space, so external pistons and running gears were used despite their defensive vulnerability. Also unlike the light Double 0-6-6-0 Mk. XLVIII, the Fortress requires 72 wheels in a Double 6-8-4+4-8-6 formation to carry its enormous bulk and handle the recoil from its super-heavy howitzer. Features a mechanical stoking device to save space and labor.
(interior fits seven minifigs, includes working running gear)
Bellydance is the name commonly used in Western countries to apply to traditional Middle Eastern dance, specifically Egyptian ghawazi dance in the 19th century, and raqs sharqi in the 20th century. The term is sometimes extended to include all traditional Middle Eastern dances. The term is somewhat misleading, as belly movements are only a small part of the dance. The most featured part of the body is usually the hips.
Belly dance takes different forms in different regions, both in costume and dance style, and new styles have evolved in the West as its popularity has spread globally.
The ghawazee of were travelling female dancers of Dom (Gypsy) ethnicity in Egypt during the 18th to 19th centuries. They were banished from Cairo to Upper Egypt by Muhammad Ali in the 1830s. The dance style of the ghawazee was popularized in Europe under the term "belly-dance" in 19th-century
Most of the movements in belly dancing involve isolating different parts of the body (hips, shoulders, chest, stomach etc.), similar to the isolations used in jazz ballet. In much of bellydance there is a focus upon the core muscles of the body producing the movement rather than the external muscles of the body. Egyptian and Lebanese bellydance in particular emphasise the need for movemements to originate in the muscles of the back.
The costume most associated with belly dance is the bedlah (Arabic for "suit").
The bedlah style includes a fitted top (usually with a fringe of beads or coins), a fitted hip belt (again with a fringe of beads or coins), and a skirt or harem pants. The top and belt may be richly decorated with beads, sequins, braid and embroidery. The belt may be a separate piece, or sewn into a skirt.
The hip belt is a broad piece of fabric worn low on the hips. It may have straight edge, or may be curved or angled. The top usually matches the belt. The classic harem pants are full and gathered at the ankle, but there are many variations. Sometimes pants and a sheer skirt are worn together. Skirts may be flowing creations made of multiple layers of one color sheer fabric chiffon.
Since the 1950s, it has been illegal in Egypt for raqs sharqi dancers to perform publicly with their midriff uncovered or to display excessive skin. It is therefore becoming more common to wear a long, figure-hugging lycra one-piece gown with strategically placed cut-outs filled in with sheer, flesh-coloured fabric. If a separate top and skirt are worn, a belt is rarely used and any embellishment is embroidered directly on the tight, sleek lycra skirt. A sheer body stocking must be worn to cover the midsection. Egyptian dancers traditionally dance in bare feet, but these days often wear shoes and even high heels.
Khan al Khalili, the major traditional souk (open market) in Cairo, is the world's most popular spot for bellydance wear / Raqswear and continues to attract millions of visitors every year.
As there is no prohibition on showing the stomach in Lebanon, the bedleh style is more common. The skirts tend to be sheer, although many Lebanese belly dancers opt for the shirwal pants with a top. The veil is more widely used and the veil matches the outfit. High heels are a trademark of Lebanese belly dancers.
Turkish dancers also wear bedleh style costumes. In the 80s and 90s a 'stripperesque' costume style developed, with skirts designed to display both legs up to the hip, and plunging tops. Such styles still exist in some venues but there are also many Turkish belly dancers who wear more moderate costumes. Even so, Turkish belly dance costumes reflect the playful, flirty style of Turkish belly dance.
In Egypt, three main forms of the traditional dance are associated with belly dance, called Baladi, Sharqi and Sha'abi.
Baladi is a folk style of dance from the Arab tribes who settled in Upper Egypt. The term has come to refer to the folk dance still performed by the working classes of urbanised Egypt. Dance which more rigorously tries to uphold folk traditions from the countryside or from specific tribes will often be referred to as Ghawahzee. The Ghawahzee dancers have also been known to be at the heart of the conflict in Egypt over the propriety of publicly performed dance. The well-reputed Mazin sisters are widely held to be the last authentic performers of Ghawahzee dance. Khayreyya Mazin is currently the last of these dancers still teaching and performing as of 2009.
Sharqi is based on the baladi style but was further developed by Samia Gamal, Tahiya Karioka, Naima Akef, and other dancers who rose to fame during the golden years of the Egyptian film industry. This has come to be considered the classical style of dance in Egypt. These dancers were famous not only for their role in Egyptian films, but also for their performances at the "Opera Casino" opened in 1925 by Badia Masabni. This venue was a popular place for influential musicians and choreographers from both the US and Europe. Later dancers who were influenced by these artists are Sohair Zaki, Fifi Abdou, and Nagwa Fouad. All rose to fame between 1960 and 1980, and are still popular today. Some of these later dancers were the first to choreograph and perform dances using a full 'orchestra' and stage set-up, which had a huge influence upon what is considered the 'classical' style.
Sha'abi refers to the poorer, commoner sections of Cairo. The name came to characterize the style of music enjoyed in such neighborhoods. The style is somewhat rougher and more playful than the rest of Egyptian pop music. Sha'abi dance is Egyptian belly dance performed to such music, typically performed more assertively sexual than is classical raqs sharqi.
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This is a sample of the commercial work I've made over the years. My work is sold via all the major and minor microstock agencies. My username at most agencies is "cardmaverick" - or I'm listed under my real name - for easy locating of my work click on the "License My Work" link above.
Beautiful young woman runner in a green forest.
Keywords:
commercial stock photography "stock photography" microstock ad advertisement micro "micro stock" image photography photograph color image Nikon D700 "Nikon D700" athlete athletic attractive babe beautiful beauty bra bright exercise female fitness forest girl hot human jog jogger leaf lush nature outdoor outside person portrait run runner sport spring summer sunny adult trees warm woman woods green endurance speed fast blur streak motion movement sexy midsection "jog bra" shorts tummy abs competitive Caucasian European
Mr Ranjitt gets quite close to Ms Brit Herdeaz's midsection and likes what he sees. Jeez- who wouldn't? Lookin good Brit!
The Chrysler 300 "letter series" are high-performance personal luxury cars that were built by Chrysler in the U.S. from 1955 to 1965. After the initial year, which was named 300-C, the 1956 cars were designated 300B. Successive model years given the next letter of the alphabet as a suffix (skipping "i"), reaching the 300L by 1965, after which the model was dropped.
1955 C-300
This first of the letter series cars did not bear a letter, but can retroactively be considered the '300A'. The 'C-' designation was applied to all Chrysler models; however for marketing purposes the numerical series skipped more than 225 numbers forward in sequence in order to further reinforce the 300's bhp rating. The 300 originally stood for the 300 hp (220 kW) engine. The C-300 was really a racecar aimed at the NASCAR circuits that was sold for the road for homologation purposes, with Chrysler's most powerful engine, the 331 cu in (5.4 L) FirePower "Hemi" V8, due to the hemisperic shape of the combustion chambers, fitted with twin 4-barrel carburetors, a race-profiled camshaft setup, solid valve lifters, stiffer suspension, and a performance exhaust system.
The car's "Forward Look" styling can be attributed as much to the Chrysler parts bin as designer Virgil Exner. The front clip, including the grille, was taken from the Imperial of the same year, but the rest of the car did not look like an Imperial. The midsection was from a New Yorker hardtop, with a Windsor rear quarter. There were few options available including selection of three exterior colors (red, white and black) and only one color of tan leather interior.
I pull my blade out, the sound it made reverberating through the theater. It was that loud kind of "SHHRRRIKK* sound, had a nice wetness with some metallic tones. I knew it too well and it still doesn't get old. His body hits the ground with a clung, blood splattering all over, the rest flowing all over the ground. His body was motionless. Not even a death rattle. Just done. This guy. This heartless bastard was one of the most feared men in recent times. And here he was. Gotham was Kinyetz's final resting place. It's too good for him if you ask me. Now that the biggest threat was dealt with, there was the mess he left. The explosives he left all over the theater. They were all the same, just rip off a panel and tear a wire, done. The Lexcorp warhead on the stage wasn't that much more difficult. That just needed a couple circuitboards removed. Compared to Patton Arms, Lexcorp weapons aren't that complicated. I've disarmed far worse. Disarming bombs is distracting, though. Which is why I didn't even notice all the hostages Kinyetz took who ere watching me the entire time. It was then I noticed just how quiet everything was. And the looks they were giving me didn't make things any less awkward. Even Linda had this stupid stunned look on her face.
".....well? The fuck you waiting for? Get out, go home! Show's over!"
Still got that stupid look on their faces. I was getting kinda pissed. They need to leave. Right now. Then I felt something grab a hold of me. Something holding onto the midsection of my torso armor. Thought for a second it was a Kinyetz goon trying to get in one last shot. I look down about to snap their neck when I see.....that kid. That kid who's mom Kinyetz shot. There was tears running down the poor kids face, and here he was giving me a hug like the world's least-cuddly teddy-bear. Really, I had no idea what to do. Then it got better. or worse. Don't know. I heard someone clapping. Then everyone else shortly joined. Everyone applauding me. I didn't want it. I didn't ask for it. I just wanted these people out of here. It wasn't safe. Yet, I couldn't help but enjoy it. Suddenly everything was broken up by some gruff shouting. At the entrance, an entire squad of special forces. Not cops, not SWAT. Special Forces. Wost part is I'm a wanted man. Ain't nobody got time for this. Good thing there was a fire escape backstage...
Few more long due modifications on the yellow citybus from City Corner set 7641. I'm particularly fond of this bus, because it's color scheme resembles the busses in my home city.
Added details for authenticity include poles for passengers to hold on to, cleared midsection for trolleys, dividing glass panels between sections and a bus card reader.
I made this tea towel using the new SS patterns --- it was a lot of fun creating something with "real" women, although I did slim their midsections just a wee bit. I gave the blonde a tattoo as well :-)
Right side heavily covered with lichens, left side less heavily covered, and midsection bare. Right side has been clear of soil cover for some hundreds of years. The left side for considerably less time. The middle section is completely bare. What happened? See adjacent image for my theory.
Hitting the hard part of making the shell for the cannon so i might just focus on the other side and work on the front end and midsection tomorrow
Brief synthesis
Bryggen is a historic harbour district in Bergen, one of North Europe’s oldest port cities on the west coast of Norway which was established as a centre for trade by the 12th century. In 1350 the Hanseatic League established a “Hanseatic Office” in Bergen. They gradually acquired ownership of Bryggen and controlled the trade in stockfish from Northern Norway through privileges granted by the Crown. The Hanseatic League established a total of four overseas Hanseatic Offices, Bryggen being the only one preserved today.
Bryggen has been damaged by a number of fires through the centuries and has been rebuilt after every fire, closely following the previous property structure and plan as well as building techniques.
Bryggen’s appearance today stems from the time after the fire in 1702. The buildings are made of wood in keeping with vernacular building traditions. The original compact medieval urban structure is preserved with its long narrow rows of buildings facing the harbour, separated by narrow wooden passages.
Today, some 62 buildings remain of this former townscape and these contain sufficient elements to demonstrate how this colony of bachelor German merchants lived and worked, and illustrate the use of space in the district.
It is characterized by the construction of buildings along the narrow passages running parallel to the docks. The urban units are rows of two- to three-storey buildings signified by the medieval name “gård”. They have gabled facades towards the harbour and lie on either one or both sides of the narrow passages that have the functions of a private courtyard.
The houses are built in a combination of traditional timber log construction, and galleries with column and beam construction with horizontal wooden panel cladding.
The roofs have original brick tiling or sheets, a result of fast repairs after an explosion during World War II. Towards the back of the gård, there are small fireproof warehouses or storerooms (kjellere) built of stone, for protection of special goods and valuables against fire.
This repetitive structure was adapted to the living conditions of the Hanseatic trading post. The German merchants took up winter residence in the small individual wooden houses and the storerooms were used as individual or collective warehouses.
A true colony, Bryggen enjoyed quasi-extraterritoriality which continued beyond the departure of the Hanseatic merchants until the creation of a Norwegian trading post in 1754, on the impetus of fishermen and ship owners of German origin. Today, Bryggen is a significant part of the historic wooden city of Bergen.
Criterion (iii): Bryggen bears the traces of social organization and illustrates the use of space in a quarter of Hanseatic merchants that dates back to the 14th century. It is a type of northern “fondaco”, unequalled in the world, where the structures have remained within the cityscape and perpetuate the memory of one of the oldest large trading ports of Northern Europe.
Integrity
Only around a quarter of the original buildings that existed in Bryggen remained after demolitions at the turn of the 19th century and several fires in the 1950s; the property is comprised of these remaining buildings.
Notwithstanding, the medieval urban structure is maintained and the buildings include all elements necessary to demonstrate how Bryggen functioned: offices and dwellings at the front, warehouses in the midsection and assembly rooms (“Schøtstuer”), kitchen facilities and fireproof stone cellars at the back.
Bryggen can be experienced as an entity within a larger harmonious urban landscape. It is connected more closely to the areas of small wooden dwellings beyond Bryggen and in the medieval city centre than to the larger 20th century buildings in its close proximity.
The risk of fire, excessive numbers of visitors as well as global climate changes with more extreme weather and possibly higher sea levels are some of the potential risks Bryggen faces today.
Authenticity
The Hanseatic period at Bryggen ended long ago, but the Hanseatic heritage is documented through buildings, archives and artefacts which are well preserved for posterity. There are also series of architectural surveys of the buildings from 1900 onwards.
The preservation of the buildings commenced on a larger scale in the 1960s and had made major progress by 1979, the year of inscription on the World Heritage List.
Some buildings at the back were moved in 1965 to create an open area for fire emergencies, but no further changes have been made to the urban structure since.
The solutions and methods chosen have been well documented, and limiting the replacement of original materials has been an objective. Bryggen is built of wood, which is subject to rot, insect attack and ageing. Since 2000, there has been an increased focus on maintaining original methods and building materials in the restoration, with careful consideration given to the choice of material, paint, plugs,nails, etc. and the use of original tools as far as possible.
As the activity at Bryggen decreased after 1900, the buildings became derelict. However, from the 1960s the former trading in stockfish and commodities was gradually replaced by small arts and crafts businesses. An increase in the number of visitors has led to the establishment of restaurants and tourist businesses. This has resulted in inevitable changes in the spirit of the place, particularly along the front facades, whereas the atmosphere of the Hanseatic period can still be sensed in the more secluded area further back.
Protection and management requirements
Bryggen, including its cultural deposits, is listed pursuant to the Norwegian Cultural Heritage Act and is also protected through the Norwegian Planning and Building Act. The adopted protection plan includes an extensive area that functions as a buffer zone.
Bryggen is privately owned and the majority of the buildings are owned by the Bryggen Foundation, which was established in 1962 with the objective of preserving Bryggen. The remaining owners have established a separate association to secure their interests. The stakeholders at Bryggen collaborate in different constellations of owners and authorities.
"The Bryggen Project" was established formally in 2000. This is an extensive and long-term project for monitoring, safeguarding and restoring Bryggen, including both archaeological deposits and standing buildings.
Bryggen is managed according to a management plan that is revised regularly. A fire protection system with detection and suppression has been installed and is continually being improved. Climate conditions are a key issue and measures have been taken to prepare for future changes. Possible impacts resulting from tourism are monitored.
There is ongoing pressure for urban development in the vicinity of Bryggen. Any development which may have visual impact on the World Heritage property is monitored closely by the cultural heritage authorities.
The extended-range C-130E model entered service in 1962 after it was developed as an interim long-range transport for the Military Air Transport Service. Essentially a B-model, the new designation was the result of the installation of 1,360 US gal (5,150 L) Sargent Fletcher external fuel tanks under each wing's midsection and more powerful Allison T56-A-7A turboprops. The hydraulic boost pressure to the ailerons was reduced back to 2,050 psi (14.1 MPa) as a consequence of the external tanks' weight in the middle of the wingspan. The E model also featured structural improvements, avionics upgrades and a higher gross weight. Australia took delivery of 12 C130E Hercules during 1966–67 to supplement the 12 C-130A models already in service with the RAAF. Sweden and Spain fly the TP-84T version of the C-130E fitted for aerial refueling capability.
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
The planet Ozidar was once home to a technologically advanced civilization, until a solar cataclysm rendered most of the planet's surface uninhabitable. A small fraction of the population survived in underground factories built before the calamity. From these havens they now only venture onto the surface in purpose-built machines - "Ozids" - built to survive the harsh conditions.
The SP1N3 is one such machine from the Barakis colony. Modelled on the megafauna that used to roam the surface, its fin serves as a solar collector that stores much-needed energy in giant batteries in its midsection, to help keep the colony alive. The fin also mounts a rotary cannon in case of encounters with hostile Ozids.
Erik's new rocket, the first in 6 years! All fiberglass. 15 lbs. I happened to have the perfect gold midsection to lengthen her and make more room for a proper parachute. She had two great flights. Launch videos
HMS Cavalier is a retired C-class destroyer of the Royal Navy. She was laid down by J. Samuel White and Company at East Cowes on 28 March 1943, launched on 7 April 1944, and commissioned on 22 November 1944. She served in World War II and in various commissions in the Far East until she was decommissioned in 1972. After decommissioning she was preserved as a museum ship and currently resides at Chatham Historic Dockyard.
Construction
Cavalier was one of 96 War Emergency Programme destroyers ordered between 1940 and 1942. She was one of the first ships to be built with the forward and aft portions of her hull welded, with the midsection riveted to ensure strength. The new process gave the ship additional speed. In 1970 a 64-mile race was arranged between Cavalier and the frigate Rapid, which had the same hull form and machinery. Cavalier beat Rapid by 30 yards (27 m) after Rapid lifted a safety valve, reaching an average speed of 31.8 knots (58.9 km/h).
Service history
Cavalier returning to Portsmouth in 1946
After commissioning she joined the 6th Destroyer Flotilla, part of the Home Fleet, and took part in a number of operations off Norway. Most notably in February 1945 she was despatched with the destroyers Myngs and Scorpion[5] to reinforce a convoy from the Kola Inlet in Russia, which had suffered attacks from enemy aircraft and U-boats, and had subsequently been scattered by a violent storm. She and the other escorts reformed the convoy, and returned to Britain with the loss of only three of the thirty-four ships. This action earned Cavalier a battle honour.
Later in 1945 Cavalier was despatched to the Far East, where she provided naval gunfire support during the Battle of Surabaya. In February 1946 she went to Bombay to help quell the Royal Indian Navy Mutiny. After some time in the British Pacific Fleet she was paid off in May 1946 and was placed in reserve at Portsmouth.
Cavalier returned to service in 1957 after a modernisation, which included removing some of her torpedo tubes in favour of Squid anti-submarine mortars. She was again sent to the Far East, and joined the 8th Destroyer Squadron in Singapore. In December 1962 she transported 180 troops from Singapore to Brunei to help suppress a rebellion that became part of the Indonesia-Malaysia Confrontation. After disembarking the troops she remained in Brunei as a communications centre for several days until other Royal Navy ships arrived to relieve her.
Cavalier was decommissioned in 1972 along with HMS Wellington (moored in London), and is the last surviving British destroyer of World War 2 still in the UK.
After decommissioning[edit]
After decommissioning at Chatham Dockyard, she was laid up in Portsmouth. As a unique survivor, after a five-year campaign led by Lord Louis Mountbatten, the ship was purchased by the Cavalier Trust for £65,000 and handed over on Trafalgar Day 1977 in Portsmouth. By selling the ship to the Trust, the UK Government and the Royal Navy severed all formal connection and responsibility for the ship. A special warrant was issued that allows her to retain the prefix "HMS" (Her Majesty's Ship) and fly the White Ensign, a privilege normally only enjoyed by commissioned ships of the Royal Navy. A similar privilege is enjoyed by another museum ship, the cruiser Belfast.
Moved to Southampton, Cavalier opened as a museum and memorial ship in August 1982. This was not commercially successful, and in October 1983 the ship was moved to Brighton, where she formed the centrepiece of a newly built yacht marina.
In 1987, the ship was brought to the River Tyne to form the centrepiece of a national shipbuilding exhibition centre planned by South Tyneside Metropolitan Borough Council in the former shipyard of Hawthorn Leslie and Company, builders of many similar destroyers. The plans for the museum came to nothing, and the borough council, faced with annual maintenance costs of £30,000 and a hardening of public opinion against unnecessary expenditure, resolved to sell the ship and wind up the venture in 1996. The ship sat in a dry dock (owing to a previous list) in a rusting condition, awaiting a buyer or scrapping in situ.
After the reforming of the Cavalier Trust, and a debate in Parliament, in 1998 Cavalier was bought by Chatham Historic Dockyard for display as a museum ship. Arriving on 23 May 1998, Cavalier now resides in No. 2 dry-dock.
On 14 November 2007, Cavalier was officially designated as a war memorial to the 142 Royal Navy destroyers sunk during World War II and the 11,000 men killed on those ships. The unveiling of a bronze monument created by the artist Kenneth Potts was conducted by Prince Philip, Duke of Edinburgh. The monument is adjacent to the ship at the Historic Dockyard in Chatham, Kent.
In the summer of 2009 the Chatham Historic Dockyard Trust made available accommodation on board the ship for youth groups who wish to stay on board and experience life on board a Royal Naval Destroyer.
In September 2010, Cavalier fired the first full broadside from a ship flying the White Ensign since a firing by the destroyer London in December 1981. This was due to the work of the heritage naval gun crew who restored all three 4.5-in guns back to working condition in conjunction with the Chatham Historic Dockyard Trust.
In April 2014 Cavalier was added to Google Maps Business View (formerly Google Business Photos) by CInsideMedia Ltd, in celebration of the 70th anniversary of her launch. The tour, which includes Cavalier's engine and gear room, was enhanced with interactive audio hotspots to enable visitors with accessibility issues to explore the ship.
wikipedia
There have been twelve other ships in recorded Imperial history to have received the name of the Athelonian God of War. The first was a war galley launched by the city-state of Athelon some time in 980 BA (Before Aesar). At this ceremony the pagan priests of the time appealed to their deity of the wilder aspect of war opposed to their patron goddess. The only text recording this event, which hints at the presence of a notable storm, claims that the terrible figure of the God of War appeared before them in storm cloud banks. The text claims that Ares mocked the people for their arrogance, and that no ship of war would ever be worth his name, but he bestowed a blessing any way. A "blessing" upon all ships to bear the name promising the greatest of battle fortune, but the harshest of the dregs of warfare. Furthermore, in their quest to create the ships to be worthy of such a name their builders would know many failures in their quest for perfection. Little is known what happened thereafter other than the simple fact that the ship perished with all hands after excellent performance in battle. This became an odd pattern, as the double-edged blade of a blessing turned into both fortune and curse, although the modern church would assure you that it is all superstition and misfortune. Easterners would point out bad karma for trying to rise above mortal means, but most agree that it was due to human failure. Every once in a while a commander would develop the gall to test the old forsaken legend or brand his ship with the legendary title, often with mixed results as men continued to test fate in what's that only men can.
The whole ordeal was a major source of concern within the Church as the Pope and his cardinals struggled to argue against such a Pagan, and ill-fated name. Unfortunately due to the rapid modernization of the Empire and the growth of "common sense" this was easily avoided by the general public and the Admiralty. It was a truly impressive name after all.
An ironclad battleship bearing the name from the Bolish War in 1865 was reported to have sunk two Aritannian warships in the Battle of Gragów Bay, only to sink as her ram detached itself upon striking the ship's second victim. This clear failure was ignored, and the odd circumstances that allowed the Lorraini ship Gloiréan to ironically become the source of attention the world over for the next half-century. Needless to say that the loss of life was catastrophic. When the Church took over all religious matters before the Third Troytonian Empire fell, and all things pagan literally vanished, no ship rceived the name for three hundred years until in 1735 a fifth rate frigate received the title. This very ship went on to have a respectable and famed fifty-year service as a pirate hunter, traveling across the world. It is speculated today that her own high casualties were owed to the inferior South Emmerian wood (obtained in the old Imperial colony on the continent) utilized in her construction that caused excessive splintering upon cannonball impact.
In 1922 a naval enthusiast named Georges Tyrell proposed a large cruiser design that could field aircraft, but match the firepower of the largest cruisers afloat. The Admiralty accepted his concept design with readiness, building and launching the Cervantes-class heavy cruisers with a spar deck between funnel and rear mast, allowing for the service of two naval aircraft. Appalled that the Marina Imperiale had not opted for his own (ambitious) design and unsatisfied with the Cervantes, Tyrell launched a political campaign, making extensive use of lobbying, against the Admiralty. After he won public and Senate support, the Admiralty conceded, and the large experimental heavy cruiser was ordered in mid-1923, and also winning the right to naming it (as well as direct the project) Tyrell had the ship infamously branded Ares in its original document, an act that received much criticism over the next few years, mostly referring to the renowned arrogance of the man who insisted upon its construction. Whether or not he knew of the name's unfortunate history is unknown. Although a section of the Admiralty scrambled to change the name to "Argus", the appeal was firmly squashed by the Imperial Senate. This was born the thirteenth ship of that unfortunate name, and the controversial story of a navy's most dreaded warship began.
The more watered down design called for a large cruiser that could field a squadron of naval scout, fighter or even attack planes but with the same firepower as the preceding Cervantes class, with five 9.2in guns forward of the superstructure. The Admiralty knew full well the required size of such a ship was truly great, and expressed their concerns, but the majority of the Senate had faith in Tyrell and his posse of designers, and they were looking for a response to the particularly large cruiser designs revealed in the the four massive Kūn class "battlecruisers" constructed by the Qin Imperium, and then later the Order of Achatius' Holmfirth (the famous "flagcruiser" designed to hunt and sink the Whispering Mare).The plan was to construct the prototype, then, depending on its success, order three other ships with the (if necessary) alterations. Tyrell upset this orderly process by making several interjections, calling for last-minute additions to the design. Among these were six quad torpedo launchers in turrets to be stored beneath the vessel's aircraft deck, and thus utilizing the "empty space". Later during actual construction he called for a new fast-firing 11in gun instead of the battle-tested 9.2in rifles used on the Cervantes. He argued that if they were going to make a powerful cruiser they should at least give it powerful armament. It is commonly believed that this action was an attempt to size-up the Achatian Holmfirth with her own six 10in guns. The proposed 11in guns were an entirely new concept to a navy focused on larger caliber and heavier rifles, and only after consulting Emmerian engineers about their own 11in guns did the long process of gun design begin, which denied the constructors to install and test the weapons on the ship until after launch.
The initial challenge was a great surprise. Perceptan dockyards pride themselves on their thoroughly modern facilities and world-class quality, and although using different engineers, the successfully designs of the previous Cervantes-class, were on hand for the construction of the experimental "aviation cruiser" and provided the perfect base design for Tyrell. Some claim it is because of the sheer size of the project and the requirements it was supposed to meet, the more limited dockyards of Valsyrion, the inexperienced designers that Tyrell had roped in, or (according to the ship's masterminds) the shoddy workmanship was to blame on the projects eventual outcome.
Work began in earnest, with the ambitious design quickly being passed through the multiple inspections without incident before being laid down, and oddly being recommend as "a fine display of naval engineering" by on of the inspectors. Despite this, several members of the Admiralty who inspected the plans expressed deep concerns stating that the design had not been altered enough from the Cervantes to account for the vast extra tonnage of the ship. Tyrell and the designing committee successfully suppressed this, assuring the Admiralty that the ship would not cause issues, but would instead completely outclass the Cervantes. Tyrell publicly boasted that he would "show them a thing or two about ship building". The general public loved him for daring to challenge the Imperial Navy. But the initial confidence of her designers dissipated almost immediately, as concerns presented themselves when the workers encountered extreme difficulty in working with the hull. A multitude of completely unexplainable accidents claimed the hands, limbs and lives of several men as the project slowed down, until renewed pressure from the Admiralty sped it up again. The working class of Valsyrion rose in a general strike after a section of the hull literally fell off, and claimed the lives of two men and the leg of a third. The strike called for more extensive safety measures, which the Navy was fast to accept. From there on construction continued more slowly and carefully, but half-way through construction the entire forward section of the long hull came close to buckling in on itself. After the fault was discovered and attributed to worker's fault rather than design deficiency, the plans were edited, calling for stronger reinforcement. When first tested in a water-filled drydock the hull rolled dangerously in the ocean winds blowing inland. This severe instability was completely unacceptable, so the hull was made deeper, with increased torpedo bulges.
Despite the growing concern of Admiralty and Senate officials, Tyrell used his political influence to ensure the project received the extra funding it needed. Several senior Navy engineers voiced concerns that the completed ship might not even be able to sustain an artillery or torpedo hit without capsizing, a warning ridiculed by Tyrell, but quietly heeded nonetheless.
After this revelation the designers realized, with great alarm, that the increasingly demanding requirements to stay afloat placed more and more pressure on the hull integrity. Imperial standards dictated structural integrity to be good, but even though keeping the same strong design of the Cervantes the pressure being placed on the hull by armour and newly-planned armament was disproportionate, delaying construction by an extra month as the engineers increased the strength of almost every aspect of the ship they could lay their hands on, as well as raising the armour belt and enlarging the hull so that the vessel's protection would not become submerged once the rest of the ship was added.
The enormous (and gradually increasing) weight of the ship necessitated more boilers than the previous Cervantes to retain the same required speed of 35 knots. As the rear of the ship was occupied by the spar (aircraft) deck much of the unused space just below decks was utilized for the increased engine block. A design oversight was that the schematics did not factor in another set of funnels to disperse the smoke generated from the extra engines. A large, elaborate (and heavy) series of complex trunks spanning the ships middle interior were required to issue the excess smoke through the same two fused funnels of the Cervantes. As a result, the entire midsection of the ship was evenly heated to uncomfortable levels, and extreme pressure was forced on the funnels and smoke trunks. The Perceptan doctrine for crew comfort called for an air conditioning system to help offset the issue. This massive system, however, put strain on the ships electric generators, which could only allow the unreliable air conditioning to be activated when the ship was well out of battle space.
Tyrell found the single four 5.5in mounts on the Cervantes unfavorable for his ships secondary armament. He had the plans augmented by seven more of the dual-purpose weapons, including four in the middle of the artillery deck. After much debate the number was decreased by two, and the extra guns in the forward part of the ship were sunken into the deck in odd casemates that allowed their ~80 degrees of gun elevation, and stay out of the way of the main battery, but in rough seas these guns would be near useless, and their crews only saved from period by the standardized turrets of the Marina Imperiale's smaller armaments.
Another problem was armour. The ship's basic design parameters required that it be able to exchange fire with other large cruisers, and some exceptional cases: ships armed with 9.2 and 10 inch guns. It would also be required to operate with the other cruisers of the fleet. Being bigger and possibly slower than the other heavy cruisers in the fleet, as well as distinctly recognizable, meant that Ares would draw focused enemy attention in battle. Therefore the armour needed to be thick enough to survive under heavy fire, and the ship be ready to receive the shots that penetrated. Once again, Tyrell resolved the issue by decreeing a minimum armour belt of six inches thick. The Treasury, which had been forced into the ruinously expensive and (God forbid) budget-exceeding project, baulked, and the Admiralty displayed new alarm, but Tyrell's Senate partners squashed the arguments of both.
When still incomplete, the ship was finally launched, and having gone over its original budget by leaps and bounds, the Admiralty was desperate to extract good results from their investment. Her heavy armament of five 11in guns was finally installed, as well as a sizable secondary armament and the empty torpedo tubes beneath the spar deck, both products of a paranoid chief engineer. The tests ensued slowly and cautiously, as fault after fault was revealed. But after the crew began moaning about the heat, Tyrell (who was on board) ordered the tests be sped up, combining several activities together, perhaps in the hope that the might of his ship would out-shadow the crew's concerns in the test captain's report. Despite the strong build of the cruiser her main guns in their well-armoured turrets rotated appallingly slowly despite their well-mechanized mounts, and when she fired her first test salvo the ship rocked violently in the calm sea, and analysis revealed that her structure had not dealt with the stress well. Half the light bulbs in the forward section had been obliterated, and the screaming of metal haunts her test crewmen to this day. It is commonly acknowledged that too many of the powerful 11in rifles had been shoved into too small a space, and the design simply did not cater for the larger guns. In fact, the schematics for the turret section had hardly changed at all from the first design draft. Despite all the effort of his builders (ships of the name inherited the dubious title of masculinity by suspicious seamen), the Ares was not strong enough to handle the recoil of a full salvo of his own main guns, but by then it was far too late to turn back, and the ever-asserting Georges Tyrell refused to allow "his" ship to be made any weaker. Too much money had been invested in the design of the guns them she's, then the ammunition produced to supply them. Even after considerable refit, the guns are preferred to be fired in succession and not all at once as to not risk stressing the structure, or break things. But the worst of the issues was yet to follow. The new and massive number of boilers (30!) was deemed adequate to propel the sleek-hulled ship to speeds in excess of 35 knots, record speeds for a cruiser, especially one of her size. But as soon as the captain, under the influence of Tyrell, tried to push to 35 knots the engines started to make strange noises that baffled their engineers, and the immense pressure placed on the smoke trunks worsened audibly. At 36 the ungodly wail of tortured steel was heard throughout the ship, deafening and disorientating their servicers. Before they could shut the engines down, it reached 37 knots. Something must have caught fire or burst, just as the ships smoke trunks did, flooding the the engine room with smoke and fire. The ship's core became an inferno, the funnels roared flame as the explosion rocked the ship. Once returning to his feet, the acting captain ordered the engines cut. A minute later, the engines screeched to a halt. Dead. The dispersion of the smoke had already been a problem, flooding the rear mast and the gun director, but now it, and exposed sailors, had been burnt by the flame.
When dragged back into port, the elderly captain immediately resigned, and the full investigation began. All the men in the boiler rooms had been roasted alive, and the few who escaped bore horrid burns. Several other men sustained more minor injuries, the result of the ships violent pitches as he struggled to remain afloat.
At this point the Admiralty took matters into their own hands. A committee, to which Tyrell was not invited, was held to determine the ships fate. The intensive debate concluded with the obvious fact: the ship was too great an investment to scrap, especially since she was still-theoretically- in serviceable order, and would have been the first Imperial ship ever launched to not receive the honours of commission. Furthermore, Tyrell had applied to the general public for far too many loans to be just let slip, and the shadow of an unhappy Emperor loomed behind them all. Many of the ships original designers successfully washed their hands of the mess when the Navy's elite designers entered in an attempt to save the cruiser, but Tyrell continued to lobby in favour of having the project returned to him.
The final length of her construction resulted in further internal strengthening to absurd levels as every part of the ship received extra reinforcement, often in terms of thin armour. Extreme new safety measure that insisted upon the water-tightening and fireproofing of every single one of the hundreds of compartments on board to battleship levels of damage control. Her crew was increased in number to better enable damage control ability during battle, with total disregard for the already cramped conditions on board. Her rear mast was tilted back even further than it was before in an attempt to avoid the pillar of smoke generated by the funnels, and thus preserve the rear gun director, requiring extra reinforcement so that it didn't topple over, and it now rests on a new rear structure. The stresses of the design and limited room saw little space for lifeboats. The standard number was forced upon the ship, resulting in some of the boats getting in the way of deck teams. The shear expense of the warship and harsher Admiralty budgeting left very little funds donated to crew comfortability. The hull was deepened and the fuel storage cells enlarged in a bid to increase stability and torpedo protection, and his keels were increased in size. The boilers were separated into fifteen compartments, each separated by a bulkhead, and each with two boilers. In the event of flooding, fire, or some other disaster, the watertight bulkheads would keep the rest of the ships powerplant safe from harm.
Months later and the now world-infamous ship left drydock, complete at last. Many deficiencies of the original design have been dealt with, including the complete replacement of the vessel's powerplant and protection. But many more problems with the ship remain unsolved. Holes in the deck armour were discovered where spaces made for hatches were simply planked over by the deck. These had to have steel squares welded into place, instead of replacing the whole deck armour. And the unreasonably thick (6in) armour belt that became submerged when fully loaded had to be replaced with a much lighter belt. The electric generators were of an inferior model supplied by a personal friend of one of the designers, and was replaced by the standard kinetic model used by the navy. Extravagant gilding and art work was found around the ship's officer quarters, and an expensive main admiral's suite, while the facility for the general crew were found lacking. Needless to say, the unfortunate ship was mercilessly stripped bare. With the budget being far exceeded, the lavish attire of the central rooms was sold to help cover the cost, while the ship was equipped with cheap new internal furnishing that barely relieves the stress of living on board the monster. The ammunition rooms had never been altered from the Cervantes design, so that while the Admiralty completely remodeled the interior of the forward hull, improved interior protection was added around the magazines. The ship still suffers unpleasant roll whenever struck by torpedo or larger shells, and remains immensely uncomfortable, difficult and expensive to operate. The crew was selected from the worst, and the roughest of the navy's roster, often as punishment, but all Imperial sailors fear his name when the rosters change. In addition, the thin aircraft deck was replaced by an armoured one, and a hangar beneath that was contemplated with mechanical lifts to the deck. The plan was abandoned to help cut costs, and to avoid the risk of further weight. Besides, the spar deck housed the ships formidable torpedo armament, now reduced to four quad launchers. The aircraft deck has proven awkward to operate with the full complement of six aircraft, but the two extra cranes and catapults were added to deal with the issue. The only way to increase the size of the deck by then was an expensive modification to the hull, hardly an option.
Such a difficult ship was entrusted to Captain Junius Pearson, who displayed his ability when commanding the armoured cruisers Achilles and Kalexa against the Whispering Mare. It is hoped that the presence of such a skilled and determined commander could tame such a ship and crew. He continues to valiantly attempts to control the monster, often spending his own money in an attempt to improve the lives of his crew.
The extra weight resulted in the reduction of the top "safe" speed, lowering it from 34/35 to just 33 knots despite the very large number of new boilers.
Eventually though, one naval inspector had this to say about the ship:
"But for all his evils and faults, the blasted tub does have its saving graces. The first and foremost being that it is without doubt the strongest-built cruiser in the world, and one of the toughest warships ever launched. I believe that this is because of the constant attention the ship has warranted, and the vast amount of tonnage devoted to armour that has always seemed to be increasing. It has certainly ensured that the ship has received the best of everything the navy had to supply in order to increase the usefulness of the vessel. Second is that this cruiser remains a notably powerful warship. A heavier main battery than any other cruiser afloat, as well as six aircraft for scout and strike purposes makes for a highly impressive, if unusual, loadout. The massive fuel cells and storage space supplied by the equally large torpedo bulges allows for impressive range and endurance. And despite everything thrown at it in the more extensive than usual combat tests, the ship steadfastly refuses to take significant damage, or sink, no matter how much it throws the crew around. But don't get me wrong; once a potato, always a potato"
The meaning of that final phrase has long since been lost to time, but Ares would still cause a lot of pain during the remainder of his career, and destined for a special mention in the history books.
Original Displacement: 13,300 tons standard, 15,700 tons full load
Final Displacement: 16,500 tons standard, 19,500 tons full load
Propulsion: 30 oil boilers, geared steam turbines, 4 shafts
Top Speed: 33 knots (unless you have a death wish)
Range: (using 20/30 boilers) 18,500 kilometers at 14 knots
Armament: 5 x 11in guns, 9 x 5.5in guns, 6 x dual 37mm turrets, 20 x 25mm autocannons, 4 x quad 24in torpedo turrets
Armour: 4-5in belt, 1.5in deck, 3in aircraft deck, 3in (over vital compartments), 4in barbettes and magazine protection, 3in on turrets, 3-4in bulkheads, 6in conning tower, 0.5-2in internal strengthening.
Aircraft: 6
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Pros:
-Structural integrity is of legend
-Heavy armament
-Long range endurance
-Excellent armour for a cruiser
-Large complement of aircraft
-Excellent damage control
Cons:
-Many technical issues
-Main battery stresses
-Uncomfortable to operate
-Stability issues
-Cramped
-Too slow to operate with fast cruisers
-Slow turret traverse speed
-Deathtrap is unsafe
-Large turning circle
-Crew hates the ship
-Ship hates the crew
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Builder's Comments:
Forgive me for adding you all, but this build is a personal favourite of mine and I'd like to have some input on it. I love how the build itself turned out, and I'm not sure when I'll bring myself to dismantle it. The concept arose when I felt like doing something interesting- make an aviation cruiser like IJN Tone. Of course, things got a bit carrier away. What started off as a ship planned to have four 9.2" guns evolved when I couldn't find a black technic beam intermediate between the froward piece on this ship and that on Cervantes. I had the extra space, so I went ahead. Soon the shear promise of the fun to be had outran the test project of mine, creating a truly horrifying vessel.
I ended up making this ghoul of a ship. Powerful, without a doubt, but with so many issues it's hardly the worth the firepower. The story was inspired by the sorry tale of the HMS Captain. Thanks goes to Awe to sharing the pdf "World's Worst Warships" with me.
It was some time before Soundwave came across another civilian. Although he considered himself fortunate that he also did not come across and more Vehicons as well, his own fuel supply was past the point of painfully low. Soundwave suddenly found himself automatically transforming back into his warrior mode, lacking the energon reserve that it took to even sustain his alternate mode. He painfully staggered onward, his painful movements echoing the chassis limitations of the derelict that he had passed not so long ago.
Soundwave continued, one agonizing step after the next, holding his metal arm over his midsection not only to cover his wound but also out of the need to support his body while he moved. The Decepticon was literally doubled over in agony while he walked. His optics frantically surveyed the area, desperately searching for anything that the starving Decepticon could possibly convert into a usable fuel to no avail. The lack of fuel led to Soundwave losing his footing as he stumbled. He came crashing to the ground and lay there for a moment, trying to collect his senses. Soundwave looked upwards, losing focus in the hues of coloured ripples that were created as the atmosphere melted into the cosmos above. Then... blackness.
Lexus RC-F (1st Gen pre-facelift) RC300h (2014-on) Engine 2500cc S4 petrol hybrid
Registration Number BD 16 LVP Dealers Display Plate, now re-registered, plate Birmingham)
LEXUS SET
www.flickr.com/photos/45676495@N05/sets/72157623895335901...
The Lexus RC is a compact executive two door Coupe designed by Pansoo Kwon and approved by supervising designers Yasuo Kajino and Tatsuya Takei. . The RC was unveiled at the 2013 Tokyo Motor Show and has shorter wheelbase than the Lexus IS (XE30) though it is longer overall and shares a platform with the Lexus GS (L10), midsection from the Lexus IS (XE20) convertible, while the rear componentry is from the XE30 series IS The RC has three LED lamps in the triangular headlights and 18-inch five-spoke alloy wheels as standard, or 19-inch ten-spoke wheels as option
Initially, the RC was available with a choice of three engines; the RC 300h with the 2.5-liter 2AR-FSE inline-four engine mated to a continuously variable transmission, the RC 350 with the 3.5-liter 2GR-FSE V6 (which was later replaced with the 2GR-FKS), and the RC F with 5.0-liter 2UR-GSE V8. The RC 200t (now called RC 300), featuring a 2.0-liter 8AR-FTS I4 turbocharged petrol engine, was added to the range in late 2015. All-wheel drive is offered for the RC 300h and RC 350.
The RC received its first facelift in August 2018, ahead of the Paris Motorshow he corporate 'L' shaped DRLs and the triple eye LED's are merged, and have a simular appearance of the larger LC coupe along with a reworked cabin and rear tail lamp design.
The Lexus RC F is a high performance version of the RC. The vehicle was unveiled in the 2014 North American International Auto Show. for the 2015 model year The RC F features a 5.0 L (4,969 cc) 2UR-GSE V8 engine with Atkinson cycle at cruising speeds, developing a maximum output of 467bhp The RC F is equipped with vertical G-sensor for VDIM, Torque Vectoring Differential (TVD) with three operating modes, Standard, Slalom, or Track, front and rear coil-spring independent suspension, monotube gas-filled shock absorbers and ball-jointed stabilizer bars, three new 19-inch diameter forged aluminum wheels, spindle grille with F-mesh pattern on the lower half, unique front hood which raises the peak of the vehicle, hood air vent from the LFA, front cooling ducts, front fender ducts in the L shape, exclusive combination meters from LFA The aerodynamic package includes an active rear spoiler, tuning of the underbody, the intakes in the grille and the front fender vents and aero stabilizing fins.
The carbon fiber optional package, or known in Japan as Carbon Exterior Package, includes a clear coated carbon fiber roof, active rear spoiler, and the carbon fiber engine hood.
The RC received a mid-cycle facelift for in August 2018 ahead of its 2018 Paris Motor Show debut, The corporate 'L' shaped DRLs and the triple eye LED's are merged, making their placements look simular to the larger LC Coupe along with a reworked cabin and rear tail lamp
Thankyou for a massive 54,894,808 views
Shot 03.07.2016 at Cars in the Park, Beacon Park, Lichfield REF 121-205
Fidalgo Bay.
NTSB Final Accident Report, Date Adopted: July 23, 2015
"The National Transportation Safety Board determines that the probable cause of the capsizing of the yacht Baaden during its initial launch was the vessel’s low margin of stability due to the combined effects of a recording error during the final vessel weigh, which resulted in an incorrect assessment of the vessel’s center of gravity, and an overestimation of the weight of installed ballast."
"The newly built yacht Baaden was being launched stern first down the Fidalgo Marina boat ramp in Anacortes, Washington, with eight shipyard personnel on board when it capsized after entering the water at 2050 on Sunday, May 18, 2014. The yacht was salvaged but was declared a total constructive loss, estimated at $10 million. Three shipyard personnel who were
trapped below decks for up to half an hour were treated for minor cuts and injuries at local hospitals. No pollution was reported.
New World Yacht Builders began construction of the Baaden in December 2011, working from an existing 80-foot-hull mold built in 2002 by Northern Marine. Like other large Northern Marine yachts, the vessel was custom designed. The 80-foot mold was lengthened in the midsection and stem, the bow was given more flare, and a swim platform was added. The resulting 85 foot vessel was designated Northern Marine model 8501 and was the first of its kind. New World described the Baaden as having commercial fishing vessel roots in an 85-foot
European-style, luxury, long-range, oceangoing expedition yacht. The builder, the buyer’s representative, and an interior design firm collaborated on the vessel design and styling. Several sister vessels built to the 80-foot-hull design were completed and are in operation.
Due to water damage to interior woodwork, machinery, and electrical systems and expenses associated with repairing the vessel, at the time of this report the Baaden was considered a total constructive loss with an estimated value of $10 million.
Launch team members inspected the launch cradles, dollies, and equipment after the incident and noted that one of the tires on the forward dolly was flat, and witnesses said they saw
bubbles coming from the forward dolly at the time of the launch. The tire likely was damaged during the initial port roll at 2037.
"Investigators reviewed photographs of the load cells from the second weight test. The photograph of the aft starboard load cell showed a value of 60,550 pounds. Additionally, the
investigation determined the load cell values were written in grease pencil on the cradle above the cell from which they were taken. An aft starboard pencil value of 60,350, nearly similar to
the value shown in the cell photograph, was found written on the cradle. However, the investigation determined that New World supplied the stability naval architect a value of 68,500 pounds for this cell―indicating a transcription error at New World―and the naval architect used this incorrect weight in his spreadsheet to determine total vessel weight and estimate launch stability. As the aft port load cell reading was 68,700 pounds, an actual aft starboard side reading of 60,550 was more than 8,000 pounds less than the aft port side. The stability naval architect said this 8,000-pound difference indicated a transverse weight differential and would produce a heeling moment to the heavier port side. This meant the vessel’s center of gravity was further to port than had been estimated." - NTSB
www.ntsb.gov/investigations/accidentreports/pages/MAB1514...
INSTRUCTIONS AVAILABLE FOR VARIETY OF BODYSTYLES OF THIS MODEL
The Peugeot 304 is a small family car which was produced by the French manufacturer Peugeot from 1969 to 1980.
The 304 was introduced to the public at the Paris Motor Show in September 1969. Production of the saloon/sedan on the Sochaux assembly lines was discontinued during the summer of 1979, while the "Break" (estate) was produced until the spring of 1980. Coupé and cabriolet versions replaced their 204 forerunners in March 1970.
Peugeot, which had always been a financially prudent company, saw a gap in the midsize car market in France, Italy and the rest of Western Europe. By using the smaller 204's midsection, development costs were minimized resulting in a higher profit margin because of the higher pricing structure in the larger, better equipped market. The 304's main competitors on its home market came from Renault and Simca, with Citroen noticeably absent from this sector at the launch.
The car was moderately advanced for its time, having fully independent suspension, and a four-speed gearbox located directly below the engine, sharing the same oil as the engine.
The 304 was designed to slot between the popular 204 and the recently introduced Peugeot 504. Since the 204 had an exceptionally spacious passenger cabin for its class, the 304 body used the central portion of the 204: engine and running gear components were mostly interchangeable between the two cars. However, the 304 had a restyled front grill and headlights, designed consciously to emulate the 504.
FINALLY RPing at a Game of Thrones sim. I've wanted to for so long but it just never happened. But lemme say, today was my first day RPing here, and I already love it. This is my character Alysandria (Alys) Baratheon, daughter to Lord Alexander Baratheon. The RP below is my first RP on this sim and I'm putting it here more to log it than anything else since I really enjoyed it. I've bolded the part of the RP that I was trying to show here, so if you read just those, you'll get the gist of it. But I didn't want to delete the rest of the RP because honestly, everyone I've come across here is an AMAZING Rper. So, here goes~
P.S. If you decide to RP here, JOIN THE DAMN BARATHEON HOUSE. Right now it's only me and Alexander l o l~
slurl.com/secondlife/Wishes/130/139/24/
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Alexander Baratheon The hedge knight walloped him into the next dimension with his final onslaught, the shaft sent him flying a couple feet backwards off his horse, the shield did little to mitigate it, and, he'd fall flat on the ground, even somehow, a bit of the wooded splinter had pierced into his plating. It was like being hit by a mack truck, and, he'd definitely have bruises to prove it in the morning. Thankfully, the splinter didnt pierce him. And, in a stagger, he lifted as a defiance to his own pain and waddle over to the hedge knight to pat him on the thigh and exclaim "Good on ya! This young Ser takes it! I dare say I yield before he breaks me!" he'd snicker heartily and let his squire take care of his shield for now, and, he'd toss off his helmet and shield, yet, proudly mount his horse once more, and, steer him once more down the field to the side of the hedge knight as a show of good will and wave to the crowd, "Plenty of fair ladies in the crowd for ya, Ser! Pick a good one!"
Lady Alys Baratheon couldn't help but pout when her father hadn't won the match. He was a good sport about it though, as always, which left her feeling better about the whole ordeal than worse. Alys pushed herself from the railing, twirling in a graceful manner as she made her way down to the stands with the rest of the spectators, curious as to who the hedge knight would choose.
Max Eternal watched the final round, ignoring the hum of the crowd behind him as he focosed on the riders charging towards eachother for the last pass and once Lord Baratheon fell the crowd screamed and gasped until he righted himself, fit to see another match though he would not walk away with the gold. Ser Max the Red shouted out for all to hear . "YOUR WINNER IS SER LEOFRIC, THE HEDGE KNIGHT! He wins 100 gold pieces from the kings own hand and the right to name any lady here the queen of love and beauty! So step up Ser! Recieve your winnings and make your choice! What jewel of the seven kingdoms should bear that title tonight?" He beckoned the knight up to his dais with a smile and welcoming gesture
Josselyn Arryn (riikka.aviatik) is more then a little surprised at the victor, but smiles all the same. "Well, good for him," she murmurs. Gathering up her skirts, she inclines her head to the ladies. "Shall we? Your brother is likely to be waiting for us." And with that, she turns and heads back to the manse.
Ser Leofric throws the broken lance aside at the end of the run.. coming to a halt.. as the announcer claims a third bout.. he stays still and, waits for Alexander to recover himself.. mighty strong man who'd taken such blows successively and still gets up.. "I think one hit from your lance." he exposes the mail under his shield.. "We'd be on opposite footing." he smiles faintly and lifts up his visor.. watching the Baratheon mount up and then follows.. at his side.. patting his horses neck.. "Good on you, Ser rupert.." clearly he thanked his horse more than anything else.. and now he had a truely daunting task.. He pulls of his helm and tucks it under his arm.. looking at the all women and loudly declares.. "But my lord!" he exclaims "I know not which of these ladies are married or posess suitors.. I would not wish to offend another.. Would the ladies not bound by wedlock step forwards!" he looks at the crowd and kindly nods his head to Max for his announcement.. and then moves over to accept the crown from him..
Kaylin Mormont could not any other way than to actually laugh after her cheer at the last blow that connected. Now that the victor was known, and the one not wearing any plate at all as well. That was a victory to certainly be valued. Once more she was ringing her plates with her fist for them two, and for the victorious man. And now, in her mind something has changed, and as she yesterday planned to spend her won dragons on a full plate, she now felt that it does not matter how fancy the armor, if there is a true heart beating under it. Perhaps she would find better use for the gold. Now that the knight went so closed, she however better stepped back, not wishing to steal his thunder, like if she could.
Magdalene Arryn smiles and leans away from her sister and sister in law. Bowing her head to Sarraya. "It's been a lovely day. So much bravery." her shyness being overpowered. She did not like to see a lady alone, she knew all too well how it felt. So she would of course engage in small talk with the woman. "I know nothing of either man..but both have been most impressive. She would clap her hands together as the winner was announced. She was truly impressed. She would look to Joss as she seemed ready to head off. She would turn as well, giving a smile to both the jousters and a courteous bow of her head to the Martell woman. "A pleasure to see you again. I hope we have a chance to meet again."
Sarraya Nymeros Martell was one of the many that held their breath when he was knocked from his horse but sh could not heplp but applaud the winner. "Goodness what a strong blow. These men were vicious on the list toda!" And she loved it. Watching the hedge knight she wondered to herself if he was sworn yet to another house, Martells could certainly use a man like him in King's Landing. At his call for the eligible women to step forward she laughed "I think we are stopped by these rails good ser to move any closer."
Winnifred Arryn was eager to see who the queen of love and beauty would be, blue eyes darting excitedly from the winner to the gathered ladies. Unfortunately she heard Joss' voice then and nodded "Of course" she agreed and followed, best not keep their brother waiting, especially since they'd gone out without him.Quickly she hurried after her sister and sister in law, though she could not help but to glance back once or twice.
Sarraya Nymeros Martell smiled sweetly to Magdelene, so far the only Arryn who talked to her. But then the Arrysn were leaving "But wait, surely you should stay so that he could choose one of you two" Having heard the otehr day that one of them at least was not married.
Lady Alys Baratheon was surprised to see the amount of spectators left. Did those women really need such a lengthy amount of time to prepare themselves for the ball? But, she digressed, prepared to be on her way as well until the knight spoke. Alys seemed to stop in her tracks, unsure of what to do, especially with her father's watchful eye ever present. Though, since she was already at the railing and could not move any closer, she'd remain there. Her attention turned to the woman who spoke, chuckling lightly at her words. She went to look at the other two who had been present only to find that they were departing as well. This made Alys all the more nervous, and her eyes would go wide in reaction to such.
Kaylin Mormont was considering a moment, after what she heard from the man, but seeing she was not dressed for beauty, she felt it would be a good joke, so the step she took back, she took it ahead again, just grinning a bit stupid. Still the whole victory of the unplated man was working its charm on her, making her almost laugh.
Alexander Baratheon had noticed his daughter had been spectating throughout the event, he hadnt missed a beat as a stern and meticulous man he was. And, he'd watch he line up on the rafters standing fairly amongst the other women, a good choice for any man. And, he'd press his plated hand to his palm and blow her a kiss for good luck "I will see you at the ball, Sweetling! Dont worry, your father wont keel over just from a couple of bumps." he'd saunter backwards and pivot in place, before winking at the hedge knight "The most beautiful flower in all of Westeros, my fair daughter, would be most certainly a worthy woman to sit on the dias with you!" he'd tease the lot of them before charging off the field to let the man have his day and choice unhindered, "And Lady Martell! Come now! Dont dissuade the man! Its his day, learn to love flattery!"
Max Eternal couldn't wait for a cup of five of ale to be in h is belly and a wench to be in his lap so he watched, crossing his arms as the unarmored hedge knight looked to crown a maiden before the nights festivities began. and he sauntered towards him, pressing a sachel filled with a hundred gold crowns from the kings own hand .."Who cares bout the squeen of love and beauty when there's a whorehouse and gold in your hand eh friend!" This was said so that any ladies present might not hear but surely some might..
Magdalene Arryn wrinkles her nose as she was spoken to again, turning back with a laugh. "Oh..I do not wish to be picked..nor keep my brother waiting. Good luck.." she would laugh and start to head off, stopping briefly to smile to Lord Lannister. "Lord Lannister, a pleasure to see you again.." spoken as Joss started to wave her off, she was trailing behind her sister in law by quite a few feet at this point, she was definitely going to be in a bit of trouble.
Auron Hill nods at his fathers words, knowing he was right. Afterall he had become a knight to try climb from his status as the Lannister bastard. But still the stigma followed him, if only in his own head at times. He was more taken back by the victor of the tournament though than his father's kind word. The winner wore no crest or sigil of a house. He was a hedge knight as his father pointed out. "Thinking he'd look good in red, father?" he asks with a grin before looking to the stands where the hedgeknight was to choose the 'Queen of beauty and love.' It was a tough decision for the hedge knight no doubt, though Auron found his eyes lingering on the woman in black longer than the others.
Sarraya Nymeros Martell Stuck out liek a sore thumb in her blazing orange sari and dark skin. Lips purse as she looked around, yup everyone had that beautiful milky skin. As teh arryn escorte herself away she frowned, it seems the Arryns ladies were very skittish with angering the Lord. "Lord Alexander you know how much I love flattery, I would never wish for it to end" She called to him with a tease as he turned to leave, now realizing the beautiful young lady beside her was his daughter. "Truer words never spoken" Seaking to Max with a grin and off to teh side since she had heard what he said.
Ser Leofric looks at all the women and leans back in his saddle.. as basically they all stood still ."Clearly! Many men are happily married." he looks down at his horse.. "Ser rupert, pick for me." he horses ears twitch and swivel around.. seemingly looking at the women.. and his horse casually trots over to the Baratheon.. he wouldn't touch Sarraya, he'd seen how Aeric had looked at her.. and he had more honour than that. "Lady.. If you would accept." he holds up the crown of roses.. and smils faintly, clutching at his helm..
Kaylin Mormont heard the Games master as she was relatively near and his announcement to the Hedge knight made her snort. Obviously the man knew how to enjoy life and that was something to value, at least for this one northerner. She however just remained listening to the chatter around her, quite entertained. Which was not her usual, at times there And when Ser Rupert picked, Kaylin sticked out her tongue at the horse, though in the end she was happy to not be the horse's choice of love. That in itself as much as good joke it was could imply something about her already big nose. And she would have none of that!
Thaniel Lannister smiles a bit as Magdalene walks by, "My lady of Arryn..." Thaniel bows to the woman, "I do hope you will save a dance for an old man of Lannister." He's not that old. Plus, the blond totally covers up the grey hairs. "The hedge knight may name any woman, but obviously he is wrong if he chooses anyone other than you." Flattery, it rolls of Thaniel's tongue like honey, effortlessly, but all the moreso when he at least means it a little. Thaniel nods at Auron, "I had exactly that thing in mind." Thaniel lifts his chin and calls, "Ser Leofric. I was very impressed by your performance. Come soon to the Lannister house here in King's Landing. I would very much like to discuss your unusually exceptional skills with the lance...and the lute."
Max Eternal chuckled and nodded his approval as the hedge knight offered the crown to the young Baratheon woman, giving both women a dashing smile before fading off, leaving the squires to clean up the field...."I wish y ou all well. See you at the ball soon!!" He runs off in preparation
Lady Alys Baratheon nodded her head to her father at his words of his health. She rather enjoyed these events, but always feared he would be gravely injured one day. But she knew what a strong man he was, and that nothing of today's caliber could take him down. She lifted a hand in a wave as he rode off, now even more aware of her current position. She hadn't even intended to be part of the contest, but she now felt stuck in place, as if sinking in to quick sand. Her throat felt dry and she gulped deeply, eyes trailing over to the brightly dressed woman that exchanged words with her father. She smiled warmly, though at her words, a soft tint of red plagued her cheeks, giving away her current embarrassment. She seemed more confused than anything though when the knight ordered his horse to choose. Maybe she was safe? And... maybe not. As the horse came trotting over towards her, Alys' eyes went wide, drifting from the horse to the knight himself. She seemed to stay silent for a moment, her young age leaving her at a loss for words, so she would settle for what came first. "It would be my honor, Ser." she announced. Though whether she actually felt that way or not was hard to tell. Either way, she'd dip forward, moving so the crown of roses was placed delicately upon her head.
Magdalene Arryn turns back, her cheeks blushing just a bit towards Thaniel. "I would be honored to save a dance in your name." she grins at his compliments. Bending at the midsection into a rather formal curtsey, fingers laced into her skirt as she straightens back up. "Enjoy the rest of the festivities." she would turn, starting to walk off, her cheeks ablaze with redness. Making hasty footwork to catch up with the others.
Sarraya Nymeros Martell When Ser Leofric trotted towards the Baratheon girl she smiled brightly. The young lady was very beautiful, who could fault him? Besides, the crown might have been nice but it would not feel like those that sat on her head thanks to Aeric throughout their history. "A brilliant pick good knight, no Lady more beautiful then her." Her words ere sweet and backed with smiling eyes as she moved to place a warm hand along the girls arm if she could "Congratulations.. and to you as well Ser Knight. You tilted wonderfully and deserve that prize in your hand. I do hope you will be at the ball, would love to talk with you some." Oh she woudl certainly keep an eye out for him. "If you all would excuse me though, I better hurry to get dress"
Ser Leofric "The honour is all mine, Lady Baratheon." he bows from the saddle.. as she dons the crown.. "You are my queen of love and beauty." he leans back up with a pleasant and joyous smile on his face.. he was just that Leofric the Joyous.. he glances at the Princess.. "I may there in some fashion.. I've been asked to play." he wheels round.. clicking his tongue and smiles at the momront who'd cheer on all the knights with such gusto and for that he was greatful.. He caught the Lannisters offer as well.. "All these houses.. clearly i'll be well dined.." he laughs jovially and heads off.. quite sore.. hey he took impacts as well... collecting his prize money on the way.. as he whistles some random tune.. he also had some bounty to collect from the Tyrell he un-horsed...
Kaylin Mormont returned the smile to the hedge knight when he noticed her, which was nice for the young girl, even when the man's queen was someone else, chosen right here in front of her eyes. And so, in the warrior manner, she twice hits her chestplate cheerfully for the knight and the horse. "Well played, Sers.", she tells them with a blink of her eyes. She had a lot going through her head right that moment, but she felt it will have to stick with her for the day, for she had a meeting with some abandoned kegs when everyone will move for the ball.
Lady Alys Baratheon couldn't believe she had actually won the title she hadn't sought from the beginning. Though she couldn't deny it raised her self esteem by quite a stretch. As she felt the woman's hand on her arm, she smiled brightly towards him, giving a bow of her head. "Thank you." she said sheepishly, then bowing deeply towards the Knight, at a loss for words officially this time. Though at the mention of the ball, she seems to startle, her eyes going wide. "I had completely forgotten!" she exclaims, glancing down to her attire. "I must go prepare myself for the festivities as well." She bowed quickly, once more, before hiking her dress up in a very unladylike fashion and booking it to the Baratheon house
Tutorial for a complete remake of my first car posted here on flicker years ago. redesigned from the bottom up but using the same idea of a 5 wide midsection.
Also availible on youtube
Designed with Lego Digital Designer (LDD)
Music
JR Tundra - Bar Crawl
It starts with a twist of the head, continues seamlessly as it shimmies thru the midsection, then finishes with a flourish of the tail that lifts his hind legs off the ground. It makes me smile every time :-)
I have tried this shot hundreds of times:
Literally, hundreds. One thing I have found with this shot is that I have to point the camera into the light source (in this case the sun) to be able to pick up all the flying water drops. I also found it helpful to shoot this early or late in the day when the sun is much lower. Having a dark green bokeh background doesn't hurt either.
Just the Facts Ma'am:
ISO 100
1/1000th
f/2.8
135mm
High Speed Continuos Shutter (The 50d ROCKS at this)
1 large lake
1 very wet stinky dog
The Chrysler 300 'letter series' were high-performance personal luxury cars built by Chrysler from 1955-65, a sub-model of the Chrysler New Yorker. After the initial year, which was named C-300 for its standard 300 hp 331 cu in FirePower V8, the 1956 cars were designated 300B. Successive model years were given the next letter of the alphabet, reaching the 300L by 1965.
The original C-300 was developed to homologate a Chrysler for the NASCAR circuits. The front clip, including the grille, was taken from the Imperial of the same year, the midsection was from a New Yorker hardtop, with a Windsor rear quarter. The 1956 update was the 300B, with new tailfins and a larger engine. Two companions of the 300B were introduced; the DeSoto Adventurer and the Dodge D-500, less luxurious, but sharing much of the mechanicals.
Engine; 354 cu in Hemi V8 with either 340 or 355 hp. Only 1,102 300 Bs were sold
The Chrysler 300 "letter series" are high-performance personal luxury cars that were built by Chrysler in the U.S. from 1955 to 1965. After the initial year, which was named 300-C, the 1956 cars were designated 300B. Successive model years given the next letter of the alphabet as a suffix (skipping "i"), reaching the 300L by 1965, after which the model was dropped.
The 300 "letter series" cars were among the vehicles that focused on performance built by domestic U.S. manufacturers after World War II, and thus can be considered one of the muscle car's ancestors, though full-sized and more expensive.
The automaker began using the 300 designations again for performance-luxury sedans, using the 300M nameplate from 1999 to 2004, and expanding the 300 series with a new V8-powered 300C, the top model of a relaunched Chrysler 300 line, a new rear-wheel drive car launched in 2004 for the 2005 model year. Unlike the first "letter series" series, the successive variants do not feature standard engines producing at least 300 hp (220 kW), except for Chrysler's current top-line 300C models.
1955 C-300
This first of the letter series cars did not bear a letter, but can retroactively be considered the '300A'. The 'C-' designation was applied to all Chrysler models; however for marketing purposes the numerical series skipped more than 225 numbers forward in sequence in order to further reinforce the 300's bhp rating. The 300 originally stood for the 300 hp (220 kW) engine. The C-300 was really a racecar aimed at the NASCAR circuits that was sold for the road for homologation purposes, with Chrysler's most powerful engine, the 331 cu in (5.4 L) FirePower "Hemi" V8, due to the hemisperic shape of the combustion chambers, fitted with twin 4-barrel carburetors, a race-profiled camshaft setup, solid valve lifters, stiffer suspension, and a performance exhaust system. By 1956 this would be the first American production car to top 355 hp (265 kW), and the letter series was for many years the most powerful car produced in the United States.
The car's "Forward Look" styling can be attributed as much to the Chrysler parts bin as designer Virgil Exner. The front clip, including the grille, was taken from the Imperial of the same year, but the rest of the car did not look like an Imperial. The midsection was from a New Yorker hardtop, with a Windsor rear quarter. Exner also included base-model Chrysler bumpers and removed many exterior elements such as back-up lights, hood ornament, side trim, and exterior mirrors. An electric clock and two-speed windshield wipers were standard. There were few options available including selection of three exterior colors (red, white and black) and only one color of tan leather interior. Power windows and power seat were available but air conditioning was not available in 1955.
Measured at 127.58 mph (205.32 km/h) in the Flying Mile, and doing well in NASCAR, the C-300 aroused interest that was not reflected in its modest sales figure of 1,725.
When the C300 competed in NASCAR, it was painted to advertise that it was the "world's fastest stock car".
[Text from Wikipedia]
Reports are the barn's roof finally gave in after our latest heavy snow. Here it is on New Year's Eve 2013 showing obvious stress in its midsection. I'm glad I took a close shot of it when I did. With the loss of the Askov feed mill and now this barn the northern half of the Hinckley Sub has lost some character.
Pinstriped vest, H&M. Green satin blouse, Express. Gray bubble skirt, Moda International. Gray peeptoe pumps, Bitten ($8.98!) Faux pearl necklace with medallion, Newport News. Black boy’s belt. Gold watch, Raymond Weil.
Happy St. Patrick’s Day! Despite appearances, I am not a bit Irish. I’m English, German, and Polish. My red hair is courtesy of L’Oreal, not O’Sullivan. I can do an Irish accent for you, but a native would probably find it laughable.
For a while this past fall, I was putting items from my wardrobe on trial to get my readers’ opinions on whether I should keep it, alter it, swap it, or give it to charity. One commenter one had the gall to suggest I put this necklace on trial. Never! I adore it. I’ve found it to be the finishing touch to many outfits, despite Mike’s description of it as “grandma.”
And finally, a word on today’s belt. (No, it isn’t another belt week.) Over the course of the day, I found myself vacillating between liking and not liking the belt. Liked: visually raised waist, highlighted the slimmest part of my midsection, tidied up of the open vest (otherwise it flapped around), and added interest. Didn’t like: fussy look, two waistlines (belt and skirt waist), the way it creaked when I took a deep breath. I don’t regret the choice, I just don’t know if I’d repeat it in exactly this manner.
The Chrysler 300 'letter series' were high-performance personal luxury cars built by Chrysler from 1955-65, a sub-model of the Chrysler New Yorker. After the initial year, which was named C-300 for its standard 300 hp 331 cu in FirePower V8, the 1956 cars were designated 300B. Successive model years were given the next letter of the alphabet, reaching the 300L by 1965.
The original C-300 was developed to homologate a Chrysler for the NASCAR circuits. The front clip, including the grille, was taken from the Imperial of the same year, the midsection was from a New Yorker hardtop, with a Windsor rear quarter
1958 saw a very mild facelift, the 300D now with 'CHRYSLER' on the front edge of the hood, again available in 2 door Hardtop or Convertible. A 300D was driven to 156mph at the Bonneville Salt Flats that year. 618 Hardtops and 191 Convertibles built.
300D engine; 380hp 392 cu in Fire Power Hemi V8 (last year for the Hemi in the Letter Series cars)
The extended-range C-130E model entered service in 1962 after it was developed as an interim long-range transport for the Military Air Transport Service. Essentially a B-model, the new designation was the result of the installation of 1,360 US gal (5,150 L) Sargent Fletcher external fuel tanks under each wing's midsection and more powerful Allison T56-A-7A turboprops. The hydraulic boost pressure to the ailerons was reduced back to 2,050 psi (14.1 MPa) as a consequence of the external tanks' weight in the middle of the wingspan. The E model also featured structural improvements, avionics upgrades and a higher gross weight. Australia took delivery of 12 C130E Hercules during 1966–67 to supplement the 12 C-130A models already in service with the RAAF. Sweden and Spain fly the TP-84T version of the C-130E fitted for aerial refueling capability.
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
The Peugeot 304 is a small family car which was produced by the French manufacturer Peugeot from 1969 to 1980.
The 304 was introduced to the public at the Paris Motor Show in September 1969. Production of the saloon/sedan on the Sochaux assembly lines was discontinued during the summer of 1979, while the "Break" (estate) was produced until the spring of 1980.
Peugeot, which had always been a financially prudent company, saw a gap in the midsize car market in France, Italy and the rest of Western Europe. By using the smaller 204's midsection, development costs were minimized resulting in a higher profit margin because of the higher pricing structure in the larger, better equipped market. The 304's main competitors on its home market came from Renault and Simca, with Citroen noticeably absent from this sector at the launch.
The car was moderately advanced for its time, having fully independent suspension, and a four-speed gearbox located directly below the engine, sharing the same oil as the engine.
The 304 was designed to slot between the popular 204 and the recently introduced Peugeot 504. Since the 204 had an exceptionally spacious passenger cabin for its class, the 304 body used the central portion of the 204: engine and running gear components were mostly interchangeable between the two cars. However, the 304 had a restyled front grill and headlights, designed consciously to emulate the 504.
Here is where the sculpting begins to differ from the Slim body. Her midsection is remarkably toned. I would have liked to see a little more ab detail in a body like this, but what we have is very sexy and feminine. The small waist and birthing hips also serve to emphasize the female form. Actually, a lean and fit body doesn't tend to have such round curvy hips. It's beautiful, but maybe a tad bit exaggerated.
The 2012 through 2014 Classic Ariel dolls are posed standing side by side, so they can be compared. Also included, between the 2012 and the 2013 dolls, is the Ariel from The Little Mermaid Deluxe Doll Gift Set (2013), who is a mixture between the 2012 and 2013 dolls. I have previous compared the 2012 and 2013 Ariel dolls, so I just review the 2013 and 2014 Classic Ariel below.
The 2014 doll and her outfit are very similar to the 2013 model, but with some significant changes. The biggest change is in her tail, with is now a greener color, and made from a knit cloth that has imbedded tinsel instead of glued on glitter. Now you can hold her by her tail without glitter shedding all over your hands, which is a big improvement. The tail is a litter shorter, so shows a bit more of her midsection. Her tail fins, made of light blue tulle, are unchanged except now they are without glitter. Her waist fins are much smaller, and are pointing up and sewn to the inside of her tail, instead of the outside. They look much more movie accurate now. Her purple glittery bra is now made of two pieces, with the outer layer crimped to resemble two sea shells. The glitter is well glued to the bra, and doesn't much, if at all.
The new doll has the same head and body as the 2013 doll. She has fully articulated arms and rubbery legs with internal knee joints and fixed angled feet. They both stand 11 1/2 inches tall to the tops of their heads.
Their faces are very similar, but have several subtle differences. The 2014 doll has larger and darker blue-green eyes, and her pink eyeshadow is a little darker. Her brows and eyelashes are the same. She had pale pink rouge that is the same as before, but now her lips are a brighter pink color. I'm not sure which face I like better. I think they are both beautiful and accurate renditions of the movie character.
Her bright red hair is now a little longer and fuller, and has looser curls. Her distinctive curved bang is higher, showing more of her forehead. Her hair is still parted on the wrong side of her head. Last year's hairdo was neater, but I like the new doll's more open face.
The box is a big improvement over last years, solely because of the large photo of the doll in the back of the box. Even a deboxer like me would want to keep the cardboard backing with big beautiful image of Ariel in the back, even if the front plastic part of the box is thrown away.
The overall winner in this comparison is the 2014 doll, because of her glitter free tail and the box art.
2014 Ariel Classic Doll - 12''
US Disney Store
Released Online 2014-06-09
Purchased online 2014-06-09
Received 2014-06-17
$14.95
Item No. 6070040901025P
2013 Classic Disney Princess Ariel Doll - 12''
US Disney Store
Released online June 10, 2013.
Purchased online June 13, 2013.
Received June 24, 2013.
$14.95 (was on sale for $10 at time of purchase).
The Little Mermaid Deluxe Doll Gift Set
US Disney Store
Released in select stores June 20, 2013
Purchased in store June 21, 2013.
Released online July 8, 2013
$79.95 for 5 dolls plus 3 figurines
Item No. 6070040900879P
Contains exclusive versions of Vanessa, Ursula, Ariel as Mermaid, Prince Eric, and King Triton. Also included are small figures of Ariel's friends Scuttle, Flounder and Sebastian.
2012 Classic Disney Princess Ariel Doll -- 12'' H
US Disney Store
Released June 25, 2012, Online (US site)
Purchased June 30, 2012, In Store
$14.50
2 for $22
Item No. 6070040908156P
San Rafael Arcangel / Saint Raphael the Archangel
Santa Cruz or Binondo, Manila second quarter of the
nineteenth century (1825–50)
ivory, gold, silver, baticuling wood, silk velvet, silvergilt threads
head to toe: 12" (30 cm)
left to right arm to arm: 6" (16 cm)
chest to back: 2" (5 cm)
base: H: 9 1/2" (24 cm) D: 10 1/2" (26 cm)
Opening bid: PHP 800,000
Provenance: An old Cavite family
ABOUT THE WORK
EXQUISITE ICONOGRAPHY: Loaves, Fish, Coronets and Catmon Flowers
by AUGUSTO MARCELINO REYES GONZALEZ III
This compelling ivory statuette of “San Rafael Arcangel” comes from the cherished altar of an old Cavite trading, shipping, and logistics family and was likely acquired originally from a “taller” workshop of religious images in Binondo or Santa Cruz in Manila. The young Archangel is depicted wearing an exquisite coronet of flowers and leaves executed in chased 14 karat gold and filigree wirework; an unusual blonde wig of Victorian sausage curls; silvergilt repousse wings; vestments embroidered with “catmon” flowers, buds, and leaves in silvergilt threads, along with appliquees of cherubs and leaves in “dorado de fuego” fire–gilded solid silver; a lavishly embroidered center stole with vase, tree–of–life, “boteh” paisley form, and large flower motifs one on top of the other, the top vase/cartouche with the unmistakable Carmelite crest featuring Mount Carmel in Palestine and the three stars symbolizing the three periods of the history of the Order; San Rafael’s attributes of a basket with loaves (an opulent chased and repousse 14 karat gold basket with “catmon” floral and “lubi–lubi” foliar details with ivory loaves) on the left hand and a simple silvergilt staff with a fish on the right hand; and gilded feet to simulate shoes/slippers. The gilded “peana” base is also exceedingly elegant: four separately–carved acanthus leaves emanate from the midsection of the urn and act as bracket supports for the upper section of the peana. It is a feast for a devotee’s, a connoisseur’s, and a collector’s discriminating eyes.
This exquisite San Rafael Arcangel is outstanding because despite its being a “de vestir” (dressed) image with the expected ivory head, hands, and perhaps feet, the entire statuette is actually made of ivory. It is thought that it was probably created at a transitional time from 1800–1850 when solid ivory tabletop images, which were in entirely different styles (baroque, rococo, and neoclassical) and consumed more of the luxurious and expensive elephant tusk, were for economic reasons finally being overlooked in favor of the more sustainable albeit baroque “de vestir” ones with only the heads, hands, and occasionally even the feet of ivory. However, one must be reminded that all kinds of classical Roman Catholic religious images --- the life–sized hardwood statues for the “retablo” altars, the smaller wooden statues for domestic veneration, the luxurious solid ivory statuettes intended for the affluent religious orders in Intramuros and for export to Madre Espana, Mexico, and the Latin American colonies, the life–sized processional as well as tabletop ivory “de vestir” images --- were already being produced simultaneously by the Sangley artisans and their indio assistants since the formalization of the Spanish conquest of these islands in 1571: the establishment of the settlements of Cebu (1565) and Manila (1571).
There are tabletop ivory “de vestir” images at the Museo Oriental in Valladolid, Spain that are documented to have come from Manila in the late 1500s. The famous “de vestir” processional image of the “Nuestra Senora del Santisimo Rosario”/ “La Naval de Manila”/Our Lady of the Most Holy Rosary at the Santo Domingo church dates from 1587–93. Three extant examples from the late–1700s to the mid– 1800s illustrating the collective transition in preference from solid ivory to “de vestir” come to mind: 1) An unbelievable “Calvario” tableau of 12” inches/30.48 cm tall solid ivory figures (Cristo Expirante, Mater Dolorosa, San Juan Evangelista, and Santa Maria Magdalena), late eighteenth century (1775–1800), Ex Coll: Maximino Molo Agustin Paterno family, Santa Cruz, Manila, currently in the Paulino and Hetty Que Collection; 2) A tabletop “Nuestra Senora del Pilar” with ivory head and hands, Nino Jesus with ivory head and hands, the linear body painted off–white and embellished with painted scrollwork (in gold leaf) to mimic a solid ivory piece from the eighteenth century, mid–nineteenth century (1850s), Ex Coll: Maximino Molo Agustin Paterno family, Santa Cruz, Manila; 3) A relatively big “de vestir” statuette of a kneeling “Santa Maria Magdalena Penitente,” 1860s–70s, in its high quality and singular style thought to have come from the taller of escultor Leoncio Asuncion y Molo, sold years ago at a major Leon Gallery auction, currently in an important Cavite collection.
The opulent overall concept, excellent craftsmanship, prodigal use of ivory, and exquisite quality of the goldwork point to the distinct possibility of this “San Rafael Arcangel” piece originating from the “taller” workshop of the early maestro Leoncio Asuncion y Molo in Santa Cruz, Manila (1813–1888). The preeminent sculptor was known to have produced magnificent and memorable religious figures life–sized and tabletop in ivory and wood (“marfil y madera”) with singular expressions, full gestures, and perfect, lean anatomies (almost ballet dancer–like) which set them apart from the undistinguished work of other sculptors of religious images. Considered as Leoncio Asuncion’s magnum opus was a spectacular, life–sized, processional tableau of “La Tercera Caida”/The Third Fall of Jesus Christ --- featuring a burdened “Jesus Nazareno” collapsing from a heavy cross, a helpful Simon of Cyrene, three angry Jews, a trumpeteer, two Roman foot soldiers, including another Roman soldier astride a horse --- which was brought out in procession during the “Semana Santa”/Holy Week rites in Santa Cruz, Manila from the 1860s until World War II, when it was assumed destroyed during the Liberation of Manila in February 1945. Leoncio Asuncion y Molo came from an artistic family with affluent origins in the Molo de San Agustin clan of Santa Cruz, Manila --- descended from a migrant Chinese apothecary in the late 1700s --- and were closely related to the Molo Agustin Paterno family, one of the richest, most highly–educated, and most cultured in 1800s Manila.
In the Roman Catholic tradition, “San Rafael Arcangel” Saint Raphael the Archangel is one of The Three Archangels who are specifically named in the Bible. In the larger Christian traditions, The Seven Archangels stand before the Throne of God: Michael, Gabriel, Raphael, Barrachiel, Judiel, Uriel, and Sealtiel. Raphael is the “Divine Healer.” In the Deuterocanonical (“Second Canon”) books of the Roman Catholic Bible (called Apocrypha by the Protestants), in the books of Tobit and 1 Enoch, is the story of the Archangel Raphael and how he guided and assisted Tobias the righteous father and Tobias the righteous son who were exiled to Persia during the Assyrian conquest, 800 years before Christ. Tobias the father sent Tobias the son to Ragues, a distant city, to retrieve substantial money lent to a relative, with Azarias (the Archangel Raphael) as his companion. The trip was dangerous at every turn. At the Tigris river, a huge fish tried to devour Tobias the son but Azarias prevented it. At the city of Rages, at the house of his relative Raguel, Tobias the son was engaged to the former’s beautiful daughter Sara. Seven suitors had died before him; Azarias assured him that he alone would be spared. Tobias the son married the beautiful Sara, daughter of his relative Raguel. The journey back home ended up happily with Tobias the son and his wife Sara, and companion Azarias, returning to Tobias the father, who had become blind from pigeon droppings. Azarias instructed Tobias the son to cure his father’s blindness with the gall of the huge fish which tried to devour him; Tobias the father was promptly healed of his blindness. Thus, the iconography of Saint Raphael the Archangel with the staff, the fish, loaves of bread, and the young Tobias.
The most famous image of San Rafael Arcangel in the islands is the patron saint of Calaca city, Batangas: It is dark–colored --- the only exposed wooden parts are the head and hands --- whether from dark wood or from the patina of nearly two centuries, it is not known; stands about 12” inches/30.48 cm high (without its pedestal); wears a repousse silver coronet; is dressed entirely in 80 % Mexican solid silver repousse with floral and foliar motifs in the style of the 1860s–70s; depicts the saint with his attributes of a basket of loaves set on cloth on his left hand and a staff with a fish with his right hand; wears silver boots. The image dates stylistically from the 1830s.
Aside from Calaca city, Batangas, other parishes with San Rafael Arcangel as the titular patron are in Linmansangan, Binalonan, Pangasinan; San Rafael, Tarlac city; Mabiga, Mabalacat, Pampanga; San Rafael, Lubao, Pampanga; San Rafael, Macabebe, Pampanga; Park avenue, Pasay city; Balut island, Tondo, Manila; San Rafael, Rodriguez, Rizal province; Lucena City, Quezon province; and Real, Quezon province. This exquisite ivory San Rafael Arcangel, a magnificent example of Philippine religious art, is on par with the renowned holdings of the National Museum, the Intramuros Administration, as well as the AERA Collection at the Villa Escudero, the Paulino and Hetty Que Collection, and the Mario and Mimi Que Collection.
Lot 142 of the Leon Gallery auction on June 17, 2023. Please see leon-gallery.com/auctions/The-Spectacular-Mid-Year-Auctio... for more information.