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SOME MODIFICATION NEEDED TO FIT ABARTH 6 litre SUMP ON ENGINE see PIC BELOW
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I have been working on a new project for my boy Marcus,
He is getting his demon wings, which are part of his background story.
This is only just the basic frame form of the wings. I will be sculpting them with apoxie soon when I find some more time for it.
Shows modification of protective coveralls on a worker inside an active remediation work area: respirator around neck, street-footwear in work area, sleeves and hood have been torn off, footings were cut off at calf level, and front zipper was down at waist level. Not sure what the point is anymore in wearing such compromised PPE.
"Abatement Fashion Chic" ?
The modifications to the frame and rear carrier for Kim's very small Cargobike are complete. It's been shortened by 15cm. Now everything goes to the powdercoater to be painted ivory white.
The Postcard
A postally unused carte postale that was published by Cossé of 2, Rue Colbert, Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. I didn't show it but the body has been painted a silver metallic that is actually a satin finish. I really wanted it gloss but I like this color for some reason. I used the color to restore my 65 Rambler dealer promo. My wife walked over with a box of the kids old 90's Matchbox and Hot Wheels cars that are pretty rough and she said maybe there are some good parts in here and there was this yellow truck box with all of the old cars. Kind of a silly side graphics but I was thinking maybe better than the stake bed.
This is more of a modification as opposed to a MOC. I took the original Lego official set "75901 Flash Speeder" and modified the rear to remove the awful stud shooters and rework the cannon. The Lego original was a solid and well-designed set however. I wish I would have picked up a few more of them while they were plentiful.
I add two washers to the governor. This adds some preload on the spring which retards the opening of the exhaust valves. This way i eliminate a small bog/hesitation in the powerband when using the bigger 38mm carburetor. Sidenote: instead of 2x 1,5mm washer you could also use just 1x3mm. NOT for ATAC engines !!! Just on HPP.
Here's a graphic showing the basic modifications I made to the Athearn RTR SW1000 to make it a better match for the prototype in its current form.
There are still a few other minor details I could change, but these have to do with the handrails and are a major nuisance to do with the flimsy plastic Athearn uses on their handrails. The row of vertical grabs on the hood should also be moved over to go between the louvers, but I decided that was not worth changing.
AK-47 with grip and laser sight along with thermal scope and mussel flash plus metal slash aluminum parts instead of wood.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
The Curtiss P-40 Warhawk was an American single-engined, single-seat, all-metal fighter and ground-attack aircraft that first flew in 1938. The P-40 design was a modification of the previous Curtiss P-36 Hawk which reduced development time and enabled a rapid entry into production and operational service. The Warhawk was used by most Allied powers during World War II, and remained in frontline service until the end of the war.
The P-40 was originally conceived as a ground support aircraft and was very agile at low and medium altitudes but suffered due to lack of power at higher altitudes. At medium and high speeds it was one of the tightest turning early monoplane designs of the war due to its great structural strength.
In all, 18 Royal Air Force (RAF) squadrons, as well as four Royal Canadian Air Force (RCAF), three South African Air Force (SAAF), and two Royal Australian Air Force (RAAF) squadrons serving with RAF formations, used P-40s. In RAF service, the early P-40 types were called Tomahawk.
The first Tomahawks delivered came without armor, bulletproof windscreens or self-sealing fuel tanks. These were installed in subsequent shipments. Initial deliveries came to Great Britain mainland, including an oder from France which did not reach its destination due to the country's fall to Germany's assault.
However, it soon turned out that Tomahawk's qualities were of little use in the Northwet European theatre of operations: Testing showed the aircraft did not have adequate performance in high-altitude combat due to the effective service ceiling limitation. Comparable early Spitfires operated at heights around 30,000 ft (9,100 m), while the P-40's Allison engine, with its single-stage, low altitude rated supercharger, worked best at 15,000 ft (4,600 m) or lower. The Tomahawk's armor and firepower were also inadequate for the Bf 109E.
Hence, when the P-40B was operated by the RAF and Allied units based in the UK from mid 1940 on, these limitations relegated the Tomahawk to second line duties like training or low-level reconnaissance with RAF Army Cooperation Command. For this task, the machines received cameras and respective openings on the flanks and under the rear fuselage. Since it was stable platform, later, improved versions of the P-40 were used in the ground support role, mainly in North Africa where they replaced the Hawker Hurricanes of the Desert Air Force (DAF) from early 1941 on.
One of the RAF operators of the early Tomahawk was 46 Squadron, even though only as a stopgap solution. In May 1940, RAF 46 Squadron was, equipped with Hawker Hurricanes, selected to form part of the Expeditionary Force in Norway, which had been invaded by the Germans on 9 April. No. 46 Squadron assembled at Bardufoss and began operation on 26 May. Patrols were maintained over the land and naval forces at Narvik without respite, some of the pilots going without sleep for more than 48 hours. Conditions on the ground were very basic with poor runways and primitive servicing and repair facilities.
Many air combats took place, but on 7 June the squadron was ordered to evacuate Norway immediately and, on the night of 7 through 8 June, the aircraft were successfully flown back to HMS Glorious — a dangerous procedure as none of the aircraft were fitted with deck arrester hooks! The ground parties embarked on HMS Vindictive and SS Monarch of Bermuda and reached the UK safely, but the squadron's aircraft and eight of its pilots were lost when Glorious was sunk by German warships on 9 June 1940. The crippled squadron was soon re-formed at RAF Digby, but the lack of aircraft forced 46 Squadron to accept the Tomahawk. The unit became operational once again at the end of June.
The Luftwaffe's main effort at the time was against coastal objectives and shipping off the coast of Essex and Kent, and for the next two months 46 Squadron was occupied in rather uneventful convoy and defensive patrols as well as photo reconnaissance over the Atlantic and the North Sea, before moving south to Stapleford Tawney, the satellite of RAF North Weald, for the defense of London during the Battle of Britain.
The squadron, now consisting of novice pilots and without any experienced command after its decimation in Norway, suffered heavy casualties during continuous action against far superior numbers of enemy bombers and escorting fighters. But the enemy sustained such shattering losses amongst their long-range bomber forces that they had to change their tactics. The attacking forces began to fly their fighter bombers at very high altitudes and to make use of every possible patch of cloud cover. Interception became difficult, and the squadron had to change its tactics too — principally maintaining patrols at heights between 20,000 and 30,000 feet. At that time, all Tomahawks had already been withdrawn from armed missions, just the reconnaissance aircraft still flew - some with the wing-mounted machine guns removed and fitted with extra tanks instead.
The squadron claimed 34 aircraft destroyed July to December 1940, but lost 26 aircraft itself, with 16 pilots killed and three badly wounded. After the Battle of Britain ended, the squadron engaged in convoy patrols, interspersed with escort duty to medium bombers in their attack on objectives in occupied France, but got totally rid of the Tomahawks, which were in service replaced by the more capable Kittyhawk (P-40D) and mostly transferred to RAF training units or to the Soviet Union in the course of the Land Lease program.
General characteristics:
Crew: 1
Length: 31 ft 9 in (9.68 m)
Wingspan: 37 ft 4 in (11.38 m)
Height: 10 ft 7 in (3.23 m)
Wing area: 235.94 ft² (21.92 m²)
Airfoil: NACA2215 / NACA2209
Empty weight: 5,600 lb (2,636 kg)
Loaded weight: 7,464 lb (3,393 kg)
Powerplant:
1× Allison V-171-33 liquid-cooled V12 engine, 1,040 hp (750 kW) at take-off,
driving a three blade Curtiss Electric constant spee propeller
Performance:
Maximum speed: 350 mph (307 kn, 565 km/h)
Cruise speed: 270 mph (235 kn, 435 km/h)
Range: 730 mi (640 nmi, 1,175 km) on internal fuel
Service ceiling: 29,000 ft (8,800 m)
Rate of climb: 2,656 ft/min (810 m/min)
Armament:
2× 0.50 in (12.7 mm) M2 Browning machine guns with 235 RPG above the engine;
one hardpoint under the fuselage for bombs or a drop tank
The kit and its assembly:
This is the first submission to a ‘Battle of Britain’ Group Build at whatifmodelers.com that runs Sep.-Dec. 2015, in rather strict limits concerning time frame, region and potential hardware.
This one is nothing fancy – and the P-40B just falls into the GB’s historic window, even though it arrived too late for 46 Squadron’s Norway expedition. But the Tomahawk had just become available when the Squadron regrouped.
The model is Trumpeter’s P-40B, a very nice kit, built almost OOB. I just added a camera opening on the left flank fuselage (drilled open and filled with Humbrol Clearfix) and a camera fairing under the rear fuselage - similar to real life mods that were made to some RAF Tomahawks when they were found to be unsuitable as fighters.
As an extra I removed the wing machine guns and filled their casing ejection openings , as a plausible weight-saving measure.
The propeller received a home-cooked styrene tube adapter with a long metal axis that allows free spin for photographs.
The radiator exhaust was placed in a slightly opened position and the inside filled with dark, foamed styrene as light/sight barrier.
Painting and markings:
The original plan had been to paint the Tomahawk in the unique scheme that the Hurricanes of 46 Squadron in Norway carried: Temperate Land scheme with black/white wing undersides, but the fuselage flanks and the fin were painted in a pale grey, the fin flash was painted over, too!
Even though the Tomahawk did not take part in the Norway campaign, the squadron’s later duties over the Channel and open sea made a similar livery plausible, so I stuck with the idea - and it yields an interesting look, together with other standard RAF design elements of the mid-1940 period.
The kit was painted in RAF Dark Green/Dark Earth and Canadian Voodoo Grey (all Modelmaster enamels), the black and white wings with Revell acrylics. The black spinner matches the look of RAF Hurricanes and Spitfires of the mid to late 1940 era.
The roundels and code letters were puzzled together – again, 46 Squadron Hurricanes from the Norway campaign were the benchmark, but I added a fin flash. Some light weathering was done, as well as panel shading with lighter tones of green, brown and grey. Finally, matt varnish was applied.
A simple project, but very ‘underneath the radar’. And the relatively ‘colorful’ livery sets this one well apart from the standard Temperate Land Scheme Hurricanes and Spitfires of the Battle of Britain period in 1940.
my newest piercing! I have my tragus pierced on my right side. I was so nervous to do this one because I had a horrible piercing experience with my tragus...it hurt SO bad being pierced and the guy literally took 40 minutes to get the ball on the hoop all the while tugging on a fresh piercing trying to get the ball on. I always loved this piercing but like I said I was nervous because it seems pretty thick but I hyped myself up for nothing, it was a pop from the needle going thru, the jewelry insertion was a pinch of pain (not bad though.) The worst part was the alcohol or whatever it was to clean it up at the end ...that stung horribly. Virtually no pain since being pierced and I absolutely love it!
Done by Phil @ Slingin' Ink in Scranton PA while visiting my bro. After my tragus experience I have only gone to two piercers: Phil, and local to me Tony @ Rock 'n Willy's. They have been piercing and perfecting their technique for YEARS and have been 100% WONDERFUL to work with.
Update: piercing was done on 9/12, it was absolutely fine looked like this for about 3-4 days. I was cleaning it twice a day with H2O spray and being careful not to touch it/bump it...after the 3rd day it swelled like crazy and just immense pain throbbed through my ear, woke me up out of my sleep. I was absolutely MISERABLE for a whole day...my ear was twice it's size with the swelling...I wanted to saw my ear off to get some relief from the pain.
I went back to my local piercer and he told me it was absolutely normal just to keep cleaning it, maybe doing actual sea salt soaks with hot water, take some ibuprofen for the pain, and if it was really as bad as I said it was to crush up an ibuprofen and make a paste with water and put it on my piercing. I immediately did a combination of all 3 when I got home and continued with the sea salt soaks a couple times a day and I'm now two days since that horrible day and it's helped a ton! The swellings better than that first day, the first day you could barely see the bottom ball. I can now see the bottom ball but my ear is still pretty swollen. Knowing the pain I had the other day with this, had I ever expected to go through anything like that I most likely wouldn't do the piercing again...hoping I can heal it up so I don't have to lose it because I do really love it.
Another shot of the top of the case - the tape used is a low adhesive tape intended for painting. It should help prevent unnecessary scratching on the rest of the case when using the dremel!
picture of the 2 trailers- just installed the add-a-room onto the tent trailer - more room than the jayco qwest 8u we had
Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
Oh, and I changed the door to red-and-green and used a 1x1 red plate to create a wee little doorknob.
Boeing 747SP-Z5
23610/676 [Final 747SP]
A9C-HAK
البحرين
Bahrain Amiri Flight
BAH
[300 mm - NO CROP]
Copyright © 2014 A380spotter. All rights reserved.
Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
The anti-cant level finally arrived for the polar scope, so I carried the mount out for a quick photo session This is about as modified as you can get at this point.
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. This highly modified Tunnan, which is actually rather a kitbashing than a mere model kit modification, is/was a submission to the “More or less engines” group build at whatifmodelers.com in summer 2019.
I actually had the idea of a two-engine J29 in the back of my mind for a long time, spawned by a resin conversion set for the Hasegawa B-47 Stratojet kit that came with new intakes and exhaust sections for the four engine pods. The single engine pod parts had been spent a long time ago, but the twin engine parts were still waiting for a good use. Could the exhaust fit under/into a Tunnan…?
I even had a Matchbox J29 stashed away for this experiment long ago, as well as some donor parts like the wings, and the GB eventually offered the right motivation to put those things together that no one would expect to work.
So I pulled out all the stuff and started – a rather straightforward affair. Work started with the fuselage, which was, together with the (very nice) cockpit assembled OOB at first, the nose filled with as much lead as possible and with the lower rear section cut away, so the B-47 resin jet nozzles would end up at the same position as the original RM2B exhaust. Due to the pen nib fairing between them, though, the profile of the modified tail became (visually) more massive, and I had to fill some gaps under the tail boom (with styrene sheet and putty). The twin engines also turned out to be wider than expected – I had hoped for straight flanks, but the fuselage shape ended up with considerable bulges behind the landing gear wells. These were created with parts from drop tank halves and blended into the rest of the lower hill with PSR work. In the same wake the area under the fin was sculpted and re-created, too.
At that point it became clear that I had to do more on the fuselage, esp. the front end, in order to keep the aircraft visually balance. A convenient solution became an F-100 air intake, which I grafted onto the nose instead of the original circular and round-lipped orifice – with its sharp lip the Super Sabre piece was even a plausible change! The fuselage shapes and diameters differed considerably, though, more PSR became necessary.
Next came the wings: I had already set apart a pair of trapezoid wings with a 45° sweep angle – these were left over from a PM Model Ta 183 conversion some time ago. With their odd shape and size they were a perfect match for my project, even more so due to the fact that I could keep the original J29 wing attachment points, I just had to shorten and modify the trailing edge area on the fuselage. The result was very conclusive.
With the new nose and the wings in place, the overall proportions became clearer: still tail-heavy, but not unpleasant. At this time I was also certain that I had to modify the tail surfaces. The fin was too small and did not have enough sweep for the overall look, and the stabilizer, with its thick profile, rounded edges and the single, continuous rudder did not look supersonic at all. What followed was a long search in the donor banks for suitable replacements, and I eventually came up with a MiG-15 fin (Hobby Boss) which was later clipped at the top for a less recognizable profile. The stabilizers were more challenging, though. My solution eventually became a pair of modified stabilizers from a Matchbox Buccaneer(!), attached to the MiG-15 fin.
The design problems did not stop here, though: the landing gear caused some more headaches. I wanted to keep the OOB parts, but especially the main legs would leave the aircraft with a very goofy look through a short wheelbase and a rear axis position too much forward. In an attempt to save the situation I attached swing arms to the OOB struts, moving the axis maybe 5mm backwards and widening the track by 2mm at the same time. Not much in total, but it helped (a little, even though the aircraft is still very tail-heavy)
As a final addition – since the original, wing-mounted pitots of the J29 were gone now and would not go well with the wing-switching idea – I gave the P29G a large, nose-mounted pitot and sensor boom, placed on top of the nose. This part come, like the air intake, from an F-100.
Sensor in original position was reading approx 5 degrees higher than ambient. Re-positioning resulted in correct temperature readings.
Code available here - github.com/ibuildrockets/NixieTemperatureDisplay
Step 1: Choose your car, it's a lot easier if you lower one with a plain background.
Step 2: Select your car's body with the pixel select tool.
Step 3: Hide the bottom layer. Go back to the top layer and erase the wheels. Un-hide the bottom. The car should still look pretty normal.
Step 4: With the top car still selected, drag it down to your desired ride height.
Step 5: Fix any errors using the erase tool, clone stamp, and copy/paste
This should be pretty straight forward, have fun lowering the cars.
access panel to hot water heater-saves having to unscrew the plywood anytime i want access to the hot water heater bypass valves
To underuse one pandemic may be regarded as a misfortune, to underuse both looks like carelessness, and other mal-remembered quotes, or malaquotes, even.
It is with some fear and trepidation that I contradict you, or at least suggest a correction or nudge a modification, queerly. Yes life does narrow but whilst it expands. I fear I may turn into your worst nightmare at present, your very own Pollyanna Longstocking thanksgiving monster, a sort of Dana, 'all kinds of everything' revivalist, and singular celebrant of turkey gobbling this side of that wider Atlantic snot-green. And just when you are ready to let it all dissolve into cashmere doggy slurry, I gingerly step in and accept my mounted cavalry role to save you from those masquerading Manhattanite indigenes on this holiest of occasions. Scalps would have been taken if I had remembered my curling tongs.
I speak as a man/boy with a clit and as a despoiler of heterosexuals, as a syphilitic outercourse expert and master of intercrural dry mounting. My credentials are impeccable and my aim is true. Finding safety in numbers, I chose three or any odd one. You me and J-Go-Lightly, in his loafers, sounds perfect. Or even you me and the fat old feck with his federally expressed beans in Eldorado. Basically, you me and any ol’ turd will do (you don't have to say it with an Irish accent).
I hope that you are reading between the lines and that some of them are making their way up your nose in this celebratory seasoning.
I have rediscovered the delights of intercrural outercourse in a frenzy of teen like heavy petting and it has excited me more than the most wanton exchange of juicy gallons of testicle and prostate slurry mixed with chemicals of the compulsory and the recreational kind. It is so Abelard and Heloise, like letter-writing, un-doable, but all passion, like some sophisticated and dreadfully glorious inner orgasm, tantrically expansive and narrowing. It is regressive and a new beginning, it is a strange rebirth, like death. It is hilarious and sad. It is your ‘little drama’, your cashmere slurry. It is priceless unsalable food.
So does life narrow? Yes it does, no it doesn’t…it depends on where you are standing and what you are looking at and how you are looking and, even, who you are standing on.
Pithy but true.
I send you abounding (abiding and boundless) love in this holiday seasoning!
Thinking of you in your Seomra, with a view, and visiting you wherever that is.
Kisses,
Ruin
Dear Ruin,
Point taken, or if not taken, at least lodged between the thighs, life can expand. Mine, at present, just feels as if it has narrowed - hence my impatience to change it.
Delighted you are adolescent with intercrural bliss. If it was good enough for Oscar Wilde, sure 'tis good enough for thee.
Sending my love,
Rack