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Inexpensive socket head crank bolts with integrated black plastic thread covers have been around for decades. These bolts accept a 8mm Allen wrench. The threads of all square tapered axles are a standard metric size so these bolts can be used on any cranks. And with the snap-on thread cover sleeves there was no need for a separate dust cover. A great idea. However, I always thought they looked bad on vintage cranks. So, I removed the black plastic sleeve from one pair and painted them with a "Bright Coat Metallic Finish" aerosol enamel from Rust-oleum. Not a true chrome like finish, but even after a single coating, to my eye it is much less distracting and a nice compliment to the non-anodized crankset. Further paint applications would likely produce a more shiny finish. Durability of the paint on this plastic base is questionable, but I am pleased with the initial result. Next photo shows better how this now almost disappears on the bike.
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.
i modified my old LC-A rusian version to have some the feature the LC-A+ has. i added a multiple exposure switch and cable shutter release.
I also added a new rubber skin. it is off an old Pentax slide zoom lens, witch is cool because it the skin if from another camera and it adds great grip too
She suddenly got tired of holding the pinwheel and seemed to come up with a better idea. Though after quickly completing the modification mid-parade she seemed unsure if it was functioning to her expectations
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.
If you'd like to make use of the Nike+ iPod Sports Kit, but don't really want to pay over $100 for a pair of Nike+ runners, here's what you do:
1.
Remove the insole of your running shoe.
Draw an oval around the sensor from the sports kit in the horizontal middle of the shoe, where it is at it's slimmest.
2.
Cut out the fabric where you've drawn the oval.
3.
Use a knife, a pair of plyers and a pair of tweezers to remove the rubber from the hole.
You need to remove almost as much as the sensor is thick, but not quite.
4.
When you've removed enough, fit the sensor in the hole and replace the sole.
Update to the newest firmware on your iPod Nano and place the receiver from the Sports Kit in the Nano.
Go for a run!
As your run or walk, the sensor sends information to your iPod nano, tracking your time, distance, pace, and calories burned. If you choose, real-time, spoken feedback can even alert you to milestones throughout your workout.
Back at your computer, sync your iPod nano to transfer your workout data to iTunes and nikeplus.com. There, you can evaluate your performance history, set goals, and even challenge other runners to a virtual race.
The Postcard
A postally unused carte postale published by A. Papeghin of 24, Rue des Petites Écuries, Paris.
Papeghin
Papeghin of Paris and Tours was a publisher of mainly black and white and monochrome collotype postcards between 1900 and 1931.
The firm's output largely depicted local views of amusement areas and sporting events, including the Olympics. Most of the subjects found on their cards were centred around Paris. In fact they published a photo book of Paris in 1919.
The Palace of Fontainebleau
The Palace of Fontainebleau, or Château de Fontainebleau, is located 55 kilometers (34 miles) southeast of the centre of Paris.
The castle and subsequent palace served as a residence for French monarchs from Louis VII to Napoleon III.
Francis I and Napoleon were the monarchs who had the most influence on the Palace as it stands today.
It became a national museum in 1927, and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance.
The Medieval Palace
The earliest record of a fortified castle at Fontainebleau dates to 1137. It became a favorite residence and hunting lodge of the Kings of France because of the abundant game and many springs in the surrounding forest.
Fontainebleau took its name from one of the springs, la Fontaine de Bliaud, located now in the English Garden, next to the wing of Louis XV.
Fontainebleau was used by King Louis VII, for whom Thomas Becket consecrated the chapel in 1169; also by Philip II; by Louis IX (later canonised as Saint Louis), who built a hospital and a convent, the Couvent des Trinitaires, next to the castle; and by Philip IV, who was born and died in the castle.
The Renaissance Château of Francis I (1528–1547)
In the 15th. century some modifications and embellishments were made to the castle by Isabeau of Bavaria, the wife of King Charles VI, but the medieval structure remained essentially intact until the reign of Francis I (1494–1547).
He commissioned the architect Gilles Le Breton to build a palace in the new Renaissance style, recently imported from Italy. Le Breton preserved the old medieval donjon, where the King's apartments were located, but incorporated it into the new Renaissance-style Cour Ovale, built on the foundations of the old castle.
It included the monumental Porte Dorée, as its southern entrance. as well as a monumental Renaissance stairway, the Portique de Serlio, to give access the royal apartments on the north side.
Beginning in about 1528, Francis constructed the Galerie François I, which allowed him to pass directly from his apartments to the chapel of the Trinitaires. He brought the architect Sebastiano Serlio from Italy, and the Florentine painter Rosso Fiorentino, to decorate the new gallery.
Between 1533 and 1539 Fiorentino filled the gallery with murals glorifying the King, framed in stucco ornament in high relief, and panelling sculpted by the furniture maker Francesco Scibec da Carpi.
Another Italian painter, Francesco Primaticcio from Bologna, joined later in the decoration of the palace. Together their style of decoration became known as the first School of Fontainebleau. This was the first great decorated gallery built in France. Fontainebleau introduced the Renaissance to France.
In about 1540, Francis began another major addition to the château. Using land on the east side of the Château purchased from the order of the Trinitaires, he began to build a new square of buildings around a large courtyard.
The Château was surrounded by a new park in the style of the Italian Renaissance garden, with pavilions and the first grotto in France.
The Château of Henry II and Catherine de' Medici (1547–1570)
Following the death of Francis I, King Henry II decided to continue and expand the Château. The King and his wife chose the architects Philibert de l'Orme and Jean Bullant to do the work.
They extended the east wing of the lower court and decorated it with the first famous horseshoe-shaped staircase which was built between 1547 and 1559. The staircase was subsequently re-built for Louis XIII by Jean Androuet du Cerceau in about 1632-1634.
In the Oval Court, they transformed the loggia planned by Francois into a Salle des Fêtes or grand ballroom with a coffered ceiling. Facing the courtyard of the fountain and the fish pond, they designed a new building, the Pavillon des Poeles (destroyed), to contain the new apartments of the King.
The decoration of the new ballroom and the gallery of Ulysses with murals by Francesco Primaticcio and sculptured stucco continued.
At Henri's orders the Nymphe de Fontainebleau by Benvenuto Cellini was installed at the gateway entrance of Château d'Anet, the domain of Henri's primary mistress Diane de Poitiers (the original bronze lunette is now in the Musée du Louvre, with a replica in place).
Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici, continued the construction and decoration of the château. She named Primaticcio as the new superintendent of royal public works.
He designed the section known today as the wing of the Belle Cheminée, noted for its elaborate chimneys and its two opposing stairways. In 1565, as a security measure due to the Wars of Religion, she also had moat dug around the château to protect it against attack.
Château of Henry IV (1570–1610)
King Henry IV made more additions to the château than any King since Francis I. He extended the oval court toward the west by building two pavilions, called Tiber and Luxembourg.
Between 1601 and 1606, he remade all the façades around the courtyard, including that of the chapel of Saint-Saturnin, to give the architecture greater harmony. On the east side, he built a new monumental domed gateway, the Porte du Baptistère.
Between 1606 and 1609, he built a new courtyard, the Cour des Offices or Quartier Henry IV, to provide a place for the kitchens as well as residences for court officials.
Two new galleries, the Galerie de Diane de Poitiers and the Galerie des Cerfs, were built to enclose the old garden of Diane. He also added a large Jeu de Paume, or indoor tennis court, the largest such court in the world.
A Second School of Fontainebleau painters and decorators went to work on the interiors. The architect Martin Fréminet created the ornate chapel of the Trinity, while the painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for the salons. A new wing, named after its central building, La Belle Cheminée, was built next to the large carp pond.
Henry IV also devoted great attention to the park and gardens around the Château. The garden of the Queen or garden of Diane, created by Catherine de' Medici, with the fountain of Diane in the centre, was located on the north side of the palace.
Henry IV's gardener, Claude Mollet, who trained at Château d'Anet, created a large parterre of flower beds, decorated with ancient statues and separated by paths into large squares.
The fountain of Diana and the grotto were made by Tommaso Francini, who may also have designed the Medici Fountain in the Luxembourg Garden for Marie de Medici.
On the south side, Henry created a park, planted with pines, elms and fruit trees, and laid out a grand canal 1200 meters long, sixty years before Louis XIV built his own grand canal at Versailles.
The Château from Louis XIII through Louis XVI
King Louis XIII was born and baptized in the Château, and continued the works begun by his father. He completed the decoration of the chapel of the Trinity, and assigned the court architect Jean Androuet du Cerceau to re-construct the horseshoe stairway on the courtyard that had become known as the Cour de Cheval Blanc.
After his death, his widow, Anne of Austria, re-decorated the apartments within the Wing of the Queen Mothers (Aile des Reines Mères) next to the Court of the Fountain, designed by Primatrice.
King Louis XIV spent more days at Fontainebleau than any other monarch. He liked to hunt there every year at the end of summer and the beginning of autumn.
He made few changes to the exterior of the Château, but did build a new apartment for his companion Madame de Maintenon. He furnished it with major works of André-Charles Boulle. He also demolished the old apartments of the baths under the Gallery of Francis I to create new apartments for the royal princes.
The architect Jules Hardouin-Mansard built a new wing alongside the Galerie des Cerfs and the Galerie de Diane in order to provide more living space for the Court.
Louis XIV made major changes to the park and gardens; he commissioned André Le Nôtre and Louis Le Vau to redesign the large parterre into a French formal garden. He destroyed the hanging garden which Henry IV had built next to the large carp lake, and instead built a pavilion, designed by Le Vau, on a small island in the centre of the lake.
Louis XIV signed the Edict of Fontainebleau at the Château on the 22nd. October 1685, revoking the policy of tolerance towards Protestants begun by Henry IV.
Louis welcomed many foreign guests at the Château, including the former Queen Christina of Sweden, who had just abdicated her crown. While a guest in the Château on the 10th. November 1657, Christina suspected her Master of the Horse and reputed lover, the Marchese Gian Rinaldo Monaldeschi, of betraying her secrets to her enemies.
Her servants chased him through the halls of the Château and stabbed him to death. Louis XIV came to see her at the Château, did not mention the murder, and allowed her to continue her travels.
On the 18th. and 20th. May 1717, following the death of Louis XIV, the Russian Czar Peter the Great was a guest at Fontainebleau. A hunt for stags was organized for him, along with a banquet.
Although officially the visit was a great success, later memoires revealed that Peter disliked the French style of hunting, and that he found the Château too small, compared to the other royal French residences.
The routine of Fontainebleau also did not suit his tastes; he preferred beer to wine (and brought his own supply with him) and he liked to get up early, unlike the French Court.
The renovation projects of Louis XV were more ambitious than those of Louis XIV. To create more lodging for his enormous number of courtiers, in 1737–38 the King built a new courtyard, called the Cour de la Conciergerie or the Cour des Princes, to the east of the Galerie des Cerfs.
On the Cour du Cheval Blanc, the wing of the Gallery of Ulysses was torn down and gradually replaced by a new brick and stone building, built in stages in 1738–1741 and 1773–74, extending west toward the Pavilion and grotto of the pines.
Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel to build a new wing along the Cour de la Fontaine and the carp lake.
The old Pavilion des Poeles was demolished and replaced by the Gros Pavilion, built of cream-colored stone. Lavish new apartments were created inside this building for the King and Queen. The new meeting room for the Royal Council was decorated by the leading painters of the day, including François Boucher, Carle Vanloo, Jean-Baptiste Marie Pierre and Alexis Peyrotte. A magnificent small theatre was created on the first floor of the wing of the Belle Cheminée.
King Louis XVI also made additions to the Château in order to create more space for his courtiers. A new building was constructed alongside the Gallery of Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the windows on the north side of the Gallery of Francis I.
The apartments of Queen Marie-Antoinette were redone, a Turkish-style salon was created for her in 1777, a room for games in 1786–1787, and a boudoir in the arabesque style. Louis XVI and Marie-Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution.
The Château during the Revolution and the First Empire
During the French Revolution the Château did not suffer any significant damage, but all the furniture was sold at auction. The buildings were occupied by the Central School of the Department of Seine-et-Marne until 1803, when Napoleon I installed a military school there.
As he prepared to become Emperor, Napoleon wanted to preserve as much as possible of the palaces and protocol of the Old Regime. He chose Fontainebleau as the site of his historic 1804 meeting with Pope Pius VII, who had travelled from Rome to crown Napoleon Emperor.
Napoleon had a suite of rooms decorated for the Pope, and had the entire Château refurnished and decorated. The bedroom of the Kings was transformed into a throne room for Napoleon. Apartments were refurnished and decorated for the Emperor and Empress in the new Empire style.
The Cour du Cheval Blanc was re-named the Cour d'Honneur. One wing facing the courtyard, the Aile de Ferrare, was torn down and replaced with an ornamental iron fence and gate, making the façade of the Palace visible.
The gardens of Diane and the gardens of the Pines were replanted and turned into an English landscape garden.
Napoleon's visits to Fontainebleau were not frequent, because he was occupied so much of the time with military campaigns. Between 1812 and 1814, the Château served as a very elegant prison for Pope Pius VII. On the 5th. November 1810, the chapel of the Château was used for the baptism of Napoleon's nephew, the future Napoleon III, with Napoleon serving as his godfather, and the Empress Marie-Louise as his godmother.
Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on the 4th. April 1814. On the 20th. April, after failing in an attempt to commit suicide, he gave an emotional farewell to the soldiers of the Old Guard, assembled in the Court of Honor. Later, during the One Hundred Days, he stopped there on the 20th. March 1815.
In his memoires, written while in exile on Saint Helena, he recalled his time at Fontainebleau:
"The true residence of Kings, the house of
the centuries. Perhaps it was not a rigorously
architectural palace, but it was certainly a place
of residence well thought out and perfectly
suitable. It was certainly the most comfortable
and happily situated palace in Europe.”
The Château during the Restoration and the Reign of Louis-Philippe (1815–1848)
Following the restoration of the Monarchy, Kings Louis XVIII and Charles X each stayed at Fontainebleau, but neither made any major changes to the palace. Louis-Philippe was more active, both restoring some rooms and redecorating others in the style of his period.
The Hall of the Guards and Gallery of Plates were redecorated in a Neo-Renaissance style, while the Hall of Columns, under the ballroom, was remade in a neoclassical style. He added new stained glass windows, made by the royal manufactory of Sèvres.
The Château During the Second Empire
Emperor Napoleon III, who had been baptised at Fontainebleau, resumed the custom of long stays at the Château, particularly during the summer. Many of the historic rooms, such as the Galerie des Cerfs, were restored to something like their original appearance, while the private apartments were redecorated to suit the tastes of the Emperor and Empress.
Numerous guest apartments were squeezed into unused spaces within the buildings. The old theatre of the palace, built in the 18th. century, was destroyed by a fire in the wing of the Belle Cheminée 1856. Between 1854 and 1857 the architect Hector Lefuel built a new theatre in the style of Louis XVI.
On the ground floor of the Gros Pavilion, the Empress Eugénie built a small but well-stocked museum, containing gifts from the King of Siam in 1861, and works of art taken during the pillage of the Summer Palace in Beijing.
The museum also featured paintings by contemporary artists, including Franz Xaver Winterhalter, and the sculptor Charles Henri Joseph Cordier. Close by, in the Louis XV wing, the Emperor established his office, and the Empress made her Salon of Lacquer.
These were the last rooms created by the royal residents of Fontainebleau. In 1870, during the Franco-German War, the Empire fell, and the Château was closed.
The Château from the Third Republic to the Present Day
During the Franco-Prussian War, the palace was occupied by the Prussians on the 17th. September 1870, and briefly used as an army headquarters by Frederic Charles of Prussia from March 1871.
Following the war, two of the buildings became the home of the advanced school of artillery and engineering of the French Army, which had been forced to leave Alsace when the province was annexed by Germany.
The Château was occasionally used as a residence by the Presidents of the Third Republic, and to welcome state guests including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895) and King Alphonse XIII of Spain (1913).
It also received a visit by the last survivor of its royal residents, the Empress Eugenie, on the 26th. June 1920.
The façades the major buildings received their first protection by classification as historic monuments on the 20th. August 1913.
In 1923, following the Great War, the Château became the home of the Écoles d'Art Américaines, schools of art and music, which still exist today. In 1927 it became a national museum. Between the wars the upper floors of the wing of the Belle Cheminée, burned in 1856, were rebuilt by a grant from the Rockefeller Foundation.
During World War II, Fontainebleau was occupied by the Germans on the 16th. June 1940, and occupied until the 10th. November 1940, and again from the 15th. May to the end of October 1941.
Following the war, part of the Château became a headquarters of the Western Union and later NATO's Allied Forces Central Europe/Supreme Headquarters Allied Powers Europe, until 1966.
The general restoration of the Château took place between 1964 and 1968 under President Charles De Gaulle and his Minister of Culture, Andre Malraux. It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased the royal stables, and began their restoration.
Beginning in 2007, restoration began of the theatre of the Château, created by Napoleon III during the Second Empire. The project was funded by the government of Abu-Dhabi, and in exchange the theater was renamed after Sheik Khalifa Bin Zayed al Nahyan. It was inaugurated on the 30th. April 2014.
On the 1st. March 2015, the Chinese Museum of the Château was robbed by professional thieves. They broke in at about six in the morning, and, despite alarms and video cameras, in seven minutes stole about fifteen of the most valuable objects in the collection, including the replica of the crown of Siam given by the Siamese government to Napoleon III, a Tibetan mandala, and an enamel chimera from the reign of the Qianlong Emperor (1736–1795).
The Grand Apartments at Fontainebleau
The Gallery of Francis I
The Gallery of Francis I is one of the first and finest examples of Renaissance decoration in France. It was originally constructed in 1528 as a passageway between the apartments of the King with the oval courtyard and the great chapel of the convent Trinitaires, but in 1531 Francis I made it a part of his royal apartments, and between 1533 and 1539 it was decorated by artists and craftsmen from Italy, under the direction of the painter Rosso Fiorentino, in the new Renaissance style.
The lower walls of the passage were the work of the master Italian furniture maker Francesco Scibec da Carpi; they are decorated with the coat of arms of France and the salamander, the emblem of the King. The upper walls are covered by frescoes framed in richly sculpted stucco. The frescoes used mythological scenes to illustrate the virtues of the King.
On the side of the gallery with windows, the frescoes represent Ignorance Driven Out; The Unity of the State; Cliobis and Biton; Danae; The Death of Adonis; The Loss of Perpetual Youth; and The Battle of the Centaurs and the Lapithes.
On the side of the gallery facing the windows, the frescoes represent: A Sacrifice; The Royal Elephant; The Burning of Catane; The Nymph of Fontainebleau (painted in 1860–61 by J. Alaux to cover a former entry to the gallery); The Sinking of Ajax; The Education of Achilles and The Frustration of Venus.
The Ballroom
The Ballroom was originally begun as an open passageway, or loggia, by Francis I. In about 1552 King Henry II closed it with high windows and an ornate coffered ceiling, and transformed it into a room for celebrations and balls.
The 'H', the initial of the King, is prominent in the decor, as well as figures of the crescent moon, the symbol of Henry's mistress Diane de Poitiers.
At the western end is a monumental fireplace, decorated with bronze statues originally copied from classical statues in Rome. At the eastern end of the room is a gallery where musicians played during balls.
The decor was restored many times over the years. The floor, which mirrors the design of the ceiling, was built by Louis-Philippe in the first half of the 19th. century.
The frescoes on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate, following drawings by Primatice. On the garden side of the ballroom, they represent: The Harvest; Vulcan forging weapons for Love at the request of Venus; Phaeton begging the sun to let him drive his chariot; and Jupiter and Mercury at the home of Philemon and Baucis.
The frescoes on the side of the Oval Courtyard represent: The feast of Bacchus; Apollo and the Muses on Mount Parnassus; The Three Graces dancing before the gods; and The wedding feast of Thetis and Peleus.
St. Saturnin's Chapel
Behind the ballroom, there is St. Saturnin's Chapel. The lower chapel was originally built in the 12th. century, but was destroyed and completely rebuilt under Francis I. The windows made in Sèvres were installed during Louis Philippe's period, and were designed by his daughter Marie, an artist herself.
The upper chapel was the royal chapel decorated by Philibert de l'Orme. The ceiling, made in the same style as the ballroom, ends with a dome.
Room of the Guards
A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX. Some traces of the original decor remain from the 1570's, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri.
In the 19th. century Louis Philippe turned the room into a salon, and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, along with a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms that were built the 15th. and early 16th. century.
The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II.
The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832.
During the reign of Napoleon III, the hall was used as a dining room.
Stairway of the King
The stairway of the King was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu, the Duchess of Étampes, a favorite of the King.
It was designed by the architect Ange-Jacques Gabriel, who used many decorative elements from the earlier room, which had originally been decorated by Primatice.
The upper portion of the walls is divided into panels, oval and rectangular, with scenes representing the love life of Alexander the Great. The paintings are framed by large statues of women by Primatice. The eastern wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th. century with paintings by Abel de Pujol.
The Queen's Bedroom
All of the Queens and Empresses of France from Marie de Medici to the Empress Eugènie slept in the bedchamber of the Queen. The ornate ceiling over the bed was made in 1644 by the furniture-maker Guillaume Noyers for the Dowager Queen Anne of Austria, the mother of Louis XIV, and bears her initials.
The room was redecorated by Marie Leszczynska, the Queen of Louis XV in 1746–1747. The ceiling of the alcove, the decoration around the windows and the wood panelling were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. The decoration of the fireplace dates to the same period.
The doors have an arabesque design, and were made for Marie-Antoinette, as were the sculpted panels over the doors, installed in 1787. The bed was also made especially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. it was used instead by Napoleon's wives, the Empress Josephine and Marie-Louise of Austria.
The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model.
The furniture in the room all dates to the First Empire. The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The armchairs with a sphinx pattern, the consoles and screen and the two chests of drawers were placed in the room in 1806.
The Boudoir of Marie-Antoinette
The boudoir next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and permitted the Queen to have a measure of privacy.
The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork.
The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect Pierre Rousseau (1751-1829); the wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé.
Eight figures of the Muses were made in plaster by Roland; the ornate mantle of the fireplace was made by Jacques-François Dropsy, and decorated with glided bronze works by Claude-Jean Pitoin.
The mahogany parquet floor, decorated with the emblems of the Queen, was made by Bernard Molitor, and finished in 1787. The painted ceiling, by Jean-Simon Berthélemy, shows Aurora with a group of angels.
The furnishings were designed for the room by Jean-Henri Riesener, using the finest materials available; mother of pearl, gilded bronze, brass, satin and ebony. Some of the original furnishings remain, including the cylindrical desk and the table, which were made between 1784 and 1789.
The two armchairs are copies of the originals made by Georges Jacob which are now in the Gulbenkian Museum in Lisbon, while the footstool is the original.
The Throne Room of Napoleon (former bedroom of the King)
The Throne Room was the bedroom of the Kings of France from Henry IV to Louis XVI.
In 1808 Napoleon decided to install his throne in the former bedroom of the Kings of France in the location where the royal bed had been. Under the Old Regime, the King's bed was a symbol of royal authority in France and was saluted by courtiers who passed by it. Napoleon wanted to show the continuity of his Empire with the past monarchies of France.
The majority of the carved wood ceiling, the lower part of the wood panelling, and the doors date to the reign of Louis XIII. The ceiling directly over the throne was made at the end of the reign of Louis XIV.
Louis XV created the portion of the ceiling directly over the throne, a new chimney, sculpted wooden medallions near the fireplace, the designs over the doors, and the fine carved woodwork facing the throne (1752–54).
He also had the ceiling painted white and gilded and decorated with mosaics, to match the ceiling of the bedroom of the Queen.
Napoleon added the standards with his initial and the Imperial eagle. The decoration around the throne was originally designed in 1804 by Jacob-Desmalter for the Palace of Saint-Cloud, and the throne itself came from the Tuileries Palace.
The chimney was originally decorated with a portrait of Louis XIII painted by Philippe de Champaigne, which was burned in 1793 during the French Revolution. Napoleon replaced it with a portrait of himself, by Robert Lefèvre. In 1834, King Louis-Philippe took down Napoleon's picture and replaced with another of Louis XIII.
The Council Chamber
The Council Chamber, where the Kings and Emperors met their closest advisors, was close to the Throne Room. It was originally the office of Francis I, and was decorated with painted wooden panels showing following designs of Primatice, the virtues and the heroes of antiquity.
The room was enlarged under Louis XIV, and the decorator, Claude Audran, followed the same theme.
The room was entirely redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel, with arcades and wooded panels showing the virtues, and allegories of the seasons and the elements, painted by Jean-Baptiste Marie Pierre and Carle van Loo.
The painter Alexis Peyrotte added another series of medallions to the upper walls depicting floral themes, the sciences and arts. The five paintings on the vaulted ceiling were the work of François Boucher, and show the seasons and the sun beginning its journey and chasing away the night.
A half-rotonda on the garden side of the room was added by Louis XV in 1773, with a painted ceiling by Lagrenée depicting Glory surrounded by his children.
The room was used as a council chamber by Napoleon I, and the furnishings are from that time. The armchairs at the table for the ministers are by Marcion (1806) and the folding chairs for advisors are by Jacob-Desmalter (1808).
Apartment of the Pope and of the Queen-Mothers
The apartment of the Pope, located on the first floor of the wing of the Queen Mothers and of the Gros Pavillon, takes its name from the 1804 visit of Pope Pius VII, who stayed there on his way to Paris to crown Napoleon I the Emperor of France.
He stayed there again, involuntarily, under the close supervision of Napoleon from 1812 to 1814. Prior to that, beginning in the 17th. century it was the residence of the Queen Mothers Marie de' Medici and Anne of Austria.
It was also the home of the Grand Dauphin, the oldest son of Louis XIV. In the 18th. century it was used by the daughters of Louis XV, and then by the Count of Provence, the brother of Louis XVI.
During the First Empire it was used by Louis, the brother of Napoleon, and his wife Queen Hortense, the daughter of the Empress Josephine. During the reign of Louis-Philippe, it was used by his eldest son, the Duke of Orleans.
During the Second Empire, it was occupied by Stephanie de Bade, the adopted niece of Napoleon I. It was restored in 1859–1861, and used thereafter for guests of high rank. It was originally two apartments, which were divided or joined over the years depending upon its occupants.
The Grand Salon, the Antechamber to the Bedroom of the Queen-Mother (Mid-17th. century)
The Salon de Reception was the anteroom to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies.
The room was created in 1558 by Ambroise Perret as the bedroom of Henry II in the pavilion des Poeles, a section of the Château that was later destroyed. Anne had it moved and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period.
The decor of the bedroom dates largely to the 1650's; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard; richly carved wood paneling featuring oak leaves and putti; and paintings over the doors of Anne of Austria costumed as Minerva and Marie-Therese of Austria costumed as Abundance, both painted by Gilbert de Sève.
The bedroom was modified in the 18th. century by the addition of a new fireplace and sculptured borders of cascades of flowers around the mirrors added in 1784. During the Second Empire, painted panels imitating the style of the 17th. century were added above the mirrors and between the mirrors and the doors.
The Gallery of Diana
The Gallery of Diana, an eighty-metre (242 feet) long corridor now lined with bookcases, was created by Henry IV at the beginning of the 17th. century as a place for the Queen to promenade. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represented scenes from the myth of Diana, goddess of the Hunt.
At the beginning of the 19th. century, the gallery was in ruins. In 1810 Napoleon decided to turn it into a gallery devoted to the achievements of his Empire. A few of the paintings still in good condition were removed and put in the Gallery of Plates.
The architect Hurtault designed a new plan for the gallery, inspired by the Grand Gallery of the Louvre, featuring paintings on the ceiling illustrating the great events of Napoleon's reign.
By 1814 the corridor had been rebuilt and the decorative frames painted by Moench and Redouté, but the cycle of paintings on the Empire had not been started when Napoleon fell from power.
Once the monarchy was restored, King Louis XVIII had the gallery completed in a neoclassical style. A new series of the goddess Diana was done by Merry-Joseph Blondel and Abel de Pujol, using the painted frames prepared for Napoleon's cycle.
Paintings were also added along the corridor, illustrating the history of the French monarchy, painted in the Troubador style of the 1820's and 1830's, painted by a team of the leading academic painters.
Beginning in 1853, under Napoleon III, the corridor was turned into a library and most of the paintings were removed, with the exception of a large portrait of Henry IV on horseback by Jean-Baptiste Mauzaisse. The large globe near the entrance of the gallery, placed there in 1861, came from the office of Napoleon in the Tuileries Palace.
The Apartments of Napoleon
In 1804 Napoleon decided that he wanted his own private suite of apartments within the Palace, separate from the old state apartments. He took over a suite of six rooms which had been created in 1786 for Louis XVI, next to the Gallery of Francis I, and had them redecorated in the Empire style.
The Emperor's Bedroom
Beginning in 1808, Napoleon had his bedroom in the former dressing room of the King. From this room, using a door hidden behind the drapery to the right of the bed, Napoleon could go directly to his private library or to the offices on the ground floor.
Much of the original decor was unchanged from the time of Louis XVI; the fireplaces, the carved wooden panels sculpted by Pierre-Joseph LaPlace and the sculpture over the door by Sauvage remained as they were.
The walls were painted with Imperial emblems in gold on white by Frederic-Simon Moench. The bed, made especially for the Emperor, was the summit of the Empire style; it was crowned with an imperial eagle and decorated with allegorical sculptures representing Glory, Justice, and Abundance.
The Emperor had a special carpet made by Sallandrouze in the shape of the cross of the Legion of Honor; the branches of the cross alternate with symbols of military and civilian attributes.
The chairs near the fireplace were specially designed, with one side higher than the other, to contain the heat from the fire while allowing the occupants to see the decorations of the fireplace.
The painting on the ceiling of the room was added later, after the downfall of Napoleon, by Louis XVIII. Painted by Jean-Baptiste Regnault, it is an allegory representing The clemency of the King halting justice in its course.
The study was a small room designated as Napoleon's work room. In 1811 he added the camp bed, similar to the bed he used on his military campaigns, so he could rest briefly during a long night of work.
The salon of the Emperor was simply furnished and decorated. It was in this room, on the small table on display, that the Emperor signed his abdication in 1814.
The Theatre
Concerts, plays and other theatrical productions were a regular part of court life at Fontainebleau. Prior to the reign of Louis XV these took place in different rooms of the palace, but during his reign, a theatre was built in the Belle-Cheminée wing. It was rebuilt by the architect Gabriel, but was destroyed by a fire in 1856.
It had already been judged too small for the court of Napoleon III, and a new theatre was begun in 1854 at the far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the opera theatre at the palace of Versailles and that of Marie-Antoinette at the Trianon Palace.
The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856.
The theatre was closed after the end of the Second Empire and was rarely used. A restoration began in 2007, funded with ten million Euros by the government of Abu-Dhabi. In exchange, the theatre was renamed after Sheik Khalifa Bin Zayed al Nahyan.
It was inaugurated on the 30th. April 2014. The theatre can be visited, but it no longer can be used for plays because some working parts of the theater, including the stage, were not included in the restoration.
The Chinese Museum
The Chinese Museum, on the ground floor of the Gros Pavillon close to the lake, was among the last rooms decorated within the Chateau while it was still an imperial residence.
In 1867, the Empress Eugenie had the rooms remade to display her personal collection of Asian art, which included gifts given to the Emperor by a delegation sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Summer Palace near Beijing by a joint British-French military expedition to China in 1860.
The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th. century Chinese screens, along with specially designed cases to display antique porcelain vases.
Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III.
The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre-Alexandre Schoenewerk. The room also served as a place for games and entertainment; an old bagatelle game and a mechanical piano from that period are on display.
In addition to the Chinese Museum, the Empress created a small office in 1868, the Salon of Lacquerware, which was also decorated with lacquered panels and Asian art objects, on the ground floor of the Louis XV wing. This was the last room decorated before the fall of the Empire, and the eventual transformation of the Chateau into a museum.
The Chapel of the Trinity
The Chapel of the Trinity was built at the end of the reign of Francis I to replace the old chapel of the convent of the Trinitaires. It was finished under Henry II, but was without decoration until 1608, when the painter Martin Freminet was commissioned to design frescoes for the ceiling and walls.
The sculptor Barthèlemy Tremblay created the vaults of the ceiling out of stucco and sculpture. The paintings of Freminet in the central vaults depict the redemption of Man, from the appearance of God to Noah at the launching of the Ark (Over the tribune) to the Annunciation.
They surrounded these with smaller paintings depicting the ancestors of the Virgin Mary, the Kings of Judah, the Patriarchs announcing the coming of Christ, and the Virtues.
Between 1613 and 1619 Freminet and Tremblay added paintings in stucco frames between the windows on the sides of the chapel, depicting the life of Christ. Freminet died in 1619, and work did not resume until 1628.
The Trinity chapel, like Sainte-Chapelle in Paris other royal chapels, had an upper section or tribune, where the King and his family sat, with a separate entrance; and a lower part, where the rest of the Court was placed.
Beginning in 1628, the side chapels were decorated with iron gates and carved wood panelling, and the Florentine sculptor Francesco Bordoni began work on the marble altar. The figure to the left depicts Charlemagne, with the features of Henry II, while the figure on the right depicts Louis IX, or Saint Louis, with the features of Louis XIII, his patron.
Bordoni also designed the multicolored marble pavement before the altar and on the walls of the nave. The painting of the Holy Trinity over the altar, by Jean Dubois the Elder, was added in 1642.
In the mid-17th. century the craftsman Anthony Girault made the sculpted wooden doors of the nave. while Jean Gobert made the doors of the tribune where the Royal family worshipped.
In 1741 the royal tribune was enlarged, while ornate balconies of wrought iron were added between the royal tribune and the simpler balconies used by the musicians and those who chanted the mass. In 1779, under Louis XVI, the frescoes of Freminet illustrating the life of Christ, which had deteriorated with time, were replaced by new paintings on the same theme. The paintings were done in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture.
Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by the architect Maximilien Hurtault.
Beginning in 1824, the chapel underwent a program of major renovation and restoration that lasted for six years. The twelve paintings of the life of Christ were removed, as well as the gates to the side chapels.
During the Second Empire, the wood panelling of the side chapels was replaced. The restoration was not completed until the second half of the 20th. century, when the twelve paintings, which had been scattered to different museums, were brought together again and restored in their stucco frames. Between 1772 and 1774, a small organ made by François-Henri Cilquot was installed on the left side of the chapel, near the altar.
On the 5th. September 1725, the chapel was the setting for the wedding of Louis XV and Marie Leszczynska. Napoleon III was baptized there on 4 November 1810, and Ferdinand-Philippe d'Orleans, the son of King Louis-Philippe, was married there to Helene de Mecklembourg Schwerin on the 30th. May 1837.
The Gardens and the Park at Fontainebleau
From the time of Francis I, the palace was surrounded by formal gardens, representing the major landscaping styles of their periods; the French Renaissance garden, inspired by Italian Renaissance gardens; the French formal garden, the favorite style of Louis XIV; and, in the 18th. and 19th. century, the French landscape garden, inspired by the English landscape garden.
The Garden of Diana
The Garden of Diana was created during the reign of Henry IV; it was the private garden of the King and Queen, and was visible from the windows of their rooms.
The fountain of Diana was originally in the centre of the garden, which at that time was enclosed by another wing, containing offices and later, under, Louis XIV, an orangery. That building, and another, the former chancellery, were demolished in the 19th. century, thereby doubling the size of the garden.
From the 17th. until the end of the 18th. century, the garden was in the Italian and then the French formal style, divided by straight paths into rectangular flower beds centred on the fountains, and decorated with statues, ornamental plants and citrus trees in pots.
It was transformed during the reign of Napoleon I into a landscape garden in the English style, with winding paths and trees grouped into picturesque landscapes, and it was enlarged during the reign of Louis-Philippe. it was opened to the public after the downfall of Napoleon III.
The fountain in the centre was made by Tommaso Francini, the master Italian fountain-maker, whose work included the Medici Fountain in the Jardin du Luxembourg in Paris.
The bronze statue of Diana, the goddess of the hunt, with a young deer, was made by the Keller brothers in 1684 for another royal residence, at Marly. It is a copy of an antique Roman statue, Diana of Versailles, which was given by the Pope to King Henry IV, and which is now in the Louvre.
The original statue of the fountain, made by Barthelemy Prieur in 1602, can be seen in the Gallery of the Cerfs inside the palace. The sculptures of hunting dogs and deer around the fountain were made by Pierre Biard.
The Carp Lake, English Garden, Grotto and Spring
The lake next to the palace, with an area of four hectares, was made during the reign of Henry IV, and was used for boating parties by members of the Court, and as a source of fish for the table and for amusement.
Descriptions of the palace in the 17th. century tell of guests feeding the carp, some of which reached enormous size, and were said to be a hundred years old. The small octagonal house on an island in the center of the lake, Pavillon de l'Étang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and is decorated with his initial.
The English garden also dates back to the reign of Henry IV. In one part of the garden, known as the garden of pines, against the wing of Louis XV, is an older structure dating to Francis I; the first Renaissance-style grotto to be built in a French garden, a rustic stone structure decorated with four statues of Atlas.
Under Napoleon, his architect, Maximilien-Joseph Hurtault, turned this part of the garden into an English park, with winding paths and exotic trees, including catalpa, tulip trees, sophora, and cypress trees from Louisiana, and with a picturesque stream and boulders.
The garden also features two 17th. century bronze copies of ancient Roman originals, the Borghese gladiator and the Dying Gladiator. A path leads from the garden through a curtain of trees to the spring which gave its name to the palace, next to a statue of Apollo.
The Parterre and Canal
On the other side of the Château, on the site of the garden of Francis I, Henry IV created a large formal garden, or parterre Along the axis of the parterre, he also built a grand canal 1200 metres long, similar to one at the nearby château of Fleury-en-Biere.
Between 1660 and 1664 the chief gardener of Louis XIV, André Le Nôtre, and Louis Le Vau rebuilt the parterre on a grander scale, filling it with geometric designs and paths bordered with boxwood hedges and filled with colourful flowerbeds.
They also added a basin, called Les Cascades, decorated with fountains, at the head of the canal. Le Nôtre planted shade trees along the length of the canal, and also laid out a wide path, lined with elm trees, parallel to the canal.
The fountains of Louis XIV were removed after his reign. More recently, the Cascades were decorated with works of sculpture from the 19th. century. A large ornamental fountain was installed in the central basin in 1817.
A bronze replica of an ancient Roman statue, "The Tiber", was placed in the round basin in 1988. It replaced an earlier statue from the 16th. century which earlier had decorated the basin.
Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal.
I like poster modifications, but not so uncreative and primitive. They should go to an Islamic country or to North Korea, where they have not to see naked flesh.
If anyone is insane enough out there to want to use an electronic flash with a Box Brownie, here is one way of doing it. This is a Brownie Flash Capacitor which I picked up for 99p. The circuit is basic and made of sturdy brass pieces. It is easy to dismantle and more importantly, easy to put back together again. Contacts one and two connect to the the flash contacts in the camera. All you have to do is figure out how to connect them to a flash, or flash trigger. (Note that not all box brownie flash contacts are the same)
I chose to use a piece of brass wire, a custom made brass screw (I have a lathe), and a cheap cold shoe designed to mount on a standard 1/4" BSW tripod screw. The custom screw does the twin job of fixing the hot shoe to the flash unit, and making the connection with one of the brass contacts (I drilled a hole through the cold shoe, via the existing threaded hole). The other contact is made between the metal shoe and the second flash contact, using a bit of bent brass wire, running through a second hole drilled in the cold shoe, the other end wedged in the convenient hole in the brass strip that forms a battery contact in the flash unit. I drilled all holes by hand; using high speed is a recipe for melted plastic and burning smells. Anyway, my cold shoe is now a hot shoe.
Oh, and don't put a battery in it or you'll charge up that scary capacitor and who knows what it might do to your flash / flash trigger in the hot shoe. You also need to adjust the camera flash sync a little otherwise it will go off too early.
The advantage to doing it this way is that it is completely reversible (apart from two small holes in the flash unit) and the unit can still be used with a flash bulb if desired. It would probably best to cover the hot shoe in that case; I'm not sure if the contacts could zap a careless finger when the capacitor discharges.
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This photo shows the lighting spread using the 7" reflector modification with the AlienBee/White Lightning grid spots.
Only additional part used to make Luke. You can find the differences as notes on the pic.
left > right:
Original LEGO set > picture from Star Wars Empire Strikes Back > Rebuilt set by me
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. This is the testing with the new color and the restored stake bed painted green. The color I like but on the truck but I am not happy with the stake bed. The warp is bad and I tried to fix it without it breaking which it wanted to do. I even soaked it in hot water to soften it but not luck.
the drawn on plan for my friend's tattoo that she's getting next month :)
excuse the poor quality, it was taken with my phone
now that my subscritpion has expired see all of my art here www.flickr.com/groups/463498@N21/
Rohloff wheel build, custom double split stops for roholoff cable routing, new swingarm bushing, cut out old CS and SS bridges, respace to 135 (was 120 with a 2 speed kickback and a Schlumpf), install new bridges, rear canti posts, cable stops for rear brake, various cable guides, fender install, run all new cables and housing with cable splitters, rewrap bars.
World leader, scientist, medical scientist, virologist, pharmacist, Professor Fangruida (F.D Smith) on the world epidemic and the nemesis and prevention of new coronaviruses and mutant viruses (Jacques Lucy) 2021v1.5)
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The Nemesis and Killer of New Coronavirus and Mutated Viruses-Joint Development of Vaccines and Drugs (Fangruida) July 2021
*The particularity of new coronaviruses and mutant viruses*The broad spectrum, high efficiency, redundancy, and safety of the new coronavirus vaccine design and development , Redundancy and safety
*New coronavirus drug chemical structure modification*Computer-aided design and drug screening. *"Antiviral biological missile", "New Coronavirus Anti-epidemic Tablets", "Composite Antiviral Oral Liquid", "New Coronavirus Long-acting Oral Tablets", "New Coronavirus Inhibitors" (injection)
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(World leader, scientist, medical scientist, biologist, virologist, pharmacist, FD Smith) "The Nemesis and Killer of New Coronavirus and Mutated Viruses-The Joint Development of Vaccines and Drugs" is an important scientific research document. Now it has been revised and re-published by the original author several times. The compilation is published and published according to the original manuscript to meet the needs of readers and netizens all over the world. At the same time, it is also of great benefit to the vast number of medical clinical drug researchers and various experts and scholars. We hope that it will be corrected in the reprint.------Compiled by Jacques Lucy in Geneva, August 2021
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According to Worldometer's real-time statistics, as of about 6:30 on July 23, there were a total of 193,323,815 confirmed cases of new coronary pneumonia worldwide, and a total of 4,150,213 deaths. There were 570,902 new confirmed cases and 8,766 new deaths worldwide in a single day. Data shows that the United States, Brazil, the United Kingdom, India, and Indonesia are the five countries with the largest number of new confirmed cases, and Indonesia, Brazil, Russia, South Africa, and India are the five countries with the largest number of new deaths.
The new coronavirus and delta mutant strains have been particularly serious in the recent past. Many countries and places have revived, and the number of cases has not decreased, but has increased.
, It is worthy of vigilance. Although many countries have strengthened vaccine prevention and control and other prevention and control measures, there are still many shortcomings and deficiencies in virus suppression and prevention. The new coronavirus and various mutant strains have a certain degree of antagonism to traditional drugs and most vaccines. Although most vaccines have great anti-epidemic properties and have important and irreplaceable effects and protection for prevention and treatment, it is impossible to completely prevent the spread and infection of viruses. The spread of the new crown virus pneumonia has been delayed for nearly two years. There are hundreds of millions of people infected worldwide, millions of deaths, and the time is long, the spread is widespread, and billions of people around the world are among them. The harm of the virus is quite terrible. This is well known. of. More urgent
What is more serious is that the virus and mutant strains have not completely retreated, especially many people are still infected and infected after being injected with various vaccines. The effectiveness of the vaccine and the resistance of the mutant virus are worthy of medical scientists, virologists, pharmacologists Zoologists and others seriously think and analyze. The current epidemic situation in European and American countries, China, Brazil, India, the United States, Russia and other countries has greatly improved from last year. However, relevant figures show that the global epidemic situation has not completely improved, and some countries and regions are still very serious. In particular, after extensive use of various vaccines, cases still occur, and in some places they are still very serious, which deserves a high degree of vigilance. Prevention and control measures are very important. In addition, vaccines and various anti-epidemic drugs are the first and necessary choices, and other methods are irreplaceable. It is particularly important to develop and develop comprehensive drugs, antiviral drugs, immune drugs, and genetic drugs. Research experiments on new coronaviruses and mutant viruses require more rigorous and in-depth data analysis, pathological pathogenic tissues, cell genes, molecular chemistry, quantum chemistry, etc., as well as vaccine molecular chemistry, quantum physics, quantum biology, cytological histology, medicinal chemistry, and drugs And the vaccine’s symptomatic, effectiveness, safety, long-term effectiveness, etc., of course, including tens of thousands of clinical cases and deaths and other first-hand information and evidence. The task of RNA (ribonucleic acid) in the human body is to use the information of our genetic material DNA to produce protein. It accomplishes this task in the ribosome, the protein-producing area of the cell. The ribosome is the place where protein biosynthesis occurs.
Medicine takes advantage of this: In vaccination, artificially produced mRNA provides ribosomes with instructions for constructing pathogen antigens to fight against—for example, the spike protein of coronavirus.
Traditional live vaccines or inactivated vaccines contain antigens that cause the immune system to react. The mRNA vaccine is produced in the cell
(1) The specificity of new coronaviruses and mutant viruses, etc., virology and quantum chemistry of mutant viruses, quantum physics, quantum microbiology
(2) New crown vaccine design, molecular biology and chemical structure, etc.
(3) The generality and particularity of the development of new coronavirus drugs
(4) Various drug design for new coronavirus pneumonia, medicinal chemistry, pharmacology, etc., cells, proteins, DNA, enzyme chemistry, pharmaceutical quantum chemistry, pharmaceutical quantum physics, human biochemistry, human biophysics, etc.
(5) The evolution and mutation characteristics of the new coronavirus and various mutant viruses, the long-term nature, repeatability, drug resistance, and epidemic resistance of the virus, etc.
(6) New coronavirus pneumonia and the infectious transmission of various new coronaviruses and their particularities
(7) The invisible transmission of new coronavirus pneumonia and various mutant viruses in humans or animals, and the mutual symbiosis of cross infection of various bacteria and viruses are also one of the very serious causes of serious harm to new coronaviruses and mutant viruses. Virology, pathology, etiology, gene sequencing, gene mapping, and a large number of analytical studies have shown that there are many cases in China, the United States, India, Russia, Brazil, and other countries.
(8) For the symptomatic prevention and treatment of the new coronavirus, the combination of various vaccines and various antiviral drugs is critical.
(9) According to the current epidemic situation and research judgments, the epidemic situation may improve in the next period of time and 2021-2022, and we are optimistic about its success. However, completely worry-free, it is still too early to win easily. It is not just relying on vaccination. Wearing masks to close the city and other prevention and control measures and methods can sit back and relax, and you can win a big victory. Because all kinds of research and exploration still require a lot of time and various experimental studies. It is not a day's work. A simple taste is very dangerous and harmful. The power and migratory explosiveness of viruses sometimes far exceed human thinking and perception. In the future, next year, or in the future, whether viruses and various evolutionary mutation viruses will re-attack, we still need to study, analyze, prevent and control, rather than being complacent, thinking that the vaccine can win a big victory is inevitably naive and ridiculous. Vaccine protection is very important, but it must not be taken carelessly. The mutation of the new crown virus is very rampant, and the cross-infection of recessive and virulent bacteria makes epidemic prevention and anti-epidemic very complicated.
(10) New crown virus pneumonia and the virus's stubbornness, strength, migration, susceptibility, multi-infectiousness, and occult. The effectiveness of various vaccines and the particularity of virus mutations The long-term hidden dangers and repeated recurrences of the new coronavirus
(11) The formation mechanism and invisible transmission of invisible viruses, asymptomatic infections and asymptomatic infections, asymptomatic transmission routes, asymptomatic infections, pathological pathogens. The spread and infection of viruses and mutated viruses, the blind spots and blind spots of virus vaccines, viral quantum chemistry and
The chemical and physical corresponding reactions at the meeting points of highly effective vaccine drugs, etc. The variability of mutated viruses is very complicated, and vaccination cannot completely prevent the spread of infection.
(12) New crown virus pneumonia and various respiratory infectious diseases are susceptible to infections in animals and humans, and are frequently recurring. This is one of the frequently-occurring and difficult diseases of common infectious diseases. Even with various vaccines and various antiviral immune drugs, it is difficult to completely prevent the occurrence and spread of viral pneumonia. Therefore, epidemic prevention and anti-epidemic is a major issue facing human society, and no country should take it lightly. The various costs that humans pay on this issue are very expensive, such as Ebola virus, influenza A virus,
Hepatitis virus,
Marburg virus
Sars coronavirus, plague, anthracnose, cholera
and many more. The B.1.1.7 mutant virus that was first discovered in the UK was renamed Alpha mutant virus; the B.1.351 that was first discovered in South Africa was renamed Beta mutant virus; the P.1 that was first discovered in Brazil was renamed Gamma mutant virus; the mutation was first discovered in India There are two branches of the virus. B.1.617.2, which was listed as "mutated virus of concern", was renamed Delta mutant virus, and B.1.617.1 of "mutated virus to be observed" was renamed Kappa mutant virus.
However, experts in many countries believe that the current vaccination is still effective, at least it can prevent severe illness and reduce deaths.
Delta mutant strain
According to the degree of risk, the WHO divides the new crown variant strains into two categories: worrying variant strains (VOC, variant of concern) and noteworthy variant strains (VOI, variant of interest). The former has caused many cases and a wide range of cases worldwide, and data confirms its transmission ability, strong toxicity, high power, complex migration, and high insidious transmission of infection. Resistance to vaccines may lead to the effectiveness of vaccines and clinical treatments. Decrease; the latter has confirmed cases of community transmission worldwide, or has been found in multiple countries, but has not yet formed a large-scale infection. Need to be very vigilant. Various cases and deaths in many countries in the world are related to this. In some countries, the epidemic situation is repeated, and it is also caused by various reasons and viruses, of course, including new cases and so on.
At present, VOC is the mutant strain that has the greatest impact on the epidemic and the greatest threat to the world, including: Alpha, Beta, Gamma and Delta. , Will the change of the spur protein in the VOC affect the immune protection effect of the existing vaccine, or whether it will affect the sensitivity of the VOC to the existing vaccine? For this problem, it is necessary to directly test neutralizing antibodies, such as those that can prevent the protection of infection. Antibodies recognize specific protein sequences on viral particles, especially those spike protein sequences used in mRNA vaccines.
(13) Countries around the world, especially countries and regions with more severe epidemics, have a large number of clinical cases, severe cases, and deaths, especially including many young and middle-aged patients, including those who have been vaccinated. The epidemic is more complicated and serious. Injecting various vaccines, taking strict control measures such as closing the city and wearing masks are very important and the effect is very obvious. However, the new coronavirus and mutant viruses are so repeated, their pathological pathogen research will also be very complicated and difficult. After the large-scale use of the vaccine, many people are still infected. In addition to the lack of prevention and control measures, it is very important that the viability of the new coronavirus and various mutant viruses is very important. It can escape the inactivation of the vaccine. It is very resistant to stubbornness. Therefore, the recurrence of new coronavirus pneumonia is very dangerous. What is more noteworthy is that medical scientists, virologists, pharmacists, biologists, zoologists and clinicians should seriously consider the correspondence between virus specificity and vaccine drugs, and the coupling of commonality and specificity. Only in this way can we find targets. Track and kill viruses. Only in this sense can the new crown virus produce a nemesis, put an end to and eradicate the new crown virus pneumonia. Of course, this is not a temporary battle, but a certain amount of time and process to achieve the goal in the end.
(14) The development and evolution of the natural universe and earth species, as well as life species. With the continuous evolution of human cell genes, microbes and bacterial viruses are constantly mutated and inherited. The new world will inevitably produce a variety of new pathogens.
And viruses. For example, neurological genetic disease, digestive system disease, respiratory system disease, blood system disease, cardiopulmonary system disease, etc., new diseases will continue to emerge as humans develop and evolve. Human migration to space, space diseases, space psychological diseases, space cell diseases, space genetic diseases, etc. Therefore, for the new coronavirus and mutated viruses, we must have sufficient knowledge and response, and do not think that it will be completely wiped out.
, And is not a scientific attitude. Viruses and humans mutually reinforce each other, and viruses and animals and plants mutually reinforce each other. This is the iron law of the natural universe. Human beings can only adapt to natural history, but cannot deliberately modify natural history.
Active immune products made from specific bacteria, viruses, rickettsiae, spirochetes, mycoplasma and other microorganisms and parasites are collectively called vaccines. Vaccination of animals can make the animal body have specific immunity. The principle of vaccines is to artificially attenuate, inactivate, and genetically attenuate pathogenic microorganisms (such as bacteria, viruses, rickettsia, etc.) and their metabolites. Purification and preparation methods, made into immune preparations for the prevention of infectious diseases. In terms of ingredients, the vaccine retains the antigenic properties and other characteristics of the pathogen, which can stimulate the body's immune response and produce protective antibodies. But it has no pathogenicity and does not cause harm to the body. When the body is exposed to this pathogen again, the immune system will produce more antibodies according to the previous memory to prevent the pathogen from invading or to fight against the damage to the body. (1) Inactivated vaccines: select pathogenic microorganisms with strong immunogenicity, culture them, inactivate them by physical or chemical methods, and then purify and prepare them. The virus species used in inactivated vaccines are generally virulent strains, but the use of attenuated attenuated strains also has good immunogenicity, such as the inactivated polio vaccine produced by the Sabin attenuated strain. The inactivated vaccine has lost its infectivity to the body, but still maintains its immunogenicity, which can stimulate the body to produce corresponding immunity and resist the infection of wild strains. Inactivated vaccines have a good immune effect. They can generally be stored for more than one year at 2～8°C without the risk of reversion of virulence; however, the inactivated vaccines cannot grow and reproduce after entering the human body. They stimulate the human body for a short time and must be strong and long-lasting. In general, adjuvants are required for immunity, and multiple injections in large doses are required, and the local immune protection of natural infection is lacking. Including bacteria, viruses, rickettsiae and toxoid preparations.
Konata Reiko's Hikari
Teddy bear Eyechips 13,5mm customiced and painted by Sheryl Designs +
® Eyemech Modification by Sheryl Designs
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
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. It was the third most-produced American fighter, after the P-51 and P-47.
P-40 Warhawk was the name the United States Army Air Corps adopted for all models, making it the official name in the United States for all P-40s. The British Commonwealth and Soviet air forces used the name Tomahawk for models equivalent to the P-40B and P-40C, and the name Kittyhawk for models equivalent to the P-40D and all later variants, which were used by many Allied nations during and even after WWII: The last P-40s in military service, used by the Brazilian Air Force (FAB), were only retired in 1960.
Another, minor operator of the P-40 were The Philippines: At the outbreak of World War II, after a few months of the Philippine Army Air Corps’ (PAAC) induction into the USAFFE by General Douglas Mc Arthur on 15 August 1941, the PAAC found itself unprepared for a shooting war. Japanese invading forces separately struck Pearl Harbor in Hawaii and the Philippines. Using only Curtiss P-26A “Peashooters”, which were obsolete at that time, PAAC officers and men fought gallantly against the superior enemy raids.
At that time the whole PAAC force only consisted of a mere 28 P-26s, and the growing Japanese threat in the Pacific theatre prompted the USA to immediately send further support to the PAAC - namely a batch of thirty brand-new P-40Es that were originally intended for the RAAF and literally “on the way” into the Pacific.
These aircraft were a quantum leap for the PAAC, concerning performance and firepower. The Kittyhawks arrived in November 1941, just in time to be operational during the Japanese raid of Zablan Field at Camp Murphy (now Camp Gen. Emilio Aguinaldo) near Manila on December 10, 1941. This event became the baptism of fire for PAAC pilots against an incoming invasion, and left the PAAC with heavy losses.
Among these brave PAAC pilots was 6th Pursuit Squadron leader Capt Jesus Villamor, a fearless fighter pilot in whose honor, Colonel Jesus Villamor Air Base, the home of the Headquarters of today's Philippine Air Force, is named after. Fighting was fierce: on December 12, 1941, remnants of Villamor’s squadron, again gallantly fought, engaging 17 Japanese Zeros and 27 bombers in an incredible dogfight over Batangas Field, as a result Lt Cesar Basa was killed in that action.
The more superior Japanese invading forces, with the advantage in aircraft ratio against the PAAC, lost a bomber and a fighter during the encounter. These feats would later earn Capt. Villamor two Distinguished Conduct Star awards.
Anyway, the late 1941 battles were rather disastrous for the PAAC - especially the P-40E crews suffered heavy losses due to the unfamiliarity with the new aircraft as well as the lack of tactics and experience against the more agile Japanese fighters: a total of eight P-40’s was lost within three days!
The RP-US forces and the whole country later on succumbed to Japanese regime but Capt Villamor and few of the PAAC officers continued to fight under guerrilla movements. Several aircraft could be rescued and were, after WWII, returned to military service. Capt Villamor’s courage and bravery during delicate missions of Mc Arthur’s Allied Intelligence net became instrumental for the RP-US forces in liberating the Country, which earned him the Medal for Valor.
After the war, the surviving P-40’s (only a dozen was left in airworthy condition) were relegated to the ground attack role, and the PAAC was immediately reconstituted and pilot training was intensified. By 1st of July 1947, the PAAC was renamed Philippine Air Force (PAF) and rose to a major service command of the AFP.
Additional units were formed and PAF organizational structures were enhanced in response to the equipment and air assets provided by U.S. Military Aid. In the early years of the PAF, the Command was instrumentally engaged in anti-HUK and anti-Kamlon insurgency campaigns. The PAF then had established Sulu Air Task Group (SATAG), with an initial force of P-51 “Mustangs”, PBY “Catalina” amphibian planes and L-5 “Sentinel” liaison aircraft to intensify the campaign against Hadji Kamlon, who eventually surrendered in 1955 - and at the same time the last P-40E was eventually retired from PAF service.
General characteristics:
Crew: 1
Length: 31.67 ft (9.66 m)
Wingspan: 37.33 ft (11.38 m)
Height: 12.33 ft (3.76 m)
Wing area: 235.94 ft² (21.92 m²)
Airfoil: NACA2215 / NACA2209
Empty weight: 6,070 lb (2,753 kg)
Loaded weight: 8,280 lb (3,760 kg)
Max. takeoff weight: 8,810 lb (4,000 kg)
Powerplant:
1× Allison V-1710-39 liquid-cooled V12 engine, 1,150 hp (858 kW)
Performance:
Maximum speed: 360 mph (310 kn, 580 km/h)
Cruise speed: 270 mph (235 kn, 435 km/h)
Range: 650 mi (560 nmi, 1,100 km)
Service ceiling: 29,000 ft (8,800 m)
Rate of climb: 2,100 ft/min (11 m/s)
Wing loading: 35.1 lb/ft² (171.5 kg/m²)
Power/mass: 0.14 hp/lb (228 W/kg)'
Armament:
6× 0.50 in (12.7 mm) M2 Browning machine guns with 235 RPG in the wings, plus
a total of 2.000 lb (907 kg) of bombs on three hardpoints (one under the fuselage, two
underwing)
The kit and its assembly:
Nothing fancy - this P-40E is the Hobby Boss model and it was built almost OOB, even the drop tank comes with the simple but very nice kit. I just added a Matchbox pilot, some antennae and a metal axis for the propeller - that’s all.
Painting and markings:
This was the real challenge – the whole thing was actually inspired by a PrintScale P-26 decal sheet which features, among others, a camouflaged PAAC aircraft. I wondered what aircraft could have been a plausible replacement for the vintage Peashooters, and the P-40E appeared as a perfect choice - and I had one in the huge kit pile...
The paint scheme was chosen to match the fictional background story behind this whiffy model, as a field-modified factory finish for the Kittyhawk’s original operator – a practice that was more common than one might think. For instance, some early P-40s in RAF 'temperate day' scheme (painted with US colors, though!) ended up with the Flying Tigers in China. For the PAAC I chose a similar approach, as these fictional aircraft would be diverted from running Commonwealth deliveries (for the RAAF) from the USA, too.
The basic tones I used are FS 34096, FS 30118 and FS 34554 (two Modelmaster tones and Humbrol 23, simulating a pale/fake Sky Type ‘S’), modified with a light black ink wash, some shaded panels and some weathering, simulating the harsh climate in which this aircraft would have operated.
As an extra I mimicked overpainted RAAF roundels and codes, done with ANA 613 Olive Drab (Modelmaster) on the upper surfaces and FS 36440 for the lower sides. The result is a slightly shaggy look, but the kit is otherwise pretty “normal”, so I think it’s O.K. and adds a unique touch.
Spinner and rudder were painted in French Blue (again from Modelmaster), inspired by the PAAC P-26’s blue cowlings. All interior surfaces were painted in US Cockpit Green (Humbrol 226) and Zinc Chromate.
A rather simple project, done in a couple of days – the PAAC P-40 is simple, but the odd roundels certainly catch attention. And finally a good use for a kit that I had bought as part of a lot without a true plan!