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Modification M allows you to bend the terrain at heights of 50 meters, in automatic and semi-automatic mode.
Modification includes : rebuilding jaw so no longer spring action, and rebuilding club/weapon so it fits in hand properly. Grimlock was painted with MANY shades of metallic paint, and went through 45 stages of dry brushing and detail effects to make him look like old worn metal. He was clear coated in a prismatic lacquer paint, giving his metal parts a full spectrum of color at certain angles of light. Then clear coated in a high-gloss lacquer.
by Brian K Webb... his original, original dahlia by Hajime Komiya, folded from Julia's paper (10 cm square), this is lazy version using as small effort as you can to make it looks like this :)
Having Liked The Band Evanescence For A Few Years I Figured I Would Make This Tribute Car To The Best Album In My Opinion, "The Open Door" I Started By Painting The Rear Black And Using A Cardboard Divider Painting The Front In Blue. It's Blended Well.
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.
The modification to accommodate 9 modules involves the changing of the angle of just one fold. The angles in the previous 5 and 7 as well as this 9-Piece variation are just a close estimate. Therefore, during the initial assembling of the modules, the centre "hole" of the model is not regular. The Modules can be adjusted to form a regular hole in the centre by simply inserting a finger through it and give the model a little spin. 7.5cm squares Kami are used for folding the modules. Up to 12 Modules can be assembled simply by changing the angle of just one fold to the module. I will post the rest later. Many thanks to Andrey Hechuev for sharing this excellent modular.
No diagrams for my modification of the modules but video tutorial of the original 8-Piece New-Found Hope Star is posted here -
The Postcard
A postally unused carte postale that was published by E L D. 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.
Removing carbon dioxide (CO2) from the gases emitted by coal-fired and other fossil-fueled power plants requires materials that can efficiently extract the CO2 while ignoring the other gaseous molecules. These materials must be capable of working in hot, moist environments without losing efficiency. PNNL researchers modified the surface of a material called a metal-organic framework (MOF) to render it better able to extract CO2 under the working conditions it might encounter. The MOF shown above was imaged at 20,000 times magnification using a focused ion beam scanning electron microscope. The proposed surface modification may be applicable to thousands of different MOF materials to improve moisture stability and increase selectivity towards CO2 extraction. This work will help to make fossil energy use more sustainable, safer and cleaner. Research was funded by the U.S. Department of Energy.
Team Members from PNNL: Carlos Fernandez, Laxmikant Saraf, Praveen Thallapally and Pete McGrail.
Image was captured using resources at EMSL, a DOE national user facility at PNNL, and colored by Cortland Johnson.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
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.
modded my 2015 Barbie Dream House to remove the first floor and make it more of a townhouse. next phase will be adding accents and furnishing for a modern look.
This is the third version of my modification of set 7997 (Train Station). Here are my notes to recap my progress from stock set to version three:
I built this station with set the 2007 CITY set 7997 in mind. I got the original set in 2007, along with a double rail crossover for my Birthday. I wanted to make it a full building but didn't have the parts. By 2008, I had discovered Bricklink, but the station was in pieces by then and was not re-created until early 2012. The station was a stock set, while I searched for ideas. Eventually, I came across a build by a fellow Eurobricks user named Lazarus that incorporated a modular basis, a full building (street & track-sides) & a appealing design. I saved a picture of it and made my own design based on his. I included really neat features, (such as the arched lattice windows made with a fence) but I went too far and made it impossible to transport to train shows and LUG meetings. The platforms were very flimsy, and during the move to my families current house, it shattered into small chunks. So, I went back to the drawing board, scrapping everything but the building itself. Here is the end result, which is strangely near where I started with set 7997. It has one platform, plentiful outside seating on the platform, and is still yellow-and-black. There are many changes from the set, (no stairs on the platform, for example.) but the heart and soul of that 2007 set is still there.
In this latest version, I relocated the clocks to the top of the tower roof so that the design was closer to the original model. I also combined / redid sections of the model, such as the building and trackside awning have become one large section instead of two smaller ones. I even swapped the town-name of this station and my Victorian station, making the one you see here "Barretts" while the other one became "Ironwood".
Here is the LDD file: www.moc-pages.com/user_images/80135/1449078417m.lxf
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.
The other day I took apart a Helios 44m-6 lens to modify so that I can use it on my D90 with the full range of apertures. On the older models (non-M models I believe), you don't have to do this. On the newer models, there is a pin that is pushed in when you take a picture that changes the aperture. If you don't have an adapter that pushes in the pin, you can only shoot wide open, in this case at f2.
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.
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Lessons learned over Europe and the Pacific showed that the B-24 was vulnerable to attacks from the front—a problem it shared with the B-17. In the field, B-24 crews jammed as many machine guns as possible into the glasshouse nose of the B-24D (some B-24s at Ploesti had five or six guns in a nose designed only for three at most), but this was not the solution.
Consolidated experimented with various kinds of modifications until settling on a redesigned nose with a manned turret (unlike the remote chin turret on the B-17G). This would cause some loss of aerodynamics on an aircraft already known for its difficult handling, but it at least would give the B-24 better defense from forward attacks. The redesign also made the nose roomier, added chin windows for the bombardier, enlarged the dorsal and tail turrets for better visibility, and enclosed the waist positions. The wet wing used by the B-24D was deleted in favor of self-sealing fuel tanks, eliminating the B-24’s tendency to catch fire.
Production shifted to the B-24H in late 1943, but there was a shortage of the electrically-powered Emerson nose turret, and so a hydraulically-powered Sperry turret was used on the B-24J. If that was not confusing enough, Consolidated also produced a lighter version, the B-24L, with no ball or tail turrets, leaving it to individual groups to install heavier turrets, flexible mounts, or no armament at all. All three were produced at once, and all three were used in increasingly heavy combat over Europe.
Though losses climbed over Europe, the aircraft could at least be easily replaced, for by the introduction of the B-24H/J series, Liberator production had truly hit its stride. Four factories were producing B-24s, but the most famous and efficient was Ford’s Willow Run plant, which by 1944 was producing one bomber per hour—crews fresh from training would arrive at Willow Run around nightfall, and pick up their new B-24 the next morning. The B-24 would not only become the most produced bomber of World War II, it would be the most produced American combat aircraft in history—no less than 18,482 Liberators would come off the line by the end of the war.
B-24Js and like variants would see heavy service worldwide, replacing the B-17 entirely in the Pacific and supplementing it over Europe. B-24s would bomb both Berlin and attack the southernmost Japanese home islands. Besides acting as strategic bombers, Liberators would also act as antisubmarine maritime patrol aircraft for the RAF, the USAAF, and the US Navy as the PB4Y-1; the latter would also be converted to primitive cruise missiles in Operation Aphrodite against German V-weapon sites in Belgium. One Aphrodite mission would claim the life of Joseph Kennedy Jr., older brother of future President John F. Kennedy. Still others would be converted to long-range transports, flying fuel over the Himalayas “Hump” in support of operations in China, and two would be converted to executive transports for both Winston Churchill and Franklin D. Roosevelt, the latter becoming the first of many Presidential aircraft. By 1945, it was possible to find B-24s literally everywhere, from Alaska’s cold Aleutians to sunny Brazil, from China to Italy.
After the end of World War II, the USAAF rapidly scrapped nearly its entire B-24 fleet, but a few soldiered on in the 1960s, mainly in India, where they operated as maritime patrol aircraft. Others served as seed aircraft for postwar airlines, including Qantas of Australia. By 1968, however, nearly all B-24s had disappeared from inventories worldwide; today, only 14 complete Liberators are left, with two aircraft flyable.
"Lassie, I'm Home" was a B-24L assigned to the 7th Bomb Wing at Pandaveswar, India in the China-Burma-India (CBI) theater of war. The B-24L was an attempt to lighten the heavy B-24J a little and make it less sluggish; the nose and tail turrets were left off the aircraft at the Willow Run plant in Michigan, and installed as necessary in the field. Most L models replaced the nose turret with a lighter ring mount, which made the B-24L less nose heavy. This would be important for the 7th BG, since its operations would take it over the Himalayas for operations against Japanese forces in China. The 7th had an interesting war long before it arrived in India in 1943: its B-17s had come under attack at Pearl Harbor, and the group was whittled down to almost nothing in the dark days of early 1942, in an attempt to defend the Dutch East Indies (now Indonesia) from Japanese invasion.
"Lassie" (the name refers to the Scottish term, not the dog) made it through the war and returned home to the US, to be scrapped at Walnut Ridge, Arkansas. The scrapyard's owner, Minot Pratt, thought the nose art worthy of preservation and had it axed out of the aircraft. Later, it ended up with the Commemorative Air Force and loaned to the EAA AirVenture Museum, where I saw it in May 2018.
Apparently Lassie just stepped out of the shower, and is a bit surprised to see her guy. This was based on a famous pinup in Yank magazine, and reproduced several times in nose art.
4 days into the healing process. No visible scabbing or scarring. It does itch some, but not too much.
I removed the VGS (Vacuum Gain System) mod and decided to connect the bypass valve as intended and try to put more pretension on the spring, effectively putting a stronger spring in.
The same effect as putting a stronger spring in, like the Detroid Tuned valve.
I put in 2 washers, diameter 30mm, 3mm thick a piece.
Works great!
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
Lessons learned over Europe and the Pacific showed that the B-24 was vulnerable to attacks from the front—a problem it shared with the B-17. In the field, B-24 crews jammed as many machine guns as possible into the glasshouse nose of the B-24D, but this was not the solution. Consolidated experimented with various kinds of modifications until settling on a redesigned nose with a manned turret. This would cause some loss of aerodynamics on an aircraft already known for its difficult handling, but it at least would give the B-24 better defense from forward attacks. The redesign also made the nose roomier, added chin windows for the bombardier, enlarged the dorsal and tail turrets for better visibility, and enclosed the waist positions. The wet wing used by the B-24D was deleted in favor of self-sealing fuel tanks, eliminating the B-24’s tendency to catch fire.
Production shifted to the B-24H in late 1943, but there was a shortage of the electrically-powered Emerson nose turret, and so a hydraulically-powered Sperry turret was used on the B-24J. If that was not confusing enough, Consolidated also produced a lighter version, the B-24L, with no ball or tail turrets, leaving it to individual groups to install heavier turrets, flexible mounts, or no armament at all. All three were produced at once, and all three were used in increasingly heavy combat over Europe. The B-24 would not only become the most produced bomber of World War II, it would be the most produced American combat aircraft in history—no less than 18,482 Liberators would come off the line by the end of the war.
B-24Js and like variants would see heavy service worldwide, replacing the B-17 entirely in the Pacific and supplementing it over Europe. B-24s would bomb both Berlin and attack the southernmost Japanese home islands. Besides acting as strategic bombers, Liberators would also act as antisubmarine maritime patrol aircraft for the RAF, the USAAF, and the US Navy as the PB4Y-1; the latter would also be converted to primitive cruise missiles in Operation Aphrodite against German V-weapon sites in Belgium. One Aphrodite mission would claim the life of Joseph Kennedy Jr., older brother of future President John F. Kennedy. By 1945, it was possible to find B-24s literally everywhere, from Alaska’s cold Aleutians to sunny Brazil, from China to Italy.
After the end of World War II, the USAAF rapidly scrapped nearly its entire B-24 fleet, but a few soldiered on in the 1960s, mainly in India, where they operated as maritime patrol aircraft. Others served as seed aircraft for postwar airliners, including Qantas of Australia. By 1968, however, nearly all B-24s had disappeared from inventories worldwide; today, only 14 complete Liberators are left, with two aircraft flyable.
"Bungay Buckaroo's" odyssey is a fascinating one. Built for the USAAF as 44-44175, it never entered service as a B-24J, and instead was modified in the US as an antisubmarine warfare aircraft; it was then diverted through Lend-Lease to RAF Coastal Command as a Liberator GR.VI, with the serial KH304. It was sent to India to serve with 354 Squadron at RAF Cuttack against Japanese shipping and submarines operating in the Bay of Bengal and Java Sea. When the war ended, KH304 and a hundred other B-24s were simply abandoned in place by the RAF as it began its withdrawal from India. After India gained its independence, it took the 100 aircraft and used them to build 36 complete B-24s, giving the nascent Indian Air Force aircraft to use as bombers, maritime patrol aircraft, and strategic reconnaissance. KH304 became HE877, and joined 6 Squadron at Poona.
HE877 would give the IAF 20 years of yeoman service; its record included supporting Sir Edmund Hillary and Tenzing Norgay's first summit of Mount Everest. When India finally retired its B-24s in 1968, it was an incredible boon to warbird collectors: B-24s were extremely rare in 1968, and operational ones nearly unheard of. (Of the surviving 14 B-24s, half came from India.) The Pima Air and Space Museum was one of many who were interested in acquiring a B-24, and HE877 was donated to the museum by the Indian government. A team of USAF aircrew ferried it back to Arizona in 1968, a journey that took three days.
Since HE877 was still in good shape, the museum was able to restore it; the only large piece it lacked was a belly turret. It went on display as a B-24 of the 446th Bomb Group, based at RAF Bungay, UK; this group had the distinction of making the first airstrike of D-Day. It wears "Bungay Buckaroo" on the left side; on the right, as a tribute to India, it retains the markings of 6 Squadron IAF. This was another aircraft I had used a picture of as part of my master's program, so I was very happy to see it in person.