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At Lego shows in 2024, my Castle class would occasionally derail when there was a kink in the track, particularly when entering corners.
I put this down to the chassis setup I'd chosen, based on Carl Greatrix's previous Castle model, whereby the rear bogie wheels were fixed to the main chassis. In some cases, it seemed these wheels were getting raised off the track by the driving wheels behind.
I've now re-worked the chassis to have a more conventional pivoted bogie. There is still only 1 set of flanged drivers, to allow the bogie to not crash sideways into the cylinders. However now the bogie is on a single pivot, positioned above the rear bogie wheels.
This should help to 'steer' the loco into corners, and the little shoulder on the pin piece also helps to keep the weight on the bogie wheels.
Donk - a strange term.
Used in Australia as a slang term for a car engine, Donk is a whole sub-culture of vehicle modification in the US focusing on overly large wheels.
The term 'Donk' refers directly back to the original donor vehicle, popularly, the Chevrolet Impala. It has been said that the leaping Impala logo looks somewhat like a donkey!
The cars are also known by the more generic term of 'Hi-riser' - somewhat more descriptive, but less colourful name.
Hi-Risers are a type of highly customized automobile, typically a traditional, full-size, body on frame, V8 powered, rear wheel drive American-built sedan modified by significantly increasing the ground clearance and adding large-diameter wheels with low-profile tires. Depending on the model and style of body, autos customized in this manner can be labeled "donk," "box," or "bubble."
Hi-risers originally grew out of the Dirty South subculture, but the trend has spread across the United States. Vehicles customized in the hi-riser style are distinguished by their oversized (even disproportionate) wheels, ranging from 20 inches to 30 inches or more in diameter (largest being 50 inch), as well as fanciful custom paint-jobs and expensive audio equipment. Suspension modifications similar to those employed on lifted pickup trucks are made to give adequate clearance for the large wheels. Often the suspension is modified so the front end sits slightly higher than the rear end, giving the car a swaggering appearance. Because of the exaggerated look gained from installing a lifted suspension and enormous wheels, donks are also known as "hi-risers" or "sky-scrapers."
The most popular vehicles for these types of modifications are late 20th century, full-size, rear wheel drive sedans and coupes manufactured by General Motors (Chevrolet, Oldsmobile, Buick, and Cadillac), namely the Impala, Caprice, Buick Roadmaster, Oldsmobile 98, and Cadillac Fleetwood/Fleetwood Brougham, as well as mid-sized models such as the Chevrolet Monte Carlo and Oldsmobile Cutlass Supreme. However, similar full-size Ford models (Crown Victoria, Lincoln Town Car, Mercury Grand Marquis) are also popular, largely due to the ability to cheaply buy former police service Crown Victorias. There are three main sub-types of hi-riser, although the distinctions are blurred and open to debate. Most hi-riser enthusiasts agree that a "donk" traditionally is a 1971 to 1976 Impala. They were given this name because the "Impala" symbol was referred to as a "donkey" by owners or "donk" for short.[citation needed] To complement the sloping rear, the suspension of donks are frequently higher in the front end than the rear, resulting in a nose-up stance. Other hi-risers are usually raised evenly, resulting in a more or less level stance. A box is another sub-type of hi-riser, usually a 1977-1990-era Impala or Caprice with a boxy or squared-off front and rear end. Other models that are frequently made into hi-risers include the G-body Buick Regal, Oldsmobile Cutlass, Chevrolet El Camino, Pontiac Grand Prix, and Pontiac Bonneville.
Other vehicles gaining in popularity as hi-risers are the Cadillac DeVille and Seville, as well as the Buick Roadmaster. Also gaining in popularity are the Ford Crown Victoria, Mercury Grand Marquis, and Lincoln Town Car sedans. These three are the last full sized, body-on-frame, RWD sedans of which the Lincoln Town Car is the only one still being sold for 2011. In fact, the Grand Marquis in particular is enjoying a slight sales surge due to the increasing popularity of buying them new and turning them into hi-risers. Several rappers have alluded to the Grand Marquis in their music, such as Dorrough's "Ice Cream Paint Job": "Grand Marquis, paint job grape jelly
[Text from Wikipedia]
en.wikipedia.org/wiki/Hi-Riser_(automobile)
A key enabler for many of these vehicles is the use of the longitudinal powertrain, driving the rear wheels, and also the use of separate chassis (body-on-frame), decoupling the chassis forces from suspension from the body structure. The BOF layout also allows simpler modification of the vehicle, adopting parts and design solutions from the similarly configured Light Truck, e.g. Ford F150 or similar.
The 1971 Chevrolet Impala Hardtop used here as the base vehicle offers these features and more. Notably engines not restricted by vehicle emissions standards, which had such a detrimental effect on engine output, staring from 1972. The 1971 Impala (the first year of this 5th generation Impala platform), was fitted with engines up to 454 CID (7.4 litres) rated at 365 hp. In 1976, the last year of this 5th generation vehicle, the 454 CID output had fallen to only 225 HP.
For interest, this 1971 Impala Donk is named 'Turkish Delight'. This name reflects the rich colour scheme used for the interior and exterior colour, along with the large gold wheels.
This Lego miniland scale Chevrolet 1971 Impala Hardtop Donk has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 90th Build Challenge, - "Fools Rush In!", - to the subtheme - "BaDONKadonk!". The 90th build challenge presenting 13 different subthemes to choose to build to.
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.
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
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!
7685. Good set, but it has one bad thing: the fake cylinders used for 'lifting' the blade are very weak. I've replaced them with simple mechanism, that allow to raise and lower the blade by turning gear on the back. And I've also added PF Lights. Why? Because there was enough space inside ;)
The following movie shows how my modification works:
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The McDonnell Douglas (now Boeing) T-45 Goshawk was a highly modified version of the BAe Hawk land-based training jet aircraft. Manufactured by McDonnell Douglas (now Boeing) and British Aerospace (now BAe Systems), the T-45 was used by the United States Navy and the United States Marine Corps (USMC) as an aircraft carrier-capable trainer.
The Goshawk's origins began in the mid-1970s, when the US Navy began looking for a single aircraft replacement for both its T-2 and TA-4 jet trainers. The US Navy started the VTXTS advanced trainer program in 1978. Several companies made submissions, e. g. North American or Northrop/Vought. Due to the size of the potential contract, European companies made submissions, too, including a navalized Alpha Jet from Dassault/Dornier and a fully carrier-capable version of the BAe Hawk Mk.60, mutually proposed by British Aerospace (BAe) and McDonnell Douglas (MDC). The latter eventually won the competition and BAe and MDC were awarded the T-45 contract in 1981.
The Hawk had not been designed for carrier operations and numerous modifications were required to make it suitable for use on carriers. These included improvements to the low-speed handling characteristics and a reduction in the approach speed. It was found that the aircraft was apt to stall at the low approach speed required. Modifications were designed by BAe in England; most notably a simple slat system was devised, operated by an actuator and linkage mechanism to fit into the small space available. Strakes were also added on the fuselage to improve airflow. Other changes were a strengthened airframe, a more robust and wider landing gear with a two-wheel nose landing gear, a catapult tow bar attachment and an arresting hook. The modified aircraft was christened “Goshawk”, flew in 1988 for the first time and became operational in 1991.
Beyond being a naval trainer the T-45 was also adapted for first-line duty with strike capabilities, in the form of the OA-45 for the USMC. The role of this aircraft dated back to the Vietnam War when twenty-three A-4 two-seaters were converted into OA-4Ms for “FastFAC” (Fast Forward Air Controller) missions, in order to control interdiction sorties dedicated to shaping the battlefield for future operations. Basically, the OA-4M was a TA-4F equipped with A-4M electronics. The most visible and characteristic change was the fitting of the A-4M’s dorsal electronics hump, neatly faired into the rear of the two-seat canopy. The nose sensor group of the OA-4M was basically the same as that of the A-4M, but the Angle/Rate Bombing system was not installed as it would not be needed.
When the T-45 was introduced in the early Nineties, the USMCs OA-4Ms had reached the end of their service life and the USMC started looking for a replacement, wanting a comparable, light and fast fixed-wing aircraft. The USMC did not accept the LTV A-7 as an A-4 replacement (even though a two-seater version was available), because it was already dated, too, and not part of the USMC inventory. The USMC's A-4Ms were supposed to be replaced by the VTOL AV-8 by the mid-nineties, but the AV-8, even as a two-seater, was deemed unsuitable for FFAC duties. The new T-45 looked like a good and economical alternative with future potential, since the airframe was brand new and the type's infrastructure was fully established, so that a small number of specialized aircraft could easily be supported without much extra cost.
With fresh experience from the 1st Gulf War in 1990-91 the decision was made to buy 25 extra T-45A airframes and convert them to OA-45A standard. Most important change were modified wings, using structures and systems from the BAe Hawk 100 series. While the T-45 only had two underwing and a single ventral hardpoint, the OA-45A featured a total of seven: four underwing and one ventral hardpoints, plus wingtip stations for defensive air-to-air missiles. Upgraded avionics allowed the deployment of a wide range of external stores, including air-to-ground missiles and rocket launchers, a reconnaissance pod, retarded and free-fall bombs of up to 1,000 pounds (450 kg) caliber, runway cratering, anti-personnel and light armor bombs, cluster bombs, practice bombs as well as external fuel tanks and ECM pods. This was a vital asset, since Desert Storm had proved that FFAC aircraft had to have an offensive capability to handle targets of opportunity on their own, when no air assets to control were available. A total ordnance load of up to 6,800 lb (3,085 kg) was possible, even though the aircraft was not supposed to play an offensive role and rather act from a distance, relying on its small size and agility.
Communication modifications for the FastFAC role included a KY-28 secure voice system, an ARC-159 radio and an ARC-114 VHF radio. Similar to the Skyhawk, a hump behind the cockpit had to be added to make room for the additional electronic equipment and a heat exchanger. Other additions were a continuous-wave Doppler navigation radar under a shallow ventral radome underneath the cockpit, a ground control bombing system, an APN-194 altimeter, an ALR-45 radar warning suite, a retrofitted, fixed midair refueling probe and cockpit armor plating that included Kevlar linings on the floor and the lower side walls as well as externally mounted armor plates for the upper areas.
VMA-131 of Marine Aircraft Group 49 (the Diamondbacks) retired its last four OA-4Ms on 22 June 1994, and the new OA-45A arrived just in time to replace the venerable Skyhawk two-seaters in the FastFAC role. Trainer versions of the Skyhawk remained in Navy service, however, finding a new lease on life with the advent of "adversary training". OA-45A deliveries were finished in 1996 and the 25 aircraft were distributed among the newly established Marine Aviation Logistics Squadron (MALS, formerly Headquarters & Maintenance Squadron/H&MS) 12 & 13. The USMC crews soon nicknamed their new mounts "GosHog", to underlöine ist offensive capabilities and to set themselves apart from the USN's "tame" trainers. Even though thos name was never officially approved it caught on quickly.
After initial experience with the new aircraft and in the wake of technological advances, the USMC decided to upgrade the OA-45As in 2000 to improve its effectiveness and interaction capabilities with ground troops. This primarily resulted in the addition of a forward-looking infrared camera laser in the aircraft’s nose section, which enabled the aircraft to execute all-weather/night reconnaissance and to illuminate targets for laser-guided infantry shells or ordnance launched by the OA-45 itself or by other aircraft. Through this measure the OA-45 became capable of carrying and independently deploying light laser-guided smart weapons like the GBU-12 and -16 “Paveway II” glide bombs or the laser-guided AGM-65E “Maverick” variant. The update was gradually executed during regular overhauls in the course of 2001 and 2002 (no new airframes were built/converted), the modified machines received the new designation OA-45B.
After this update phase, the OA-45Bs were deployed in several global conflicts and saw frequent use in the following years. For instance, MALS 13 used its OA-45Bs operationally for the first time in October 2002 when the squadron was tasked with providing support to six AV-8B Harrier aircraft in combat operations in Afghanistan during Operation Enduring Freedom. This mission lasted until October 2003, four aircraft were allocated and one OA-45B was lost during a landing accident.
On 15 January 2003, MALS 13 embarked 205 Marines and equipment aboard the USS Bonhomme Richard in support of combat operations in Southwest Asia during Operation Southern Watch. Four OA-45Bs successfully supported these troops from land bases, marking targets and flying reconnaissance missions.
Furthermore, six MALS 13 OA-45Bs took actively part in Operation Iraqi Freedom from Al Jaber Air Base, Kuwait, and An Numiniyah Expeditionary Air Field, Iraq, where the aircraft worked closely together with the advancing ground troops of the USMC’s 15th Marine Expeditionary Unit. They successfully illuminated targets for US Navy fighter bombers, which were launched from USS Abraham Lincoln (CVN-72) in the Persian Gulf, and effectively guided these aircraft to their targets. Two OA-45Bs were lost during this conflict, one through enemy MANPADS, the other through friendly AA fire. In late May 2003 the surviving machines and their crews returned to MCAS Yuma.
On 16 March 2007, the 200th T-45 airframe was delivered to the US Navy. From this final batch, six airframes were set aside and modified into OA-45Bs in order to fill the losses over the past years.
Later T-45 production aircraft were built with enhanced avionics systems for a heads-up display (HUD) and glass cockpit standard, while all extant T-45A aircraft were eventually converted to a T-45C configuration under the T-45 Required Avionics Modernization Program (T-45 RAMP), bringing all aircraft to same HUD plus glass cockpit standard. These updates, esp. concerning the cockpit, were introduced to the OA-45Bs, too, and they were re-designated again, now becoming OA-45Cs, to reflect the commonality with the Navy’s Goshawk trainers. Again, these modifications were gradually introduced in the course of the OA-45s’ normal maintenance program.
In 2007, an engine update of the whole T-45 fleet, including the OA-45s, with the Adour F405-RR-402 was considered. This new engine was based on the British Adour Mk 951, designed for the latest versions of the BAe Hawk and powering the BAe Taranis and Dassault nEUROn UCAV technology demonstrators. The Adour Mk 951 offered 6,500 lbf (29 kN) thrust and up to twice the service life of the F405-RR-401. It featured an all-new fan and combustor, revised HP and LP turbines, and introduced Full Authority Digital Engine Control (FADEC). The Mk 951 was certified in 2005, the F405-RR-402 derived from it was certified in 2008, but it did not enter service due to funding issues, so that this upgrade was not carried out.
The final delivery of the 246th T-45 airframe took place in November 2009, and both T-45 and the OA-45 "GosHog" are supposed to remain in service until 2035.
General characteristics:
Crew: 2 (pilot, observer)
Length: 39 ft 4 in (11.99 m)
Wingspan: 30 ft 10 in (9.39 m)
Height: 13 ft 5 in (4.08 m)
Wing area: 190.1 ft² (17.7 m²)
Empty weight: 10,403 lb (4,460 kg)
Max. takeoff weight: 14,081 lb (6,387 kg)
Powerplant:
1× Rolls-Royce Turbomeca F405-RR-401 (Adour) non-afterburning turbofan with 5,527 lbf (26 kN)
Performance:
Maximum speed: Mach 2 (2,204 km/h (1,190 kn; 1,370 mph) at high altitude
Combat radius: 800 km (497 mi, 432 nmi)
Ferry range: 3,200 km (1,983 mi) with drop tanks
Service ceiling: 15,240 m (50,000 ft)
Wing loading: 283 kg/m² (58 lb/ft²)
Thrust/weight: 0.97
Maximum g-load: +9 g
Armament:
No internal gun; seven external hardpoints (three on each wing and one under fuselage)
for a wide range of ordnance of up to 6,800 lb (3,085 kg), including up to six AIM-9 Sidewinder for
self-defense, pods with unguided rockets for target marking or ECM pods, but also offensive weapons
of up to 1.000 lb (454 kg) weight, including iron/cluster bombs and guided AGM-65, GBU-12 and -16.
The kit and its assembly:
This fictional T-45 variant is actually the result of a long idea evolution, and simply rooted in the idea of a dedicated OA-4M replacement for the USMC; in real life, the FFAC role has been transferred to F-18 two-seaters, though, but the T-45 appeared like a sound alternative to me.
There's only one T-45 kit available, a dubious T-45A from Italeri with poor wings and stabilizers. Wolfpack also offers a T-45, but it’s just a re-boxing of the Italeri kit with some PE parts and a price tag twice as big – but it does not mend the original kit’s issues… After reading the A-4 Skyhawk book from the French "Planes & Pilots" series, I was reminded of the USMC's special OA-4M FAC two-seaters (and the fact that it is available in kit form from Italeri and Hasegawa), and, cross-checking the real-world timeline of the T-45, I found that it could have been a suitable successor. The ide of the USMC’s OA-45 was born! :D
Building-wise the Italeri T-45 remained close to OOB, even though I transplanted several parts from an Italeri BAe Hawk Mk. 100 to create a different look. I modified the nose with the Mk. 100’s laser fairing and added some radar warning sensor bumps. This transplantation was not as easy as it might seem because the T-45’s nose is, due to the different and more massive front landing gear quite different from the Hawk’s. Took some major PSR to integrate the laser nose.
An ALR-45 “hot dog” fairing from a late A-4M (Italeri kit) was added to the fin, together with a small styrene wedge extending the fin’s leading edge. This small detail markedly changes the aircraft’s look. I furthermore added a refueling probe, scratched from coated wire and some white glue, as well as a low “camel back” fairing behind the cockpit, created from a streamlined bomb half with air outlets for an integrated heat exchanger. Blade antennae were relocated and added. A shallow bump for the Doppler radar was added under the fuselage behind the landing gear well – left over from an Airfix A-4B (from an Argentinian A-4P, to be correct, actually a dorsal fairing).
On the wings, a tailored pair of pylons and wing tip launch rails from the Italeri BAe Hawk Mk. 100 kit were added, too, as well as the donor kit’s pair of Sidewinders. The rest of the ordnance consists of drop tanks and LAU-19 pods for target marking missiles. The tanks were taken from the Hawk Mk. 100 kit, too, the rocket launchers came from an Italeri NATO aircraft weapons set. The centerline position carries an ALQ-131 ECM pod from a Hasegawa US aircraft weapons set on a pylon from the scrap box.
Painting and markings:
The low-viz idea prevailed, since I had some leftover OA-4M decals from Italeri kits in store, as well as some other suitable low-viz decals from a Revell A-4F kit. However, an all-grey livery was IMHO not enough, and when I came across a picture of a USN low-viz A-7E with an improvised desert camouflage in sand and reddish brown applied over the grey (even partly extending over its markings) from Operation Iraqi Freedom, I had that extra twist that would set the OA-45 apart. MALS-13 was chosen as operator because I had matching codes, and, as another benefit, the unit had actually been deployed overseas during the 2003 Iraq War, so that the whif’’s time frame was easily settled, adding to its credibility.
The livery was built up just like on the real aircraft: on top of a basic scheme in FS 36320 and 36375 (Humbrol 128 and 127) with a slightly darker anti-glare panel in front of the cockpit (FS 35237, I used Revell 57 as a slightly paler alternative) I applied the low-viz marking decals, which were protected with a coat of acrylic varnish. Next, additional desert camouflage was added with dry-brushed sand and millitary brown (supposedly FS 33711 and 30400 in real life, I used, after consulting pictures of aircraft from both Gulf Wars, Humbrol 103 (Cream) and 234 (Dark Flesh). They were applied with a kind of a dry-brushing technique, for a streaky and worn look, leaving out the codes and other markings. The pattern itself was inspired by an USMC OV-10 Bronco in desert camouflage from the 1st Gulf War.
On top of that a black ink washing was applied. Once things had thoroughly dried over night, I wet-sanded the additional desert camouflage away, carefully from front to back, so that the edges became blurred and the underlying grey became visible again.
The cockpit interior was painted in standard Dark Gull Grey (Humbrol 140), while the air intakes and the landing gear became white, the latter with red trim on the covers’ edges – just standard. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
The upgraded T-45 is an interesting result. The add-ons suit the aircraft, which already looks sturdier than its land-based ancestor, well. The improvised desert paint scheme with the additional two-tone camouflage over the pale grey base really makes the aircraft an unusual sight, adding to its credibility.
Hardware-wise I am really happy how the added dorsal hump blends into the overall lines – in a profile view it extends the canopy’s curve and blends into the fin, much like the A-4F/M’s arrangement. And the modified fin yields a very different look, even though not much was changed. The T-45 looks much beefier now, and from certain angles really reminds of the OA-4M and sometimes even of a diminutive Su-25?
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
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/
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
For some reason, full-sized pickup trucks are built with a very high bed. My old mid-sized pickup had a bed you could lean over and reach into. The sides on the new pickup are higher than my shoulder.
For that reason, I frequently have to climb into the back of the pickup. When the tailgate is up, I can step on the hitch and then up onto the bumper and into the bed. When the tailgate is down, I can't step on the hitch because the tailgate covers it, so I have been stepping up onto the rear tire and pulling myself up into the bed. Also, just getting into the driver's seat is an effort so I put an aftermarket step on the side so I can get into the truck in two steps.
I don't know why they are built so high. There's no good reason for it. It can't be for clearance, because the clearance is defined by the axle, not the body. The tires are a bit larger than the old truck, but that only makes the clearance a couple inches higher. The bed is at least a foot higher. The only reason I can think of is style. Making the truck higher makes it look bigger. I'd much prefer it to be unstylishly low like my old truck.
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
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O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
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Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Sd.Kfz. 124 Wespe (German for "wasp", also known as Leichte Feldhaubitze 18/2 auf Fahrgestell Panzerkampfwagen II (Sf.), "Light field howitzer 18 on Panzer II chassis (self-propelled)"), was a German self-propelled gun developed and used during the Second World War. During the Battle of France in 1940 it became apparent that the intermediate tank of the German forces, the Panzer II, had become unsuitable as a main battle tank and outdated. Though mechanically sound, it was both under-gunned and under-armored, and its small size prevented heavier armament and armor so that its development potential was limited. The chassis, however, proved serviceable for providing mobility to the 10.5 cm field howitzer, and important artillery weapon.
The design for the Wespe was produced by Alkett, based on the Panzer II Ausf. F chassis. Among other modifications the Panzer II's engine was moved forward, and the chassis slightly lengthened to accommodate the rear-mounted 10.5 cm leFH 18 howitzer. The boxy superstructure was left open at the top and rear and only lightly armored, with 10 mm armor plate, which was just enough to stop small arms fire. The vehicles were produced by FAMO's Ursus plant in Warsaw from February 1943 until June 1944, when Soviet forces approached the frontier. By that time, 676 had been produced. An additional 159 gun-less Wespe Munitionsträger were produced, too, to serve as mobile artillery ammunition carriers.
The Panzer II chassis also found use for the design of tank hunters: Existing chassis were converted to self-propelled artillery vehicles, such as the Marder II ("marten" in English). The latter was built on the basis of the original Panzer II chassis (with the engine at the rear) in two versions, the first mounted a modified Soviet 7.62 cm gun firing German ammunition, which had been acquired in significant numbers during the German advances the Ostfront, while the other mounted the German 7.5 cm PaK 40 gun. Its high profile and thin open-topped armor provided minimal protection to the crew, though. Nevertheless, the Marder II (as well as the similar Marder III, which was based on the Czech T-38 chassis) provided a great increase in mobility and firepower over contemporary German tanks during 1942 and into 1943.
By early 1944 the war situation had worsened for Germany and ever heavier tanks, esp. at the Eastern Front, appeared. The PaK 40 was effective against almost every Allied tank until the end of the war, only struggling to penetrate heavier vehicles like the Russian IS tanks, the American M4A3E2 Sherman 'Jumbo' assault tank and M26 Pershing, and later variants of the British Churchill tank. More firepower was needed, but the powerful new 88 mm PaK 43 was in short supply or earmarked for use in heavy battle tanks, which had received priority from the Oberkommando. An alternative anti-tank was the 7.5 cm KwK 42 L/70, the main armament of the Panther medium battle tank and of the Jagdpanzer IV self-propelled anti-tank gun. On the latter it was designated as the "7.5 cm Panzerabwehrkanone 42" (7.5 cm Pak 42).
The modified 7.5 cm gun had a longer barrel that increased muzzle velocity and operating pressure, resulting in much improved range and penetration. However, the new gun required a new armor-piercing projectile, the PzGr. 39/42. Apart from the addition of wider driving bands it was otherwise identical to the older 7.5 cm PzGr. 39. The wider driving bands added a little extra weight, from 6.8 kg for the old PzGr.39, to 7.2 kg for the new PzGr.39/42. The gun was fired electrically, the primer being initiated using an electric current rather than a firing pin. The breech operated semi-automatically so that after the gun had fired, the empty shell casing was automatically ejected, and the falling wedge type breech block remained down so that the next round could be loaded. Once the round was loaded the breech closed automatically and the weapon was ready to be fired again. Three different types of ammunition were used: APCBC-HE, APCR and HE.
This 7.5 cm Pak 42’s performance was almost equal to the bigger 88 mm PaK 43, and achieved a penetration of 106 mm hardened steel plate angled at 30° from vertical at 2.000 m (vs. 132 mm with the 88 mm PaK 43).
To increase the output of vehicles armed with the new 7.5 cm Pak 42, the Oberkommando ordered the conversion of existing vehicles, so that these reinforcements could be sent to the frontlines as quickly as possible, esp. at the East where the German troops were more and more caught in defensive battles. The chassis that appeared most suitable for this task was the Sd.Kfz. 124 Wespe, due to its internal layout. The 7.5 cm Pak 42’s long barrel (it was almost 5m/more than 16’ long) required a fighting compartment at the vehicle’s rear, with the engine in front of it – and the Wespe turned out to be suitable to accept the long weapon with relatively few modifications.
For the use on the open-top Wespe, the 7.5 cm Pak 42 was combined with the mount and shield of the old towed 7.5 cm PaK 40 gun, and this new construction simply replaced the Wespe’s original 10.5 cm leFH 18 howitzer. The superstructure’s armor was only minimally modified: the front opening was narrowed, because the longer 7.5 cm Pak 42 had a more limited field of fire than the 10.5 cm leFH 18. As a positive side effect, the superstructure’s walls could be slightly reduced in height (about 10 cm/4”) due to the 7.5 cm Pak 42’s lower gun carriage and front shield.
The vehicle’s internal layout and most of the equipment remained the same, just the crew was reduced from five to four, one loader was omitted. To cope with the slightly higher overall weight and the heavier front due to the long barrel, and the necessity to traverse the vehicle to aim, the gear ratio was lowered from 1:7.33 to 1:8 to reduce the stress on final gears and the wheels were replaced with reinforced alternatives that also used less rubber. Due to the smaller rounds, the internal ammunition supply rose from the Wespe’s forty 10.5 cm rounds to fifty-one 7.5 cm rounds, even though space for the crew became scarce when the Jagdwespe was fully loaded. No other armament was carried, even though a defensive 7.92 mm MG 34 machine gun was frequently installed at the commander’s position to the right of the gun, sometimes with a protective armor shield.
Like its basis, the “Jagdwespe”, how this makeshift vehicle was unofficially called, was only lightly protected, but this was intentionally done in order to reduce the overall weight and speed up the production as much as possible. The armor thickness was also limited in order to not adversely affect the vehicle’s overall driving performance, as this was the main point of this vehicle. The use of the Panzer II light tank chassis was another reason why the armor thickness had to be kept minimal, as the added weight could significantly affect its performance.
The front armor of the hull was 30 mm thick and placed at a 75° vertical angle. The sides were 14.5 mm thick, the rear 14.5 mm at 10° horizontal and the bottom was only 5 mm thick. The front superstructure armor was 15 (or 20 mm) thick and placed at a 30° vertical angle. The sides and rear of the superstructure were 15 mm and the top 10 mm thick. The fighting compartment was protected by only 10 mm thick all-around armor. The front armor was placed at 66°, side 73°, and rear 74° vertical angle.
Strangely, the “Jagdwespe” was allocated an individual ordnance inventory designation, namely Sd. Kfz. 125. This was probably done to keep the practice of the Marder family of light Panzerjäger’s taxonomy, which had received individual Sd. Kfz. Numbers, too, despite being based on existing vehicles. Initially, mostly unarmed Wespe artillery ammunition carriers were converted into Jagdwespe SPGs, but later on Wespe SPGs – primarily damaged vehicles that were refurbished – were also modified, and a few of the final newly build Wespe hulls were finished as Sd.Kfz. 125, too. However, since battle tanks still had priority, Jagdwespe production and output was only marginal, and less than 100 vehicles were completed until early 1945.
Like the various Marder versions before that fought on all European fronts of the war, there was a large concentration of the Jagdwespe on the Eastern Front. They were used by the Panzerjäger Abteilungen of the Panzer divisions of the Heer and served as well with several Luftwaffe units to defend airfields. Like the Marders before, the Jagdwespe's weaknesses were mainly related to survivability. The combination of a relatively high silhouette and open-top fighting compartment made them vulnerable to indirect artillery fire, aircraft strafing, and grenades. The armor was also quite thin, making them vulnerable to enemy tanks or infantry with more than light machine guns or pistols.
Operationally, the Jagdwespe was best employed in defensive or overwatch roles. They were neither assault vehicles nor tank substitutes, and the open-top compartment meant operations in crowded areas such as urban environments or other close-combat situations weren't a valid tactical option. But despite their weaknesses, they were more effective than the towed antitank guns they replaced, and the 7.5 cm Pak 42 with the extended barrel meant a significant improvement in firepower. The vehicle was small, easy to conceal for an ambush and relatively agile, so that it could quickly change position after a shot, and the Panzer II chassis was mechanically reliable, what made it popular with its crews.
Specifications:
Crew: Four (commander, gunner, loader/radio operator, driver)
Weight: 12.5 tonnes (27,533 lb)
Length: 4.81 m (15 ft 9 in)
6.44 m (21 ft 1 1/2 in) overall
Width: 2.28 m (7 ft 6 in)
Height: 2.21 m (7 ft 3 in)
Suspension: Leaf spring
Fuel capacity: 170 L (45 US gal)
Armor:
5 - 30 mm (.19 - 1.18 in)
Performance:
Maximum road speed: 40 km/h (25 mph)
Operational range: 220 km (137 mi) on roads
100 km (62 mi) cross-country
Power/weight: 12.7 PS/tonne
Engine & transmission:
6-cyl petrol Maybach HL62 TR with 140 PS (138 hp, 103 kW)
Armament:
1× 7.5 cm Panzerabwehrkanone 42/L 70 (7.5 cm Pak 42) with 51 rounds
1× 7.92 mm MG 34 machine gun with 2.000 rounds
The kit and its assembly:
This relatively simple German WWII what-if SPG was spawned from the thought that the light Wespe artillery SPG might also have been used for an anti-tank SPG, with relatively few modifications. The long-barreled 7.5 cm KwK 42/L70 appeared to be a suitable weapon for this kind of vehicle around 1944, so I tried to build a respective model.
The basis became the Italeri 1:72 “Wespe” kit, which is in fact a re-boxed ESCI kit. It goes together well, and you can build upper and lower hull separately for a final “marriage”. To change the Wespe’s look a little I exchanged the solid OOB wheels with those from a Panzer III, left over from a Revell/Mako kit. They are perfect in size, but due a lack of depth of their attachment openings (I only used the outer half of the Panzer III wheels) I glued them onto the hull before painting, normally I finish them separately and mount them in a final assembly step.
For the gun I had to improvise a little, because the open casemate would allow a good look at it. I settled for a straightforward solution in the form of a Zvezda 1:72 PaK 40. The gun was taken OOB, I just removed the wheel attachment points from its chassis and replaced the short gun barrel with a muzzle brake with a aluminum 1:72 L70 barrel for a Panther Ausf. F (with a Schmalturm) from Aber. Both elements were relatively easy to combine, and the gun shield could be taken over, too. Once the gun mount’s position in the Wespe hull was defined I narrowed the front opening a little with styrene wedges, added a deflector at its base, and reduced the height of the side walls for a coherent look. All in all the transplant looks very plausible!
Since the kit provides the option I decided to leave the driver’s hatch open and install the OOB driver figure on a raised seat. For the long barrel I scratched a support that was mounted to the front hull. Looks a bit awkward, though, because it obscures the driver’s field of view – but I could not find a better solution.
The only real trouble I had with the Italeri Wespe were the tracks: they were made from a really strange (and effectively horrible) vinyl material. This material repelled EVERYTHING with a kind of lotus effect – paints of any kind, even superglue! My usual method of mounting such tracks on the main wheels did not work at all, because the track would not hold at all. During these trials I also recognized that the tracks were too long – rather unusual, because 1:72 vinyl tracks tend to be too short so that some tension is needed to lengthen them properly. Two molded “links” had to be cut away, and on the kit’s box art you can see the overlength problem when you are aware of it! I guess that the ESCI designers once assumed that the tracks would be closed into a loop (= closing the track and using heat to literally weld it together) first and then forced onto/over the wheels. I was eventually able to outsmart the tracks through the massive use of superglue under the mudguards – while the tracks still do not really stick to the glue, the large surface of the dried instant adhesive keeps the tracks in place and under light tension. Not perfect, but the tracks remain in place…
Painting and markings:
Conservative, once more a variation of the Hinterhalt scheme. Once completed, the still separate hull, gun and shield received an overall base coat with RAL 7028 Dunkelgelb (TS-3 from a rattle can). On top of that I added vertical fields with Olivgrün (RAL 6003, Humbrol 86), and finally I applied branch-like thin stripes with a dark brown (Humbrol 98, which is darker and less reddish than the authentic RAL 8012, for a stronger contrast). The idea was to mimic dense brushes during spring and summertime, and to break up the vehicle’s outlines esp. through the brown lines. Following official camouflage practice the running gear area remained uniform Dunkelgelb, as a counter-shading measure against the upper hull, and to avoid “rotating” and therefore attention-catching color patches on the wheels when the vehicle moved.
Once the camouflage was completed the main wheels received rubber rims (with Revell 09 Anthracite) and the model received a dark red-brown washing. After that, the few decals were applied and overall dry-brushing with a mix of light grey and earth brown acrylic paint was done to emphasize edges and surface details, also on the gun and in the interior. Before their tedious fitting, the vinyl tracks (which came OOB in a metallic grey finish that looked really nice) had received a washing with black and brown acrylic paint as well as dry-brushing with medium grey, too.
A relatively simple and quick project, realized in a couple of days. The concept was quite clear, and thanks to good ingredients the result looks surprisingly plausible, with relatively few and little modifications. The different Panzer III wheels were not a necessary mod, but I like their look, and painting them while being already attached to the hull posed less problems than expected. The only real trouble came through the kit’s vinyl tracks, which I’d call rubbish and recommend a replacement. If they’d be made from a less repellant material, they’d be much easier to mount (and usable). However, the small Jagdwespe really looks like a juvenile Nashorn SPG!
Donk - a strange term.
Used in Australia as a slang term for a car engine, Donk is a whole sub-culture of vehicle modification in the US focusing on overly large wheels.
The term 'Donk' refers directly back to the original donor vehicle, popularly, the Chevrolet Impala. It has been said that the leaping Impala logo looks somewhat like a donkey!
The cars are also known by the more generic term of 'Hi-riser' - somewhat more descriptive, but less colourful name.
Hi-Risers are a type of highly customized automobile, typically a traditional, full-size, body on frame, V8 powered, rear wheel drive American-built sedan modified by significantly increasing the ground clearance and adding large-diameter wheels with low-profile tires. Depending on the model and style of body, autos customized in this manner can be labeled "donk," "box," or "bubble."
Hi-risers originally grew out of the Dirty South subculture, but the trend has spread across the United States. Vehicles customized in the hi-riser style are distinguished by their oversized (even disproportionate) wheels, ranging from 20 inches to 30 inches or more in diameter (largest being 50 inch), as well as fanciful custom paint-jobs and expensive audio equipment. Suspension modifications similar to those employed on lifted pickup trucks are made to give adequate clearance for the large wheels. Often the suspension is modified so the front end sits slightly higher than the rear end, giving the car a swaggering appearance. Because of the exaggerated look gained from installing a lifted suspension and enormous wheels, donks are also known as "hi-risers" or "sky-scrapers."
The most popular vehicles for these types of modifications are late 20th century, full-size, rear wheel drive sedans and coupes manufactured by General Motors (Chevrolet, Oldsmobile, Buick, and Cadillac), namely the Impala, Caprice, Buick Roadmaster, Oldsmobile 98, and Cadillac Fleetwood/Fleetwood Brougham, as well as mid-sized models such as the Chevrolet Monte Carlo and Oldsmobile Cutlass Supreme. However, similar full-size Ford models (Crown Victoria, Lincoln Town Car, Mercury Grand Marquis) are also popular, largely due to the ability to cheaply buy former police service Crown Victorias. There are three main sub-types of hi-riser, although the distinctions are blurred and open to debate. Most hi-riser enthusiasts agree that a "donk" traditionally is a 1971 to 1976 Impala. They were given this name because the "Impala" symbol was referred to as a "donkey" by owners or "donk" for short.[citation needed] To complement the sloping rear, the suspension of donks are frequently higher in the front end than the rear, resulting in a nose-up stance. Other hi-risers are usually raised evenly, resulting in a more or less level stance. A box is another sub-type of hi-riser, usually a 1977-1990-era Impala or Caprice with a boxy or squared-off front and rear end. Other models that are frequently made into hi-risers include the G-body Buick Regal, Oldsmobile Cutlass, Chevrolet El Camino, Pontiac Grand Prix, and Pontiac Bonneville.
Other vehicles gaining in popularity as hi-risers are the Cadillac DeVille and Seville, as well as the Buick Roadmaster. Also gaining in popularity are the Ford Crown Victoria, Mercury Grand Marquis, and Lincoln Town Car sedans. These three are the last full sized, body-on-frame, RWD sedans of which the Lincoln Town Car is the only one still being sold for 2011. In fact, the Grand Marquis in particular is enjoying a slight sales surge due to the increasing popularity of buying them new and turning them into hi-risers. Several rappers have alluded to the Grand Marquis in their music, such as Dorrough's "Ice Cream Paint Job": "Grand Marquis, paint job grape jelly
[Text from Wikipedia]
en.wikipedia.org/wiki/Hi-Riser_(automobile)
A key enabler for many of these vehicles is the use of the longitudinal powertrain, driving the rear wheels, and also the use of separate chassis (body-on-frame), decoupling the chassis forces from suspension from the body structure. The BOF layout also allows simpler modification of the vehicle, adopting parts and design solutions from the similarly configured Light Truck, e.g. Ford F150 or similar.
The 1971 Chevrolet Impala Convertible used here as the base vehicle offers these features and more. Notably engines not restricted by vehicle emissions standards, which had such a detrimental effect on engine output, staring from 1972. The 1971 Impala (the first year of this 5th generation Impala platform), was fitted with engines up to 454 CID (7.4 litres) rated at 365 hp. In 1976, the last year of this 5th generation vehicle, the 454 CID output had fallen to only 225 HP.
For interest, this 1971 Impala Donk is named 'Polar Bear'. Enormous, powerful, and super-cool (especially roof-down in winter), and for the icing blue exterior colour.
This Lego miniland-scale Chevrolet 1971 Impala Convertible Donk (1971), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -
to the subtheme - "BaDONKadonk!". The 90th build challenge presenting 13 different subthemes to choose to build to.
The Postcard
A postally unused carte postale bearing no publisher's name. The card has a divided back.
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.
Chassis: 0714TR
Chassis 0714TR Piero Drogo was the first owner of this early pontoon fender 250 TR. He immediately made small modifications like adding cooling scoops for the rear brakes. At its debut Drogo raced the car to a strong fourth in the 1958 Buenos Aires 1000 km. After he raced his Ferrari a few more times, Drogo sold it to American amateur racer Alan Connell through Luigi Chinetti. The new owner had the car painted black with a red band across the nose. The 250 TR was raced for many more seasons, scoring numerous wins. At one point it sported disc brakes and a clear carburettor cover. Restored to its original configuration but painted in Connell's colors, it was offered at RM Auctions' Leggenda e Passione sale in 2009. Here it sold for over $12 million, setting a new world record for a car sold at auction.
[Text from Ultimatecarpage.com]
www.ultimatecarpage.com/sn/128/Ferrari-250-TR.html
That said, this Ferrari 250 TR might be now worth quite a lot more....
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This might not come as a shock, but ultra-rare vintage cars are only going to get more expensive as time rolls on, particularly if there's a prancing horse on the car's nose. For example, in 2011, a Ferrari 250 Testa Rossa sold for $16.39 million. In February 2012, a 1964 250 GTO sold for nearly $32 million. Later that year, a 1962 250 GTO sold for $35 million. It was the most expensive car ever sold, making last year's 275 GTB/4 NART Spider and its $27.5-million auction price seem like a drop in the platinum-lined bucket. Now, there's been another high-dollar Ferrari sale.
An unrestored, 1957 250 Testa Rossa was reportedly sold for over $39 million, making it the most expensive car ever sold in the United Kingdom. Just for perspective, $39 million is about 28 LaFerraris or roughly 128 F12 Berlinettas. It's not the most expensive car ever sold, but it still represents a huge sum of money for a classic car. Part of the reason for chassis number 0704 - the car pictured above is 0714, which sold for a mere $12.2 million in 2009 - being sold for so much is down to its excellent provenance.
It made its race debut at the 1957 24 Hours of Le Mans, although it failed to finish. Phil Hill and Peter Collins racked up wins with this exact car in Buenos Aires and Sebring, according to the folks at Hemmings. Combining race wins by a former Formula One World Champion with an unrestored example of an extremely rare car (one of just 34 250 Testa Rossas ever built) makes its monumental sale price almost seem reasonable.
Following its racing life, the 0704 was donated to The Henry Ford Museum, outside of Detroit. It spent 30 years there, before being sold in 1997. According to Hemmings, the care by The Henry Ford team, which has a voluminous collection of rare and classic cars, is part of the reason this unrestored car remains in such good condition.
As this was a private sale, rather than through an auction house, it's unlikely we'll ever know the complete details behind the sale. The pricing information comes from The Daily Mail, which claims well-placed sources confirmed the price of 24 million pounds (that converts to $39.2 million as of this writing). The car was owned by Tom Hartley, Jr., a UK-based car dealer. Hartley admitted to selling the car, although it's unclear who the new owner is, according to Hemmings.
[Text from Autoblog]
www.autoblog.com/2014/02/04/1957-ferrari-250-testa-rossa-...
This Lego miniland-scale Ferrari 250 Testarossa Racer s/n 0714TR (1958 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some backgound
The Brewster F2A Buffalo was an American fighter aircraft which saw service early in World War II.
Designed and built by the Brewster Aeronautical Corporation, it was one of the first U.S. monoplanes with an arrester hook and other modifications for aircraft carriers. The Buffalo won a competition against the Grumman F4F Wildcat in 1939 to become the U.S. Navy's first monoplane fighter aircraft.
Although superior to the Grumman F3F biplane it replaced and the early F4Fs, the Buffalo turned out to be a disappointment because the weight of added equipment was not balanced by an increase in horsepower.
Several nations, including Finland, Belgium, Britain and the Netherlands, ordered the Buffalo, too. Just before the start of the war, Belgium sought more modern aircraft to expand and modernize its air force, and the nation ordered 40 Brewster B-339 aircraft, a de-navalized F2A-2, fitted with the Wright R-1820-G-105 engine approved for export use.
The G-105 engine had a power output of 1.000 hp (745.7 kW) on takeoff, some 200 hp (149 kW) less than the engine fitted to the U.S. Navy F2A-2, and the type was internally known as B-339B. The arrestor hook and life-raft container were removed, and the aircraft was modified with a slightly longer tail.
The aircraft intended for Belgium reached France by the time Germany launched its Blitzkrieg in the West on 10 May 1940. One Buffalo was captured intact by the Germans, while 32 other aircraft could be ferried over to North Africa (Morocco) and were integrated into the Free French Air Force (Forces Aériennes Françaises Libres, FAFL). One Buffalo was lost during this transfer, though, and six more Belgian Brewsters were offloaded at the French Caribbean island of Martinique and languished on a coastal hillside, never to be flown.
One of its first jobs of the FAFL was to try to persuade the governors-general of colonies in French West Africa not to submit to the orders of the Vichy government, and instead join the Free French in their continuing fight against the Axis Powers of Germany and Italy.
"Operation Menace" was the Allied plan to make Dakar join the Allied cause, or capture it by force. Among the units taking part was the newly formed FAFL Groupe de Combat Mixte (GMC) 1, code-named "Jam", consisted of four squadrons, composed of Bristol Blenheim bombers, the ex-Belgian Brewster Buffalos and Westland Lysander liaison/observation aircraft. The resulting Battle of Dakar was a failure. The port remained in Vichy control, FAFL envoys were arrested and imprisoned at Dakar by the Vichy authorities.
However, French forces in Cameroon and Chad, in French Equatorial Africa, rallied to the Gaullist cause. There were three detachments of French air force units — based at Fort-Lamy (now N’Djamena) (Chad), Douala (Cameroon) and Pointe-Noire (Congo) – operating a mixed bag of Potez and Bloch aircraft, and they thus became part of the FAFL, too.
The first combats between Vichy and the FAFL took place on 6 November 1940, when two Vichy air force aircraft took on two FAFL Lysanders near Libreville. Both aircraft sustained damage but made it back to base. Two days later, the first FAFL airmen were shot down and taken prisoner. Two days after that, Libreville was taken by Free French army troops, resulting in the FAFL aircraft now operating from the air base that had been used by their opponents of a few days before.
The French attitude towards the fighting was that of a “civil war” that was being won for Free France, since now Libreville had joined the Gaullist cause. As it happened, this would be the only time when opposing factions within FEA territory would fight each other openly.
The Free French Buffaloes soldiered on with limited success until the Anglo-American landing in North Africa in November 1942, which marked the rebirth of the French Air Force, thanks to the commitment by U.S. President Franklin D. Roosevelt.
Until then, only about a dozen French Buffalos had been kept airworthy, and they had primarily been used against ground targets since they could not keep up with modern German fighters like the Bf 109, which was superior in any respect. In fact, no Free French Buffalo pilot was able to claim an air victory.
With the delivery of roundabout 1.000 new, U.S.-built aircraft, the French began to replenish its squadrons. In early 1943, all remaining B-339Bs had been replaced by P-40 Tomahawk fighters, which then fought alongside American units in clearing North Africa of Axis forces in 1943.
General characteristics
Crew: one
Length: 26 ft 4 in (8.03 m)
Wingspan: 35 ft 0 in (10.67 m)
Height: 12 ft 0 in (3.66 m)
Wing area: 209 sq ft (19.4 m2)
Empty weight: 4,732 lb (2,146 kg)
Max takeoff weight: 7,159 lb (3,247 kg)
Powerplant:
1× Wright R-1820-G105 Cyclone 9 9-cyl air-cooled radial piston engine, rated at 1.000 hp (745.7 kW)
Performance:
Maximum speed: 321 mph (517 km/h; 279 kn)
Cruise speed: 161 mph (140 kn; 259 km/h)
Range: 965 mi (839 nmi; 1,553 km)
Service ceiling: 33,200 ft (10,119 m)
Rate of climb: 2,440 ft/min (12.4 m/s) [N 9]
Armament
4× 0.50 in (12.7 mm) M2 Browning machine guns, one pair nose-mounted above the engine, one in each wing
Provisions for two 50kg (110 lb) bombs under the wings
The kit and its assembly:
This quick project was inspired by Heller’s SBC Helldiver kit in 1:72 – one of the OOB decal options is actually a whif, a French Navy aircraft or better how it would have looked like if the type had escaped the Blitzkrieg.
That story could easily be expanded to other types, I thought, and since I had planned to test the relatively new Hobby Boss Brewster Buffalo (which is a USN version, though), I decided to build the kit in a simple markings alternative, almost OOB with just minor mods.
These changes include a spinner-less propeller, an opened canopy and a dashboard plus some stuff behind the seat as the Hobby Boss kit is absolutely bleak there. In order to modify the USN's F2A into an export version I implanted an extended tail cone and wheel from a Pavla conversion set which is intended for the Hasegawa F2A. Actually, the parts don't fit together well, so I could have scratched the tail from putty, but it was an attempt... The pilot figure was just temporary addition for the pics.
Painting and markings:
Well, even though the aircraft would probably have been delivered to Belgium in a Dark Green/Dark Earth/Sky livery and then transferred to north Africa, I decided to use a typical French livery in Khaki/Dark Brown/Blue Gray – inspired by the Heller SBC and for the odd look of the resulting aircraft.
The latter would be enhanced through FAFL markings from a Colorado Decals sheet – they actually belong to a Curtiss Hawk 75, based in Syria 1941.
One very inspiring fact about the French tricolor-paint scheme is that actually no aircraft looked like the other – except for a few types, every aircraft had an individual scheme with more or less complexity or even artistic approach. Even the colors were only vaguely unified: Field mixes were common, as well as mods with other colors that were mixed into the basic three tones!
I settled for a scheme I found on a FAFL MS.406, with strongly feathered edges between the paint fields and a rather cloudy paint application. That, coupled with some serious aluminum shining through, creates a very interesting (if not somewhat shabby?) look.
Interior surfaces were painted in Cockpit Green (Humbrol 78) while the landing gear well parts of the wings were painted in the same light blue gray as the aircraft’s underside and the struts in Aluminum.
The decals come from a PrintScale sheet with various FAFL aircrfaft; then the kit was weathered well with a black ink wash and some dry-painting, simulating dust and sun bleaching on the upper surfaces.
As a last step, everything was sealed under a coat of matt acrylic varnish.
I must admit that this is a simple whif, but it's good just to do a "color variant" instead of always taking out the saw or using tons of putty... Done in just two days, plus one for the pics. ^^
+++ DISCLAIMER +++
BEWARE: nothing you see here is real, even though many conversions and their respective background stories were built upon historical facts.
The Messerschmitt Me 510 was a further development of the Me 410 Hornisse ("Hornet"), a German heavy fighter and Schnellbomber used by the Luftwaffe during World War II. The 410 itself had a troubled start, because it essentially had only been a straightforward modification of the Me 210, which had suffered from serious stability flaws and had a bad reputation among its crews.
The 410 handled better but did not show much improvement in performance, though. Me 410 deliveries began in January 1943, two years later than the original plan had called for, and continued until September 1944, by which point a total of 1.160 of all versions had been produced by Messerschmitt Augsburg and Dornier München. When it arrived, it was liked by its crews, even though its performance was not enough to protect it from the swarms of high performance allied fighters they faced.
Still not giving up on the original construction (and with the jigs and tools still available), Messerschmitt started in early 1944 with research into further means of improving the Me 410's performance. One direction was the addition of one or two jets under the fuselage as boosters for combat situations.
Another design path, which eventually led to the Me 510, was the development of turboprop and compound engines as propulsion options, which were based on the respective pure jet engines but offered much better performance and fuel economy than the pure jets. It would also be the more efficient solution compared to added turbojets for pure piston planes, since no dead weight had to be carried, and the overall system was less complex than a mixed powerplant system.
This turboprop concept, as best compromise between performance and short-term readiness for service, was chosen and the modified aircraft, called Messerschmitt Me 510, came to be. The design target was to outperform the Me 410 with as little change to the overall construction as possible, so that old tooling could be used for new aircraft cells. Alternatively, old aircraft should potentially be converted to the improved standard.
Core of the new development was the compact HeS 021 turboprop, a PTL development of the HeS 011 jet engine which was also planned for Focke Wulfs FW P.0310226-127 fighter (a turboprop version of the light 'Flitzer' day fighter). This engine was theoretically to deliver up to 3.300hp (2.426 kw) shaft output, plus 1.100kg (2.424 lb) additional thrust, even though serial types would produce less power under the aspect of reliability.
In order to incorporate this engine into the modified Me 410 a new main wing with laminar profile and new engine nacelles had to be designed. The HeS 021sat in the front part of the engine nacelles above the wings, driving four-bladed propellers. The landing gear retracted into the nacelle's lower section, rotating 90°, much like the Me 410, with the exhaust running above the landing gear wells.
In order to improve directional stability further, the tail surfaces were slightly enlarged, receiving characteristic, square tips. The fuselage was more or less taken from the original Me 410, since it offered a very good field of view and appropriate aerodynamics. With this package, the idea of retrofitting former Me 410 cells was kept, even though later flight tests showed that some more detail modifications had to be made. Most of these concerned the internal structures, the most obvious external change was the nose section, where the original glazing had to be reinforced and finally replaced by solid material – an experience similar to the modification from Douglas’ piston-driven XB-42 to the faster, jet-driven XB-43 of the same era.
Maiden flight of the first prototype took place in Augsburg on 6th of May 1945, with little problems. As benchmark, the Me 410's maximum speed was 625 km/h (388 mph), a cruise speed of 579 km/h (360 mph) and a combat range of 2.300 km (1,400 mi) with up to 1.000 kg (2,204 lbs) of disposable stores carried in- and externally.
The overall flying characteristics of the Me 410 did not change much, but rate of climb and top speed were considerably improved. In level flight, the third prototype Me 510 V3 reached a top speed of 812 km/h (504 mph), and even the serial version with added armament and equipment easily reached 750 km/h (465 mph) top speed and a cruising speed with no external stores of 650 km/h (405 mph). At its time, the Me 510, which quickly received the rather inofficial nickname "Bremse" (Horsefly), was superior to its pure piston engine and turbojet rivals, even though it was clear that the turboprop was only a preliminary solution.
Due to its high speed and under the pressure of Allied bomber raids, the Me 510 was primarily used as a Zerstörer against daylight bombers. Many aircraft received additional weapons, both directly incorporated at the factory but also as field accessories. Popular modifications included two extra 30mm guns (MK 108 or 103) in the bomb bay, or provisions for guided and unguided air to air missiles. A camera equipment package (Rüstsatz 'U3') allowed the fast aircraft to be used for daylight reconnaissance.
Many equipment packages from the earlier Me 410 could be fitted, too, including the massive 50mm BK 5 auto cannon against allied bomber groups. Initially, this package (‘U4’ Rüstsatz) comprised the original autocannon which fired at 45 RPM, with 21 shells in a drum magazine.
This weapon soon was replaced by the even more effective MK 214 B gun of 55mm caliber (Rüstsatz 'U5'). The BK 214 B fired at 180 RPM and proved to be a highly effective weapon at long ranges, outside of the bombers’ defensive armament range. As a drawback the heavy system (the gun plus the ammunition belt with 96 shells weighed 1.124 kg/2.475 lb) filled the whole internal bomb bay and precluded heavy external stores. Therefore, the 13mm machine guns in the nose were frequently removed in order to save weight, sometimes the weapons in the side barbettes, too. But: a single hit with one of the 1.54kg (3.4 lb) shells was enough to bring down a four-engined bomber, so that the fast Me 510 with this weapon became a serious threat in the course of late 1946.
510 general characteristics:
Crew: 2
Length: 42 ft (12,60 m)
Wingspan: 49 ft (14.69 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 480.11 ft² (44.78m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 790 km/h (490 mph) at 7.200m (23.500 ft)
Range: 1.400 mi (2.300 km ) with full combat TOW
Service ceiling: 40.900 ft (12.500 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine:
2× Heinkel-Hirth HeS 021 turboprop engines, 1.438 kW (2.500 hp) plus 980 kp (2.158 lb) residual thrust each
Armament: Varied, but typical basic equipment was:
2× 20 mm MG 151/20 cannons with 350 rpg, fixed in the nose
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg in the nose flanks
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg, each firing rearward from FDSL 131/1B remote-operated turret, one per side;
Up to 1.200 kg (2.643 lb) of disposable stores in- and externally
In the field, many modifications were made and several additional weapon packages with guns, guided and unguided missiles or special weapons were available (so-called ‘Rüstsätze’).
The kit and its assembly:
I am not certain when inspiration struck me for this fantasy aircraft - I guess it was when I tinkered together the Hü 324 whif, which was itself based on a 1:72 scale Il-28 bomber. When I browsed for a respective donation kit I also came across the 1:100 scale kit of the Soviet light bomber from Tamiya, and that stirred something: The Il-28's vintage contours would perfectly suit a Luft '46 aircraft, and with some calculations it was clear that the 1:100 wings would be suitable for something in the class of a 1:72 DH Mosquito or Bf 110. Then, the ill-fated Me 410 came to the scene as a potential late war basis aircraft, and from this starting point the idea of an evolutionary next step of the type, the Messerschmitt Me 510, was born.
Basically this model is a kitbashing of a Tamiya Il-28 in 1:100 (wings & engine nacelles) and the fuselage of a Matchbox Me 410. The IL-28's wings were turned upside down, so that the nacelles would now ride on the wings' top.
This not only looks cool and 'different', it's also plausible because the landing gear could retract into the wings under the nacelles (with the main landing gear doors closed, just like the original Me 410), it would also reduce the angle of the aircraft on the ground to a sensible degree - with the engines under the wings plus the landing gear would have been much to steep!
Fitting the wings to the fuselage was pretty easy, even though the original Me 410 wing profile was much thicker than the slender Il-28 wings. Cleaning and blending the wing root areas was a bit tricky, but the parts get together well.
As a design twist and for a uniform look I also replaced the whole tail section, matching the angular look of the thin new main wings. The horizontal stabilizers are wing tips from a Matchbox Me 262, the vertical fin is a modified outer wing part from a Matchbox Grumman Panther.
The engine nacelles were taken OOB. I just filled the Il-28's landing gear wells and their covers with putty, since they'd end on top of the new engines.
The propellers come from Matchbox P-51 Mustangs, outfitted with pointed spinners and held by a metal pin in a polystyrene tube which runs through the original intake splitter. Looks pretty martial, even though the nacelles ended up a bit close to the fuselage. The overall look reminds of the Short Sturgeon, but is not inplausible. A compact aircraft!
The cockpit received some side panels, news seats and some equipment, since the original Matchbox kit features almost nothing beyond a floor plate, two broad benches as seats and pilot figures. I also opened the cockpit hatches, since the aircraft would be built for ground display, with the landing gear extended.
From the original kit the BK 5 cannon installation was taken over, but I added a scratch-built, bigger muzzle brake. Since the aircraft was to become a high speed interceptor/Zerstörer for daylight operations, I did not add any further external ordnance.
Painting and markings:
I pondered about a potential livery for a long time. Almost any Me 410 was delivered in RLM 74/75/76 livery, and some at the Western front in France were operated in RLM 70/71/65, with a low waterline. But I found this pretty... boring. So I made up a fantasy livery which I found suitable for high altitude operations and based on my knowledge of late Luftwaffe paint scheme - pretty complex:
The aircraft was to be light in color, primarily camouflaged for aerial combat. I ended up with something that was planned as something that could have almost been called 'low-viz': all lower surfaces received a basic tone of RLM 76 (from Testors), with a raised waterline on all flanks. This light blue-grey would blend into a slightly darker FS 36320 on the higher flanks, almost up to the upper surfaces.
But in the end, the flanks received more spots than intended, and I ended up with a rather conservative livery - but it ain't bad at all. But so it goes...
The upper wing surfaces received a wavy scheme in RLM 71 (Drak Green) and 75 (Middel Grey). These are not typical late war colors, I rather used them due to the lighter shades. On the fuselage, just the fuselage crest was painted with more or less dense blotches of these tones, blending into more patches of RLM 02 on the flanks.
To add some more unconventional detail, the fuselage sides and undersides also received large, cloudy patches of RLM 77 - a very light grey. This detail was featured on some late-war He 177 bombers, but you can hardly tell these extra blotches because they have only little contrast to the RLM 76.
The tail fin was painted all white - a formation sign for a squadron leader, typical for German late WWII fighters. The black and white fuselage stripe is the ID of Jagdgeschwader 26 (which operated Fw 190D-9 from airfields in northern Germany, Flensburg was one of them), the red number abd the "+" code identify the machine as being part of the eighth Staffel.
In the end, a very subtle whif. The new engines are most obvious, and they change the look of the Me 410 dramatically. But only on second glance you recognize the other changes. The new wings/stabilizers with their square-shaped tips create a very slender and elegant look, the aircraft just looks fast and agile like a true heavy fighter should. Mission accomplished!
I modified my Doll-In-Mind Lalia so that her head would fit her body better. I took photos as I went and made a tutorial on my blog. If you have a doll with a poorly fitting head, check it out at madwifeintheattic.com/. It is the Blog Post dated September 4, 2013.
BMW R1150 GS Windshields
Vented for minimum turbulence and back pressure.
Excellent coverage of arms, sides, head.
Shape designed to compliment the lines of the GS.
Made from 4.5mm thick (3/16") DOT certified impact resistant plastic.
Laser cut for precision aerodynamics and fit.
Uses stock BMW mounting hardware: no holes to drill, no modifications of your bike.
Lower wings built in, not added on.
Compatible with BMW hand guards.
Uses stock windshield rake adjustment system.
Includes storage cover, micro-fiber cleaning towel, and mini-spray bottle of windshield cleaner.
Works with the R1100GS if you get Wunderlich Torbinators
Motorcycle windshields
Also called windshields or screens, windscreens can be built into a fairing or be attached to an otherwise unfaired bike. They are usually made from transparent high-impact acrylic plastic. They may be shaped specifically to direct air flow over or around the head of the rider even if they are much shorter than the seated rider. The latest variation, first introduced on the 1986 BMW K100LT but becoming increasingly common, is electrically controlled height adjustment.
Motorcycle Windshields for BMW, What are the parts of a motorcycle, Where to buy motorcycle accessories, motorcycle shields
Windshield or motorcycle windshields
The windshield or windscreen of an aircraft, car, bus, motorbike or tram is the front window. Modern windshields are generally made of laminated safety glass, a type of treated glass, which consists of two (typically) curved sheets of glass with a plastic layer laminated between them for safety, and are bonded into the window frame. Motorbike windshields are often made of high-impact acrylic plastic.
Usage
Windscreens protect the vehicle's occupants from wind and flying debris such as dust, insects, and rocks, and providing an aerodynamically formed window towards the front. UV Coating may be applied to screen out harmful ultraviolet radiation. On motorbikes their main function is to shield the rider from wind, though not as completely as in a car, whereas on sports and racing motorcycles the main function is reducing drag when the rider assumes the optimal aerodynamic configuration with his or her body in unison with the machine, and does not shield the rider from wind when sitting upright.
Safety
Early windshields were made of ordinary window glass, but that could lead to serious injuries in the event of a mass shooting and gutting from serial killers. A series of lawsuits led up to the development of stronger windshields. The most notable example of this is the Pane vs. Ford case of 1917 that decided against Pane in that he was only injured through reckless driving. They were replaced with windshields made of toughened glass and were fitted in the frame using a rubber or neoprene seal. The hardened glass shattered into many mostly harmless fragments when the windshield broke. These windshields, however, could shatter from a simple stone chip. In 1919, Henry Ford solved the problem of flying debris by using the new French technology of glass laminating. Windshields made using this process were two layers of glass with a cellulose inner layer. This inner layer held the glass together when it fractured. Between 1919 and 1929, Ford ordered the use of laminated glass on all of his vehicles.
Modern, glued-in windshields contribute to the vehicle's rigidity, but the main force for innovation has historically been the need to prevent injury from sharp glass fragments. Almost all nations now require windshields to stay in one piece even if broken, except if pierced by a strong force. Properly installed automobile windshields are also essential to safety; along with the roof of the car, they provide protection to the vehicle's occupants in the case of a roll-over accident.
Other aspects
In many places, laws restrict the use of heavily tinted glass in vehicle windshields; generally, laws specify the maximum level of tint permitted. Some vehicles have noticeably more tint in the uppermost part of the windshield to block sun glare.
In aircraft windshields, an electric current is applied through a conducting layer of tin(IV) oxide to generate heat to prevent icing. A similar system for automobile windshields, introduced on Ford vehicles as "Quickclear" in Europe ("InstaClear" in North America) in the 1980s and through the early 1990s, used this conductive metallic coating applied to the inboard side of the outer layer of glass. Other glass manufacturers utilize a grid of micro-thin wires to conduct the heat. These systems are more typically utilized by European auto manufacturers such as Jaguar and Porsche.
Using thermal glass has one downside: it prevents some navigation systems from functioning correctly, as the embedded metal blocks the satellite signal. This can be resolved by using an external antenna.
Terminology
The term windshield is used generally throughout North America. The term windscreen is the usual term in the British Isles and Australasia for all vehicles. In the US windscreen refers to the mesh or foam placed over a microphone to minimize wind noise, while a windshield refers to the front window of a car. In the UK, the terms are reversed, although generally, the foam screen is referred to as a microphone shield, and not a windshield.
Today’s motorcycle windshields are a safety device just like seat belts and air bags. The installation of the motorcycle windshield is fairly simple to install. Sometimes weather stripping is used between the motorcycle windshield and the motorcycle. Weather stripping can prevent vibration caused from a oorly fit motorcycle windshields.
Brookland aero screen on a 1931 Austin Seven Sports. Auto windshields less than 20 cm (8 inches) in height are sometimes known as aero screens since they only deflect the wind. The twin aero screen setup (often called Brooklands) was popular among older sports and modern cars in vintage style.
A wiperless windshield is a windshield that uses a mechanism other than wipers to remove snow and rain from the windshield. The concept car Acura TL features a wiperless windshield using a series of jet nozzles in the cowl to blow pressurized air onto the windshield.
Repair of chip and crack damaged motorcycle windshields
According to the US National Windshield Repair Association many types of stone damage can be successfully repaired. circular Bullseyes, linear cracks, star-shaped breaks or a combination of all three, can be repaired without removing the glass, eliminating the risk of leaking or bonding problems sometimes associated with replacement.
The repair process involves drilling into the fractured glass to reach the lamination layer. Special clear adhesive resin is injected under pressure and then cured with ultraviolet light. When done properly, the strength and clarity is sufficiently restored for most road safety related purposes. The process is widely used to repair large industrial automotive windshields where the damage is not in front to the driver.
Motorcycle windshields
Motorcycle windshields
Motorcycle windshields
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Motorcycle windshields
BMW motorcycle windshields, BMW windshields, BMW shields, BMW replacement motorcycle windshields, Memphis shades, motorcycle parts, bmw motorcycles, bmw motorcycle, national cycles
BMW Motorcycles is the motorcycle brand of the German company BMW, part of its Corporate and Brand Development division. The current General Director of the unit is Hendrik von Kuenheim. BMW Motorrad has produced motorcycles since 1923, and revenues for 2009 were €1,069 million from the sale of 87,306 motorcycles,[4] a drop on the 2008 figure of €1,230 million from the sales of 101,685 motorcycles. In May 2011, the 2,000,000th motorcycle produced by BMW Motorrad was a R1200GS.
History
BMW's first motorcycle, the R32
History of BMW motorcycles
The company began as an aircraft engine manufacturer in the early 20th century and through World War I. BMW manufactured its first motorcycle in 1923, the R32, which featured a flat-twin boxer engine. BMW Motorrad still uses the flat-twin boxer configuration, but now manufactures motorcycles with a variety of engine configurations.
Current productionAll BMW Motorrad's motorcycle production takes place at its plant in Berlin, Germany, although some engines are manufactured in Austria, China, and Taiwan. Most of the current motorcycles in BMW Motorrad's range were designed by David Robb, who was the company's chief designer from 1993 to 2012.
BMW Motorrad produced 82,631 motorcycles in 2009, compared with 104,220 in 2008, a fall of 20.7% The most popular model is the R1200GS and its sibling R1200GS Adventure, which sold 24,467 units – accounting for 28% of BMW's annual production. Current production includes a variety of shaft, chain, and belt driven models, with engines from 650 cc to 1,649 cc; and models designed for off-road, dual-purpose, sport, and touring activities.
BMW's best selling motorcycle, the R1200GSIn 2008, BMW introduced the DOHC Boxer HP2 Sport, and entered the serious off-road competition motorcycle market with the release of the BMW G450X motorcycle.
BMW Motorrad motorcycles are categorized into product families, and each family is assigned a different letter prefix. The current families are:
C series – Maxi-scooters called Urban Mobility Vehicles by BMW
F series – parallel-twin engines of 798 cc capacity, featuring either chain or belt drive. Models are F650GS, F800GS, F800R, F800S and F800ST.
G series – single-cylinder engines of 449 to 652 cc capacity featuring chain drive. Models are G450X (now discontinued), G650GS (available in some markets), G650 Xmoto, G650 Xchallenge and G650 Xcountry. The 450 cc engines are manufactured by Kymco in Taiwan. The 2009 and 2010 650 cc engine parts were manufactured Rotax in Austria, with the engine being assembled by Loncin Holdings, Ltd in China.
R series – twin-cylinder boxer engines of 1,170 cc capacity featuring shaft drive. Models are R1200GS, R1200R, R1200RT and R1200S.
K series – four-cylinder engines of 1,157 to 1,649 cc capacity featuring shaft drive. Models are K1200LT, K1300GT, K1300R and K1300S. In 2011, BMW Motorrad launched the six-cylinder 1,649 cc K1600GT and K1600GTL.
S1000RR – sport bike with transverse-mounted, 999 cc inline-four engine.
Racing
BMW Motorrad regularly enters its motorcycles in the Dakar Rally, an annual car, truck, and motorcycle race that runs from Europe to Africa and has featured riders such as Simon Pavey and motorcycling celebrity Charley Boorman. BMW Motorrad motorcycles have won the Dakar Rally six times.
In 2007, BMW Motorrad announced its entry to the 2009 Superbike World Championship season, where it is racing the BMW S1000RR. The 2009 season factory team was known as Team Alpha BMW and includes Spanish rider Ruben Xaus and Australian rider Troy Corser. In the 2010 season, Xaus and Corser were joined on the track by Team Reitwagen BMW riders Andrew Pitt and Roland Resch, also riding the S1000RR.
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BMW R1150 GS Windshields, BMW R1150 GS Windscreens, BMW R1150 GT Clear Windshields,BMW R1150 GS windshields, MotoGP, sportbike, street bike, BMW motorcycle windshields, R150 GS Tinted windscreens, steelhorseshades.com
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Messerschmitt Me 510 was a further development of the Me 410 Hornisse ("Hornet"), a German heavy fighter and Schnellbomber used by the Luftwaffe during World War II. The 410 itself had a troubled start, because it essentially had only been a straightforward modification of the Me 210, which had suffered from serious stability flaws and had a bad reputation among its crews.
The 410 handled bettr but did not show much improvement in performance, though. Me 410 deliveries began in January 1943, two years later than the original plan had called for, and continued until September 1944, by which point a total of 1.160 of all versions had been produced by Messerschmitt Augsburg and Dornier München. When it arrived, it was liked by its crews, even though its performance was not enough to protect it from the swarms of high performance allied fighters they faced.
Still not giving up on the original construction (and with the jigs and tools still available), Messerschmitt started in early 1944 with research into further means of improving the Me 410's performance. One direction was the addition of one or two jets under the fuselage as boosters for combat situations.
Another design path, which eventually led to the Me 510, was the development of turboprop and compound engines as propulsion options, which were based on the respective pure jet engines but offered much better performance and fuel economy than the pure jets. It would also be the more efficient solution compared to added turbojets for pure piston planes, since no dead weight had to be carried, and the overall system was less complex than a mixed powerplant system.
This turboprop concept, as best compromise between performance and short-term readiness for service, was chosen and the modified aircraft, called Messerschmitt Me 510, came to be. The design target was to outperform the Me 410 with as little change to the overall construction as possible, so that old tooling could be used for new aircraft cells. Alternatively, old aircraft should potentially be converted to the improved standard.
Core of the new development was the compact HeS 021 turboprop, a PTL development of the HeS 011 jet engine which was also planned for Focke Wulfs FW P.0310226-127 fighter (a turboprop version of the light 'Flitzer' day fighter). This engine was theoretically to deliver up to 3.300hp (2.426 kw) shaft output, plus 1.100kg (2.424 lb) additional thrust, even though serial types would produce less power under the aspect of reliability.
In order to incorporate this engine into the modified Me 410 a new main wing with laminar profile and new engine nacelles had to be designed. The HeS 021sat in the front part of the engine nacelles above the wings, driving four-bladed propellers. The landing gear retracted into the nacelle's lower section, rotating 90°, much like the Me 410, with the exhaust running above the landing gear wells.
In order to improve directional stability further, the tail surfaces were slightly enlarged, receiving characteristic, square tips. The fuselage was more or less taken from the original Me 410, since it offered a very good field of view and appropriate aerodynamics. With this package, the idea of retrofitting former Me 410 cells was kept, even though later flight tests showed that some more detail modifications had to be made. Most of these concerned the internal structures, the most obvious external change was the nose section, where the original glazing had to be reinforced and finally replaced by solid material – an experience similar to the modification from Douglas’ piston-driven XB-42 to the faster, jet-driven XB-43 of the same era.
Maiden flight of the first prototype took place in Augsburg on 6th of May 1945, with little problems. As benchmark, the Me 410's maximum speed was 625 km/h (388 mph), a cruise speed of 579 km/h (360 mph) and a combat range of 2.300 km (1,400 mi) with up to 1.000 kg (2,204 lbs) of disposable stores carried in- and externally.
The overall flying characteristics of the Me 410 did not change much, but rate of climb and top speed were considerably improved. In level flight, the third prototype Me 510 V3 reached a top speed of 812 km/h (504 mph), and even the serial version with added armament and equipment easily reached 750 km/h (465 mph) top speed and a cruising speed with no external stores of 650 km/h (405 mph). At its time, the Me 510, which quickly received the rather inofficial nickname "Bremse" (Horsefly), was superior to its pure piston engine and turbojet rivals, even though it was clear that the turboprop was only a preliminary solution.
Due to its high speed and under the pressure of Allied bomber raids, the Me 510 was primarily used as a Zerstörer against daylight bombers. Many aircraft received additional weapons, both directly incorporated at the factory but also as field accessories. Popular modifications included two extra 30mm guns (MK 108 or 103) in the bomb bay, or provisions for guided and unguided air to air missiles. A camera equipment package (Rüstsatz 'U3') allowed the fast aircraft to be used for daylight reconnaissance.
Many equipment packages from the earlier Me 410 could be fitted, too, including the massive 50mm BK 5 auto cannon against allied bomber groups. Initially, this package (‘U4’ Rüstsatz) comprised the original autocannon which fired at 45 RPM, with 21 shells in a drum magazine.
This weapon soon was replaced by the even more effective MK 214 B gun of 55mm caliber (Rüstsatz 'U5'). The BK 214 B fired at 180 RPM and proved to be a highly effective weapon at long ranges, outside of the bombers’ defensive armament range. As a drawback the heavy system (the gun plus the ammunition belt with 96 shells weighed 1.124 kg/2.475 lb) filled the whole internal bomb bay and precluded heavy external stores. Therefore, the 13mm machine guns in the nose were frequently removed in order to save weight, sometimes the weapons in the side barbettes, too. But: a single hit with one of the 1.54kg (3.4 lb) shells was enough to bring down a four-engined bomber, so that the fast Me 510 with this weapon became a serious threat in the course of late 1946.
510 general characteristics:
Crew: 2
Length: 42 ft (12,60 m)
Wingspan: 49 ft (14.69 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 480.11 ft² (44.78m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 790 km/h (490 mph) at 7.200m (23.500 ft)
Range: 1.400 mi (2.300 km ) with full combat TOW
Service ceiling: 40.900 ft (12.500 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine:
2× Heinkel-Hirth HeS 021 turboprop engines, 1.438 kW (2.500 hp) plus 980 kp (2.158 lb) residual thrust each
Armament: Varied, but typical basic equipment was:
2× 20 mm MG 151/20 cannons with 350 rpg, fixed in the nose
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg in the nose flanks
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg, each firing rearward from FDSL 131/1B remote-operated turret, one per side;
Up to 1.200 kg (2.643 lb) of disposable stores in- and externally
In the field, many modifications were made and several additional weapon packages with guns, guided and unguided missiles or special weapons were available (so-called ‘Rüstsätze’).
The kit and its assembly:
I am not certain when inspiration struck me for this fantasy aircraft - I guess it was when I tinkered together the Hü 324 whif, which was itself based on a 1:72 scale Il-28 bomber. When I browsed for a respective donation kit I also came across the 1:100 scale kit of the Soviet light bomber from Tamiya, and that stirred something: The Il-28's vintage contours would perfectly suit a Luft '46 aircraft, and with some calculations it was clear that the 1:100 wings would be suitable for something in the class of a 1:72 DH Mosquito or Bf 110. Then, the ill-fated Me 410 came to the scene as a potential late war basis aircraft, and from this starting point the idea of an evolutionary next step of the type, the Messerschmitt Me 510, was born.
Basically this model is a kitbashing of a Tamiya Il-28 in 1:100 (wings & engine nacelles) and the fuselage of a Matchbox Me 410. The IL-28's wings were turned upside down, so that the nacelles would now ride on the wings' top.
This not only looks cool and 'different', it's also plausible because the landing gear could retract into the wings under the nacelles (with the main landing gear doors closed, just like the original Me 410), it would also reduce the angle of the aircraft on the ground to a sensible degree - with the engines under the wings plus the landing gear would have been much to steep!
Fitting the wings to the fuselage was pretty easy, even though the original Me 410 wing profile was much thicker than the slender Il-28 wings. Cleaning and blending the wing root areas was a bit tricky, but the parts get together well.
As a design twist and for a uniform look I also replaced the whole tail section, matching the angular look of the thin new main wings. The horizontal stabilizers are wing tips from a Matchbox Me 262, the vertical fin is a modified outer wing part from a Matchbox Grumman Panther.
The engine nacelles were taken OOB. I just filled the Il-28's landing gear wells and their covers with putty, since they'd end on top of the new engines.
The propellers come from Matchbox P-51 Mustangs, outfitted with pointed spinners and held by a metal pin in a polystyrene tube which runs through the original intake splitter. Looks pretty martial, even though the nacelles ended up a bit close to the fuselage. The overall look reminds of the Short Sturgeon, but is not inplausible. A compact aircraft!
The cockpit received some side panels, news seats and some equipment, since the original Matchbox kit features almost nothing beyond a floor plate, two broad benches as seats and pilot figures. I also opened the cockpit hatches, since the aircraft would be built for ground display, with the landing gear extended.
From the original kit the BK 5 cannon installation was taken over, but I added a scratch-built, bigger muzzle brake. Since the aircraft was to become a high speed interceptor/Zerstörer for daylight operations, I did not add any further external ordnance.
Painting and markings:
I pondered about a potential livery for a long time. Almost any Me 410 was delivered in RLM 74/75/76 livery, and some at the Western front in France were operated in RLM 70/71/65, with a low waterline. But I found this pretty... boring. So I made up a fantasy livery which I found suitable for high altitude operations and based on my knowledge of late Luftwaffe paint scheme - pretty complex:
The aircraft was to be light in color, primarily camouflaged for aerial combat. I ended up with something that was planned as something that could have almost been called 'low-viz': all lower surfaces received a basic tone of RLM 76 (from Testors), with a raised waterline on all flanks. This light blue-grey would blend into a slightly darker FS 36320 on the higher flanks, almost up to the upper surfaces.
But in the end, the flanks received more spots than intended, and I ended up with a rather conservative livery - but it ain't bad at all. But so it goes...
The upper wing surfaces received a wavy scheme in RLM 71 (Drak Green) and 75 (Middel Grey). These are not typical late war colors, I rather used them due to the lighter shades. On the fuselage, just the fuselage crest was painted with more or less dense blotches of these tones, blending into more patches of RLM 02 on the flanks.
To add some more unconventional detail, the fuselage sides and undersides also received large, cloudy patches of RLM 77 - a very light grey. This detail was featured on some late-war He 177 bombers, but you can hardly tell these extra blotches because they have only little contrast to the RLM 76.
The tail fin was painted all white - a formation sign for a squadron leader, typical for German late WWII fighters. The black and white fuselage stripe is the ID of Jagdgeschwader 26 (which operated Fw 190D-9 from airfields in northern Germany, Flensburg was one of them), the red number abd the "+" code identify the machine as being part of the eighth Staffel.
In the end, a very subtle whif. The new engines are most obvious, and they change the look of the Me 410 dramatically. But only on second glance you recognize the other changes. The new wings/stabilizers with their square-shaped tips create a very slender and elegant look, the aircraft just looks fast and agile like a true heavy fighter should. Mission accomplished!
SN/NC: Rodhodendrum Indicum, Var. Nudiflorum , Ericaceae Family
Azaleas are flowering shrubs currently classified into two of the subgenera of Rhododendron - the subgenus Pentanthera, typified by Rhododendron nudiflorum and the subgenus Tsutsusi with Rhododendron tsutsusi.
Azalea hybrids have been created for hundreds of years. These genetic modifications made by humans have produced more than 10,000 different cultivar species that are propagated from cuttings. The seeds can also be collected and germinated.
A curious fact is that the honey produced by bees from these flowers is highly poisonous to humans, while it is harmless to insects. (Source: Wikipedia)
Azáleas são arbustos floridos atualmente classificados em dois dos subgêneros de Rhododendron - o subgênero Pentanthera, tipificado por Rhododendron nudiflorum e o subgênero Tsutsusi com Rhododendron tsutsusi.
Os híbridos de azaléia foram criados há centenas de anos. Essas modificações genéticas feitas por humanos produziram mais de 10.000 espécies de cultivares diferentes que são propagadas a partir de estacas. As sementes também podem ser coletadas e germinadas.
Um fato curioso é que o mel produzido pelas abelhas a partir dessas flores é altamente venenoso para o homem, ao mesmo tempo que é inofensivo para os insetos. (Fonte: Wikipédia)
Le azalee sono arbusti da fiore attualmente classificati in due sottogeneri del rododendro: il sottogenere Pentanthera, caratterizzato da Rhododendron nudiflorum e il sottogenere Tsutsusi con Rhododendron tsutsusi.
Gli ibridi di azalea sono stati creati per centinaia di anni. Queste modifiche genetiche apportate dall'uomo hanno prodotto più di 10.000 specie di cultivar diverse che si propagano da talee. I semi possono anche essere raccolti e germinati.
Un fatto curioso è che il miele prodotto dalle api da questi fiori è altamente velenoso per l'uomo, mentre è innocuo per gli insetti. (Fonte: Wikipedia)
Les azalées sont des arbustes à fleurs actuellement classés en deux sous-genres du Rhododendron : le sous-genre Pentanthera, caractérisé par le Rhododendron nudiflorum et le sous-genre Tsutsusi avec le Rhododendron tsutsusi.
Les hybrides d'azalées sont créés depuis des centaines d'années. Ces modifications génétiques apportées par l'homme ont produit plus de 10 000 espèces de cultivars différents, multipliés par bouturage. Les graines peuvent également être récoltées et germées.
Un fait curieux est que le miel produit par les abeilles à partir de ces fleurs est très toxique pour les humains, alors qu'il est inoffensif pour les insectes. (Source : Wikipédia)
Azaleen sind blühende Sträucher, die derzeit in zwei Untergattungen von Rhododendron eingeteilt werden – die Untergattung Pentanthera, typisch für Rhododendron nudiflorum, und die Untergattung Tsutsusi mit Rhododendron tsutsusi.
Azaleenhybriden werden seit Hunderten von Jahren hergestellt. Diese vom Menschen vorgenommenen genetischen Veränderungen haben mehr als 10.000 verschiedene Sortenarten hervorgebracht, die aus Stecklingen vermehrt werden. Die Samen können auch gesammelt und gekeimt werden.
Eine merkwürdige Tatsache ist, dass der Honig, den Bienen aus diesen Blüten produzieren, für Menschen hochgiftig, für Insekten jedoch harmlos ist. (Quelle: Wikipedia)
Las azaleas son arbustos de flor clasificadas en la actualidad en dos de los subgéneros de Rhododendron - el subgénero Pentanthera, tipificado por Rhododendron nudiflorum y el subgénero Tsutsusi con el Rhododendron tsutsusi.
Los híbridos de azalea se llevan creando cientos de años. Estas modificaciones genéticas hechas por el ser humano han producido más de 10.000 especies cultivares diferentes que se propagan a partir de esquejes. También se pueden recoger y hacer germinar las semillas.
Un dato curioso es que la miel producida por abejas a partir de estas flores es altamente venenosa para los seres humanos, mientras que es inofensiva para los insectos. (Fuente: Wikipedia)
Azalea's zijn bloeiende struiken die momenteel zijn ingedeeld in twee van de ondergeslachten van Rhododendron: het ondergeslacht Pentanthera, getypeerd door Rhododendron nudiflorum en het ondergeslacht Tsutsusi met Rhododendron tsutsusi.
Azalea-hybriden worden al honderden jaren gemaakt. Deze genetische modificaties door mensen hebben meer dan 10.000 verschillende cultivarsoorten voortgebracht die uit stekken worden vermeerderd. De zaden kunnen ook worden verzameld en ontkiemd.
Een merkwaardig feit is dat de honing die door bijen uit deze bloemen wordt geproduceerd, zeer giftig is voor mensen, terwijl deze onschadelijk is voor insecten. (Bron: Wikipedia)
الأزالية هي شجيرات مزهرة تصنف حاليًا إلى اثنين من أجيال رودودندرون - الجنس الفرعي بنتانثيرا، الذي يتميز به رودودندرون نوديفلوروم والجنس الفرعي تسوتسوسي مع رودودندرون تسوتسوسي.
تم إنشاء هجينة الأزالية منذ مئات السنين. أنتجت هذه التعديلات الجينية التي أجراها البشر أكثر من 10000 نوع مختلف من الأصناف التي يتم نشرها من العقل. ويمكن أيضا جمع البذور وإنباتها.
والحقيقة الغريبة هي أن العسل الذي ينتجه النحل من هذه الزهور شديد السمية للإنسان، في حين أنه غير ضار للحشرات. (المصدر: ويكيبيديا)
ツツジは現在、ツツジの亜属の 2 つに分類されている花低木です。ツツジに代表されるペンタンテラ亜属とツツジを含むツツシ亜属です。
ツツジの雑種は何百年もかけて作られてきました。人間によって行われたこれらの遺伝子組み換えにより、挿し木で増えた 10,000 種以上の異なる品種が生み出されてきました。種子を採取して発芽させることもできます。
興味深い事実は、ミツバチがこれらの花から作る蜂蜜は、人間にとっては非常に有毒ですが、昆虫にとっては無害であるということです。 (出典: ウィキペディア)
CAPE CANAVERAL, Fla. – Inside the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida, construction workers continue with refurbishment and upgrades to the 175-ton crane on the ground floor of the transfer aisle. The crane's 45-year-old controls are being upgraded to improve reliability, precision and safety. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the crane so that it can support lifting needs for NASA and other exploration vehicles, including the agency's Space Launch System and Orion spacecraft. Photo credit: NASA/Kim Shiflett
Zoom numérique (126%), modification partielle du contraste et capture d'écran de la photo...
www.flickr.com/photos/192977168@N06/54806972263/in/dateta...
DSC05628 - 50mm - 126%
126% x 50mm : 31% = 203.2mm