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Dear friends, you are more than welcome to visit my channel.
These are some photos regarding my eleventh Lego MOC set named Cartoon series.
Dear all, we finally come to the last series, and I am kind of proud of myself because I have put a lot of effort in every series. Constant brainstorming and continual modifications, each vehicle is my finest work. And, of course, doctoring pictures is just another perspiration. Many Many
thanks for your accompany all along. Last but not least, hope you can also enjoy this final series of my Lego MOC.
There are still 6 videos (size comparison videos) to go. However, it is Chinese New Year now in my country; therefore, the rest of the videos may be a little bit late- perhaps I will have more time in mid-Feburary. Anyhow, wish all my dear family and my friends safe and sound in this beautiful season. :)
This set includes:
(1) Chibi Batpod: Based on the special-designed motorcycle in the film-Dark Knight Trilogy. I built this batpod-like but a bit more compact. The proportion and style are particularly adjusted. A shout-out to whoever design the original batpod.
(2) Batmobile (Tumbler): Once again, this is another MOC also from Dark Knight Trilogy. Well, according the designer, this tank-like tumbler is a mixture of Hummer and Lamborghini. I can tell you that this is by far and so far my favorite batmobile among all the movie, or cartoon- batmobiles.
How do you like my own version of tumbler?
(3) Assault Batmobile: Simply put, this is kind of a modified version of the official set-76045, known as BvS batmobile from the movie Batman v Superman. The body lines of the official one is a bit complex so I thought if I can still keep its initial assault design but with sleeker and simpler body line(s). For me, I like the rear part of this batmobile most.
(4) Knightcrawler: Hmmm.... How should I start it? My idea all began from the official set-76086, and.... the official one is so ugly....(sorry but I do think so..) From the first sight I saw knightcralwer in the theater, I immediately understood Lego failed to nail its real shape and spirit. Additionally, the idea of making knightcrawler a tank for my Lego batman series is in my brain that I could never get rid of. I used some illegal techniques (I glued some parts to make it looks more like the movie version.) Nontheless, I am satisfied with the final work very much.
(5) Hoverboat: Lego released the first batman hoverboat-7780 in 2006. I have to say it is an awesome set to play with. However, I care so much about the size and proportion (for a minifigure scale). So I downsized it with some touches based on my personal preference.
(6) Batwing: From the official set 76027, this batwing became one of my favorite aircraft among all my mocs/mods.
Thank you so much for viewing my Lego works. My only intention is to share. Hope you like these cute toys. peace. :)
Dear friends, you are more than welcome to visit my channel.
These are some photos regarding my tenth Lego MOC set named Cartoon series.
Perhaps this is a set with my favorite Batman minifigure (lol). I came up with this crazy idea when I saw all the offcial sets in 2019. Honestly, the combination of color black, red and yellow make great match in my opinion, and I was extremely thrilled and somehow just cannot wait
to build a "CARTOONIZED" series for batman. Now hope you can enjoy and appreciate these funky vehicles. :)
This set includes:
(1) Chibi Spider-Android: A modified version of the official set- 30243. And for some reason I just have an idea that a bat along with a spider is a fun match-up if I really want to build to cartoonized version of batman chibi vehicle.
(2) Batmobile: Umm...I think i put part of the 1966 batmobile concept into this cartoon batmible. And I particularly love its "blocky" and chucky look. Fun fact: If you take a close look at it, you will find out there are 8 wheels in total.
(3) Batcycle: I don't really have some special explanations for this motorcycle. It is designed as my other motorbike- a little angled up in the middle and tried to create a beautiful bodyline for it. However, I do believe that the stickers play a vital role overall.
(4) Bat Mech: This giant Bat-Mech is inspired by the official set- 76117. However, I don't really dig the original version, especially the leg design. I think you can see the obvious difference with this optimized version. And hopefully I successfully give a more menacing feel/look to it.
(5) Batsub: Yes, the official set- 76116, I didn't do much with this set for its original appearance is so great already. A few touches and modifications were done to it only.
(6) Flying Fox: I can't tell you how much I love the vehicles in the movie Justice League, though the first version is such a "DISASTER" the way I see it. And the later Snyder cut version is way~~ better in my opinion; There is no reason that I don't build a cartoon version of this already well-designed aircraft from the movie.
Thank you so much for viewing my Lego works. More pictures of the last series are coming in soon. My only intention is to share. Hope you like these cute toys. peace. :)
Special Thanks to:
www.brothers-brick.com/tag/elvis-lawrey/
My youtube:
My slightly famous corset piercing, which has graced numerous body mod sites and e-zines. I was even called out for it on the streets of NY whilst shopping! (I was wearing normal clothes too)
Even though I only had it for a year and a half it will always be apart of me. I have the scars to remind me. I will always look back with fondness.
Photo was taken by me, with the help of an ex-boy. There is a red sheet tacked to the wall behind me and the camera was propped up on a stack of drums with the timer on. Despite all of that, it came out to be a pretty nice photo and the cover to my book.
Color balance was corrected in PS to make reds pop.
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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.
Fence modifications benefit wildlife.
Muddy Creek, an important tributary of the Little Snake River, supports a rare community of native fish – Colorado River cutthroat, bluehead and flannelmouth suckers and roundtail chub. Flanked by important winter range and migratory corridors to the east, the landscape holds core sagebrush habitat. Restoration investments will include fuels reduction, riparian and wetland enhancement, fence conversion and erosion control, all aimed at restoring natural ecologic function in the headwaters of the Colorado River basin.
Modification of set #10220 (VW T1 Camper Van) with different colours and a slightly different interior.
Emma wishes for more love in 2019 ;-)
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MODifications for 2019
Exterior:
- Roof - magenta Asian-influence, rather than dark blue with angled windows
- Lanterns - hung for the Lunar New Year celebration
- Kitchen module brought forward 4 studs to accommodate master bedroom on top level, instead of rooftop patio
- Added glass where open column area, now can see fully inside kitchen window
- Extended front yard
- Partial fence in a style more in keeping with house style
- Tiled railing of Balcony
- Tree - Wishing Tree instead of small potted tree
- Since Emma has a cat named Chico now, the bird and frog have gone missing ...
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Interior:
- Extended Kitchen
- Changed sink and stove area
- Changed chairs and Table size and top
- With extra space in Emma's Bedroom, added spot for Chico at window, painting area, and dresser
- Changed out one sliding door for shoji screen
- Updated bed and comforter
- Master Bedroom and Bath for her parents
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KENNEDY SPACE CENTER, FLA. A ground-level closeup shows the Crawler/Transporter as it carries the Mobile Launcher Platform with Space Shuttle Discovery on top. Above the tracks is one of the cabs, which controls the Crawler. The crawlers had recent modifications to the cabs and muffler system. Discovery is rolling back from Launch Pad 39B to the Vehicle Assembly Building (VAB). Once inside the VAB, Discovery will be demated from its External Tank and lifted into the transfer aisle. On or about June 7, Discovery will be lifted and attached to its new tank and Solid Rocket Boosters, which are already in the VAB. Only the 15th rollback in Space Shuttle Program history, the 4.2-mile journey allows additional modifications to be made to the External Tank prior to a safe Return to Flight. Discovery is expected to be rolled back to the launch pad in mid-June for Return to Flight mission STS-114. The launch window extends from July 13 to July 31. Image from NASA, originally appeared on this site: science.ksc.nasa.gov/gallery/photos/ Reposted by San Diego Air and Space Museum
A modified version of the original 7637 train station taxi, and the modification is quite extensive in the end :P I think the original version sucks, and now it looks much better, and is ready for mass production!
Work in progress:
modifications of 'Taiga' face mold, sculpting on the cast porcelain part - beginning.
Рабочий процесс:
модификации модели лица "Тайга", изменение скульптуры на фарфоровой отливке - начало.
intersection traffic signal flashing yellow lights on and off modification controlled by Los Angeles Department of Transportation, Special Traffic Operations, Transportation and Traffic Management Plan Contingency Engineers during the operation of the Homeboy Industries 5 km Run Race Course Route, and College Street intersection traffic signal green lights, left turn protected permissive green arrow lights and pedestrian crosswalk crossing white walking lights, the following intersections are Alpine Street, Ord Street and Cesar E. Chavez Avenue intersections have traffic signal red yellow green lights on located at Chinatown Los Angeles, California 90012. Right hand side is the landmarks of Bamboo Plaza and Chinese Historical Society of Southern California.
The former G.D.P. route was on Northbound Broadway (ended here until 2000) from Cesar E. Chavez Avenue to Bernard Street and Southbound Hill Street at Ord Street took place here until 2006 then the new current G.D.P. route travelled Southbound Broadway and made a left turn at East Cesar E. Chavez Avenue and ENDED at New High and Spring Streets for parade floats disbanding zone since February 2007 to February 2012 but now this Golden Dragon Parade route on Southbound Broadway turns right to Westbound Cesar E. Chavez Avenue and ENDS at North Hill Street overpass bridge for parade floats disbanding zone since February 2013 to present.
Los Angeles Chinatown Firecracker 10k Run event race route will reach 0.1 mile = 160 meters ahead to the finish line festival
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This is where L.A. Chinatown Firecracker 10k run race route continues to Elysian Park uphill, Dodger Stadium, back to finish line.
這裡是洛杉磯中國城唐人街華埠火爆竹跑參加比賽路線將會剩下一百六十米公尺前往終點結束完畢在北百老滙街, 巴納街及和羅省洛市華埠中央廣場孟歐之風塔門
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This is the 5k Run Race Route of the Homeboy - Homeboyle Industries Chinatown, Solano Canyon, Naud Industrial Junction and Outer Los Angeles State Historic Park.
這裡是5公里小家子 (家仔) 工業跑步比賽路線跑往洛杉磯華埠, 蘇蘭諾山峽谷, 諾德工業樞紐及外洛杉磯州立歷史公園區.
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#homeboy #homeboy5k #homeboy5krun #homeboyindustries @LAChinatown @ChinatownLA @ChinatownLosAngeles @LosAngelesChinatown @DowntownLA @DowntownLosAngeles @firecracker10k @Firecracker10kRun @chinesechamberla @CHSSC @ChineseHistoricalSocietyofSouthernCalifornia @chssc_official @ChinatownCentralPlaza @ChinatownCentralPlazaLA @LAChinatownCentralPlaza
Modification includes : rebuilding jaw so no longer spring action, and rebuilding club/weapon so it fits in hand properly. Grimlock was painted with MANY shades of metallic paint, and went through 45 stages of dry brushing and detail effects to make him look like old worn metal. He was clear coated in a prismatic lacquer paint, giving his metal parts a full spectrum of color at certain angles of light. Then clear coated in a high-gloss lacquer.
The Chin tattooed women live in the Chin, Rakhine and Arakan states in northwestern Myanmar. The origin of facial tattoos in the region is unknown. Some believe that the practice began during the reigns of Kings long ago. The royalty used to come to the villages to capture young women. The men from the tribe may have tattooed their women to make them ugly, thereby saving them from a life of slavery. Interestingly, I heard a similar origin for body modification among the Mursi tribe in Ethiopia. As legend has it, the tribeswomen began wearing giant lip plates to make them uglier to would-be kidnappers. Now, the bigger the lip plate the higher the bride price.
For years, access to the tribal Mindat area was restricted by the burmese government. It was opened just two years ago. Only about 700 tourists visit per year. Most of them only visit the bucolic Mount Victoria by bus, never meeting the tattooed women who remain isolated, hours away by foot. Those who do wish to meet them better pack good walking shoes and be prepared to sleep in smoke-filled local houses complete with rats.
There are a few different face tattoo patterns. The spiderweb tattoo is popular in the Mrauk U region. It takes a three hour long tail boat ride to reach this remote area. This tattoo is usually accompanied by a circle in the center of the forehead which represents the sun or lines under the nose symbolizing tiger whiskers.
Another design, known as the bee pattern, is common in the Mindat area. It is composed of dots, lines and occasionally circles. It is worn by the Muun tribe who inhabit the hills of the Arakan state.
The Magan tribeswomen wear huge earrings made of beads and calabashes. They can also play the flute with their noses.
I ventured to Kanpelet village in search of the women from the U Pu tribe who have the incredibly rare whole face tattoo. This is one of the most impressive styles: the entire face is inked up. Rumors had it that only three women in this area had the tattoo. After hours of off roading, I arrive in the village only to learn that one died recently and another was very ill. I was lucky enough to meet Pa Late. At 85, she is nearly deaf but still works hard with her family in a small house on the top of a little hill.
Pa Late said that a completely black face had become a symbol of beauty in the past. The few women who refused to do it looked ugly to the men. The tattoo took three days but the pain lasted over a month.
There are two ways to make the tattoo needle. The first consists of tying three pieces of bamboo together and the second uses thorns. The ink is a mixture of cow bile, soot, plants, and pig fat. It usually took one day to complete the standard tattoo and a few more for the totally black one. The tattoo artist was a specialist or in some cases a parent. Infection was a common problem as the girls had blood all over their face.
Everything, including the eyelids, was tattooed. Many women say that the neck was the most sensitive area.
Ma Aung Seim shared her memories of the tattoo sessions : “I was 10 years old. The day before the tattoo ceremony, I only ate sugarcane and drank tea. It was forbidden to eat meat or peanuts. During the tattoo session, I cried a lot, but I could not move at all. After the session, my face bled for 3 days. It was very painful. My mother put fresh beans leaves on my face to alleviate the pain. I had no choice if i wanted to get married. Men wanted women with tattoos at this time. My mother told me that without a tattoo on my face, i would look like... a man! The web drawn on my face attracted the men like a spiderweb catches insects!”
Not all the tattooed women live in remote areas deep in the mountains. Some have integrated into modern society. Miss Heu, 67, lives in Kanpelet. Her grandmother forced her to get tattooed. She lives in a modern house and even has TV (when electricity is not out). Chin people have maintained their modesty and shyness: when a movie showspeople kissing or making love, most of them still fast forward the scene.
As a leader in the local community, Miss Heu had the chance to meet Aung San Suu Kyi when she came in the area for a meeting. She is very aware of the tattooed women and the ethnicities that are forgotten by the central government. She says she and Aung San Suu Kyi are friends now. Heu’s daughter has graduated and works in Singapore.
The Chin culture is threatened by the government as their teachers are usually not Chin. For a long time, they fought for independence, but since the country began to democratize, things have calmed down.
“I am old. Soon I will die” says to me a Chin woman from Pan Baung village, while she does the gesture of drying tears from her eyes. In her village, only 6 tattooed woman remain alive. Those women are the last of their kind…
© Eric Lafforgue
V. Ruiz-Olivares © Copyright , All Rights Reserved. No commercial use, not copy, frame, modification, transmision or distribution is permitted without the consent and written permission of the copyright owner.
Low floor trolleybus by Trans-Alfa: model ВМЗ-5298.01 (VMZ-5298.01) was produced in two modifications (ВМЗ-463 and ВМЗ-475, РКСУ) from 2001 to 2009. On its basis was created an improved model Trans-Alfa VMZ-5298.01-50 "Avangard", produced since 2007 and has already undergone several updates.
In 1994 the Vologda Mechanical Plant (Вологодский механический завод, ВМЗ; VMZ) was transformed into a joint stock company which decided to work in the field of transport engineering and to produce trolleybuses. In 1996 was established the assembly of trolleybuses Škoda 14TrM. In 1997 the trolleybus model VMZ-170 (ВМЗ-170) with increased reliability and electrical safety was developed and put into mass production. In 1999 the next model was presented, VMZ-263, with new body design, comfortable passenger compartment and driver's cabin. In 2000 new high-floor model VMZ-375 "Leader" (model 5298). It produced till 2015 in small seria of 438 ones. In 2002 was presented the first Russian low-floor trolleybus Trans-Alfa 5298-01 Avangard developed on the base of deeply modified VMZ-375 model. Then the company started development and production of buses. Thus, the first model 5278 of the large class bus designed for urban and suburban transportation was produced. From 2008 to 2011 the enterprise produced city and suburban buses based on KamAZ chassis under the Olimp brand. In 2001 production of trolleybuses was separated into an independent enterprise JSC Trans-Alfa. In 2002 the first Russian low-floor trolleybus Trans-Alfa 5298-01 Avangard (deeply modified VMZ-375, model 5298.00 "Leader") was declared the winner of the contest "100 Best Products of Russia". In 2003 the company's first articulated trolleybus - model 6215 - was put into production, then in 2006 its low-floor version 62151.
Since 2013 the financial problems of the plant, which is on the verge of bankruptcy, began. Nevertheless, the production continues. The Trans-Alfa trolleybuses can be found everywhere in Russia and in some foreign countries.
1985 – 1986 Citroën BX 16 RS Break (Pick-up modification)
We were parked with our white BX Break when something yellow, at the same time familiar and strange, caught our attention. Unfortunately, it was too fast... We then guessed where it could have come from, and found a garage. Later, it was there, as expected (and hoped!)
So this was once a rare BX Break phase.1 / mk.1, if I understood right, as petrol, therefore BX 16 RS. I don't hope that it was a very rare 19 TRS Break (which has the BX 19 GT engine).
I felt sad for this rare BX, but then the owner told me that shortly after he had bought it, a tree fell on it during a storm. So instead of scrapping it, he transformed it to a pick-up!
Showing my modification of an Industar 69, the lip around the hilicoid was ground down with a Dremel, one pin was shortened to stop rubbing, the MFD(Minimum Focus Distance) pin was removed, and the other pin was replaced with a longer pin(IIRC) so that the two remaining pins hit at MFD and not continue till the helicoids separate.
This pic shows the common pin on the focus ring, the infinity pin @9:00, and the missing MFD pin @2:00, I don't remember what I exactly did to get the infinity pin and the common pin to contact at the new MFD position, I do remember they didn't touch, I don't remember if I swapped pins or found one that worked in my parts collection.
The Colt Tornado (a name that almost got me sued by a friend; you know who you are) with some small changes. Mainly the sides, which needed some vents. I achieved the structure of those sides by modding some brackets.
This is the method published by JP Weigle in Bicycle Quarterly, Winter 2011. This schematic, along with the accompanying photos in this set, illustrates the concept.
Well I will let you in on a secret, ok it is not but anyway, when my wife comes across Lego sets on sale for about 50% off she lets me know and I thought on this one it might be worth the parts but then I decided to try an alternate build so here it is. Except for one part, a 2x4 white tile on the trunk, it would be considered an alternate.
Like many British manufacturers, AC Cars had been using the Bristol straight-6 engine in its small-volume production, including its AC Ace two-seater roadster. This had a hand-built body with a steel tube frame, and aluminium body panels that were made using English wheeling machines. The engine was a pre-World War II design by BMW which by the 1960s was considered dated. Bristol decided in 1961 to cease production of its engine and instead to use Chrysler 313 cu in (5.1 L) V8 engines. AC started using the 2.6 litre Ford Zephyr engine in its cars. In September 1961, American automotive designer Carroll Shelby wrote to AC asking if they would build him a car modified to accept a V8 engine. AC agreed, provided a suitable engine could be found. Shelby went to Chevrolet to see if they would provide him with engines, but not wanting to add competition to the Corvette they said no. However, Ford wanted a car that could compete with the Corvette and they happened to have a brand new engine which could be used in this endeavor: Ford's 260 in³ HiPo (4.2 L) engine – a new lightweight, thin-wall cast small-block V8 tuned for high performance. Ford provided Shelby with two engines. In January 1962 mechanics at AC Cars in Thames Ditton, Surrey fitted the prototype chassis CSX2000 with a 260 ci Ford V8 borrowed from Ford in the UK; the 221 ci was never sent. However, early engineering drawings were titled "AC Ace 3.6". After testing and modification, the engine and transmission were removed and the chassis was air-freighted to Shelby in Los Angeles on 2 February 1962. His team fitted it with an engine and transmission in less than eight hours at Dean Moon's shop in Santa Fe Springs, California, and began road-testing.
Production proved to be easy, since AC had already made most of the modifications needed for the small-block V8 when they installed the 2.6 litre inline 6 Ford Zephyr engine, including the extensive rework of the AC Ace's front end bodywork. The most important modification was the fitting of a stronger rear differential to handle the increased engine power. A Salisbury 4HU unit with inboard disc brakes to reduce unsprung weight was chosen instead of the old E.N.V. unit. It was the same unit used on the Jaguar E-Type. On the production version, the inboard brakes were moved outboard to reduce cost. The only modification of the front end of the first Cobra from that of the AC Ace 2.6 was the steering box, which had to be moved outward to clear the wider V8 engine.
AC exported completed, painted and trimmed cars (less engine and gearbox) to Shelby who then finished the cars in his workshop in Los Angeles by installing the engine and gearbox and correcting any bodywork flaws caused by the car's passage by sea. A small number of cars were also completed on the East Coast of the USA by Ed Hugus in Pennsylvania, including the first production car; CSX2001.
The first 75 Cobra Mk1 models (including the prototype) were fitted with the 260 cu in (4.3 L). The remaining 51 Mk1 models were fitted with a larger version of the Windsor Ford engine, the 289 cu in (4.7 L) V8. In late 1962 Alan Turner, AC's chief engineer completed a major design change of the car's front end to accommodate rack and pinion steering while still using transverse leaf spring suspension. The new car entered production in early 1963 and was designated Mark II. The steering rack was borrowed from the MGB while the new steering column came from the VW Beetle. About 528 Mark II Cobras were produced in the summer of 1965 (the last US-bound Mark II was produced in November 1964).
Since late 1962 when the new GM Stingray was shown up briefly by the Mk1 Cobra (until hub failure intervened) the development of the Grand Sport Corvette program had continued at a pace and was thought to be going for a build series of 125 cars. This would allow GM to compete directly in the FIA GT class of racing. Just to compound this Enzo Ferrari was trying to pull another "fast one" on the FIA with the request for the homologation of the 250LM. The FIA had not forgotten the serious lack of production of the 250GTO, which it had granted homologation in advance of Enzo's assured 100 minimum per year. Just thirty-six were produced over three years with two very different chassis, neither of which were too similar to the 250 GT which was supposed to form the basis of the vehicle. In an effort to prepare for the task ahead alternative engines were considered. The 289 cu in (4.7 L) leaf-spring Cobra dominated the US domestic race series (USRRC), with only one race lost in three years. The results in the FIA GT class were different. This was mainly due to the number of circuits that had much higher sustained speeds. Aerodynamics were more important and put the roadster at a disadvantage. As a result, coupe versions were built.
A stroker 289 (325),and the larger 390/427 up to the "cammer" 427 was considered. Shelby was told at the eleventh hour to use the iron 427 cu in (7.0 L). There was little time to fully develop a competition vehicle. The coil spring Cobra production was slow and an insufficient number made to meet FIA's GT homologation. Therefore the S/C (Semi – Competition) was produced by making available to the general production the full race options for the street. By now Enzo was having races recategorised in Italy to prevent the almost inevitable defeat on home soil as the 250LM was not homologated as a GT and would have to run as a prototype. GM had pulled the plug on the Grand Sport and so the five chassis that were built had to run as prototypes and so were placed in a difficult position to say the least.
Shelby had earlier in 1964 fit a larger Ford FE engine of 390 cubic inches (6.4 L) in to CSX2196. Unfortunately the car was not able to receive the development it needed as resources were aimed at taking the crown from Ferrari in the GT class. Ken Miles drove and raced the FE-powered Mark II at Sebring and pronounced the car virtually undriveable, naming it "The Turd". It failed to finish with the engine expiring due to damper failure. A new chassis was required developed and designated Mark III. CSX2196 was revised for the show down at Nassau which allowed a more relaxed class division of racing. This allowed the GT cobras to run with prototype Ford GT, GM Grand Sport Corvettes and Lola Mk.6. The first meeting at which the GS Corvettes showed up was in 1963. It was for this event in 1964 that the Fliptop cobra was used. An aluminium 390 cubic inches (6.4 L) engine was used. However, the car failed to finish.
The new car was designed in cooperation with Ford in Detroit. A new chassis was built using 4 in (102 mm) main chassis tubes (up from 3 in (76 mm)) and coil spring suspension all around. The new car also had wide fenders and a larger radiator opening. It was powered by the "side oiler" Ford 427 engine (7.0 L) rated at 425 bhp (317 kW), which provided a top speed of 164 mph (262 km/h) in the standard model and 485 bhp (362 kW) with a top speed of 185 mph (298 km/h) in the competition model. Cobra Mark III production began on 1 January 1965; two prototypes had been sent to the United States in October 1964. Cars were sent to the US as unpainted rolling chassis, and they were finished in Shelby's workshop. Although an impressive automobile, the car was a financial failure and did not sell well. In fact to save cost, most AC Cobra 427s were actually fitted with Ford's 428 cubic inches (7.01 L) engine, a long stroke, smaller bore, lower cost engine, intended for road use rather than racing. It seems that a total of 300 Mark III cars were sent to Shelby in the USA during the years 1965 and 1966, including the competition version. 27 small block narrow fender versions, which were referred to as the AC 289, were sold in Europe. Unfortunately, The MK III missed homologation for the 1965 racing season and was not raced by the Shelby team. However, it was raced successfully by many privateers and went on to win races all the way into the 1970s. The remaining 31 unsold examples were detuned and fitted with wind screens for street use. Called S/C for semi-competition, an original example can currently sell for 1.5 million USD, making it one of the most valuable Cobra variants.
Shelby wanted the AC Cobras to be "Corvette-Beaters" and at nearly 500 lb (227 kg) less than the Chevrolet Corvette, the lightweight roadster accomplished that goal at Riverside International Raceway on 2 February 1963. Driver Dave MacDonald piloted CSX2026 past a field of Corvettes, Jaguars, Porsches, and Maseratis and recorded the Cobra's historic first-ever victory. Later, Shelby offered a drag package, known as the Dragonsnake, which won several NHRA National events with Bruce Larson or Ed Hedrick at the wheel of CSX2093. Only five Dragonsnake Cobras were produced by the factory, with three others (such as CSX2093) prepared by customers using the drag package.
An AC Cobra Coupe was calculated to have done 186 mph (299 km/h) on the M1 motorway in 1964, driven by Jack Sears and Peter Bolton during shakedown tests prior to that year's Le Mans 24h race. A common misconception is that this incident persuaded the British Government to introduce the 70 mph (110 km/h) maximum speed limit on UK motorways, which up until that year had no speed restrictions, although government officials have cited the increasing accident death rate in the early 1960s as the principal motivation, the exploits of the AC Cars team merely highlighting the issue.
The AC Cobra was a financial failure that led Ford and Carroll Shelby to discontinue importing cars from England in 1967. AC Cars kept producing the coil-spring AC Roadster with narrow fenders, a small block Ford 289 and called the car the AC 289. It was built and sold in Europe until late 1969. AC also produced the AC 428 until 1973. The AC Frua was built on a stretched Cobra 427 MK III coil spring chassis using a very angular steel body designed and built by Pietro Frua. With the demise of the 428 and succeeding 3000ME, AC shut their doors in 1984 and sold the AC name to a Scottish company. The company's tooling, and eventually the right to use the name, were licensed by Autokraft, a Cobra parts reseller and replica car manufacturer owned by Brian A. Angliss.
From silver and vinyl to satin black and leather.
What it originally looked like: www.flickr.com/photos/zzpza/9407868445/
CHARLOTTE
Custom Dal Head by Sheryl Designs to Sunflower
MODIFICATIONS:
Complette MakeUp - Original Eyechip Design - ©2007-2010 Sheryl Designs Eyemech Modification
Test with two soft boxes modified to bring out continuum light.
post - Magic Bullets Looks
song - Babe i'm gonna leave you
La fée des Lanternes' Iris
® Eyemech Modification by Sheryl Designs
(Read in this order) PAG: 01, 02, 03, 04, 05, 06, 07, 08.
PHOTOSTORY: In English / En Español
Iris: Yashiro? Nope, I think you are confused... ^_^u
/
Iris: Yashiro? No, creo que te has confundido... ^_^u
SHERYL LINKS:
- Pullip .es: Las Fotohistorias de Sheryl
- Sheryl's Flickr: Photostories 2011 - Sketches 2011 / Photostories 2012 - Sketches 2012
powered off modification controlled by Los Angeles Department of Transportation, Special Traffic Operations, Transportation and Traffic Management Plan Contingency Engineers during the operation of the cicLAvia Heart of Los Angeles Car-Free Open-Streets Bicycle Route in Chinatown Los Angeles, California 90012 where it has a Los Angeles Chinatown Firecracker Event Booth located at Chinatown Central Plaza Wisdom Gate.
Note: This is the new current Los Angeles Chinatown Lunar New Year Golden Dragon Parade clockwise route along on Southbound Broadway to Cesar E. Chavez Avenue and Spring Street operating since 2007 until present. The former G.D.P. route was on Northbound Broadway from Cesar E. Chavez Avenue to Bernard Street and Southbound Hill Street took place here until 2006.
洛杉磯中國城華埠孟歐之風北百老滙街900號座位段過馬路紅緑燈標誌
This is the continuous and Northern End of Ciclavia Heart of Los Angeles Car-Free Open-Streets Bicycle Route in Chinatown Central Plaza Hub.
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#holaciclavia
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@ChinatownLA
@ChinatownLosAngeles
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@CicLAvia
Having Liked The Band Evanescence For A Few Years I Figured I Would Make This Tribute Car To The Best Album In My Opinion, "The Open Door" I Started By Painting The Rear Black And Using A Cardboard Divider Painting The Front In Blue. It's Blended Well.
This is a new bracket for mounting Type 100 Polaroid Instant Film backs, like the Model 73, to the Polaroid 600 SE Professional Rangefinder Camera. Upon modification, it will be used to mount a Polaroid CB 70 Integral Film Back to the 600SE in the vertical position.
The Polaroid CB 70 series film backs allow for the usage of Polaroid Integral fims such as Polaroid 600, 700, Polaroid Time-Zero, TZ Artistic and The Impossible Project Films for Polaroid 600 Cameras and SX70 Cameras.
Next, for the cut! Shop Note 2
This series of Shop Notes begins here.
Pol600SEmount.jpg