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Ripley's Believe It or Not, NYC by Gotham City Lost And Found

5/22/10

20210919-KMR-09 by WallyRail Images

Date - 19th September 2021.

Location - Kerrisdale, Victoria.

Locomotive - "Douglas"

Operator - Kerrisdale Mountain Railway

"Douglas" is Victoria's newest Steam Locomotive, with the 10year construction project finishing in 2020. The locomotive is an original design made from salvaged parts, donated parts or made from scratch as required. At this time, the locomotive is not used for public operations due to rollingstock needing some modifications to be able to work with it.

This image is taken from United States Naval Medical Bulletin, Vol. 2, Nos. 1-4, 1908 by Medical Heritage Library, Inc.

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Title: United States Naval Medical Bulletin, Vol. 2, Nos. 1-4, 1908

Creator: U.S. Navy. Bureau of Medicine and Surgery

Publisher:

Sponsor:

Contributor:

Date: 1908

Language: eng

Table of Contents

Number 1

Preface vii

Special articles 1

A preliminary report on gangosa and allied diseases In Guam. By A. J.

Gelger 1

Hypertrophic arthritis of the spine. By H. W. Smith 6

Beriberi at the United States Naval Hospital, Norfolk, Va. (with

pathological and bacteriological findings In case 14, by O. J. Mink). By B. C.

Holcomb 16

Guba (epidemic bronchial asthma, Guam). By F. E. McCullough 26

Clinical notes 32

Patients burned in accident on U. S. S. Georgia. By W. H. Bueher-- 32

A case of psychical aphonia. By J. T.. Belknap 33

A case of ruptured kidney. By Edgar Thompson 34

A case of dementia preacox. By S. H. Dickson 36

A case of abscess on the diaphragmatic pleura during an attack of

malaria. By B. P. Jenness 87

A case of hernia with the appendix adherent to the sac. By R. C.

Holcomb 39

Current comment: Miscellaneous Items 41

Quinine prophylaxis in malaria. By H. O. Shiffert 43

Vaccination aboard ship in the Orient. By G. M. Olson 44

Medical progress 47

Surgery —Surgery of the thyroid ; varicose veins ; dangers from X ray;

static flat-foot (Ochsner) ; acquired diverticulitis of the large Intestine; a

new Incision for appendecectomy. By H. C. Curl and H. W. Smith 47

Pathology and Bacteriology —The opsonic index In erysipelas and Its

relation to treatment by killed cultures of streptococci ; prophylaxis against

syphilis. By C. S. Butler and O. J. Mink 60

Parasitology—The wood-tick and Its relation to Rocky Mountain Spotted

fever; the spiroehaete of. the relapsing fever of Bombay; the spiroehaete

pertenuis In yaws. By R. C. Holcomb 63

Tropical medicine —Malaria; Bilharziasis. By E. R. Stitt 58

General Medicine —Tuberculosis; the use of tuberculin in the early

diagnosis of tuberculosis. By F. L. Pleadwell 60

Hygiene —Is the production * * * of a climate considered to be more

healthy for Europeans residing In hot countries necessary and technically

possible ; bubonic plague ; prophylaxis In epidemic cerebrospinal meningitis.

By H. G. Beyer 66

Number 2

Preface vii

Special articles 1

A preliminary report upon the treatment of tuberculosis by the

administration of mercury, by B. L. Wright 1

A case of fracture of the atlas and axis with forward dislocation of

the occiput on the spinal column; life maintained for thirty-four hours and

forty minutes by artificial respiration, during which time a laminectomy was

performed upon the third cervical vertebra; review of literature, by N. J.

Blackwood 12

Suggested devices 26

Improvisions to facilitate urethal irrigations on board ship, by C. M.

De Valin 26

Clinical notes 27

A case of carcinoma following appendicitis, with the possibility of a

direct infection, by W. A. Angwin 27

A case of liver abscess; obscure etiology; operation; recovery, by G.

F. Freeman 29

Purpura (Peliosis rheumatica); two cases 31

First case from U. S. S. Wolverine, by A. G. Grunwell 31

Second case from U. S. S. Vermont, by F. M. Furlong 32

A severe case of glomerular nephritis treated surgically and resulting

in clinical cure, by H. C. Curl 33

A case of aneurism (aortic), by P. R. Stalnaker 34

A case of ruptured viscus (spleen), by P. A. Lovering 35

Current comment: Miscellaneous items 36

Tattooing in the Navy, as shown by the records of the U. S. S.

Independence, by A. Farenholt 37

The sick spaces on board the Japanese cruiser Tsuhuba, by R. A. Warner.

. 39

Progress in medical sciences 42

Chemistry and Pharmacy —Clinical methods for the determination of the

alkalinity of the blood (a review); on anomalous reactions obtained in testing

urine for sugar with Fehling's solution, by E. W. Brown and P. J. Waldner 42

Surgery —Review of advances; the medical and surgical treatment of

gastric ulcer; experimental surgery of the lungs; another diagnostic point on

McBurney's line; appendicectomy by a transverse incision; orthostatic

albuminuria; surgical treatment of emphysema; certain cranial operations;

diseases of the liver amenable to surgical treatment; bullet wounds of nerves

and their plastic operations; rifle bullet, shrapnel, and shell wounds in tho

Busso-Japanese war; gastric surgery; the value of differential leucocyte count

in appendicitis, by II. C. Curl and H. W. Smith

Pathology and Bacteriology —On proliferation of the cells of the liver;

serum 48 treatment of epidemic cerebrospinal meningitis, by C. S. Butler and O.

J. Mink 55

Medical Zoology—Parasitic infections of the bowels; human myiosis from

the screw-worm fly; part played by pediculus corporis in the transmission of

relapsing fever; the unequal distribution of filiarisis in the tropics, by R.

C. Holcomb 57

Tropical Medicine —Chemo-therapy in trypanosome infection; final report

of the German Expedition for the investigation of sleeping sickness; critical

review of recent work on Mediterranean fever; recent work on cause, prevention,

and treatment of Mediterranean fever; specific prophylaxis and treatment of

bacterial dysentery; the transmigration of dysenteric amoebae through the

intestinal walls, by E. R. Stitt 61

General Medicine —Review of advances: Pirquet's cutaneous tuberculin

reaction; conjunctival tuberculin reaction; conjunctival typhoid reaction;

diagnosis of tuberculosis by Bloch's method; tests for occult blood in stomach

contents, stool and urine; ileus; therapeutic employment of lactic acid

producing bacteria; renal tuberculosis, by R. M. Kennedy and F. L. Pleadwell 66

Hygiene and Sanitation —On the increase of body temperature of men at

work in a high temperature; a contribution to the question of the spread of

typhoid fever through drinking water; on artificial and natural plague

infection of fishes; citric acid and solar rays as a means for the disinfection

of drinking water for military purposes; the change in and the renewal of air

on board torpedo-boat destroyers; viciation and renewal of air in submarines, by

H. G. Beyer 71

Reports and letters 86

International congress for the prevention of alcoholism; H. G. Beyer,

delegate 86

The Eighth International Red Cross Conference; J. C. Wise, delegate 93

Number 3

Preface iii

Special articles 1

The treatment of tuberculosis by the administration of mercury (second

paper), by B. L. Wright 1

Pathological anatomy of guba. by A. J. Geiger 19

History of epidemics in Guam, by F. E. McCullough 22

Result of three hundred examinations of feces, with reference to the

presence of amebae. by R. E. Hoyt 25

A case of Banti's disease with splenectomy and arterio-venous

anastomosis, by E. A. Vickery 29

Suggested devices 36

A modification of the Crile canula. by E. A. Vickery 36

Clinical notes 37

Two cases of abnormal kidney, by A. B. Clifford 37

A case of empyema, by F. G. Abeken 38

Case reports from the U. S. Naval Hospital, Canacao, P. I.: A case of

fulminating appendicitis with normal temperature and pulse: a case of sterile

collection of blood in the pleural cavity, giving rise to symptoms resembling

those of einpyena ; a case of multiple stab wounds: one into abdomen, causing 5

penetrations of small Intestines, and another into chest cavity: a severe case

of tetanus In a native child: a case of spleno-myelogenous leukiemia : a case

of ruptured aneurism in the ventricular septum, with sudden death, by E. H.H.

Old and A. E. Lee 39-50

Current comment 51

Battle organization for the Medical Department on board ship, by John

F. Urie 51

Phimosis as a cause for rejection of recruits, by F. B. Jenness 59

Medical progress 62

Laboratory —Ollulanus tricuspis in stomach contents of cat 62

The pancreatic reaction in the urine (Cammidge), by H. AV. Smith 62

The detection and determination of methyl alcohol and formicaldehyde

(the acid phase of the biuret reaction), by R. W. King-- 64

The clinical estimation of the alkalinity of the blood, by E. W. Brown 73

Chemistry and pharmacy —The bearing of metabolism studies on chemical

medicine: chemical and biological methods in diagnosis: the clinical value of

the estimation of ammonia in diabetes; anomalous reactions given by Fehling's

solution In testing urine for sugar, by E. W. Brown and P. J. Waldner 75-79

Surgery —Pancreatic catarrh and intestinal pancreatitis in their

relation to catarrhal jaundice and also to glycosuria ; pancreatitis resulting

from gallstone disease: diagnosis of pancreatic insufficiency ; clinical value

of the pancreatic reaction In the urine; transfusion and arterial anastomosis;

gumma of the liver as a surgical disease; treatment of diffused suppurative

peritonitis; the value of enterostomy and conservative operative methods in the

surgical treatment of acute intestinal obstruction: intestinal anastomosis

without open incision by means of " basting " stitch ; gastroenterostomy

and after; pneumo thorax and posture; acute dilatation of the stomach and

arterio-mesenterlc ileus : delayed chloroform poisoning —its nature and

prevention, by H. C. Curl and H. W. Smith 79-S7

Pathology and bacteriology —The technique of the tuberculine ointment

test for tuberculosis; technique of the cutaneous tuberculine test: staining of

the tubercle bacillus; some neglected facts in the biology of the tetanus

bacillus; some notes on the morphology of the spirochseta duttoni in the organs

of rats; the localization of the spirochetes in the papules of yaws, by C. S.

Butler and O. J. Mink 88-92

Medical zoology —Experiences of ankylostomiasis in Australia:

suppression of uncinariasis in Porto Rico; plague among rats in San Francisco:

a preliminary report on the specific identity of the cestode parasites • • with a description of a new species of taenia,

by R. C. Holcomb 92-98

Tropical medicine —A comparative study of tsutsugamushi disease and slotted

or tick fever of Montana; studies upon the amebae in the intestine of man; the

campaign against malaria in Italy; are there valid objections to the quinine

prophylaxis of malaria; porocephalus moniliformis Diesing, 1S36, in a negro; on

the etiology of dysentery; poisoning by the juice from the manzanilla tree, by

E. R. Stitt 98-103

General medicine — Review of internal medicine: etiology of erysipelas;

the clinical application of the serum-diagnosis in syphilis; comparative

experimental studies on cases of framboesia contracted in various parts of the

Tropics; a study of the value of measurements of chest expansion, by R. M.

Kennedy and F. L. Pleadwell 103-116

Hygiene and sanitation —On the excretion of hexamethyienainin (urotropin)

in the bile and pancreatic Juices; experiments in practical culicidal

fumigation: formalin as a disinfectant; on slow and rapid tobacco smoking; on

expired air, by H. G. Beyer- 110-121

Reports and letters 122

International Congress of Physiotherapy: II. G. Beyer, delegate 122

Observations on various schools of tropical medicine, laboratories, hospitals,

and diseases, while en route from the United States to the Philippines, via

Europe, by A. W. Balch 129-140

Number 4

Preface vii

Special articles 1

A peculiar characteristic of spiroehaeta duttoni, by C. S. Butler 1

Report of the investigation of Samoan conjunctivitis, by P. S. Rossiter

4

The composition of potable water, by E. R. Noyes 7

A supplementary note on elephantiasis of the scrotum: its operative

cure, by A. M. Fauntleroy 21

Suggested devices 23

A simplified Turk's counting chamber, by C. S. Butler 23

Clinical notes 24

Report of cases of cerebro-spinal meningitis treated with

Flexuer-Jobling serum, by H. F. Hull 24

Reports of four cases of tuberculosis (3 pulmonary and 1 pulmonary and

glandular) treated by mercurial injection, by Reynolds Hayden 32

Notes on four cases of pancreatitis treated by drainage of the gall

bladder, by H. 0. Curl and H. W. Smith 41

A case of lupus of the penis; successfully treated with tuberculin, by

R. S. Langabaugh 44

Current comment 46

A review of the subject of "Organization of the Medical Department

(Naval) for Battle," by H. G. Beyer 46

Progress in medical sciences 53

Laboratory- Keport of organisms, isolated from throat cultures, showing

Neisser granual staining characteristics, by D. G. Allen 53

A rapid method for the determination of ammonia in urine, by R. W. King

54

The detection of ''occult blood " in feces, urine, and stomach

contents, by R. W. King 57

Practical application of King's method for occult blood in the

diagnosis of blackwater fever, by E. R. Stitt 62

Chemistry and pharmacy— Natural salicylates; on the origin of

endogenous uric acid; the chemical examination of drinking water at the source

of Hupply; the pancreatic reaction of cammidge in the urine, by E. W. Brown and

P. J. Waldner 63-68

Surgery—Surgical progress (aneurysms); substitution of whole or half

joints from freshly amputated extremities by free plastic operation; foreign

bodies in the abdominal cavity; preforative peritonitis; the inconsistencies of

the gauze pack; the necessity for the removal of the appendix after

perityphlitic abscess; the purse-string suture — its right and wrong

application in appendectomy; result of over 100 inquiries sent to well-known

American surgeons regarding the method of dealing with appendix stump, by H. C.

Curl and II. AY. Smith 68-73

Pathology and bacteriology — The demonstration of treponema pallida by

the method of dark field illumination; Adams Stokes disease with induration in

the bundle of Hiss; the anatomy and pathology of the carotid gland, by C. S.

Butler and O. J. Mink 73-75

Medical zoology —The common tick of the Bitter Root Valley;

leprosy-like disease in rate; report on laboratory work in relation to the

examination of rats for plague in San Francisco; the part played by insects in

the epidemiology of plague; note on fleas; reports of experiments undertaken to

discover whether the common domestic animals of India are affected by plague;

flies as carriers of contagion in yaws; what is " sehistosomum mansoni

" Sambon, 1907 ; remarks on the study of biting flies, with special

reference to the genus glossina; a review of recent work on spirillar fevers;

rabies and its increasing prevalence, by R. C. Holeomb 75-86

Tropical medicine —Liver abscess and amebiasis; a review of the

position of gland palpation in the diagnosis of human trypanosomiasis, by E. R.

Stitt 86-88

General medicine —Carbonic acid snow in dermatology; importance of

indican investigations in diagnosis and therapy ; X-ray treatment of leukemia;

the Roentgen ray in the diagnosis of renal and ureteral calculi, by R. M.

Kennedy 88-92

Hygiene and sanitation — An investigation of the laws of disinfection;

regulations to prevent the appearance of beriberi, tuberculosis, and other

diseases on board vessels and establishments of the navy ("Brazilian), by

H. G. Beyer 93-98

Reports and letters 99

A short account of legislative action regarding the U. S. Naval Medical

Corps and of hospital history, by A. Farenholt 99

International Congress of Hygiene and Demography; H. G. Beyer, delegate

104

Association of Military Surgeons; M. H. Simons, delegate 109

Sixth International Dermatological Congress; G. E. H. Harmon,

delegate... 113

If you have questions concerning reproductions, please contact the Contributing Library.

Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.

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Street Art/Graffiti. by HISTOGRAPHY by DM & DBM.

10 1

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Castle bogie modification by technoandrew

7 2

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.

Technic Truck by Jules B

Sukhoi Su-25 & modifications by Dmitry Terekhov

The Sukhoi Su-25 (NATO reporting name: Frogfoot) is a single-seat, twin-engine jet aircraft developed in the Soviet Union by the Sukhoi Design Bureau. It was designed to provide close air support for the Soviet Ground Forces. The first prototype made its maiden flight on 22 February 1975. After testing, the aircraft went into series production in 1978 at Tbilisi in the Soviet Republic of Georgia. Russian air and ground forces nicknamed it "Grach" ("Rook").

Early variants included the Su-25UB two-seat trainer, the Su-25BM for target-towing, and the Su-25K for export customers. Upgraded variants developed by Sukhoi include the Su-25T and the further improved Su-25TM (also known as Su-39). By year 2007, the Su-25 is the only armoured airplane still in production except the Su-34 whose production just started. It is currently in service with Russia and various other CIS states as well as export customers.

During its more than twenty-five years in service, the Su-25 has seen combat with several air forces. It was heavily involved in the Soviet war in Afghanistan, flying counter-insurgency missions against the Mujahideen. The Iraqi Air Force employed Su-25s against Iran during the 1980–89 Iran–Iraq War. Most of them were later destroyed or fled to Iran in the 1991 Persian Gulf War. In 1993, Abkhazian separatists used Su-25s against Georgians during the Abkhazian War. Eight years later, the Macedonian Air Force employed Su-25s against Albanian insurgents in the 2001 Macedonia conflict, and in 2008, Georgia and Russia reportedly used Su-25s in the South Ossetian conflict.

In early 1968, the Soviet Ministry of Defence decided to develop a specialised shturmovik armoured assault aircraft in order to provide close air support for the Soviet Ground Forces. The idea of creating a ground-support aircraft came about after analysing the experience of shturmovaya (attack) aviation during World War II, and in local wars during the 1950s and 1960s.[4] The Soviet fighter-bombers in service or under development at this time (Su-7, Su-17, MiG-21 and MiG-23) did not meet the requirements for close air support of the army.[4] They lacked essential armour plating to protect the pilot and vital equipment from ground fire and missile hits, and their high flight speeds made it difficult for the pilot to maintain visual contact with a target. Having taken into account these problems, Pavel Sukhoi and a group of leading specialists in the Sukhoi Design Bureau started preliminary design work in a comparatively short period of time, with the assistance of leading institutes of the Ministry of the Aviation Industry and the Ministry of Defence

In March 1969, a competition was announced by the Soviet Air Force that called for designs for a new battlefield close-support aircraft. Participants in the competition were the Sukhoi Design Bureau and the Design Bureaus of Yakovlev, Ilyushin and Mikoyan. Sukhoi finalised its "T-8" design in late 1968, and began in work on the first two prototypes (T8-1 and T8-2) in January 1972. The T8-1, the first airframe to be assembled, was completed just before a major national holiday on 9 May 1974. However, it did not make its first flight until 22 February 1975, after a long series of test flights by Vladimir Ilyushin. The Su-25 surpassed its main competitor in the Soviet Air Force competition, the Ilyushin Il-102, and series production was announced by the Ministry of Defence.

During flight-testing phases of the T8-1 and T8-2 prototypes' development, the Sukhoi Design Bureau's management proposed that the series production of the Su-25 should start at Factory No. 31 in Tbilisi, Soviet Republic of Georgia, which at that time was the major manufacturing base for the MiG-21UM "Mongol-B" trainer. After negotiations and completion of all stages of the state trials, the Soviet Ministry of Aircraft Production authorised manufacture of the Su-25 at Tbilisi, allowing series production to start in 1978.

In the late 1980s and early 1990s, several Su-25 variants appeared, including modernised versions, and variants for specialised roles. The most significant designs were the Su-25UB dual-seat trainer, the Su-25BM target-towing variant, and the Su-25T for antitank missions. In addition, an Su-25KM prototype was developed by Georgia in co-operation with Israeli company Elbit Systems in 2001, but so far this variant has not achieved much commercial success. The Su-25 is the only armoured airplane still in production in 2007.

The Russian Air Force operates the largest number of Su-25s, and has plans to upgrade older aircraft to the Su-25SM variant. However, this process has been slowed due to a funding shortfall, by early 2007 only seven aircraft had been modified.

General characteristics

* Crew: one pilot

* Length: 15.33 m (50 ft 11)

* Wingspan: 14.36 m (47 ft 1 in)

* Height: 4.80 m (15 ft 9 in)

* Wing area: 30.1 m² (324 ft²)

* Empty weight: 10,740 kg (23,677 lb)

* Loaded weight: 16,990 kg (37,456 lb)

* Max takeoff weight: 20,500 kg (45,194 lb)

* Powerplant: 2× Tumansky R-195 turbojets, 44.18 kN (9,480 lbf) each

Performance

* Maximum speed: 950 km/h (590 mph, Mach 0.82)

* Combat radius: 375 km (235 mi)

* Ferry range: 2,500 km (1,553 mi)

* Service ceiling: 10,000 m (22,200 ft)

* Rate of climb: 58 m/s (11,400 ft/min)

* Wing loading: 584 kg/m² (119 lb/ft²)

* Thrust/weight: 0.51

Armament

* 1 × GSh-30-2 30mm cannon with 250 rounds

* 11 hardpoints for up to 4,400 kg (9,700 lb) of disposable ordnance, including rails for 2 × R-60 (AA-8 'Aphid') or other air-to-air missiles for self-defence and a wide variety of general-purpose bombs, cluster bombs, gun pods, rocket pods, laser-guided bombs, and air-to-surface missiles such as the Kh-25ML or Kh-29L

Truck Modification by Dwight Sipler

1 6

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.

AADS Modification. by Brandon

Took off SAM from the truck and now i can put it in a moc without the truck if i want.

Body Modification e Piercings by Circe Bonatelli

experiment by Alex Kikky

modification

First Cymru - SL63 GBV (67434) by Joshua's Paperbuses

Paperbus Net of 67434, an Enviro 300 in First Cymru's Swansea Fabian Way Park & Ride Livery

Original Net by Peter Fray

Modifications and Livery by Joshua Temple

Palais de Fontainebleau (Seine-et-Marne) - La Cour des Adieux by pepandtim

The Postcard

A postally unused carte postale that was printed by L. Ménard of Fontainebleau. 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.

Ludlow - St Laurence Church - Roof by Kimhaz - Here and There

The C16th wooden roof is coloured red, green and gold. It is embellished with angels and heraldic motifs.

The parish church was established as a place of worship in association with the founding of Ludlow by the Normans in the late 11th century. It is situated atop the hill around which the medieval town developed. The church was rebuilt in the year 1199 and has had several later additions and modifications. The tower is 135 feet (41 metres) high and commands expansive views of the town and surrounding countryside. Notable features include an extensive set of misericords in the choir stalls as well as fine stained glass windows. The church is is also known as "The Cathedral Of The Marches".

Ludlow is a market town in Shropshire. It sits near the confluence of the rivers Corve and Teme. The oldest part is the medieval walled town, founded in the late 11th century after the Norman conquest of England. It is centred on a small hill which lies on the eastern bank of a bend of the River Teme. Situated on this hill are Ludlow Castle and the parish church, St Laurence's, the largest in the county. From there the streets slope downward to the River Teme, and northward toward the River Corve. The town is in a sheltered spot beneath Mortimer Forest and the Clee Hills, which are clearly visible from the town.

Ludlow has nearly 500 listed buildings, including examples of medieval and Tudor-style half-timbered buildings. The town was described by Sir John Betjeman as "probably the loveliest town in England".

1995 Nissan 240SX by Foden Alpha

Second generation 240SX with minor modifications and decals.

Version 4 by cjonthehudson

For C, two modifications. Original not mine.

VIA 202 Modifications by Tim Hayman

4 3

Here's a graphic showing the basic modifications I made to the Athearn RTR SW1000 to make it a better match for the prototype in its current form.

There are still a few other minor details I could change, but these have to do with the handrails and are a major nuisance to do with the flimsy plastic Athearn uses on their handrails. The row of vertical grabs on the hood should also be moved over to go between the louvers, but I decided that was not worth changing.

USB Stick (Uncappped) by Nick Ames

This is a custom case I made for a USB stick/USB drive. (The original case was ugly and flimsy.)

Lighthouse in Utah?! by certified su

3 15

Photoshop Contest

www.flickr.com/groups/photoshopcontest/discuss/7215759436...

Week 81 - Bremerhaven lighthouse ( raw image by djune )

Gazelle Modification. by Chris Riley

Smart EQ Modifications by Paul Chasse

Easy stuff to do to tighten up your iOtpron SmartEQ or Pro and make it enjoyable to use.

Body Modification by Alon Alphaville

fashion.doubleasl.com/blog/what-is-in-town/

My Delorean Modifications by Chris

The only thing that kind of bothers me still is the squareness of the flux bands, but i'll think up a solution some time down the line.

Version 1 by cjonthehudson

For C, two modifications. Original not mine.

piercings by mynameistonks

1 1

Crazy Mercedez Modification by Alexander David

Morris Minor Pick up (4x4 Chassis Modification) by Opel Bedfauxhall

5 1

Seen at the 2010 Stafford Transport Show

Modification by ***Andreja***

2 4

as requested ^^

Idealian head modification by hearts_murmur

3 8

From the moment I took this guy's face off, his weird brain elastic mechanism made me nervous. I wanted to tighten his strings but I'm supposed to trust a stupid brain thing??? What if the tension snaps the brain in half? Or breaks the headback? (I mean, the headback already has "cracks" in it and everything!) I couldn't really find any evidence that it was doomed (just people wondering how to use it), but still, I don't trust it.

So I used an exacto knife to carve little notches on the neck hole, and now it's strung with a keyring. Actually I think that ring came from another doll. But anyway, I trust this a lot more!

Just posting it up for anyone else to use as a reference if they want to try it :D

Legoland Castle modification. by Penciller Zero

Working on fitting this into a layout I have and the original Castle was too wide for the space so I followed the basic instructions and just about kept everything (had to add in some darker mason bricks to stretch it) to fit in a 4 x 20 space.

Kept a little more on the right and left one stud wider to have more gate entrance (right side) flanked by the white banners and I believe that is some market stall with the yellow/red awning and more foliage on the left.

Merlin Modification by ekawrecker

5 2

A nearside view of MB90 taken at the same time as my previous upload showing how the centre door had been removed by Location Facilities.

The doors and associated equipment were reinstated not long after the bus was initally bought for preservation in 1990 using parts from a scrap MBS also operated by this company if I remember correctly.

TRAC1443 by getrachier

U.S. Air Force Fact Sheet

E-3 SENTRY (AWACS)

E-3 Sentry celebrates 30 years in Air Force's fleet

Mission

The E-3 Sentry is an airborne warning and control system, or AWACS, aircraft with an integrated command and control battle management, or C2BM, surveillance, target detection, and tracking platform. The aircraft provides an accurate, real-time picture of the battlespace to the Joint Air Operations Center. AWACS provides situational awareness of friendly, neutral and hostile activity, command and control of an area of responsibility, battle management of theater forces, all-altitude and all-weather surveillance of the battle space, and early warning of enemy actions during joint, allied, and coalition operations.

Features

The E-3 Sentry is a modified Boeing 707/320 commercial airframe with a rotating radar dome. The dome is 30 feet (9.1 meters) in diameter, six feet (1.8 meters) thick, and is held 11 feet (3.33 meters) above the fuselage by two struts. It contains a radar subsystem that permits surveillance from the Earth's surface up into the stratosphere, over land or water. The radar has a range of more than 250 miles (375.5 kilometers). The radar combined with an identification friend or foe, or IFF, subsystem can look down to detect, identify and track enemy and friendly low-flying aircraft by eliminating ground clutter returns that confuse other radar systems.

Major subsystems in the E-3 are avionics, navigation, communications, sensors (radar and passive detection) and identification tools (IFF/SIF). The mission suite includes consoles that display computer-processed data in graphic and tabular format on video screens. Mission crew members perform surveillance, identification, weapons control, battle management and communications functions.

The radar and computer subsystems on the E-3 Sentry can gather and present broad and detailed battlefield information. This includes position and tracking information on enemy aircraft and ships, and location and status of friendly aircraft and naval vessels. The information can be sent to major command and control centers in rear areas or aboard ships. In time of crisis, this data can also be forwarded to the president and secretary of defense.

In support of air-to-ground operations, the Sentry can provide direct information needed for interdiction, reconnaissance, airlift and close-air support for friendly ground forces. It can also provide information for commanders of air operations to gain and maintain control of the air battle.

As an air defense system, E-3s can detect, identify and track airborne enemy forces far from the boundaries of the United States or NATO countries. It can direct fighter-interceptor aircraft to these enemy targets. Experience has proven that the E-3 Sentry can respond quickly and effectively to a crisis and support worldwide military deployment operations.

AWACS may be employed alone or horizontally integrated in combination with other C2BM and intelligence, surveillance, and reconnaissance elements of the Theater Air Control System. It supports decentralized execution of the air tasking order/air combat order. The system provides the ability to find, fix, track and target airborne or maritime threats and to detect, locate and ID emitters. It has the ability to detect threats and control assets below and beyond the coverage of ground-based command and control or C2, and can exchange data with other C2 systems and shooters via datalinks.

With its mobility as an airborne warning and control system, the Sentry has a greater chance of surviving in warfare than a fixed, ground-based radar system. Among other things, the Sentry's flight path can quickly be changed according to mission and survival requirements. The E-3 can fly a mission profile approximately 8 hours without refueling. Its range and on-station time can be increased through in-flight refueling and the use of an on-board crew rest area.

Background

Engineering, test and evaluation began on the first E-3 Sentry in October 1975. In March 1977 the 552nd Airborne Warning and Control Wing (now 552nd Air Control Wing, Tinker Air Force Base, Okla.), received the first E-3s.

There are 32 aircraft in the U.S. inventory. Air Combat Command has 27 E-3s at Tinker. Pacific Air Forces has four E-3 Sentries at Kadena AB, Japan and Elmendorf AFB, Alaska. There is also one test aircraft at the Boeing Aircraft Company in Seattle.

NATO has 17 E-3A's and support equipment. The first E-3 was delivered to NATO in January 1982. The United Kingdom has seven E-3s, France has four, and Saudi Arabia has five. Japan has four AWACS built on the Boeing 767 airframe.

As proven in operations Desert Storm, Allied Force, Enduring Freedom, Iraqi Freedom, and Odyssey Dawn/Unified Protector the E-3 Sentry is the world's premier C2BM aircraft. AWACS aircraft and crews were instrumental to the successful completion of operations Northern and Southern Watch, and are still engaged in operations Noble Eagle and Enduring Freedom. They provide radar surveillance and control in addition to providing senior leadership with time-critical information on the actions of enemy forces. The E-3 has also deployed to support humanitarian relief operations in the U.S. following Hurricanes Rita and Katrina, coordinating rescue efforts between military and civilian authorities.

The data collection capability of the E-3 radar and computer subsystems allowed an entire air war to be recorded for the first time in the history of aerial warfare.

In March 1996, the Air Force activated the 513th Air Control Group, an AWACS Reserve Associate Program unit which performs duties on active-duty aircraft.

During the spring of 1999, the first AWACS aircraft went through the Radar System Improvement Program. RSIP is a joint U.S./NATO development program that involved a major hardware and software intensive modification to the existing radar system. Installation of RSIP enhanced the operational capability of the E-3 radar electronic counter-measures and has improved the system's reliability, maintainability and availability.

The AWACS modernization program, Block 40/45, is currently underway. Bock 40/45 represents a revolutionary change for AWACS and worldwide Joint Command and Control, Battle Management, and Wide Area Surveillance. It is the most significant counter-air battle management improvement in Combat Air Forces tactical Command and Control history. The Block 40/45 Mission Computer and Display upgrade replaces current 1970 vintage mission computing and displays with a true open system and commercial off-the-shelf hardware and software, giving AWACS crews the modern computing tools needed to perform, and vastly improve mission capability. Estimated fleet upgrades completion in ~2020.

General Characteristics

Primary Function: Airborne battle management, command and control

Contractor: Boeing Aerospace Co.

Power Plant: Four Pratt and Whitney TF33-PW-100A turbofan engines

Thrust: 20,500 pounds each engine at sea level

Rotodome: 30 feet in diameter (9.1 meters), 6 feet thick (1.8 meters), mounted 11 feet (3.33 meters) above fuselage

Wingspan: 145 feet, 9 inches (44.4 meters)

Length: 152 feet, 11 inches (46.6 meters)

Height: 41 feet, 9 inches (13 meters)

Weight: 205,000 pounds (zero fuel) (92,986 kilograms)

Maximum Takeoff Weight: 325,000 pounds (147,418 kilograms)

Fuel Capacity: 21,000 gallons (79,494 liters)

Speed: optimum cruise 360 mph (Mach 0.48)

Range: more than 5,000 nautical miles (9,250 kilometers)

Ceiling: Above 29,000 feet (8,788 meters)

Crew: Flight crew of four plus mission crew of 13-19 specialists (mission crew size varies according to mission)

Unit Cost: $270 million (fiscal 98 constant dollars)

Initial operating capability: April 1978

Inventory: Active force, 32 (1 test); Reserve, 0; Guard, 0

Point of Contact

Air Combat Command, Public Affairs Office; 130 Andrews St., Suite 202; Langley AFB, VA 23665-1987; DSN 574-5007 or 757-764-5007; e-mail: accpa.operations@langley.af.mil

www.af.mil/information/factsheets/factsheet.asp?fsID=98

Smart EQ Modifications by Paul Chasse

2 4

Easy stuff to do to tighten up your iOtpron SmartEQ or Pro and make it enjoyable to use.

2010-10-15 Blasimon, Abbey of Saint-Nicolas, Gironde, Aquitaine 33 by ellapronkraft.

Saint- Nicolas Blasimon was once a small monastery under the patronage of Saint -Maurice. It depended successively La Sauve and Saint Jean d'Angely . Mentioned in the tenth century , it has left little trace in history. Its unique four- vaulted bays ship warheads is the result of numerous modifications that have affected the built in small rubble early church.

the facade

The happiest part of these works is the rehabilitation of the facade, the mid-twelfth century. We then drew up a rectangular screen divided by four pairs of slender engaged columns, which still exists at the end of an avenue of trees in a romantic desire valley. Few works tremble such a joy. At ground level, the profile of column bases - two tori surrounding a studded bra besants - continues uninterrupted in stylobate tompu at the foot of the frontispiece to provide a sitting elegantly engineered, stable and pleasant to the eye. At the center of the ground floor opens a broken door with five arches carved ébrasent is largely under a beautiful archi . To meet this monumental entrance, right and left, in the frame drums paired, two small arches , drawing feints doors whose single roller falls on two columns facing each other. Almost halfway up a thick cornice corbels , covered with a little glaze, powerfully underlines the nakedness of the floor, where a large bay semicircular slit in the thirteenth century geminal arcade, stands alone in center of the facade . Both narrow and slender side panels to the floor overcome the blind arches on the ground floor remained undecorated , indulging in their eye recount the beauty of the limestone unit blond . If a second ledge was provided at very simple capitals crowning the tall columns of the facade, it has not been built , and there is , fortunately, not weighed down by the perfection of this sensitive geometry erected to serve as a backdrop to one of the most prodigious creations carved Aquitaine. The fifteenth century only built over the entire width of the frontispiece, a bell gable wall at the bottom decorated with hooks, weighted at birth crawling by two small pinnacles ; four bays aligned pointed arch surmounted by a fifth the same ajourent and make the set as a slight additional arcade open sky background.

sculpture

Concentrated in the blind bays , the central portal , window and coving, carved ornament of the church has largely escaped the revolutionary vandalism, which however mutilated heads in 1793 , and projects restaurateurs Giraud in 1848. A foodservice retailer also conducted with great care in recent years, not only partially affected. This is one of the vertices of the Romanesque Southwest in its final phase : the splendor of the figures, verve and freedom of invention ornament, grace and elegance that give the whole sensitivity and the address of a stunning scissors are strictly exceptional . As the lateral portal, fat stems, swollen arcades, run and hug wholesale foliage almost completely detached from the mass of the abacus, and even erosion of limestone lends them, if possible, a charm more. It is the same for palmettes second, third and fifth arches from inside. Their unusual size, strength and perfection of their curves, the nervousness of the chasing and their full implementation contribute to making the exceptional setting entrench storied arches . The capitals are in the same vein, but wear makes them sometimes tricky to decipher. Bases of the northern arcade, are , left, two birds strangled by a man they peck ears, right, two very spoiled monsters. The southern false door shows a vegetable basket and characters amidst foliage. The central portal, the line offers baskets , left to right: a lion face, a marked Far Eastern character entwined basil tamed by man, griffins, a juggler dancing accompanied by two musicians playing the sitting a lyre , the other viola - a scene that particularly well astragalus loaded beads and saw- tooth stresses - and a worn down characters about which has just been restored. The splay of this right under the arch intrados a basket of modern scrolls, then a man between two lions, a man supported by two birds, two characters pruning a tree and a tasty vegetable trash the lower half of which is new.

But the most beautiful part of this program lies in its arches with figures. The concave roller, first, where four angels standing on the clouds lifted their high - haloed wings instead of missing their heads, accompanied by slight rise in the arch of the Paschal Lamb who sat in the key, and is no longer present by its circular mandorla. They hold the instruments of the Passion, including the crown of thorns is still discernible on the left, and maybe whip whipping. They are the brothers of the great creations that name: Aulnay, Pont l'Abbé, Chadenac . As are relatives of the same current figures of Virtues Vices slaying in one of the many illustrations of Psychomachia, probably the most beautiful. It is effortless that the thin ideal figures of the Virtues, whose clothes small tight folds mold body that extends to the extreme, outweigh the Vices, hideous beasts swarming and crawling they trample . Sword or spear, protected by those they wore long shields to 1160-1170, and that suits their elegant mannerisms, they dominate more than they fight victorious, if one may say, from eternity. Languedoc distant origin of this growth is still perceptible in plastic Virtue right at the bottom of the arch, the most beautiful perhaps, crossing her long legs like a courtship dance.

The archivolte is dedicated to the hunt. Departures of the arc admirable isolated plant stylize comm: in staging Shakespeare, the dark world of the forest. The tree on the left has a tiny archer. Unfolds over a pack, encouraged by a ringer wrong; Dog sitting waiting for the signal to the end hallali where deer, forced is taken hock and throat, and still covered by a second archer, found that simultaneous presentation of successive elements of an action so dear to the narrative technique of the novel world. The right half of the arch has suffered more. One can see the struggle of a centaur against a monster, and a beautiful character drawn, leaning on his spear. Such is the extraordinary portal, crowned with the glory that should by a cornice with beautiful corbels responsible for animal and human figures wearing masks cord carved entablature, worthy of its tasty fullness and surmounted buxom palmettes of the single bay in the center of the facade.

(from: Romanesque Guyenne ; Pierre Dubourg Noves , Ed Zodiac , Coll Night Time, 1979)

1:72 Lockheed-Martin AF-16A 'Strike Falcon'; aircraft ‘115' of No. 1 Squadron, Royal Jordanian Air Force (RJAF; سلاح الجو الملكي الأردني, Silāḥ ul-Jawu al-Malakī ’al-Urdunī), Azraq AB, summer 2016 (Whif/kitbashing) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Lockheed Martin (originally developed by General Dynamics) F-16 Fighting Falcon is originally a single-engine multirole fighter aircraft, developed for the United States Air Force (USAF). Designed as an air superiority day fighter, it evolved into a successful all-weather multirole aircraft. Over 4,500 aircraft have been built since production was approved in 1976. Although no longer being purchased by the U.S. Air Force, improved versions are still being built for export customers.

One of these recent developments is the AF-16 “Strike Falcon”, a thorough update of the original fighter design as a 4.5 generation aircraft and optimized for the attack role. The prototype was presented to the public at the 2012 Singapore Air Show, and the type is intended for the export market as a simpler and less costly alternative to the F-35 multi role SVTOL aircraft.

Compared to the original F-16 fighter the new attack aircraft underwent considerable modifications – the most obvious is a new wing with more area (effectively, almost doubling it) and a much thicker profile, a V-tail layout and a fixed Divertless Supersonic Intake (DSI).

The AF-16’s new delta wing was designed around a large single piece of carbon fiber composite material. The wing has a span of 11 meters, with a 55-degree leading edge sweep and can hold up to 20,000 pounds of fuel – extending range and loitering time considerable. The purpose of the high sweep angle was to allow for a thick wing section to be used while still providing limited transonic aerodynamic drag, and to provide a good angle for wing-installed conformal antenna equipment.

Another side effect of the new wing’s shape is a highly reduced radar signature, which was further improved by the angular, canted twin tail fins and the DSI’s design that absorbs much of incoming frontal radar beams and totally blocks the moving parts of the jet engine.

A simple afterburner nozzle for the F110-GE-100 afterburning turbofan was retained, even though a 2D and even 3D vectoring thrust nozzle could be mounted.
The AF-16 features the same AN/APG-68 of the F-16C/D Block 25, but it has been optimized for the ground attack role, even though air combat capabilities are retained. This includes improved ground-mapping, Doppler beam-sharpening, ground moving target indication, sea target, and track while scan (TWS) for up to 10 targets.

The system provides all-weather autonomous detection and targeting for Global Positioning System (GPS)-aided precision weapons, SAR mapping and terrain-following radar (TF) modes, as well as interleaving of all modes. The system is also fully compatibility with Lockheed Martin Low-Altitude Navigation and Targeting Infra-Red for Night (LANTIRN) system, which was integrated into the forward fuselage (instead of pods on the F-16).

The AF-16 quickly attained interest, and one of the first countries to order the Strike Falcon is Jordan. Jordan gained independence in 1946, but its first air bases had been set up in 1931 by the Royal Air Force. By 1950, Jordan began to develop a small air arm, which came to be known as the Arab Legion Air Force (ALAF).

In July of 1994, King Hussein of Jordan signed a peace treaty with Israel, ending over 40 years of hostility between these two nations. Shortly thereafter, the government of Jordan began to lobby within the American government to purchase as many as 42 F-16A/B Fighting Falcons.

In recent years, U.S. military assistance has been primarily directed toward upgrading Jordan’s air force, as recent purchases include upgrades to U.S.-made F-16 fighters, air-to-air missiles, and radar systems.

Following the 1994 Israel–Jordan peace treaty and the lending of Jordanian support to the United States during the Persian Gulf War, the U.S. recommenced full military relations with Jordan starting with the donation of 16 General Dynamics F-16 Fighting Falcon (12 F-16A and 4 F-16B) in storage at the Aerospace Maintenance and Regeneration Center (AMARC) at Davis Monthan AFB. Deliveries commenced in 1997 and were completed the following year, replacing the Mirage F1CJs in the air-defense role.

Other types, especially the ageing F-5E/F fleet, needed replacement, too. The RJAF’s F-5E/F, as well as the remaining Mirage F.1s in the ground support role, took several years after the F-16’s arrival until the AF-16A could finally fill this gap in the RJAF’s arsenal. Fourteen machines had been ordered in 2012 (twelve AF-16A single seaters plus two AF-16B two seaters for conversion training) and were delivered in early 2015, allocated to No. 1 Squadron at Azraq. For twelve more an option had been agreed upon, while the RJAF F-16As will focus on the interceptor and air superiority role.

General characteristics:

Crew: 1

Length (incl. pitot): 52 ft 1 1/2 in (15.91 m)

Wingspan: 36 ft (10.97 m)

Height: 12 ft 4 1/2 in (3,78 m)

Wing area: 590 ft² (54.8 m²)

Empty weight: 18,900 lb (8,570 kg)

Loaded weight: 26,500 lb (12,000 kg)

Max. takeoff weight: 42,300 lb (19,200 kg)

Powerplant:

1× F110-GE-100 turbofan with 17,155 lbf (76.3 kN) dry thrust and

28,600 lbf (127 kN) with afterburner

Performance:

Maximum speed: Mach 1.2 (915 mph, 1,470 km/h) at sea level,

Mach 1.6 (1,200 mph, 1,931 km/h) at altitude

Range: 1,324 nmi; 1,521 mi (2,450 km) with internal fuel

Ferry range: 2,485 nmi (2,857 mi, 4,600 km) with drop tanks

Service ceiling: 42,000 ft (13,000 m)

Rate of climb: 50,000 ft/min (254 m/s)

Wing loading: 44.9 lb/sq ft (219 kg/m2)

Thrust/weight: 1.095

Armament:

1× 20 mm (0.787 in) M61A2 Vulcan 6-barrel Gatling cannon with 511 rounds

A total of nine hardpoints for Air-to-air missile launch rails and a wide range of guided and unguided

air-to-ground ordnance with a capacity of up to 17,000 lb (7.700 kg) of stores

The kit and its assembly:

This whif kitbashing was inspired by real design studies from General Dynamics that show evolutionary developments of the F-16 in a no-tail configuration, but with an enlarged diamond-shaped wing shape (much like the F-22's), obviously based on the F-16XL. Additionally you find several similar fantasy CG designs in the WWW – the basic idea seems to have potential. And when I stumbled across the remains of a Revell X-32 in my stash and an Intech F-16A kit, I wondered if these could not be reasonably combined...?

What sounds easy eventually ended up in a massive bodywork orgy. The Intech kit (marketed under the Polish Master Craft Label) is horrible, the worst F-16 kit I have ever seen or tried to build - it's cheap and you get what you pay for. Maybe the PM Model F-16 is worse (hard to believe, but sprue pics I saw suggest it), but the Intech kits are …challenging. This thing is like a blurred picture of an F-16: you recognize the outlines, but nothing is sharp and no part matches any other! Stay away.

Well, actually only the fuselage, the cockpit and parts of the Intech kit's landing gear survived. The X-32 kit is, on the other side, a sound offering. It was not complete anymore, since I donated parts like the cockpit and the landing gear to my SAAB OAS 41 'Vيًarr' stealth aircraft from Sweden some time ago, but there were many good parts left to work with.

Especially the aerodynamic surfaces (wings and V-tail) attained my interest: these parts match well with the F-16 fuselage in size and shape if you look from above, and the leading edges even blend well with the F-16 LERXs. But: the X-32's wings are much, much thicker than the F-16's, so that the original blended wing/fuselage intersection does not match at all.

Additionally, the X-32's bulged landing gear wells in the wings had to go, so these had to be filled as an initial step. The wing roots were roughly cut into the F-16 kit's shape and glued onto the fuselage. After drying, the whole blended wing/fuselage intersection had to be sculpted from scratch - several layers of putty and even more wet sanding sessions were necessary. I stopped counting after turn five, a tedious job. But it eventually paid out…

Furthermore decided to change the F-16's chin air intake and implant parts from the X-32 divertless supersonic "sugar scoop" intake. Such an arrangement has actually been tested on an F-16, so it's not too far-fetched, and its stealthy properties make a welcome update. The respective section from the X-32's lower front fuselage was cut away and had to be modified, too, because it would originally not fit at all under the F-16's front. The intake was carefully heated at the edges and the side walls bent inwards - I was lucky that no melting damage occurred! Inside of the new intake, the upper, bulged part was implanted, too, so that in real life the jet engine parts would be protected from direct frontal radar detection.

The front wheel position was retained. As a consequence of the new, much more voluminous and square air intake, the rather round section from the main landing gear onwards had to be sculpted for a decent new fuselage shape, too. But compared to the massive wing/fuselage body work, this was only a minor task.

The F-16A's fuselage was not extended, but for a different look I decided to eliminate the single fin and rather implant the X-32's outward-canted twin fins - the original extensions that hold the F-16's air brakes and now blend into the new wings' trailing edge were a perfect place, and as a side benefit they'd partly cover the jet nozzle. The latter was replaced by a respective spare part from an Italeri F-16 – the Intech nozzle is just a plain, conical tube!

The landing gear was mostly taken over from the Intech F-16, even though it is rather rough, as well as the pylons. The ordnance was puzzled together: the Sidewinders and the cropped drop tanks come from the Intech kit (the latter have a horribly oval diameter shape and the triangulare fins are a massive 1mm thick!), the Paveway bombs come from a Hasegawa air-to-ground weapons set.

Painting and markings:

The livery is somewhat inspired by a CG illustration of a fictional Big-Wing-F-16IN in Jordan colors. I also found a desert camouflage rather interesting for this aircraft – F-16s are typically grey-in-grey, with rare exceptions. Anyway, the paint scheme I applied is pure fiction fictional. I wanted a multi-color scheme with rather sober and subdued colors, partly inspired by contemporary Iranian MiG-29s.

I ended up with three upper and a single lower tone. The scheme is roughly based on the pattern that is applied to Venezuelan F-16s, but with desert colors: these are a pale, yellow-ish sand (Humbrol 103, Cream), a medium sand brown (Humbrol 187, Dark Stone) and a dull medium grey (Revell 75, RAL 7030). The undersides were painted in a pale blue (Humbrol 23, RAF Duck Egg Blue).

Since a lot of the (already rather vague) surface details of the Intech kit was lost through sanding, I simulated panels through dry painting, later some panel lines were manually added with a pencil, too. A light weathering was done with a thin black in wash. The cockpit was painted in Neutral Grey (FS 36173), and the canopy was tinted with a thinned mix of clear brown and yellow – and it turned out nicely! Even though the rear part had to be painted over, because the clear part’s fit with the rest of the fuselage was poor and putty had to be used to fill gaps and sculpt a decent rear end.

Most of the decals come from a Mirage F.1 decal sheet from FFSMC Productions, a French manufacturer. Together with the pale desert colors and the subdued RJAF markings, the AF-16A looks better and more coherent than expected, esp. after a uniform coat of matt acrylic varnish had been applied (from a rattle can).

A bold idea, with many doubts on the way, esp. because of the massive body sculpting. But once the kitbashed model was painted and sealed under matt varnish, things suddenly looked pretty cool – a positive surprise. Even though I will certainly never ever touch an Intech F-16 again…

The Cathedral Church of St Andrew Wells by The Shaldives

The Cathedral Church of St Andrew, Wells (Wells Cathedral)

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1382901

Date first listed: 12-Nov-1953

Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN

County: Somerset

District: Mendip (District Authority)

Parish: Wells

National Grid Reference: ST 55148 45885

Details

Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.

Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.

Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.

MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.

PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.

EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.

North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.

Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.

South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.

West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.

INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.

The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.

Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.

Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.

FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.

Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.

North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.

Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.

South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.

Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.

Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.

MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.

North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.

St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.

North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.

South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.

STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.

SAMR Modification by soxnevad1

Project designed by Ashley Kannan

Tattoo by NoKuA

JUPITER by Madison McKenna

7 1

photo composite & accompanying poem I wrote today

Bizarre Body Modifications by IZATRINI.com

Posted via web from izatrini's posterous

last modifications 2 by Andrés Araos

00. modifications thumb by wes_turngrate

thumbnail for album

21 08 15 Evo Tool Modifications by T M

1:72 SdKfz. 190 "Parder" with Thoma shields; 511th s.Pz.Abt., Berlin region, summer 1946 (Heer '46/Kitbashing) by Dizzyfugu

+++ 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 Parder was a successor of the Tiger I & II tanks, combining the latter's thick armor with the armor sloping used on the Panther medium tank (which was, in fact, inspired by Soviet designs, most of all by the T-34). While several Entwicklungspanzer designs were under development, the Parder was a short-term attempt to overcome the Tiger II's main shortcoming: its weight of almost seventy metric tons (it was protected by up to 180 mm/7.1" of front armor!), the resulting lack of mobility and an overburdened drivetrain originally intended for a lighter vehicle. Leaking seals and gaskets also took their toll on reliability.

In order to keep the development phase short the Parder used basically the same chassis as the Tiger II, as well as the engine, transmission and the long barreled 8.8 cm KwK 43 L/71 gun. But it reveiced a new hull with optimized armor and many detail modifications that reduced the overall weight by more than ten tons, getting overall weight back to the level of the Tiger I

The SdKfz. 190 used a conventional hull design with sloped armor from all sides, resembling the layout of the T-34 a lot. Its was so effective that the front armor could be reduced to 120 mm (4.7 in) with only little loss in protection. The crew was reduced to four, only the driver remained in the hull and the front machine gun was omitted, too.

The 'Parder' (archaic German term for leopard), how the vehicle was semi-officially christened by the Entwicklungskommission Panzer, had a rear mounted engine and used nine steel-tired overlapping road wheels per side with internal springing, mounted on transverse torsion bars.

The turret had been designed by Krupp and featured a rounded front and steeply sloped sides, with a difficult-to-manufacture curved bulge on the turret's left side to accommodate the commander's cupola (often related to as the "Porsche" turret). The powerful 8.8 cm KwK 43 L/71 gun was combined with the Turmzielfernrohr 9d (German "turret telescopic sight") monocular sight by Leitz - a very accurate and deadly weapon.

During practice, the estimated probability of a first round hit on a 2 m (6 ft 7 in) high, 2.5 m (8 ft 2 in) wide target only dropped below 100 percent at ranges beyond 1,000 m (0.62 mi), to 95–97 percent at 1,500 metres (0.93 mi) and 85–87 percent at 2,000 m (1.2 mi), depending on ammunition type. Recorded combat performance was lower, but still over 80 percent at 1,000 m, in the 60s at 1,500 m and the 40s at 2,000 m.

Penetration of armored plate inclined at 30 degrees was 202 and 132 mm (8.0 and 5.2 in) at 100 m (110 yd) and 2,000 m (1.2 mi) respectively for the Panzergranate 39/43 projectile (PzGr—armor-piercing shell), and 238 and 153 mm (9.4 and 6.0 in) for the PzGr. 40/43 projectile between the same ranges. The Sprenggranate 43 (SpGr) high-explosive round was available for soft targets, or the Hohlgranate or Hohlgeschoss 39 (HlGr—HEAT or High explosive anti-tank warhead) round, which had 90 mm (3.5 in) penetration at any range, could be used as a dual-purpose munition against soft or armored targets.

Like all German tanks, the Parder had a gasoline engine; in this case the same 700 PS (690 hp, 515 kW) V-12 Maybach HL 230 P30 which powered the Panther, Tiger I and Tiger II tanks. The Tiger II was under-powered with it, though, and consumed a lot of fuel, which was in short supply for the Germans, but in the Parder it proved to be adequate, even though performance was not oustanding. The transmission was the Maybach OLVAR EG 40 12 16 Model B, giving eight forward gears and four reverse, which drove the steering gear.

In order to distribute the tank's weight an extra wide track was used, but this meant that each tank was issued with two sets of tracks: a normal "battle track" and a narrower "transport" version used during rail movement. The transport tracks reduced the overall width of the load and could be used to drive the tank short distances on firm ground.

The Parder was, like many German late war designs, rushed into combat, but thanks to its Tiger I & II heritage many mechanical teething problems had already been corrected. Reliability was considerably improved compared to the much heavier Tiger II, and the Parder did prove to be a very effective fighting vehicle, especially in a defensive role. However, some design flaws, such as its weak final drive units, were never corrected due to raw material shortages, and more tanks were given up by the crews than actually destroyed in combat.

The Parder was issued to heavy tank battalions of the Army (Schwere Heerespanzerabteilung – abbreviated s.H.Pz.Abt) where it replaced the Tiger I & II.

Specifications:

Crew Four (commander, gunner, loader, driver)

Weight 54 tonnes (60 short tons)

Length 7.02 metres (23 ft in) (hull only)

10.64 metres (34 ft 10 1/3 in) with gun forward

Width 3.88 metres (12 ft 9 in)

4.14 metres (13 ft 6 3/4 in) with optional Thoma shields

Height 2.84 metres (9 ft 4 in) w/o AA machine gun

Suspension torsion-bar

Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)

Fuel capacity: 820 l (180 imp gal; 220 US gal)

Armor:

30–120 mm (1.2 – 4.7 in)

Performance:

Speed

- Maximum, road: 41.5 km/h (25.8 mph)

- Sustained, road: 38 km/h (24 mph)

- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)

Operational range: 240 km (150 mi)

Power/weight: 12,96 PS/tonne (11,5 hp/ton)

Engine:

V-12 Maybach HL 230 P30 gasoline with 700 PS (690 hp, 515 kW)

Transmission:

Maybach OLVAR EG 40 12 16 B (8 forward and 4 reverse)

Armament:

1× 8.8 cm KwK 43 L/71 with 80 rounds

1× co-axial 7.92 mm Maschinengewehr 34 with 3.000 rounds

The kit and its assembly:

Something different… a whif tank! This was spawned from curiosity and the “wish” to build a German vehicle that would fit right into the E-25… E-100 range of experimental tanks.

It was to become a battle tank, and while browsing options and donation kits, I settled upon a replacement for the formidable but heavy and cumbersome Tiger B, also known as Tiger II, Königstiger or (wrongfully translated) King Tiger.

Anyway, creating a tank that would look (late war) German and still be whiffy was trickier than expected, and finally easier than expected, too. My solution would be a kit bashing: using many Tiger B parts (including the stylish Porsche tower and the running gear) and combining it with a hull that would offer better armor angles and look less “boxy”.

I effectively bashed two kits: one is the excellent 1:72 early Tiger B from Dragon, the other is Roden’s Soviet IS-3 tank – also very nice, even though the styrene is somewhat brittle.

My biggest fear was the running gear – combining the IS-3 hull with the Tiger B’s totally different legs scared me a lot – until I found that the parts from both kits (the Tiger B’s lower hull with all the suspension and the IS-3’s upper hull) could be combined rather easily combined. Just some cuts and improvised intersections, and the “new” tank hull was done!

As a side effect, the huge turret moved forward, and this considerably changes the silhouette. The IS-3’s opening had only to be widened slightly in order to accept the Porsche turret. Things matched up pretty well, also concerning size and proportions.

Otherwise, not much was changed. All wheels and tracks come from the Trumpeter Tiger B, the turret was also borrowed wholesale. I just changed some details (e. g. moving the spare track elements to the hull front), added some handles and also a heavy AA machine gun on the commander’s cupola, which is OOB, too.

Too simple? Well, for me it was not enough. For a more personal edge to the kit I decided to add Thoma skirts! Not the massive 5mm plates you frequently see on late Panzer IV tanks and its derivatives, rather the mesh type – lighter, less material-consuming, and a very special detail.

These were scratched. There are PE sets available, but that was too expensive and I was not certain if such items would fit in shape and size? So I made a cardboard template for the flanks and built a pair of skirts from styrene strips and a fine PET mesh that I had salvaged from a wallet long time ago.

The stuff is hard to glue onto something, so the styrene frame had to carry the mesh parts – and it works! The attachments to the hull were also scratched from styrene.

The Thoma shields add more width to the flat tank, but I think that they set the kit even more apart than just the borrowed IS-3 hull?

Painting and markings:

Hmmm, not totally happy with the finish. This was supposed to become a simple Hinterhalt (Ambush) paint scheme in Dark Yellow, Olive Green and Red Brown, but I did so much weathering that not much from the scheme can be recognized…

Painting was straightforward, though – I used Humbrol 94 and 173 as well as Modelmaster’s RAL 6003 as basic colors. The scheme’s benchmark is the official Tiger B scheme.

The basic colors received mottles in green on the yellow and yellow on the green and brown, and then the thing was thoroughly weathered with a black ink wash, dry-brushing, some aquarelle paint to simulate dust, and finally some pigments that simulate mud.

The tracks are made from soft vinyl, and also received a paint treatment in order to get rid of that shiny vinyl look: at first, with a mix of black and silver, which was immediately wiped off again, and later with a second, similar turn with silver and dark brown.

The mud was added just before the whole running gear was mounted as one of the final assembly stages, and final retouches were made with acrylic umbra paint.

Alas, I think I overdid it – much of the formidable and very attractive paint scheme was lost, even though the yucky, brownish finish now also works fine and looks like rough duty?

So, an experiment with good and bad results. Certainly not the last whif tank (at least one more on the agenda), and after so many aircraft a new kind of challenge. ^^

Legoland Castle modification. by Penciller Zero

Wanted a little interior details with inner courtyard, parapets, trees near a watering hole for the citizens inside the castle.

Caramel-Almond Latte Ricotta Cookies by Sarah R

A modification of these cookies: www.flickr.com/photos/reid-bee/9213305642/ which were in turn an adaptation from wearychef.com/2013/06/24/ricotta-cookies-with-nutella-swirl/. These are tender cookies made with homemade ricotta, ground coffee bean brittle, stevia and spelt flour, then rolled thin and spread with a mixture of caramel sauce, almond butter and slivered almonds. Perfect with a cup o' joe!

www.yummysmells.ca/2015/02/caramel-almond-latte-ricotta-c...

Volkswagen with modifications by EdXopl2009

Svendborg, Denmark June 27th 1974

body modification wife. by nao waka

Leica M10

Leica SUMMILUX-M 50/1.4 ASPH

Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series by Paul Maddams

Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. I didn't show it but the body has been painted a silver metallic that is actually a satin finish. I really wanted it gloss but I like this color for some reason. I used the color to restore my 65 Rambler dealer promo. My wife walked over with a box of the kids old 90's Matchbox and Hot Wheels cars that are pretty rough and she said maybe there are some good parts in here and there was this yellow truck box with all of the old cars. Kind of a silly side graphics but I was thinking maybe better than the stake bed.

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