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The fierce Kingda Ka is simply the tallest, fastest roller coaster on Earth. This remarkable thrill ride breaks all world records for coaster speed and height, zooming from
0 to 128 mph in 3.5 seconds and catapulting you 45 stories into the sky.
Get propelled horizontally at 128 mph via hydraulic launch
Hang on tight as you shoot 90 degrees into a quarter-turn
Blast 456 feet high, then plunge vertically into a 270-degree spiral
Experience weightlessness as you swoop down a valley and up a 129-foot camel hump
Kingda Ka is a roller coaster located at Six Flags Great Adventure in Jackson Township, New Jersey, USA. At its opening on May 21, 2005, it became the tallest and fastest roller coaster in the world, claiming the title from Top Thrill Dragster at Cedar Point. The train is launched by a hydraulic launch mechanism to 128 miles per hour (206 km/h) in 3.5 seconds.[1] At the end of the launch track, the train climbs the main top hat tower reaching a height of 456 feet (139.5 m).[2] Due to aviation safety concerns, the tower is equipped with three dual strobes: two mid-way up, and one on the top.
History
Kingda Ka was officially announced on September 29, 2004, at an event held for the media and enthusiasts.[3] It was revealed that the ride would become "the tallest and fastest roller coaster on earth", reaching 456 feet (139 m) high and accelerating up to 128 miles per hour (206 km/h) in 3.5 seconds.[4]
On January 13, 2005, Kingda Ka was topped off at its 456-foot (139 m) height, finishing construction.[5] A crane over 500 feet (150 m) tall was used to hoist up the highest track piece for the ride. Just approximately four months later, Kingda Ka opened to the public, media day being two days before, on May 19.
Kingda Ka was originally supposed to open on Saturday, April 23, 2005, but on April 18, 2005, Six Flags announced that Kingda Ka's opening would be delayed; media day would have been on April 21. [6] Before Kingda Ka was built, Cedar Point's Top Thrill Dragster was the tallest and fastest roller coaster on the planet.
During a test run with no passengers on June 8, 2005, a bolt failure caused damage to the launch cable resulting in closure of the ride until August 2005, and the reconfiguration of the line area.
Major malfunctions
On June 6, 2005, less than a month after its grand opening, a bolt failure caused the liner inside the trough that the launch cable travels through to come loose and create friction against the cable. The friction caused the train to not accelerate to the correct speed. The rubbing of the cable against the inside of the metal trough caused sparks and shards of metal to fly out from the bottom of the train. The engine, as it is designed, attempted to compensate by applying more force to the cable to attain the 128 mph (206 km/h) launch speed.
The brake fins—metal fins attached to the underside of some roller coaster cars that slide between brakes mounted to the track[7]—rise up into the braking position on a timing pattern, independent of the launching mechanism. The fins are mounted in steel supports that are connected to actuators that raise and lower the fins into the desired position. There are four braking zones, and each zone has about 24 individual brake fins. The fins actually caught up to the launching train as the timing pattern of the rising fins was faster than the accelerating train. The magnetic brakes began to slow the train in the launch area, and the engine tried to compensate even more, and dragged the train through the brake zones. The catch car released, but the train was still in the brake zone and came to a complete stop at the bottom of the hill.
This malfunction occurred when no passengers were aboard during a test run. No injuries or deaths occurred. Damage occurred to the launch cable (frayed and needed to be replaced), engine (minor routine damage to seals), and brake fins (many needed to be replaced). The brake fins in the launch section are mounted in such a way to keep fast moving trains from moving backwards into the station, but a fast moving train being pulled forwards caused an unexpected stress on a number of fins that bent them forward. Not all of the fins needed to be replaced, but there were more damaged brake fins than Six Flags had replacements, and extra brake fins had to be specially ordered from Intamin. In addition, Kingda Ka had to be re-inspected. Kingda Ka started testing on July 21, 2005. It reopened on August 4, 2005, with the line modified so that it no longer ran under the launch track.[8] The dark blue train was being launched when the malfunction occurred. It was used for the rest of the season, but major problems requiring replacement parts were discovered when the train was inspected during the off-season. Consequently, this train remained disassembled throughout the 2006 season.
Ride experience
After the train has been locked and checked, it slowly advances out of the station to the launch area. The train goes through a switch track which allows 4 trains on two tracks to load simultaneously. Once the train is in position, the hydraulic launch mechanism rockets the train from 0 to 128 miles per hour (206 km/h) in 3.5 seconds,[9] pulling about 1.67 g's. At the end of the launch track, the train climbs the main tower, or top hat, twisting 90 degrees to the right before reaching a height of 456 feet (139.5 m).[10] The train then descends 418 feet (127 m) straight down through a 270-degree spiral. Finally, the train climbs the second, 129 foot hill, producing a moment of weightlessness before being smoothly brought to a stop by the magnetic brakes. The train then makes a U-turn and enters the station. The ride lasts 28 seconds from the start of the launch to the end of the brake run, but has an "official" ride time of 50.6 seconds.
The hydraulic launch motor is capable of producing 20,800 horsepower (15.5 MW) peak. Due to the high speed and open nature of the trains, this ride will not operate in light rain, as rider contact with rain drops can cause discomfort.[8]
Rollbacks and launch
Sometimes, it is possible for a train to roll back—to fail to reach the top of the tower and descend. The train instead reaches as high on the tower as it can go (in most cases to the very top), and rolls back. Kingda Ka includes retractable brakes on its launch track that will bring a train rolling backwards down the tower to a stop. Rollbacks are more common in breezy weather, or just after wet weather. Many riders look forward to a rollback.
It is hard to know exactly when Kingda Ka's launch will occur. When the signal to launch is given, the train rolls back slightly to engage the catch car, then the brakes on the launch track retract. Most times there will be a voice that says "arms down, head back and hold on". The launch will occur five seconds after the "hiss" of the brakes retracting or the warning voice. Previously, Kingda Ka's horn sounded before every launch, but it has been turned off because of noise complaints from nearby residents. The horn now sounds only when Kingda Ka first launches after being idle for a certain period of time. Kingda Ka's launch mechanism is capable of launching a train every 45 seconds, resulting in a capacity of 1400 guests per hour.
Camera
Kingda Ka features two on-ride cameras. One is placed shortly after the beginning of the launch, the other is at the end of the brake run, resulting in "before" and "after" photographs. Since both cameras are located on the right side of the track, riders intending to purchase their on-ride photo are advised to sit in the right-hand seat.
Station
Kingda Ka's station has two parallel tracks with switch tracks at the entrance and exit. Each of the station's tracks accommodates two trains, so that each of the four trains has its own station. Each train only loads and unloads at its own station; it does not go to any others. During operation, the trains on one side are loaded while the trains on the other side are launched. This system works extremely efficiently as long as all four trains are running and there are no significant delays in loading and checking the trains. This system was not used at all in 2006 because only two trains were working that year. It also results in a very fast-moving line before the station, but a long wait inside the station, especially if waiting for the front row. An employee directs riders in line to go to a particular side of the station, but riders will then be able to choose the front or rear train. Two operators load, check and dispatch each train, and one launches the trains. Kingda Ka's music is by Safri Duo, "Adagio" is played in the queue and "Played-A-Live" and "Samba Adagio" are played in the station.
Trains
Kingda Ka's four trains are color coded for easy identification: green, dark blue, light blue (commonly called teal) and orange. These four colors are also used on the seats and restraints. Kingda Ka's trains seat 18 people, with two per row. The rear car has one row, while the rest have two. The rear row of each car is positioned higher than its front row for better visibility. The trains do not have official names, only numbers.
The dark blue train was being launched when 2005's major malfunction (see above) occurred, and problems stemming from this malfunction were discovered in the train's off-season rehab, putting this train out of service throughout the 2006 season. As a result, Kingda Ka only ran two trains for the whole year. The teal and green trains ran from the start of the season until late July, and the teal and orange trains ran for the rest of the season. Kingda Ka opened for the 2007 season with all four trains running.[11]
Each of Kingda Ka's trains has a panel behind the last row of seats that covers an extra row of seat mounts. These panels could be removed for the installation of additional seats at some future time. This modification would increase the capacity of each train to from 18 to 20 guests and the hourly capacity of the coaster from 1400 to 1600 guests per hour. Kingda Ka's station is already set up for this modification; it has the entrance gates for the currently nonexistent row of seats.
While this modification has not yet been done, the trains were slightly modified for the 2006 season - the nose of each train got a new coat of paint, after which the large "Kingda Ka" logo and the train number decals were not put back on the trains. The non-padded portions of the restraints are now bare metal rather than painted orange.
Seat restraints
Kingda Ka's over-the-shoulder restraint system consists of a thick, rigid lap bar and two thin, flexible over-the-shoulder restraints. Because the over-the-shoulder portions of the restraint are not rigid, the hand grips are mounted to the lap bar. This type of restraint feels like a lap bar restraint, while still providing the safety of a traditional over-the-shoulder restraint.
These restraints use a hydraulic locking system (rather than a ratchet) which allows them to be pulled down to any position; when "locked", they can move down to any position but not up. In contrast, a ratchet-based restraint only locks at each "notch", and will often be too loose or uncomfortably tight. Kingda Ka's restraints are also held down by a belt in case the main locking system fails. In order to speed up loading, riders are asked to secure their own restraints if they are able to. The minimum height restriction is 54 inches, the same as most other major coasters. In addition, it is actually possible for a rider to be too tall to ride Kingda Ka - if you are tall enough that your head is entirely above the seat, you would not be able to ride as the launch could give you whiplash.
Queue area
Kingda Ka's line starts well before the actual entrance arch. The line passes by an ice cream stand, then goes under the entrance arch. It then enters a long switchback area, where a DJ is sometimes present to entertain the guests in the line. After the switchback area, the line passes by the lockers and then into the station. At this point, an employee will direct guests to a particular side of the station. Each train's station has a separate line for the front row.
Before 2005's major malfunction, Kingda Ka's line area was much larger. It started at the main entrance arch, went under the launch track, traveled through two large switchback areas, and split into separate lines for each side of the station. Most of the entire line used to be set in the ride's infield. Due to the parts that came flying from the launch track during its first malfunction, the park (Six Flags Great Adventure) or state (New Jersey) perhaps both, felt it would be safer to have guests stay as far away from the track as possible at all times. The current main entrance to the station was previously the "flash pass" entrance.
Awards and records
Golden Ticket Awards: Best Steel Coaster
Year 2005 2006 2007
Ranking 31 28 31
Yeah, right... Not going to happen. Ever.
One of my (small) modifications; I decided to make arches for all the open towers...
Very simple, a 4 stud wide arch brick, with two stud-pins up the bottom holes, and two 1x1 cheese slopes on those studs. Quick and simple, and I think it makes the open towers look a lot more finished.
Modification of an old set, shown in its natural environment (my back patio). Roll on, good buddy, roll on.
Modified version of the LEGO Brick Bank (#10251).
There's now an ATM and the additional floor provides room for an insurance agent, who might not be the most respectable one.
Kailua-Kona, HI
6/18/18
Here it is! The ex LA Peterbilt American Vehicles Incorporated (AVI) from Superior Sanitations. Before Superior Sanitation acquired the AVI, another company Hawaiian Roll Off (not Rolloffs Hawaii) in Kona, purchased the AVI and an ex SCD Amrep Octo for their commercial route. Hawaiian Roll Off sold those routes and trucks to Superior Sanitation but remain in business for Roll Offs. The AVI is still in Hawaiian Roll Off colors when the video was filmed. I was informed by the owner Mike, that they purchased paint for the AVI and it will be repainted in Superior Sanitation colors soon.
I found the AVI on its cardboard route in Kona. The driver, Rich, could not have been more friendly and he told me many stories about the AVI. First, he told me how the AVI is everyones favorite truck and how it is tough, fast and rarely ever has any problems. Rich went on to tell me how the owner Mike, made some modifications to the AVI. First, he raised the cab cover so when they service the Peterbilt, they do not have to raise the AVI body. The AVI also used to be a stand up truck with right hand drive, so they took a Peterbilt door off another truck and modified the right hand side with a new seat and door to make it easier and safer for the helper. Rich even called Mike to tell him about me and they invited me to their yard. This AVI is incredibly loud, sounds great and it has a classic early 90's truck sound, especially in regards to the brakes and revving. I made sure to zoom in on the LA green bleeding out, especially the inside of the hopper that was never painted. Rich gave the AVI some pretty loud revs in this video and you will see this truck scream in part 2!
I hope everyone enjoys this video. There will be a part 2 with a major surprise in regards to the AVI and something that nobody has recorded an AVI doing. If anyone travels to Kona and wants to find the AVI, I strongly encourage you to. When I filmed the AVI it worked Mondays and Thursdays and was a spare the rest of the week.
That brief clip at the beginning was at a rare black sand beach. This black sand beach with turtles is located at Punalu'u black sand beach park.
Thank you Superior Sanitation, Rich, the helper, and the owner Mike. Superior Sanitation is a great company and on top of that Mike and all the drivers are incredibly friendly.
I removed the center squeeze 72mm lens cap and replaced it with a metal threaded cover. This lens cap never needs to be removed, and I don't need to risk it getting knocked off in the bag any more.
Plus, if you have a Samyang 85mm f/1.4 (Rokinon, Bower, Polar, Vivitar, etc), you can use the Sigma cap with it instead, as it works tons better than the junky cap that comes with those lenses.
Review of lens on my blog at: erphotoreview.com/wordpress/?p=124
Château d'eau de Magny sur Tille au crépuscule (21 - Côte d'Or)
Website : www.fluidr.com/photos/pat21
picssr.com/photos/pat21?ref=user
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Description: This is a reprise with modification of my previous post of M101 (or NGC 5457) to show a Type II supernova SN2023ixf which was discovered on 19 May 2023. My image, which was taken on 27 May 2023, indicates the supernova as a relatively bright dot in one of the spiral arms. Among the three objects seen in the magnification inset the supernova is the brightest one. This post corrects color imbalances in M101 in my previous image which, however, does not impact the supernova.
Date/Time/Location: 2023-05-27 / 03:25:37 to 07:30:33 UTC / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Chroma LoGlow Broadband
Processing Software: Pixinsight
Processing Steps:
Preprocessing: I preprocessed 39x300s subs (= 3.25 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.
Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.
Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction.
In case you have missed it, on my website I explain why I believe the rear suspension of the LEGO 42083 Bugatti Chiron has a design flaw and how I think it could have been solved: www.nkubate.com/model-optimization-a-42083-showcase/
An interesting photograph of two Matadors, on the left is the ex Wolverhampton Corporation "standard" type. On the right is the ex Birmingham City Transport Matador. It was always said in the Birmingham City Transport workshop that the vehicle was ex Royal Navy the same as the the fleets original Matador. Since acquiring 117, Rod Handford has done a lot of research into its history. The build cards for it show it was built as an Armoured Command Vehicle, or Dorchester as they became known by the troops. These would be very low mileage when sold off by the Ministry, this one going to the well known PSV breaker Birds of Stratford upon Avon. Birmingham must have done some form of deal with him as it arrived in Tyburn Road Works around the 23 June 1959, now with a cab, from an ex RAF AEC, probably a AEC 854 refueler, (some paint still in cab and photograph indicate it was almost certainly fitted with an autovac), and new headlights. A few modifications have been found, including the road springs, it has two additional leaves in each spring which considerably increase its riding height, hence the staged photograph
This is a modification of my hot rod pickup. It still has everything that you might like (motorized/remotely controlled driving/steering, lights, turn signals, working steering wheel, working V8 and radiator fan, working door handles, gearbox…) and some new features (wheels, suspension, engine, roof, front lights, interior, fuel tank, movable license plate, chrome details…). Like the old one, it is 50 studs long and 28 studs wide but it is heavier - it weighs 1285g.
VIDEO: youtu.be/jR0rCEck7_0
Characteristics:
-Leaf spring suspension with height-adjustable rear
-License plate with simple mechanism to hide it (manual)
-Lights (front and rear) manually controlled with a lever connected to a speed dial of 8878 battery (which allows you to switch between low and high beam)
-Turn signals (front and rear) connected to a servo motor via coupled PF switches (2 switches)
-Working steering wheel
-Manual gearbox – 4 gears (5:1, 3:1, 5:3, 1:1)
-Suicide doors with working door handles
-It is powered by two L motors and 7.4 V (8878) rechargeable battery box.
-Servo motor for steering
-Working V8 fake engine with some details to make it resemble real V8 engine, connected directly to the driving motors so it works at the same speed no matter what gear you choose (in neutral also)
-Working radiator fan, connected directly to a V8 engine
-Rear doors can be opened.
-Roof window, fire extinguisher, fuel tank…
-Front tires from 8070 supercar, and rear from 42000 Grand Prix Racer.
I hope you like it, feel free to comment…
p.s. it has been blogged: thelegocarblog.com/2014/07/03/rod-mod/
Modification of set #10220 (VW T1 Camper Van) with different colours and a slightly different interior.
I stripped out the adhesive on the light strips and put in some 3M Dual Lock velcros so to allow more options for light positioning
Chassis n° PCD39006
Engine n° 0026
Ultra rare EB 110 SS Prototype with unique factory modifications
Estimated : € 850.000 - 1.100.000
Sold for € 1.152.500
RM Sotheby's
Place Vauban
Parijs - Paris
Frankrijk - France
February 2018
Bugatti, one of the most legendary marques of all time, bears the name of Ettore Bugatti, who built his first automobile in 1898. In the first years of the 20th century, Bugatti designed several very important cars while working for other manufacturers. Following the factory’s move to Molsheim, the German town in Alsace, France, success abounded for Bugatti well into the mid-1930s, but the company fell on hard times soon thereafter. Ettore died in 1947 and the company lost direction. Bugatti ceased production completely in 1956.
After passing through the hands of several owners, the Bugatti name was purchased in 1991 by Italian businessman Romano Artioli, seeking to revive the fabled marque to its former glory with a new supercar. Artioli’s Bugatti Automobili S.p.A. produced just 139 total examples of the quad-turbo 3.5-litre V-12 EB110 and a later variant called the EB110 Super Sport (shortened to SS), boasting even more performance with a top speed of 216 mph of which only 36 were built. The car offered here, chassis no. PCD39006, is a factory prototype of the SS variant and is, consequently, an ultra-rare and hugely significant automobile fit for any Bugatti connoisseur.
Manufactured in early 1993, the car was intended to be used for body developments and was used in April of 1993 for homologation testing. Completed in June of 1993 with two-wheel drive and fitted with engine number 009, the car was used for fuel consumption homologation testing and afterwards, was later fitted with the standard four-wheel drive system and received a new and very special Super Sport engine, engine, no. 0026, the unit previously fitted to the prototype C7 (serial no. MCD39006 deconstructed) that was used to set the EB110’s world speed record in 1992 at 342.7 km/h.
Further to this, it was used as a test bed for the evaluation of several other modifications. The factory-spec EB110 had a significant issue with fuel delivery. The car had two separate fuel tanks and fillers, one for each bank of the 3.5-litre V-12 engine. This caused the engine to run on only six cylinders if one tank ran dry before the other. The prototype introduced a dual tank with a single filler to eliminate this problem, and also featured a revised gear shifter and lightweight carbon fibre engine cover, modifications not seen on other EB110s.
Mr Artioli’s company went into administration in 1995, and this car was sold to its first private owner in 1997. It was part of the Marin De Rijn Collection in the Netherlands until 2015, when it was purchased by the consignor. With him the car was shown at Salon Privé, where it received Best in Class honours.
Presented in concours condition in stunning light grey metallic, this rare and all-original EB110 SS prototype shows just 3.300 km on the odometer and is arguably the finest EB110 in existence. The car was recently fully serviced by HR Owen Bugatti of London, is UK registered and is ready to drive and enjoy. It also retains its original books and tools. Considering its exceptionally low mileage, its use as a factory test bed and known ownership history from new, it is plain to see that this EB110 SS prototype is a remarkable automobile in every sense and one truly fit for inclusion in the world’s finest collections.
This is a modification of my hot rod pickup. It still has everything that you might like (motorized/remotely controlled driving/steering, lights, turn signals, working steering wheel, working V8 and radiator fan, working door handles, gearbox…) and some new features (wheels, suspension, engine, roof, front lights, interior, fuel tank, movable license plate, chrome details…). Like the old one, it is 50 studs long and 28 studs wide but it is heavier - it weighs 1285g.
VIDEO: youtu.be/jR0rCEck7_0
Characteristics:
-Leaf spring suspension with height-adjustable rear
-License plate with simple mechanism to hide it (manual)
-Lights (front and rear) manually controlled with a lever connected to a speed dial of 8878 battery (which allows you to switch between low and high beam)
-Turn signals (front and rear) connected to a servo motor via coupled PF switches (2 switches)
-Working steering wheel
-Manual gearbox – 4 gears (5:1, 3:1, 5:3, 1:1)
-Suicide doors with working door handles
-It is powered by two L motors and 7.4 V (8878) rechargeable battery box.
-Servo motor for steering
-Working V8 fake engine with some details to make it resemble real V8 engine, connected directly to the driving motors so it works at the same speed no matter what gear you choose (in neutral also)
-Working radiator fan, connected directly to a V8 engine
-Rear doors can be opened.
-Roof window, fire extinguisher, fuel tank…
-Front tires from 8070 supercar, and rear from 42000 Grand Prix Racer.
I hope you like it, feel free to comment…
p.s. it has been blogged: thelegocarblog.com/2014/07/03/rod-mod/
To eliminate the ME Models adapter piece. Half straights aren't always feasible. Not only does it mess up the geometry unless you fix it with another half, but in some places they don't work!
+++ 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 Martin B-26 Marauder was a World War II twin-engine medium bomber built by the Glenn L. Martin Company. First used in the Pacific Theater in early 1942, it was also used in the Mediterranean Theater and in Western Europe.
After entering service with the U.S. Army, the aircraft received the reputation of a "Widowmaker" due to the early models' high accident rate during takeoffs and landings. The Marauder had to be flown at exact airspeeds, particularly on final runway approach and when one engine was out. The 150 mph (241 km/h) speed on short final runway approach was intimidating to pilots who were used to much slower speeds, and whenever they slowed down below what the manual stated, the aircraft would stall and crash.
The B-26 became a safer aircraft once crews were re-trained, and after aerodynamics modifications (an increase of wingspan and wing angle-of-incidence to give better takeoff performance, and a larger vertical stabilizer and rudder). After aerodynamic and design changes, the aircraft distinguished itself as "the chief bombardment weapon on the Western Front" according to a United States Army Air Forces dispatch from 1946. The Marauder ended World War II with the lowest loss rate of any USAAF bomber.
A total of 5.288 were produced between February 1941 and March 1945. By the time the United States Air Force was created as an independent service separate from the Army in 1947, all Martin B-26s had been retired from U.S. service. Furthermore, after the end of hostilities in the European theatre of operations, many airframes with low flying hour numbers were left in British airfield.
This was the situation when establishing Hunting Aircraft in 1944 by the purchase of Percival Aircraft: this business was absorbed into the British Aircraft Corporation in 1959.
At the end of 1945 the young British company Hunting Air Travel Ltd., a division of Hunting plc., based at Luton Airport, entered the scene - actually a commercial airline, not an aircraft manufacturer. The new airline began commercial operations from Bovingdon Airport at the start of 1946, and the lack of suitable passenger aircraft for domestic routes (or to continental neighbors) led to a private conversion program for leftover B-26 airframes.
This work was done by Percival Aircraft Ltd, which had become part of Hunting in 1936 and also had its headquarter at Luton. At first, only five B-26B bombers were planned to be converted into P.26 airliners. The airframes underwent considerably changes, primarily stripping them off of any military equipment, closing the bomb bays and adding a passenger cabin with appropriate seating and entry.
Furthermore, the bombers' original R-2800 engines were replaced by more powerful and efficient R-3350 radials with 2.000 hp/1.470 kW each. This was a simple task, since this engine had been an early design options and the mountings were compatible.
Other modifications included an enlarged wingspan, which was intended for a more economical flight as well as a reduced landing speed, especially when loaded.
The revamped aircraft entered service in 1951 when Hunting Air Travel changed its name to Hunting Air Transport. Flying primarily on the British Isles, the aircraft attained immediately some interest from other small airlines, also from continental Europe.
When Percival Aircraft Ltd changed its name to Hunting Percival Aircraft in 1954, a total of 21 B-26 bombers had been converted for Hunting-Clan Air Transport (6, Hunting Air Transport had changed its name in 1953), Aer Lingus (6), Derby Airlines (4), Sabena (3) and Manx Airlines (2).
All of these differed slightly, being tailored to their operators' needs, e. g. concerning seat capacity, engines or entry configurations. The last machines were re-built for Aer Lingus, with 27 passenger seats (nine rows in 2+1 configuration), a crew of four, and integral boarding ladder under the rear fuselage (instead of standard side doors). Furthermore, these final machines were driven by slightly more powerful (2.200 hp/1.640 kW) turbo-compound R-3350 engines, which offered a considerably improved fuel efficiency and an extended range (+20%).
By that time the civil aircraft industry had undergone a major recovery and new models like the turboprop-driven Fokker F.27 Friendship entered the scene - faster, with bigger passenger capacities and more efficient, and the P.26 could not keep up anymore. Another big weakness was the lack of a pressurized cabin, so that the P.26 could only operate at medium altitude. Until 1960 all remaining P.26 were withdrawn and scrapped, most of them had reached their service life, anyway, but operational costs had become prohibitive.
General characteristics:
Crew: 4 (pilot, navigator/radio operator, two service)
Capacity: 21–32 passengers
Length: 58 ft 3 in (17.8 m)
Wingspan: 79 ft 3 in (24.20 m)
Height: 21 ft 6 in (6.55 m)
Wing area: 734 ft² (66 m²)
Empty weight: 24.000 lb (11.000 kg)
Loaded weight: 37.000 lb (17.000 kg)
Powerplant:
2× Wright R-3350-745C18BA-1 radial, each rated at 2.200 hp (1.640 kW),
driving four-bladed propellers
Performance:
Maximum speed: 287 mph (250 knots, 460 km/h) at 5.000 feet (1.500 m)
Cruise speed: 225 mph (195 knots, 362 km/h)
Landing speed: 100 mph (79 knots, 161 km/h)
Range: 3.420 mi (2.975 nmi; 5.500 km)
Service ceiling: 21.000 ft (6.400 m)
Wing loading: 46,4 lb/ft² (228 kg/m²)
The kit and its assembly:
Another Group Build entry, this time for the 2015 "De-/Militarize it" GB at whatifmodelers.com that ran from June through August. I am not 100% certain how the idea of converting a B-26 bomber into a 50ies airliner came up - I have modified the aircraft before, and maybe handling with resin R-3350s for the Supermarine Stalwart flying boat had a subtle influence. However, it was a suitable idea, and I quickly got hands on a vintage Matchbox kit of the Marauder.
This one was chose because of the simplicity of the kit (e .g. without an open bomb bay) and its relatively clean surface. When I got it, though, I had to cope with missing parts: the complete cockpit was missing. The seller did not mention it, I did notice it too late, so I had to create the interior from scratch, as well as the civil pilot figures which were puzzled together, too.
Anyway, conversion was rather straightforward. All guns and turrets were closed/faired over. The dorsal turret received a plug, the nose is the OOB clear part hidden under a coat of putty and the new tail cone is actually a nose from a Frog Supermarine Attacker.
Additionally, some of the original windows were hidden (including the ventral entry hatch) while new round windows, esp. for the passenger cabin under the wing spar, were drilled. They were later filled with Clearfix, after all paint work was done.
The wing tips were enlarged with donations from a Hobby Boss La-7 pistion fighter, leftover from a former conversion project. Even though I did not expect much from this addition I think that the bigger wingspan (the total extension is less than 2", though) and the more pointed tips subtly change the look and the proportions of the B-26?
The OOB engines were replaced by resin R-3350 from Contrails: a perfect match, just the OOB nacelles had to be shortened because the R-3350s come with a complete exhaust section, they are pretty long compared to the R-2800s. Actually, this option was real: AFAIK the R-3350 was a high power alternative for the B-26, but I think that at the time of the aircraft's design it was not available yet, and when it came into production the B-29 received anything that rolled off of the production lines. But in this post WWII case it's a good and plausible modification, since airliners from that era (e .g. the Lockheed Constellation) were powered by this engine type, too.
Further mods include new wheels (just for a modernized look, instead of the WWII grass runway balloon tires) and the passengers received a retractable boarding staircase. This addition was originally intended as a display trick, because the B-26 kit is prone to tip over on its tail. But it turned out that the resin engines weigh so much that the kit even stands without extra weight inside now! Well, the scratched stair was fitted, anyway...
Painting and markings:
This was a bit complicated, because I wanted a 50ies livery, yet a colorful option. One early choice had been Belgian airline Sabena in dark blue and white, or the Netherland's KLM, but then I stumbled across a limited decal sheet from airliner specialist TwoSix Decals for a 1:72 Fokker F.27 in Aer Lingus service, upon the type's introduction in 1955. Perfect match, and since I like green and I could avoid white as far as possible, this was the winning design! :D
From that, things were again straightforward: the paint scheme remains close to the benchmark. The dark green on the upper fuselage is Humbrol 3 (Brunswick Green), the fin was sprayed in white and the metallic undersides were painted with different aluminum shades, including Revell Acrylics, Modelmaster 'Aluminum Plate' Metallizer and simple Aluminum paint, plus some Humbrol 56 for fake panel lines and the fabric-covered ailerons.
Panel lines on the upper fuselage and some dirt were painted with Humbrol 91 (Black Green). On top of that a very light black ink wash was applied in order to emphasize engravings, esp. on the wings and the white fin.
The decals came next (wonderfully printed, dead sharp, very thin carrier film), and they posed less problems than expected. The window openings on the white cheatline were simply covered and punched through, and after final cosmetic touch-ups incl. light soot stains behind the engine exhausts. I also added de-icing leading edges and some walking areas on the wings, cut from black and grey decals sheet (from TL Modellbau).
Finally the kit received a coat of glossy acrylic varnish from the rattle can (which did not turn out as evenly as expected, I guess to due to the age of the paint… The aircraft looks somewhat dirty now), et voilà, the Irish Marauder Commuter was ready for take-off!
I am really happy how this conversion turned out. I have seen pics of civilized B-26s (yes, this was actually done, but only in a few cases), and without all the lumps and bumps and with a decent paint job the aircraft looks really sleek and elegant. The classic, early Aer Lingus livery confirms this, a pretty and unusual bird!
Very rare modification of the Sd.Kfz. 250 carrying a 5cm anti-tank gun. Only 2 exemplars of this vehicle have been identified in service in former Yugoslavia. I've represented it with a winter paint scheme applied on top of its grey painting.
This MOC is loosely based on the 2046 BrickMania set from 2014. Many details were added, gun was rebuilt, and decals are custom.
Minifigs are mix of custom and official heads (say "hello" to Dengar)
Modification of set #10220 (VW T1 Camper Van) with different colours and a slightly different interior.
My good friend Oliver Becker has given me the privilege of taking a shot at rendering another one of his great creations! This is my modification of Oliver's "Dreadnaught".
Went back and made some modifications. Nothing major, but I think the changes improve the overall look.
This is a modification of my hot rod pickup. It still has everything that you might like (motorized/remotely controlled driving/steering, lights, turn signals, working steering wheel, working V8 and radiator fan, working door handles, gearbox…) and some new features (wheels, suspension, engine, roof, front lights, interior, fuel tank, movable license plate, chrome details…). Like the old one, it is 50 studs long and 28 studs wide but it is heavier - it weighs 1285g.
VIDEO: youtu.be/jR0rCEck7_0
Characteristics:
-Leaf spring suspension with height-adjustable rear
-License plate with simple mechanism to hide it (manual)
-Lights (front and rear) manually controlled with a lever connected to a speed dial of 8878 battery (which allows you to switch between low and high beam)
-Turn signals (front and rear) connected to a servo motor via coupled PF switches (2 switches)
-Working steering wheel
-Manual gearbox – 4 gears (5:1, 3:1, 5:3, 1:1)
-Suicide doors with working door handles
-It is powered by two L motors and 7.4 V (8878) rechargeable battery box.
-Servo motor for steering
-Working V8 fake engine with some details to make it resemble real V8 engine, connected directly to the driving motors so it works at the same speed no matter what gear you choose (in neutral also)
-Working radiator fan, connected directly to a V8 engine
-Rear doors can be opened.
-Roof window, fire extinguisher, fuel tank…
-Front tires from 8070 supercar, and rear from 42000 Grand Prix Racer.
I hope you like it, feel free to comment…
p.s. it has been blogged: thelegocarblog.com/2014/07/03/rod-mod/
Se recomienda ver en la caja oscura ( Pulsa "L" )
See recommended in black box ( push "l" )
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Charles Robert Darwin FRS FRGS FLS FZS JP; 12 February 1809 – 19 April 1882) was an English naturalist, geologist and biologist, widely known for his contributions to evolutionary biology. His proposition that all species of life have descended from a common ancestor is now generally accepted and considered a fundamental concept in science. In a joint publication with Alfred Russel Wallace, he introduced his scientific theory that this branching pattern of evolution resulted from a process he called natural selection, in which the struggle for existence has a similar effect to the artificial selection involved in selective breeding. Darwin has been described as one of the most influential figures in human history and was honoured by burial in Westminster Abbey.
Darwin's early interest in nature led him to neglect his medical education at the University of Edinburgh; instead, he helped to investigate marine invertebrates. His studies at the University of Cambridge's Christ's College from 1828 to 1831 encouraged his passion for natural science. His five-year voyage on HMS Beagle from 1831 to 1836 established Darwin as an eminent geologist, whose observations and theories supported Charles Lyell's concept of gradual geological change. Publication of his journal of the voyage made Darwin famous as a popular author.
Puzzled by the geographical distribution of wildlife and fossils he collected on the voyage, Darwin began detailed investigations and, in 1838, devised his theory of natural selection. Although he discussed his ideas with several naturalists, he needed time for extensive research, and his geological work had priority. He was writing up his theory in 1858 when Alfred Russel Wallace sent him an essay that described the same idea, prompting immediate joint submission of both their theories to the Linnean Society of London. Darwin's work established evolutionary descent with modification as the dominant scientific explanation of diversification in nature. In 1871, he examined human evolution and sexual selection in The Descent of Man, and Selection in Relation to Sex, followed by The Expression of the Emotions in Man and Animals (1872). His research on plants was published in a series of books, and in his final book, The Formation of Vegetable Mould, through the Actions of Worms (1881), he examined earthworms and their effect on soil.
Darwin published his theory of evolution with compelling evidence in his 1859 book On the Origin of Species. By the 1870s, the scientific community and a majority of the educated public had accepted evolution as a fact. However, many favoured competing explanations that gave only a minor role to natural selection, and it was not until the emergence of the modern evolutionary synthesis from the 1930s to the 1950s that a broad consensus developed in which natural selection was the basic mechanism of evolution. Darwin's scientific discovery is the unifying theory of the life sciences, explaining the diversity of life.
Sir Joseph Edgar Boehm, 1st Baronet, RA (6 July 1834 – 12 December 1890) was an Austrian-born British medallist and sculptor, best known for the "Jubilee head" of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. During his career Boehm maintained a large studio in London and produced a significant volume of public works and private commissions. A speciality of Boehm's was the portrait bust; there are many examples of these in the National Portrait Gallery. He was often commissioned by the Royal Family and members of the aristocracy to make sculptures for their parks and gardens. His works were many, and he exhibited 123 of them at the Royal Academy from 1862 to his death in 1890.
Biography
Boehm (originally "Böhm") was born in Vienna of Hungarian parentage. His father, Josef Daniel Böhm, was a court medal maker and the director of the imperial mint in Vienna. From 1848 to 1851 Boehm studied in London at Leigh's academy of art, the forerunner of the Heatherley School of Fine Art. He then returned to Vienna where he studied model making and medal design at the Academy of Fine Arts before working in Italy and then, from 1859 to 1862 in Paris. In 1856, in Vienna, he was presented with the First Imperial Prize for Sculpture.
In 1862, Boehm settled in London, where he exhibited coins and medals at the 1862 International Exhibition, opened a studio and had his first work, a terracotta bust, shown at the Royal Academy. Throughout the 1860s, Boehm, who became a British subject in 1865, devoted his time to the production of portrait busts plus equestrian statues and statuettes. His portrait subjects included John Everett Millais, Stratford Canning and Charles Thomas Newton and Franz Liszt. Boehm's statuette of William Makepiece Thackeray, although completed after the author's death, was considered such a good likeness that several copies were made including examples for the Garrick Club and for the Athenaeum.
Boehm was often commissioned by members of the aristocracy to make equestrian and equine sculptures for the parks and gardens of their stately homes. His large sculpture of the stallion King Tom (1874) was commissioned by Baron Mayer Amschel de Rothschild for his new mansion, Mentmore Towers in 1873, and moved to Dalmeny House near Edinburgh in 1982. His large animal works include the marble Young Bull and Herdsman (1887) and Saint George and the Dragon (1885), both of which were exhibited at the Melbourne Centennial International Exhibition during 1888 and 1889. Both remain in Australia, the former at The Royal Agricultural Society of Victoria, Melbourne. The Horse and His Master (1874), sometimes known as A Clydesdale Stallion Rearing, in Malvern and Brueton Park in Solihull was exhibited at the Royal Academy in 1874 and at the 1878 Paris Universal Exposition. The work was bought by the grandson of Alfred Bird, Captain Oliver Bird for £300 in April 1944 and gifted to Solihull Council to place in one of their parks.
In 1869, Boehm's work came to the attention of Queen Victoria and he rapidly gained favour with the royal court.[6][3] In 1871, he executed a statue of Victoria, in marble for Windsor Castle, which with the monument of the Prince Edward in St. George's Chapel in Windsor Castle, are considered his earliest great works. In total, throughout his career, Boehm completed over forty royal commissions. He won several commissions to create statues of Victoria to mark her Golden Jubilee, several of which were replica designs, which was a common and accepted practice at the time.[10] Victoria made clear her approval of Boehm's work by unveiling his statues of her at Windsor and Balmoral which added to the appeal of his work to the local and colonial authorities who typically commissioned such monuments.
During his career Boehm maintained a large studio in London and produced a significant volume of work, including at least fifty-seven public statues and monuments. In total over 350 sculptures have been attributed to Boehm. In 1874 Boehm completed a substantial statue of John Bunyan (1628–1688) which was unveiled on 10 June at St Peter's Green, Bedford, by Lady Augusta Stanley, before a crowd of 10,000. There are many statues by Boehm in London. His equestrian statue of the Duke of Wellington at Hyde Park Corner, unveiled in 1888 was commissioned to compensate for the removal of the colossal sculpture of the Duke by Matthew Cotes Wyatt from the nearby Wellington Arch to Aldershot.
Boehm's designs were used on a series of medals minted to mark events in the Queen's reign. These included the Golden Jubilee, her Diamond Jubilee and for the Visit to Ireland Medal 1900. In 1887, Boehm designed and executed the model for the dies for a series of coins known as the Jubilee coinage, commemorating the 50th anniversary of Queen Victoria's reign. The coins are signed J.E.B. below the shoulder. This design was severely criticised by his peers as well as the public and was replaced in 1893. The coins depicted the royal arms in the Order of the Garter on the reverse. As a result, the sixpences were frequently gilded and passed off as gold half sovereigns. Therefore, the sixpence reverted to its standard design.
Boehm's early portrait busts led, later in his career, to him undertaking a total of fifty-seven church monuments and memorial works, including several in British cathedrals. For the memorial to General Charles George Gordon in St Paul's Cathedral, he carved an effigy of Gordon recumbent on a sarcophagus. On the death of Dean Stanley, Boehm was commissioned to execute his sarcophagus in Westminster Abbey. The Abbey also houses Boehm's memorials to Lord Beaconsfield and to Viscount Canning, plus his marble statue of the Earl of Shaftesbury. His monument to Archbishop Tait is in Canterbury Cathedral. A number of Boehm's sculptures were reproduced in popular small-scale bronze editions. These included the soldier figures from the Wellington monument and a St. George and the Dragon group piece.
Boehm became an Associate of the Royal Academy in 1878, was appointed sculptor-in-ordinary to the Queen in 1881 and was elected a full member of the Royal Academy in 1882. In 1889, he was created a baronet, of Wetherby Gardens in the Parish of St Mary Abbots, Kensington, in the County of London. Boehm encouraged and supported several younger artists and sculptors, most notably Édouard Lantéri, Alfred Gilbert and Alfred Drury. Boehm was instrumental in Gilbert being awarded the commission for the Shaftesbury Memorial Fountain in Piccadilly Circus while both Lantéri and Drury worked in Boehm's studio for a time. Boehm's most famous pupil was the Princess Louise, Duchess of Argyll, daughter of Queen Victoria. She was at his house, at 76 Fulham Road in London, when Boehm died suddenly on 12 December 1890, provoking press speculation about a sexual relationship between the two. According to historian Lucinda Hawksley, the two had a long-lasting love affair.
There is a memorial to Boehm in the crypt of St Paul's Cathedral in London.
The Natural History Museum in London is a museum that exhibits a vast range of specimens from various segments of natural history. It is one of three major museums on Exhibition Road in South Kensington, the others being the Science Museum and the Victoria and Albert Museum. The Natural History Museum's main frontage, however, is on Cromwell Road.
The museum is home to life and earth science specimens comprising some 80 million items within five main collections: botany, entomology, mineralogy, palaeontology and zoology. The museum is a centre of research specialising in taxonomy, identification and conservation. Given the age of the institution, many of the collections have great historical as well as scientific value, such as specimens collected by Charles Darwin. The museum is particularly famous for its exhibition of dinosaur skeletons and ornate architecture—sometimes dubbed a cathedral of nature—both exemplified by the large Diplodocus cast that dominated the vaulted central hall before it was replaced in 2017 with the skeleton of a blue whale hanging from the ceiling. The Natural History Museum Library contains an extensive collection of books, journals, manuscripts, and artwork linked to the work and research of the scientific departments; access to the library is by appointment only. The museum is recognised as the pre-eminent centre of natural history and research of related fields in the world.
Although commonly referred to as the Natural History Museum, it was officially known as British Museum (Natural History) until 1992, despite legal separation from the British Museum itself in 1963. Originating from collections within the British Museum, the landmark Alfred Waterhouse building was built and opened by 1881 and later incorporated the Geological Museum. The Darwin Centre is a more recent addition, partly designed as a modern facility for storing the valuable collections.
Like other publicly funded national museums in the United Kingdom, the Natural History Museum does not charge an admission fee. The museum is an exempt charity and a non-departmental public body sponsored by the Department for Culture, Media and Sport. The Princess of Wales is a patron of the museum. There are approximately 850 staff at the museum. The two largest strategic groups are the Public Engagement Group and Science Group.
History
The foundation of the collection was that of the Ulster doctor Sir Hans Sloane (1660–1753), who allowed his significant collections to be purchased by the British Government at a price well below their market value at the time. This purchase was funded by a lottery. Sloane's collection, which included dried plants, and animal and human skeletons, was initially housed in Montagu House, Bloomsbury, in 1756, which was the home of the British Museum.
Most of the Sloane collection had disappeared by the early decades of the nineteenth century. Dr George Shaw (Keeper of Natural History 1806–1813) sold many specimens to the Royal College of Surgeons and had periodic cremations of material in the grounds of the museum. His successors also applied to the trustees for permission to destroy decayed specimens. In 1833, the Annual Report states that, of the 5,500 insects listed in the Sloane catalogue, none remained. The inability of the natural history departments to conserve its specimens became notorious: the Treasury refused to entrust it with specimens collected at the government's expense. Appointments of staff were bedevilled by gentlemanly favouritism; in 1862 a nephew of the mistress of a Trustee was appointed Entomological Assistant despite not knowing the difference between a butterfly and a moth.
J. E. Gray (Keeper of Zoology 1840–1874) complained of the incidence of mental illness amongst staff: George Shaw threatened to put his foot on any shell not in the 12th edition of Linnaeus' Systema Naturae; another had removed all the labels and registration numbers from entomological cases arranged by a rival. The huge collection of the conchologist Hugh Cuming was acquired by the museum, and Gray's own wife had carried the open trays across the courtyard in a gale: all the labels blew away. That collection is said never to have recovered.
The Principal Librarian at the time was Antonio Panizzi; his contempt for the natural history departments and for science in general was total. The general public was not encouraged to visit the museum's natural history exhibits. In 1835 to a Select Committee of Parliament, Sir Henry Ellis said this policy was fully approved by the Principal Librarian and his senior colleagues.
Many of these faults were corrected by the palaeontologist Richard Owen, appointed Superintendent of the natural history departments of the British Museum in 1856. His changes led Bill Bryson to write that "by making the Natural History Museum an institution for everyone, Owen transformed our expectations of what museums are for".
Planning and architecture of new building
Owen saw that the natural history departments needed more space, and that implied a separate building as the British Museum site was limited. Land in South Kensington was purchased, and in 1864 a competition was held to design the new museum. The winning entry was submitted by the civil engineer Captain Francis Fowke, who died shortly afterwards. The scheme was taken over by Alfred Waterhouse who substantially revised the agreed plans, and designed the façades in his own idiosyncratic Romanesque style which was inspired by his frequent visits to the Continent. The original plans included wings on either side of the main building, but these plans were soon abandoned for budgetary reasons. The space these would have occupied are now taken by the Earth Galleries and Darwin Centre.
Work began in 1873 and was completed in 1880. The new museum opened in 1881, although the move from the old museum was not fully completed until 1883.
Both the interiors and exteriors of the Waterhouse building make extensive use of architectural terracotta tiles to resist the sooty atmosphere of Victorian London, manufactured by the Tamworth-based company of Gibbs and Canning. The tiles and bricks feature many relief sculptures of flora and fauna, with living and extinct species featured within the west and east wings respectively. This explicit separation was at the request of Owen, and has been seen as a statement of his contemporary rebuttal of Darwin's attempt to link present species with past through the theory of natural selection. Though Waterhouse slipped in a few anomalies, such as bats amongst the extinct animals and a fossil ammonite with the living species. The sculptures were produced from clay models by a French sculptor based in London, M Dujardin, working to drawings prepared by the architect.
The central axis of the museum is aligned with the tower of Imperial College London (formerly the Imperial Institute) and the Royal Albert Hall and Albert Memorial further north. These all form part of the complex known colloquially as Albertopolis.
Separation from the British Museum
Even after the opening, the Natural History Museum legally remained a department of the British Museum with the formal name British Museum (Natural History), usually abbreviated in the scientific literature as B.M.(N.H.). A petition to the Chancellor of the Exchequer was made in 1866, signed by the heads of the Royal, Linnean and Zoological societies as well as naturalists including Darwin, Wallace and Huxley, asking that the museum gain independence from the board of the British Museum, and heated discussions on the matter continued for nearly one hundred years. Finally, with the passing of the British Museum Act 1963, the British Museum (Natural History) became an independent museum with its own board of trustees, although – despite a proposed amendment to the act in the House of Lords – the former name was retained. In 1989 the museum publicly re-branded itself as the Natural History Museum and stopped using the title British Museum (Natural History) on its advertising and its books for general readers. Only with the Museums and Galleries Act 1992 did the museum's formal title finally change to the Natural History Museum.
Geological Museum
In 1985, the museum merged with the adjacent Geological Museum of the British Geological Survey, which had long competed for the limited space available in the area. The Geological Museum became world-famous for exhibitions including an active volcano model and an earthquake machine (designed by James Gardner), and housed the world's first computer-enhanced exhibition (Treasures of the Earth). The museum's galleries were completely rebuilt and relaunched in 1996 as The Earth Galleries, with the other exhibitions in the Waterhouse building retitled The Life Galleries. The Natural History Museum's own mineralogy displays remain largely unchanged as an example of the 19th-century display techniques of the Waterhouse building.
The central atrium design by Neal Potter overcame visitors' reluctance to visit the upper galleries by "pulling" them through a model of the Earth made up of random plates on an escalator. The new design covered the walls in recycled slate and sandblasted the major stars and planets onto the wall. The museum's 'star' geological exhibits are displayed within the walls. Six iconic figures were the backdrop to discussing how previous generations have viewed Earth. These were later removed to make place for a Stegosaurus skeleton that was put on display in late 2015.
The Darwin Centre
The Darwin Centre (named after Charles Darwin) was designed as a new home for the museum's collection of tens of millions of preserved specimens, as well as new work spaces for the museum's scientific staff and new educational visitor experiences. Built in two distinct phases, with two new buildings adjacent to the main Waterhouse building, it is the most significant new development project in the museum's history.
Phase one of the Darwin Centre opened to the public in 2002, and it houses the zoological department's 'spirit collections'—organisms preserved in alcohol. Phase Two was unveiled in September 2008 and opened to the general public in September 2009. It was designed by the Danish architecture practice C. F. Møller Architects in the shape of a giant, eight-story cocoon and houses the entomology and botanical collections—the 'dry collections'. It is possible for members of the public to visit and view non-exhibited items for a fee by booking onto one of the several Spirit Collection Tours offered daily.
Arguably the most famous creature in the centre is the 8.62-metre-long giant squid, affectionately named Archie.
The Attenborough Studio
As part of the museum's remit to communicate science education and conservation work, a new multimedia studio forms an important part of Darwin Centre Phase 2. In collaboration with the BBC's Natural History Unit (holder of the largest archive of natural history footage) the Attenborough Studio—named after the broadcaster Sir David Attenborough—provides a multimedia environment for educational events. The studio holds regular lectures and demonstrations, including free Nature Live talks on Fridays, Saturdays and Sundays.
One of the most famous and certainly most prominent of the exhibits—nicknamed "Dippy"—is a 105-foot (32 m)-long replica of a Diplodocus carnegii skeleton which was on display for many years within the central hall. The cast was given as a gift by the Scottish-American industrialist Andrew Carnegie, after a discussion with King Edward VII, then a keen trustee of the British Museum. Carnegie paid £2,000 (equivalent to £229,250 in 2021) for the casting, copying the original held at the Carnegie Museum of Natural History. The pieces were sent to London in 36 crates, and on 12 May 1905, the exhibit was unveiled to great public and media interest. The real fossil had yet to be mounted, as the Carnegie Museum in Pittsburgh was still being constructed to house it. As word of Dippy spread, Mr Carnegie paid to have additional copies made for display in most major European capitals and in Central and South America, making Dippy the most-viewed dinosaur skeleton in the world. The dinosaur quickly became an iconic representation of the museum, and has featured in many cartoons and other media, including the 1975 Disney comedy One of Our Dinosaurs Is Missing. After 112 years on display at the museum, the dinosaur replica was removed in early 2017 to be replaced by the actual skeleton of a young blue whale, a 128-year-old skeleton nicknamed "Hope". Dippy went on a tour of various British museums starting in 2018 and concluding in 2020 at Norwich Cathedral.
The blue whale skeleton, Hope, that has replaced Dippy, is another prominent display in the museum. The display of the skeleton, some 82 feet (25 m) long and weighing 4.5 tonnes, was only made possible in 1934 with the building of the New Whale Hall (now the Mammals (blue whale model) gallery). The whale had been in storage for 42 years since its stranding on sandbanks at the mouth of Wexford Harbour, Ireland in March 1891 after being injured by whalers. At this time, it was first displayed in the Mammals (blue whale model) gallery, but now takes pride of place in the museum's Hintze Hall. Discussion of the idea of a life-sized model also began around 1934, and work was undertaken within the Whale Hall itself. Since taking a cast of such a large animal was deemed prohibitively expensive, scale models were used to meticulously piece the structure together. During construction, workmen left a trapdoor within the whale's stomach, which they would use for surreptitious cigarette breaks. Before the door was closed and sealed forever, some coins and a telephone directory were placed inside—this soon growing to an urban myth that a time capsule was left inside. The work was completed—entirely within the hall and in view of the public—in 1938. At the time it was the largest such model in the world, at 92 feet (28 m) in length. The construction details were later borrowed by several American museums, who scaled the plans further. The work involved in removing Dippy and replacing it with Hope was documented in a BBC Television special, Horizon: Dippy and the Whale, narrated by David Attenborough, which was first broadcast on BBC Two on 13 July 2017, the day before Hope was unveiled for public display.
The Darwin Centre is host to Archie, an 8.62-metre-long giant squid taken alive in a fishing net near the Falkland Islands in 2004. The squid is not on general display, but stored in the large tank room in the basement of the Phase 1 building. It is possible for members of the public to visit and view non-exhibited items behind the scenes for a fee by booking onto one of the several Spirit Collection Tours offered daily. On arrival at the museum, the specimen was immediately frozen while preparations commenced for its permanent storage. Since few complete and reasonably fresh examples of the species exist, "wet storage" was chosen, leaving the squid undissected. A 9.45-metre acrylic tank was constructed (by the same team that provide tanks to Damien Hirst), and the body preserved using a mixture of formalin and saline solution.
The museum holds the remains and bones of the "River Thames whale", a northern bottlenose whale that lost its way on 20 January 2006 and swam into the Thames. Although primarily used for research purposes, and held at the museum's storage site at Wandsworth.
Dinocochlea, one of the longer-standing mysteries of paleontology (originally thought to be a giant gastropod shell, then a coprolite, and now a concretion of a worm's tunnel), has been part of the collection since its discovery in 1921.
The museum keeps a wildlife garden on its west lawn, on which a potentially new species of insect resembling Arocatus roeselii was discovered in 2007.
Galleries
The museum is divided into four sets of galleries, or zones, each colour coded to follow a broad theme.
Red Zone
This is the zone that can be entered from Exhibition Road, on the East side of the building. It is a gallery themed around the changing history of the Earth.
Earth's Treasury shows specimens of rocks, minerals and gemstones behind glass in a dimly lit gallery. Lasting Impressions is a small gallery containing specimens of rocks, plants and minerals, of which most can be touched.
Earth Hall (Stegosaurus skeleton)
Human Evolution
Earth's Treasury
Lasting Impressions
Restless Surface
From the Beginning
Volcanoes and Earthquakes
The Waterhouse Gallery (temporary exhibition space)
Green zone
Dodo
This zone is accessed from the Cromwell Road entrance via the Hintze Hall and follows the theme of the evolution of the planet.
Birds
Creepy Crawlies
Fossil Marine Reptiles
Hintze Hall (formerly the Central Hall, with blue whale skeleton and giant sequoia)
Minerals
The Vault
Fossils from Britain
Anning Rooms (exclusive space for members and patrons of the museum)
Investigate
East Pavilion (space for changing Wildlife Photographer of the Year exhibition)
Blue zone
Large Mammals Hall
To the left of the Hintze Hall, this zone explores the diversity of life on the planet.
Dinosaurs
Fish, Amphibians and Reptiles
Human Biology
Images of Nature
The Jerwood Gallery (temporary exhibition space)
Marine Invertebrates
Mammals
Mammals Hall (blue whale model)
Treasures in the Cadogan Gallery
Orange zone
Part of the spirit collection
Enables the public to see science at work and also provides spaces for relaxation and contemplation. Accessible from Queens Gate.
Wildlife Garden
Darwin Centre
Zoology Spirit Building
Highlights of the collection
Otumpa iron meteorite weighing 635 kg (1,400 lb), found in 1783 in Campo del Cielo, Argentina
Fragments of the Nakhla meteorite from Egypt, the first meteorite to suggest signs of aqueous processes on Mars
Latrobe nugget, one of the largest known clusters of cubic gold crystals
Apollo 16 Moon rock sample collected in 1972
Ostro Stone, flawless blue topaz gemstone weighing 9,381 carats, about 2 kg (4.4 lb), the largest of its kind in the world
Aurora Pyramid of Hope, a collection of 296 natural diamonds in a wide variety of colours
First Iguanodon teeth ever discovered
Dippy, plaster cast replica of the fossilised bones of a Diplodocus carnegii skeleton
Mantellisaurus and American mastodon skeletons
Full-sized animatronic model of a Tyrannosaurus rex
The most intact Stegosaurus fossil skeleton ever discovered (nicknamed Sophie)
Large skull of a Triceratops
First specimen of Archaeopteryx ever discovered, one of only 12 found and generally accepted by palaeontologists to be the oldest known bird
Rare dodo skeleton, reconstructed from bones over 1,000 years old
Only surviving specimen of the Great Auk from the British Isles, collected in 1813 from Papa Westray in the Orkney Islands
Broken Hill skull, Middle Paleolithic cranium now considered part of a Homo heidelbergensis, discovered in the mine of Broken Hill or Kabwe in Zambia
Gibraltar 1 and Gibraltar 2, two Neanderthal skulls found at Forbes' Quarry in Gibraltar
Cross-section of 1,300-year-old giant sequoia, at the museum since 1893
Rare copy of The Birds of America by John James Audubon, containing illustrations of a wide variety of birds from the United States
Rare first edition of Charles Darwin's On the Origin of Species
Education and research
A young student at the museum
The museum runs a series of educational and public engagement programmes. These include for example a highly praised "How Science Works" hands on workshop for school students demonstrating the use of microfossils in geological research. The museum also played a major role in securing designation of the Jurassic Coast of Devon and Dorset as a UNESCO World Heritage Site and has subsequently been a lead partner in the Lyme Regis Fossil Festivals.
In 2005, the museum launched a project to develop notable gallery characters to patrol display cases, including 'facsimiles' of Carl Linnaeus, Mary Anning, Dorothea Bate and William Smith. They tell stories and anecdotes of their lives and discoveries and aim to surprise visitors.
In 2010, a six-part BBC documentary series was filmed at the museum entitled Museum of Life exploring the history and behind the scenes aspects of the museum.
Since May 2001, the Natural History Museum admission has been free for some events and permanent exhibitions. However, there are certain temporary exhibits and shows that require a fee.
The Natural History museum combines the museum's life and earth science collections with specialist expertise in "taxonomy, systematics, biodiversity, natural resources, planetary science, evolution and informatics" to tackle scientific questions. In 2011, the museum led the setting up of an International Union for Conservation of Nature Bumblebee Specialist Group, chaired by Dr. Paul H. Williams, to assess the threat status of bumblebee species worldwide using Red List criteria.
In popular culture
The museum plays an important role in the 1975 London-based Disney live-action feature One of Our Dinosaurs Is Missing; the eponymous skeleton is stolen from the museum, and a group of intrepid nannies hide inside the mouth of the museum's blue whale model (in fact a specially created prop – the nannies peer out from behind the whale's teeth, but a blue whale is a baleen whale and has no teeth). Additionally, the film is set in the 1920s, before the blue whale model was built.
The museum features as a base for Prodigium, a secret society which studies and fights monsters, first appearing on The Mummy.
In the 2014 film Paddington, Millicent Clyde is a devious and treacherous taxidermist at the museum. She kidnaps Paddington, intending to kill and stuff him, but is thwarted by the Brown family after scenes involving chases inside and on the roof of the building.
The museum was prominently featured in the Sky One 2014 documentary David Attenborough's Natural History Museum Alive where several extinct creatures exhibited at the museum including Dippy the Diplodocus were brought to life using CGI.
The museum features prominently in the level Lud's Gate from Tomb Raider III, with Core Design launching the game with Jonathan Ross at the museum on 15 October 1998.
Andy Day's CBeebies shows, Andy's Dinosaur Adventures and Andy's Prehistoric Adventures are filmed in the Natural History Museum.
The museum was site of the first Pit Stop on The Amazing Race 33.
The Museum is featured in the fifth episode of the Apple TV+ period drama The Essex Serpent.
Natural History Museum at Tring
The NHM also has an outpost in Tring, Hertfordshire, built by local eccentric Lionel Walter Rothschild. The NHM took ownership in 1938. In 2007, the museum announced that the name would be changed to the Natural History Museum at Tring, though the older name, the Walter Rothschild Zoological Museum, is still in widespread use.
Move of collections to Harwell and Shinfield
There has been some discussion of plans to move major parts of the collections to sites in Harwell (which was abandoned) and then to Shinfield, Berkshire. These plans have been heavily criticized, together with the overall departure of the strategic direction of the museum.
So, here's another modification of the Green Grocer (#10185).
Actually the plan was to dismantle the Green Grocer to make some space for other MOCs, but instead I ended up rebuilding it for the second time.
Now I really like it, I guess.
Added another floor, rebuilt the roof and stairs again and added some more furnishings.
Credits for the kitchen and the sunbed: Sarah Beyer
The Postcard
A postally unused carte postale that 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.
There's a new owner of the Cafe Corner. The previous proprietor allowed the building to fall into disrepair. So it was time for renovation and restoration: a new facade and completely redecorated and refurnished hotel rooms (and an additional floor). Only the cafe on the ground floor is still the same.
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Almost two years ago I built my version of the Cafe Corner (#10182) with a slightly different colour scheme and some modifications, basically because the original building was already too expensive. I also added some interiors and replaced the stairwell by an elevator.
I didn't like the colours anymore and the building didn't match my other modulars anymore. Since my town still needs a hotel and I didn't want to destroy the old version completely I came up with this one.
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See all photos of the new and the old Cafe Corner here.
Modified version of the LEGO Brick Bank (#10251).
There's now an ATM and the additional floor provides room for an insurance agent, who might not be the most respectable one.
My sewing scissors (actual size and all). Old picture taken right after it was done, a new one should be up soon :)
His "dragon ears" were really pretty in their own way, but nothing I can work with character-wise. They don't make sense for him, so off they go!
Modifying the Voigtlander Nokton 40mm lens to bring up the 35mm framelines in a Leica/Hexar/Zeiss Ikon is a very simple procedure. A few light strokes of a file on the correct flange on the lens mount is all that it takes to toggle the 35mm framelines. I've seen other examples of this modification on the web where far too much metal has been taken off; really, in only amounts to about a millimeter.
Remember to remove the lens mount or tape up all the glass surfaces and possible entry point for metal shavings before filing.