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Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. My second restoration but in this case a modification of the original using all Matchbox parts which I like. The box was off a container truck and I have no idea where the truck went but the box is in perfect shape. I pealed off the old animal sticker and made my own. I wanted something 1968 related and I ended up finding this logo on the world wide web. What do you think? I made a photo copy onto WORD and printed it onto a label, cut it out and stuck it to the side. Took about 20 mins. I like it.
Well I will let you in on a secret, ok it is not but anyway, when my wife comes across Lego sets on sale for about 50% off she lets me know and I thought on this one it might be worth the parts but then I decided to try an alternate build so here it is. Except for one part, a 2x4 white tile on the trunk, it would be considered an alternate.
If you want to be my faceups, go to "Den of Angels", in the "♠ ♠ ♠〖WHITE DEER GARDEN〗♠ ♠ ♠ faceups & Modifications", you can see my detailed instructions.
From October 10th to November 3rd
The Body Modification Expo will be a SIM Wide accessories fair offering shoppers a wide range of items designed exclusively for the event. All exclusives will be 50% off their normal price.
2nd exclusive :
Rigged MESH leggings or legwarmers or thighs high (depends how you call them).
Each pack coming with a HUD to change between 6 camouflage colors.
XXS, XS, S, M, L sizes.
TP to SAKIDE // The Body Modification Expo (direct landing point)
Scripts limited to 50
B
SN/NC: Rodhodendrum Indicum, Var. Nudiflorum , Ericaceae Family
Azaleas are flowering shrubs currently classified into two of the subgenera of Rhododendron - the subgenus Pentanthera, typified by Rhododendron nudiflorum and the subgenus Tsutsusi with Rhododendron tsutsusi.
Azalea hybrids have been created for hundreds of years. These genetic modifications made by humans have produced more than 10,000 different cultivar species that are propagated from cuttings. The seeds can also be collected and germinated.
A curious fact is that the honey produced by bees from these flowers is highly poisonous to humans, while it is harmless to insects. (Source: Wikipedia)
Azáleas são arbustos floridos atualmente classificados em dois dos subgêneros de Rhododendron - o subgênero Pentanthera, tipificado por Rhododendron nudiflorum e o subgênero Tsutsusi com Rhododendron tsutsusi.
Os híbridos de azaléia foram criados há centenas de anos. Essas modificações genéticas feitas por humanos produziram mais de 10.000 espécies de cultivares diferentes que são propagadas a partir de estacas. As sementes também podem ser coletadas e germinadas.
Um fato curioso é que o mel produzido pelas abelhas a partir dessas flores é altamente venenoso para o homem, ao mesmo tempo que é inofensivo para os insetos. (Fonte: Wikipédia)
Le azalee sono arbusti da fiore attualmente classificati in due sottogeneri del rododendro: il sottogenere Pentanthera, caratterizzato da Rhododendron nudiflorum e il sottogenere Tsutsusi con Rhododendron tsutsusi.
Gli ibridi di azalea sono stati creati per centinaia di anni. Queste modifiche genetiche apportate dall'uomo hanno prodotto più di 10.000 specie di cultivar diverse che si propagano da talee. I semi possono anche essere raccolti e germinati.
Un fatto curioso è che il miele prodotto dalle api da questi fiori è altamente velenoso per l'uomo, mentre è innocuo per gli insetti. (Fonte: Wikipedia)
Les azalées sont des arbustes à fleurs actuellement classés en deux sous-genres du Rhododendron : le sous-genre Pentanthera, caractérisé par le Rhododendron nudiflorum et le sous-genre Tsutsusi avec le Rhododendron tsutsusi.
Les hybrides d'azalées sont créés depuis des centaines d'années. Ces modifications génétiques apportées par l'homme ont produit plus de 10 000 espèces de cultivars différents, multipliés par bouturage. Les graines peuvent également être récoltées et germées.
Un fait curieux est que le miel produit par les abeilles à partir de ces fleurs est très toxique pour les humains, alors qu'il est inoffensif pour les insectes. (Source : Wikipédia)
Azaleen sind blühende Sträucher, die derzeit in zwei Untergattungen von Rhododendron eingeteilt werden – die Untergattung Pentanthera, typisch für Rhododendron nudiflorum, und die Untergattung Tsutsusi mit Rhododendron tsutsusi.
Azaleenhybriden werden seit Hunderten von Jahren hergestellt. Diese vom Menschen vorgenommenen genetischen Veränderungen haben mehr als 10.000 verschiedene Sortenarten hervorgebracht, die aus Stecklingen vermehrt werden. Die Samen können auch gesammelt und gekeimt werden.
Eine merkwürdige Tatsache ist, dass der Honig, den Bienen aus diesen Blüten produzieren, für Menschen hochgiftig, für Insekten jedoch harmlos ist. (Quelle: Wikipedia)
Las azaleas son arbustos de flor clasificadas en la actualidad en dos de los subgéneros de Rhododendron - el subgénero Pentanthera, tipificado por Rhododendron nudiflorum y el subgénero Tsutsusi con el Rhododendron tsutsusi.
Los híbridos de azalea se llevan creando cientos de años. Estas modificaciones genéticas hechas por el ser humano han producido más de 10.000 especies cultivares diferentes que se propagan a partir de esquejes. También se pueden recoger y hacer germinar las semillas.
Un dato curioso es que la miel producida por abejas a partir de estas flores es altamente venenosa para los seres humanos, mientras que es inofensiva para los insectos. (Fuente: Wikipedia)
Azalea's zijn bloeiende struiken die momenteel zijn ingedeeld in twee van de ondergeslachten van Rhododendron: het ondergeslacht Pentanthera, getypeerd door Rhododendron nudiflorum en het ondergeslacht Tsutsusi met Rhododendron tsutsusi.
Azalea-hybriden worden al honderden jaren gemaakt. Deze genetische modificaties door mensen hebben meer dan 10.000 verschillende cultivarsoorten voortgebracht die uit stekken worden vermeerderd. De zaden kunnen ook worden verzameld en ontkiemd.
Een merkwaardig feit is dat de honing die door bijen uit deze bloemen wordt geproduceerd, zeer giftig is voor mensen, terwijl deze onschadelijk is voor insecten. (Bron: Wikipedia)
الأزالية هي شجيرات مزهرة تصنف حاليًا إلى اثنين من أجيال رودودندرون - الجنس الفرعي بنتانثيرا، الذي يتميز به رودودندرون نوديفلوروم والجنس الفرعي تسوتسوسي مع رودودندرون تسوتسوسي.
تم إنشاء هجينة الأزالية منذ مئات السنين. أنتجت هذه التعديلات الجينية التي أجراها البشر أكثر من 10000 نوع مختلف من الأصناف التي يتم نشرها من العقل. ويمكن أيضا جمع البذور وإنباتها.
والحقيقة الغريبة هي أن العسل الذي ينتجه النحل من هذه الزهور شديد السمية للإنسان، في حين أنه غير ضار للحشرات. (المصدر: ويكيبيديا)
ツツジは現在、ツツジの亜属の 2 つに分類されている花低木です。ツツジに代表されるペンタンテラ亜属とツツジを含むツツシ亜属です。
ツツジの雑種は何百年もかけて作られてきました。人間によって行われたこれらの遺伝子組み換えにより、挿し木で増えた 10,000 種以上の異なる品種が生み出されてきました。種子を採取して発芽させることもできます。
興味深い事実は、ミツバチがこれらの花から作る蜂蜜は、人間にとっては非常に有毒ですが、昆虫にとっては無害であるということです。 (出典: ウィキペディア)
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Sd.Kfz. 124 Wespe (German for "wasp", also known as Leichte Feldhaubitze 18/2 auf Fahrgestell Panzerkampfwagen II (Sf.), "Light field howitzer 18 on Panzer II chassis (self-propelled)"), was a German self-propelled gun developed and used during the Second World War. During the Battle of France in 1940 it became apparent that the intermediate tank of the German forces, the Panzer II, had become unsuitable as a main battle tank and outdated. Though mechanically sound, it was both under-gunned and under-armored, and its small size prevented heavier armament and armor so that its development potential was limited. The chassis, however, proved serviceable for providing mobility to the 10.5 cm field howitzer, and important artillery weapon.
The design for the Wespe was produced by Alkett, based on the Panzer II Ausf. F chassis. Among other modifications the Panzer II's engine was moved forward, and the chassis slightly lengthened to accommodate the rear-mounted 10.5 cm leFH 18 howitzer. The boxy superstructure was left open at the top and rear and only lightly armored, with 10 mm armor plate, which was just enough to stop small arms fire. The vehicles were produced by FAMO's Ursus plant in Warsaw from February 1943 until June 1944, when Soviet forces approached the frontier. By that time, 676 had been produced. An additional 159 gun-less Wespe Munitionsträger were produced, too, to serve as mobile artillery ammunition carriers.
The Panzer II chassis also found use for the design of tank hunters: Existing chassis were converted to self-propelled artillery vehicles, such as the Marder II ("marten" in English). The latter was built on the basis of the original Panzer II chassis (with the engine at the rear) in two versions, the first mounted a modified Soviet 7.62 cm gun firing German ammunition, which had been acquired in significant numbers during the German advances the Ostfront, while the other mounted the German 7.5 cm PaK 40 gun. Its high profile and thin open-topped armor provided minimal protection to the crew, though. Nevertheless, the Marder II (as well as the similar Marder III, which was based on the Czech T-38 chassis) provided a great increase in mobility and firepower over contemporary German tanks during 1942 and into 1943.
By early 1944 the war situation had worsened for Germany and ever heavier tanks, esp. at the Eastern Front, appeared. The PaK 40 was effective against almost every Allied tank until the end of the war, only struggling to penetrate heavier vehicles like the Russian IS tanks, the American M4A3E2 Sherman 'Jumbo' assault tank and M26 Pershing, and later variants of the British Churchill tank. More firepower was needed, but the powerful new 88 mm PaK 43 was in short supply or earmarked for use in heavy battle tanks, which had received priority from the Oberkommando. An alternative anti-tank was the 7.5 cm KwK 42 L/70, the main armament of the Panther medium battle tank and of the Jagdpanzer IV self-propelled anti-tank gun. On the latter it was designated as the "7.5 cm Panzerabwehrkanone 42" (7.5 cm Pak 42).
The modified 7.5 cm gun had a longer barrel that increased muzzle velocity and operating pressure, resulting in much improved range and penetration. However, the new gun required a new armor-piercing projectile, the PzGr. 39/42. Apart from the addition of wider driving bands it was otherwise identical to the older 7.5 cm PzGr. 39. The wider driving bands added a little extra weight, from 6.8 kg for the old PzGr.39, to 7.2 kg for the new PzGr.39/42. The gun was fired electrically, the primer being initiated using an electric current rather than a firing pin. The breech operated semi-automatically so that after the gun had fired, the empty shell casing was automatically ejected, and the falling wedge type breech block remained down so that the next round could be loaded. Once the round was loaded the breech closed automatically and the weapon was ready to be fired again. Three different types of ammunition were used: APCBC-HE, APCR and HE.
This 7.5 cm Pak 42’s performance was almost equal to the bigger 88 mm PaK 43, and achieved a penetration of 106 mm hardened steel plate angled at 30° from vertical at 2.000 m (vs. 132 mm with the 88 mm PaK 43).
To increase the output of vehicles armed with the new 7.5 cm Pak 42, the Oberkommando ordered the conversion of existing vehicles, so that these reinforcements could be sent to the frontlines as quickly as possible, esp. at the East where the German troops were more and more caught in defensive battles. The chassis that appeared most suitable for this task was the Sd.Kfz. 124 Wespe, due to its internal layout. The 7.5 cm Pak 42’s long barrel (it was almost 5m/more than 16’ long) required a fighting compartment at the vehicle’s rear, with the engine in front of it – and the Wespe turned out to be suitable to accept the long weapon with relatively few modifications.
For the use on the open-top Wespe, the 7.5 cm Pak 42 was combined with the mount and shield of the old towed 7.5 cm PaK 40 gun, and this new construction simply replaced the Wespe’s original 10.5 cm leFH 18 howitzer. The superstructure’s armor was only minimally modified: the front opening was narrowed, because the longer 7.5 cm Pak 42 had a more limited field of fire than the 10.5 cm leFH 18. As a positive side effect, the superstructure’s walls could be slightly reduced in height (about 10 cm/4”) due to the 7.5 cm Pak 42’s lower gun carriage and front shield.
The vehicle’s internal layout and most of the equipment remained the same, just the crew was reduced from five to four, one loader was omitted. To cope with the slightly higher overall weight and the heavier front due to the long barrel, and the necessity to traverse the vehicle to aim, the gear ratio was lowered from 1:7.33 to 1:8 to reduce the stress on final gears and the wheels were replaced with reinforced alternatives that also used less rubber. Due to the smaller rounds, the internal ammunition supply rose from the Wespe’s forty 10.5 cm rounds to fifty-one 7.5 cm rounds, even though space for the crew became scarce when the Jagdwespe was fully loaded. No other armament was carried, even though a defensive 7.92 mm MG 34 machine gun was frequently installed at the commander’s position to the right of the gun, sometimes with a protective armor shield.
Like its basis, the “Jagdwespe”, how this makeshift vehicle was unofficially called, was only lightly protected, but this was intentionally done in order to reduce the overall weight and speed up the production as much as possible. The armor thickness was also limited in order to not adversely affect the vehicle’s overall driving performance, as this was the main point of this vehicle. The use of the Panzer II light tank chassis was another reason why the armor thickness had to be kept minimal, as the added weight could significantly affect its performance.
The front armor of the hull was 30 mm thick and placed at a 75° vertical angle. The sides were 14.5 mm thick, the rear 14.5 mm at 10° horizontal and the bottom was only 5 mm thick. The front superstructure armor was 15 (or 20 mm) thick and placed at a 30° vertical angle. The sides and rear of the superstructure were 15 mm and the top 10 mm thick. The fighting compartment was protected by only 10 mm thick all-around armor. The front armor was placed at 66°, side 73°, and rear 74° vertical angle.
Strangely, the “Jagdwespe” was allocated an individual ordnance inventory designation, namely Sd. Kfz. 125. This was probably done to keep the practice of the Marder family of light Panzerjäger’s taxonomy, which had received individual Sd. Kfz. Numbers, too, despite being based on existing vehicles. Initially, mostly unarmed Wespe artillery ammunition carriers were converted into Jagdwespe SPGs, but later on Wespe SPGs – primarily damaged vehicles that were refurbished – were also modified, and a few of the final newly build Wespe hulls were finished as Sd.Kfz. 125, too. However, since battle tanks still had priority, Jagdwespe production and output was only marginal, and less than 100 vehicles were completed until early 1945.
Like the various Marder versions before that fought on all European fronts of the war, there was a large concentration of the Jagdwespe on the Eastern Front. They were used by the Panzerjäger Abteilungen of the Panzer divisions of the Heer and served as well with several Luftwaffe units to defend airfields. Like the Marders before, the Jagdwespe's weaknesses were mainly related to survivability. The combination of a relatively high silhouette and open-top fighting compartment made them vulnerable to indirect artillery fire, aircraft strafing, and grenades. The armor was also quite thin, making them vulnerable to enemy tanks or infantry with more than light machine guns or pistols.
Operationally, the Jagdwespe was best employed in defensive or overwatch roles. They were neither assault vehicles nor tank substitutes, and the open-top compartment meant operations in crowded areas such as urban environments or other close-combat situations weren't a valid tactical option. But despite their weaknesses, they were more effective than the towed antitank guns they replaced, and the 7.5 cm Pak 42 with the extended barrel meant a significant improvement in firepower. The vehicle was small, easy to conceal for an ambush and relatively agile, so that it could quickly change position after a shot, and the Panzer II chassis was mechanically reliable, what made it popular with its crews.
Specifications:
Crew: Four (commander, gunner, loader/radio operator, driver)
Weight: 12.5 tonnes (27,533 lb)
Length: 4.81 m (15 ft 9 in)
6.44 m (21 ft 1 1/2 in) overall
Width: 2.28 m (7 ft 6 in)
Height: 2.21 m (7 ft 3 in)
Suspension: Leaf spring
Fuel capacity: 170 L (45 US gal)
Armor:
5 - 30 mm (.19 - 1.18 in)
Performance:
Maximum road speed: 40 km/h (25 mph)
Operational range: 220 km (137 mi) on roads
100 km (62 mi) cross-country
Power/weight: 12.7 PS/tonne
Engine & transmission:
6-cyl petrol Maybach HL62 TR with 140 PS (138 hp, 103 kW)
Armament:
1× 7.5 cm Panzerabwehrkanone 42/L 70 (7.5 cm Pak 42) with 51 rounds
1× 7.92 mm MG 34 machine gun with 2.000 rounds
The kit and its assembly:
This relatively simple German WWII what-if SPG was spawned from the thought that the light Wespe artillery SPG might also have been used for an anti-tank SPG, with relatively few modifications. The long-barreled 7.5 cm KwK 42/L70 appeared to be a suitable weapon for this kind of vehicle around 1944, so I tried to build a respective model.
The basis became the Italeri 1:72 “Wespe” kit, which is in fact a re-boxed ESCI kit. It goes together well, and you can build upper and lower hull separately for a final “marriage”. To change the Wespe’s look a little I exchanged the solid OOB wheels with those from a Panzer III, left over from a Revell/Mako kit. They are perfect in size, but due a lack of depth of their attachment openings (I only used the outer half of the Panzer III wheels) I glued them onto the hull before painting, normally I finish them separately and mount them in a final assembly step.
For the gun I had to improvise a little, because the open casemate would allow a good look at it. I settled for a straightforward solution in the form of a Zvezda 1:72 PaK 40. The gun was taken OOB, I just removed the wheel attachment points from its chassis and replaced the short gun barrel with a muzzle brake with a aluminum 1:72 L70 barrel for a Panther Ausf. F (with a Schmalturm) from Aber. Both elements were relatively easy to combine, and the gun shield could be taken over, too. Once the gun mount’s position in the Wespe hull was defined I narrowed the front opening a little with styrene wedges, added a deflector at its base, and reduced the height of the side walls for a coherent look. All in all the transplant looks very plausible!
Since the kit provides the option I decided to leave the driver’s hatch open and install the OOB driver figure on a raised seat. For the long barrel I scratched a support that was mounted to the front hull. Looks a bit awkward, though, because it obscures the driver’s field of view – but I could not find a better solution.
The only real trouble I had with the Italeri Wespe were the tracks: they were made from a really strange (and effectively horrible) vinyl material. This material repelled EVERYTHING with a kind of lotus effect – paints of any kind, even superglue! My usual method of mounting such tracks on the main wheels did not work at all, because the track would not hold at all. During these trials I also recognized that the tracks were too long – rather unusual, because 1:72 vinyl tracks tend to be too short so that some tension is needed to lengthen them properly. Two molded “links” had to be cut away, and on the kit’s box art you can see the overlength problem when you are aware of it! I guess that the ESCI designers once assumed that the tracks would be closed into a loop (= closing the track and using heat to literally weld it together) first and then forced onto/over the wheels. I was eventually able to outsmart the tracks through the massive use of superglue under the mudguards – while the tracks still do not really stick to the glue, the large surface of the dried instant adhesive keeps the tracks in place and under light tension. Not perfect, but the tracks remain in place…
Painting and markings:
Conservative, once more a variation of the Hinterhalt scheme. Once completed, the still separate hull, gun and shield received an overall base coat with RAL 7028 Dunkelgelb (TS-3 from a rattle can). On top of that I added vertical fields with Olivgrün (RAL 6003, Humbrol 86), and finally I applied branch-like thin stripes with a dark brown (Humbrol 98, which is darker and less reddish than the authentic RAL 8012, for a stronger contrast). The idea was to mimic dense brushes during spring and summertime, and to break up the vehicle’s outlines esp. through the brown lines. Following official camouflage practice the running gear area remained uniform Dunkelgelb, as a counter-shading measure against the upper hull, and to avoid “rotating” and therefore attention-catching color patches on the wheels when the vehicle moved.
Once the camouflage was completed the main wheels received rubber rims (with Revell 09 Anthracite) and the model received a dark red-brown washing. After that, the few decals were applied and overall dry-brushing with a mix of light grey and earth brown acrylic paint was done to emphasize edges and surface details, also on the gun and in the interior. Before their tedious fitting, the vinyl tracks (which came OOB in a metallic grey finish that looked really nice) had received a washing with black and brown acrylic paint as well as dry-brushing with medium grey, too.
A relatively simple and quick project, realized in a couple of days. The concept was quite clear, and thanks to good ingredients the result looks surprisingly plausible, with relatively few and little modifications. The different Panzer III wheels were not a necessary mod, but I like their look, and painting them while being already attached to the hull posed less problems than expected. The only real trouble came through the kit’s vinyl tracks, which I’d call rubbish and recommend a replacement. If they’d be made from a less repellant material, they’d be much easier to mount (and usable). However, the small Jagdwespe really looks like a juvenile Nashorn SPG!
The plastic shutter of my Big shot was beyond repair so I replaced it with a press type leaf shutter from an oscilloscope camera.
I kept is the single element plastic lens .
Distance from film plane is almost the same so only a small change in RF calibration is necessary.
The shutter is capable of various speeds but I'll leave it at 1/15s The aperture is adjustable for L/D correction.
With the plastic nosecone in place there will be little difference except the cable release thread where the red lever used to be. The shutter has an X-sync contact so I can mount an electronic flash where the Magicube used to be.
Modification for LEGO® Technic set 8258 Crane Truck (default build). It gives set 8258 an added fifth wheel (coupler) and power supply to connect/attach trailers realistically. A (semi-)trailer has a so called king pin. This pin is at the front of the trailer and connects to the tractor or semi-truck which set 8258 is.
These modifications are in building instructions and a inventory/parts list is available for you to add this to your own 8258. By modifying 8258 with this you enable the ability to connect to soon to be released lowboy trailers!
This kingpin at the front of the trailer makes a pivoting connection with the tractor's fifth wheel. It forces the fifth wheel to open up and as soon as the kingpin is in place rubber belts forces the fifth wheel to close again. It stays there until it is manually released. By moving two levers manually the trailer can be released and thus uncoupled.
The pictures show two lowboy trailers. Both are so called detachable gooseneck trailers. The Yellow version has a liftable third axle. The Blue one a so called flip axle where a part of the frame holding the third axle is flipped on top of the second axle.
With this type of lowboy trailer the gooseneck is removed to make the deck accessible. Because the front part of the trailer rests on the surface the truck with the gooseneck still attached can drive off. In order to keep the gooseneck elevated at the correct hight is as a support. This support rests on the trucks frame.
Instructions for both shown lowboy trailer will be available soon, the first one in December 2014, the second one hopefully the 1st half of 2015.
Both lowboy trailers can perfectly be combined with LEGO® Technic set 8043 Motorized Excavator as well as with LEGO® Technic set 8275 Motorized Bulldozer. Obviously you can combine it with any of your MOCs as well.
BILL KAULITZ from Tokio Hotel
Custom Taeyang by Sheryl Designs
MODIFICATIONS:
Complette MakeUp
Replaced acrylic eyes
©2007-2010 Sheryl Designs Eyemech Modification
Piercing and Tattos
Complette Outfits by Sheryl Designs
The modification to accommodate 9 modules involves the changing of the angle of just one fold. The angles in the previous 5 and 7 as well as this 9-Piece variation are just a close estimate. Therefore, during the initial assembling of the modules, the centre "hole" of the model is not regular. The Modules can be adjusted to form a regular hole in the centre by simply inserting a finger through it and give the model a little spin. 7.5cm squares Kami are used for folding the modules. Up to 12 Modules can be assembled simply by changing the angle of just one fold to the module. I will post the rest later. Many thanks to Andrey Hechuev for sharing this excellent modular.
No diagrams for my modification of the modules but video tutorial of the original 8-Piece New-Found Hope Star is posted here -
+++ DISCLAIMER +++
BEWARE: nothing you see here is real, even though many conversions and their respective background stories were built upon historical facts.
The Messerschmitt Me 510 was a further development of the Me 410 Hornisse ("Hornet"), a German heavy fighter and Schnellbomber used by the Luftwaffe during World War II. The 410 itself had a troubled start, because it essentially had only been a straightforward modification of the Me 210, which had suffered from serious stability flaws and had a bad reputation among its crews.
The 410 handled bettr but did not show much improvement in performance, though. Me 410 deliveries began in January 1943, two years later than the original plan had called for, and continued until September 1944, by which point a total of 1.160 of all versions had been produced by Messerschmitt Augsburg and Dornier München. When it arrived, it was liked by its crews, even though its performance was not enough to protect it from the swarms of high performance allied fighters they faced.
Still not giving up on the original construction (and with the jigs and tools still available), Messerschmitt started in early 1944 with research into further means of improving the Me 410's performance. One direction was the addition of one or two jets under the fuselage as boosters for combat situations.
Another design path, which eventually led to the Me 510, was the development of turboprop and compound engines as propulsion options, which were based on the respective pure jet engines but offered much better performance and fuel economy than the pure jets. It would also be the more efficient solution compared to added turbojets for pure piston planes, since no dead weight had to be carried, and the overall system was less complex than a mixed powerplant system.
This turboprop concept, as best compromise between performance and short-term readiness for service, was chosen and the modified aircraft, called Messerschmitt Me 510, came to be. The design target was to outperform the Me 410 with as little change to the overall construction as possible, so that old tooling could be used for new aircraft cells. Alternatively, old aircraft should potentially be converted to the improved standard.
Core of the new development was the compact HeS 021 turboprop, a PTL development of the HeS 011 jet engine which was also planned for Focke Wulfs FW P.0310226-127 fighter (a turboprop version of the light 'Flitzer' day fighter). This engine was theoretically to deliver up to 3.300hp (2.426 kw) shaft output, plus 1.100kg (2.424 lb) additional thrust, even though serial types would produce less power under the aspect of reliability.
In order to incorporate this engine into the modified Me 410 a new main wing with laminar profile and new engine nacelles had to be designed. The HeS 021sat in the front part of the engine nacelles above the wings, driving four-bladed propellers. The landing gear retracted into the nacelle's lower section, rotating 90°, much like the Me 410, with the exhaust running above the landing gear wells.
In order to improve directional stability further, the tail surfaces were slightly enlarged, receiving characteristic, square tips. The fuselage was more or less taken from the original Me 410, since it offered a very good field of view and appropriate aerodynamics. With this package, the idea of retrofitting former Me 410 cells was kept, even though later flight tests showed that some more detail modifications had to be made. Most of these concerned the internal structures, the most obvious external change was the nose section, where the original glazing had to be reinforced and finally replaced by solid material – an experience similar to the modification from Douglas’ piston-driven XB-42 to the faster, jet-driven XB-43 of the same era.
Maiden flight of the first prototype took place in Augsburg on 6th of May 1945, with little problems. As benchmark, the Me 410's maximum speed was 625 km/h (388 mph), a cruise speed of 579 km/h (360 mph) and a combat range of 2.300 km (1,400 mi) with up to 1.000 kg (2,204 lbs) of disposable stores carried in- and externally.
The overall flying characteristics of the Me 410 did not change much, but rate of climb and top speed were considerably improved. In level flight, the third prototype Me 510 V3 reached a top speed of 812 km/h (504 mph), and even the serial version with added armament and equipment easily reached 750 km/h (465 mph) top speed and a cruising speed with no external stores of 650 km/h (405 mph). At its time, the Me 510, which quickly received the rather inofficial nickname "Bremse" (Horsefly), was superior to its pure piston engine and turbojet rivals, even though it was clear that the turboprop was only a preliminary solution.
Due to its high speed and under the pressure of Allied bomber raids, the Me 510 was primarily used as a Zerstörer against daylight bombers. Many aircraft received additional weapons, both directly incorporated at the factory but also as field accessories. Popular modifications included two extra 30mm guns (MK 108 or 103) in the bomb bay, or provisions for guided and unguided air to air missiles. A camera equipment package (Rüstsatz 'U3') allowed the fast aircraft to be used for daylight reconnaissance.
Many equipment packages from the earlier Me 410 could be fitted, too, including the massive 50mm BK 5 auto cannon against allied bomber groups. Initially, this package (‘U4’ Rüstsatz) comprised the original autocannon which fired at 45 RPM, with 21 shells in a drum magazine.
This weapon soon was replaced by the even more effective MK 214 B gun of 55mm caliber (Rüstsatz 'U5'). The BK 214 B fired at 180 RPM and proved to be a highly effective weapon at long ranges, outside of the bombers’ defensive armament range. As a drawback the heavy system (the gun plus the ammunition belt with 96 shells weighed 1.124 kg/2.475 lb) filled the whole internal bomb bay and precluded heavy external stores. Therefore, the 13mm machine guns in the nose were frequently removed in order to save weight, sometimes the weapons in the side barbettes, too. But: a single hit with one of the 1.54kg (3.4 lb) shells was enough to bring down a four-engined bomber, so that the fast Me 510 with this weapon became a serious threat in the course of late 1946.
510 general characteristics:
Crew: 2
Length: 42 ft (12,60 m)
Wingspan: 49 ft (14.69 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 480.11 ft² (44.78m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 790 km/h (490 mph) at 7.200m (23.500 ft)
Range: 1.400 mi (2.300 km ) with full combat TOW
Service ceiling: 40.900 ft (12.500 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine:
2× Heinkel-Hirth HeS 021 turboprop engines, 1.438 kW (2.500 hp) plus 980 kp (2.158 lb) residual thrust each
Armament: Varied, but typical basic equipment was:
2× 20 mm MG 151/20 cannons with 350 rpg, fixed in the nose
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg in the nose flanks
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg, each firing rearward from FDSL 131/1B remote-operated turret, one per side;
Up to 1.200 kg (2.643 lb) of disposable stores in- and externally
In the field, many modifications were made and several additional weapon packages with guns, guided and unguided missiles or special weapons were available (so-called ‘Rüstsätze’).
The kit and its assembly:
I am not certain when inspiration struck me for this fantasy aircraft - I guess it was when I tinkered together the Hü 324 whif, which was itself based on a 1:72 scale Il-28 bomber. When I browsed for a respective donation kit I also came across the 1:100 scale kit of the Soviet light bomber from Tamiya, and that stirred something: The Il-28's vintage contours would perfectly suit a Luft '46 aircraft, and with some calculations it was clear that the 1:100 wings would be suitable for something in the class of a 1:72 DH Mosquito or Bf 110. Then, the ill-fated Me 410 came to the scene as a potential late war basis aircraft, and from this starting point the idea of an evolutionary next step of the type, the Messerschmitt Me 510, was born.
Basically this model is a kitbashing of a Tamiya Il-28 in 1:100 (wings & engine nacelles) and the fuselage of a Matchbox Me 410. The IL-28's wings were turned upside down, so that the nacelles would now ride on the wings' top.
This not only looks cool and 'different', it's also plausible because the landing gear could retract into the wings under the nacelles (with the main landing gear doors closed, just like the original Me 410), it would also reduce the angle of the aircraft on the ground to a sensible degree - with the engines under the wings plus the landing gear would have been much to steep!
Fitting the wings to the fuselage was pretty easy, even though the original Me 410 wing profile was much thicker than the slender Il-28 wings. Cleaning and blending the wing root areas was a bit tricky, but the parts get together well.
As a design twist and for a uniform look I also replaced the whole tail section, matching the angular look of the thin new main wings. The horizontal stabilizers are wing tips from a Matchbox Me 262, the vertical fin is a modified outer wing part from a Matchbox Grumman Panther.
The engine nacelles were taken OOB. I just filled the Il-28's landing gear wells and their covers with putty, since they'd end on top of the new engines.
The propellers come from Matchbox P-51 Mustangs, outfitted with pointed spinners and held by a metal pin in a polystyrene tube which runs through the original intake splitter. Looks pretty martial, even though the nacelles ended up a bit close to the fuselage. The overall look reminds of the Short Sturgeon, but is not inplausible. A compact aircraft!
The cockpit received some side panels, news seats and some equipment, since the original Matchbox kit features almost nothing beyond a floor plate, two broad benches as seats and pilot figures. I also opened the cockpit hatches, since the aircraft would be built for ground display, with the landing gear extended.
From the original kit the BK 5 cannon installation was taken over, but I added a scratch-built, bigger muzzle brake. Since the aircraft was to become a high speed interceptor/Zerstörer for daylight operations, I did not add any further external ordnance.
Painting and markings:
I pondered about a potential livery for a long time. Almost any Me 410 was delivered in RLM 74/75/76 livery, and some at the Western front in France were operated in RLM 70/71/65, with a low waterline. But I found this pretty... boring. So I made up a fantasy livery which I found suitable for high altitude operations and based on my knowledge of late Luftwaffe paint scheme - pretty complex:
The aircraft was to be light in color, primarily camouflaged for aerial combat. I ended up with something that was planned as something that could have almost been called 'low-viz': all lower surfaces received a basic tone of RLM 76 (from Testors), with a raised waterline on all flanks. This light blue-grey would blend into a slightly darker FS 36320 on the higher flanks, almost up to the upper surfaces.
But in the end, the flanks received more spots than intended, and I ended up with a rather conservative livery - but it ain't bad at all. But so it goes...
The upper wing surfaces received a wavy scheme in RLM 71 (Drak Green) and 75 (Middel Grey). These are not typical late war colors, I rather used them due to the lighter shades. On the fuselage, just the fuselage crest was painted with more or less dense blotches of these tones, blending into more patches of RLM 02 on the flanks.
To add some more unconventional detail, the fuselage sides and undersides also received large, cloudy patches of RLM 77 - a very light grey. This detail was featured on some late-war He 177 bombers, but you can hardly tell these extra blotches because they have only little contrast to the RLM 76.
The tail fin was painted all white - a formation sign for a squadron leader, typical for German late WWII fighters. The black and white fuselage stripe is the ID of Jagdgeschwader 26 (which operated Fw 190D-9 from airfields in northern Germany, Flensburg was one of them), the red number abd the "+" code identify the machine as being part of the eighth Staffel.
In the end, a very subtle whif. The new engines are most obvious, and they change the look of the Me 410 dramatically. But only on second glance you recognize the other changes. The new wings/stabilizers with their square-shaped tips create a very slender and elegant look, the aircraft just looks fast and agile like a true heavy fighter should. Mission accomplished!
Having Liked The Band Evanescence For A Few Years I Figured I Would Make This Tribute Car To The Best Album In My Opinion, "The Open Door" I Started By Painting The Rear Black And Using A Cardboard Divider Painting The Front In Blue. It's Blended Well.
Bright Green (F6).
A facelift on the Charger in 1969 saw a new divided grille and longitudal tail lights.
Models in 1969 were; the base Charger, SE and RT A more aerodynamic version was introduced in Sept 68, the Charger 500, it got a flush back window and flush Coronet grille. An even more aerodynamic Charger was introduced in April 1969, this car, the Charger Daytona.
It had an 18 inch fiberglass nose extension and a huge rear wing mounted 23 inches above the trunk. Both modifications improved the car's aerodynamics substantially, and a race version of the Daytona had a top speed of 205 mph. A little over 500 Charger Daytonas were sold
It won its first race out, the inaugural Talladega 500 and its successor, the Plymouth Superbird won many races as well.
Engine; 375hp 440 magnum (70 of the 503 made got the optional 425hp 426 Hemi)
1898-1901 by John Brydon, completed with modifications in 1912 by the government architect Sir Henry Tanner. Portland stone with leaded and slate roofs A massive, quadrangular, English Baroque revival building extending through to St. James's Park with central, circular courtyard entered by triple archways from side streets on same axis as the archways to Foreign Office. Four storeys, with rusticated ground floor and mezzanine on basement and two upper storeys articulated by engaged Corinthian column order, and angle pavilions with belvedere storeys or three tier Baroque cupolas.
The interior has a large, double branching grand staircase; the reinforced concrete basement at the Park end contains the "War Rooms", Sir Winston Churchill's flat and office "bunker" during World War II.
John McKean Brydon was born in Dunfermline in 1839 and was articled to the Hays in Liverpool before becoming assistant to Bryce in Edinburgh from 1860 to 1863 and to Richard Norman Shaw in London from 1863 to 1871. Brydon commenced independent practice as an architect in London in 1871.
Equilateral Triangle Strip System II, Triangle edge module
Designer: Lewis Simon and Bennett Arnstein
Paper: 3.5 cm * 7 cm (1:2)
Final height: 3.5 - 5.5 cm
Joint: no glue
Diagram: Rona Gurkewitz and Bennett Arnstein "3D Geometric Origami Modular Polyhedra", p50, 55
"Luxury!! Buick Century Station Wagon", Building & Modification.
ビュイック リーガルワゴン ワンオーナー。
角目４灯、ファントムトップ、コンチネンタルキット、リアウィング、ロッカーパネル、オペラライト 1982年から1984年当時の内外装デザインをベースにモダンで上品な少し抜いた感じのお茶目なステーションワゴンに仕上げています。82年にセダン、84年にワゴンが発売されました。
Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
Oh, and I changed the door to red-and-green and used a 1x1 red plate to create a wee little doorknob.
Inexpensive socket head crank bolts with integrated black plastic thread covers have been around for decades. These bolts accept a 8mm Allen wrench. The threads of all square tapered axles are a standard metric size so these bolts can be used on any cranks. And with the snap-on thread cover sleeves there was no need for a separate dust cover. A great idea. However, I always thought they looked bad on vintage cranks. So, I removed the black plastic sleeve from one pair and painted them with a "Bright Coat Metallic Finish" aerosol enamel from Rust-oleum. Not a true chrome like finish, but even after a single coating, to my eye it is much less distracting and a nice compliment to the non-anodized crankset. Further paint applications would likely produce a more shiny finish. Durability of the paint on this plastic base is questionable, but I am pleased with the initial result. Next photo shows better how this now almost disappears on the bike.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In 1935, the German Reich Air Ministry (RLM, Reichsluftfahrtministerium) produced a requirement for a twin engined general purpose floatplane, suitable for patrol and for anti-shipping strikes with bombs and torpedoes. Proposals were received from Heinkel Flugzeugwerke and from the Blohm & Voss aircraft subsidiary Hamburger Flugzeugbau. On 1 November 1935, orders were placed with Heinkel and Hamburger Flugzeugbau for three prototypes each of their prospective designs, the He 115 and the Ha 140.
The first prototype Heinkel flew in August 1937, testing was successful and the He 115 design was selected over the Ha 140 early in 1938, leading to an order for another prototype and 10 pre-production aircraft. The first prototype was used to set a series of international records for floatplanes over 1,000 km (620 mi) and 2,000 km (1,200 mi) closed circuits at a speed of 328 km/h (204 mph).
Defensive armament initially consisted of two 7.92 mm (.312 in) MG 15 machine guns, one in the nose and one in the dorsal position. Late He 115s were fitted with a fixed forward-firing 15 mm or 20 mm MG 151 cannon and two fixed, rearward-firing 7.92 mm (.312 in) MG 17 machine guns in the engine nacelles.
As main armament, the early He 115 variants carried LTF 5 or LTF 6b torpedoes and SD 500 500 kg (1,100 lb) or SC 250 250 kg (550 lb) bombs. Some also carried LMB III or LMA mines, and later variants could trade fuel for ordnance, so that their range was extended.
At the beginning of the war, the He 115 was used for dropping parachute mines in British waters, normally aiming for narrow passages close to busy ports on the English south coast; the River Thames was also a prime target. Apart from its use as a minelayer and torpedo bomber, the He 115 was used for coastal reconnaissance and by KG 200 to drop agents behind enemy lines.
However, the He 115’s slow speed and relatively light defensive armament remained a constant weakness, and in order to eradicate this flaw, Heinkel proposed in 1939 a new variant with a crew of four (instead of three), considerably more powerful BMW 801 radial engines and an additional weapon station in a ventral position behind the bomb bay.
An initial prototype, called He 115 D-0 and fitted with BMW 801C engines rated at 1,147 kW (1,560 PS) each, was produced in 1940 and successfully field-tested. Especially the new engines made a considerably change: the He 115 D’s top speed rose from a ponderous 327 km/h (203 mph) of the early variants with BMW 132K 9-cylinder radial engines to more than 400 km/h (248) in level flight, and other performance figures were improved. Nevertheless, the additional weapon station did not find approval – it turned out to be obsolete, because instead of more, heavier weapons with a longer range and a higher weight of fire were needed. Additionally, the accommodation for a fourth crew member added much dead weight to the aircraft, so that the whole proposal was regarded as ineffective ans subsequently deleted.
However, in this refined form, the upgraded machine was accepted by the RLM in 1940. He 115 production was not resumed, though, but rather turned into an upgrade program for the fleet of in-service aircraft (He 115 B and C in various sub-versions), leading to a variety of He 115 D variants.
The He 115 D upgrade primarily consisted of engine upgrades, now with BMW 801A engines. For defense, the He 115 D's rear gunner/radio operator became armed with two 13 mm (.51 in) MG 131 machine guns, which replaced his former light MG 17 machine gun as well as the optional fixed machine guns in the rear of the engine fairings, which had proven themselves to be highly ineffective, once enemy pilots had become aware of them. Since the He 115’s narrow body precluded any powered turret on the upper or lower fuselage, the defensive armament was moved to the flanks: Each of the heavy machine guns was fitted into half-teardrop-shaped Ferngerichtete Drehringseitenlafette FDSL 131/1B turrets and mounted on each side of the aircraft. This unusual installation was remote-controlled from the gunner's position in the rear of the glazed cockpit area with a sophisticated gun-aiming setup, and could cover a wide section of the aircraft’s rear hemisphere – even under it, which was a major improvement.
The unit was controlled through a pivoting handgun-style grip, trigger and gunsight at its center, to aim the guns vertically - with both turrets elevating and depressing together when operated - and horizontally, in pivoting each gun separately, outward away from the fuselage side when aimed to one side or the other. Aiming was facilitated through a bifurcated telescopic sight that allowed almost free sight above and below the fuselage in almost any rearward-facing direction. The guns were electrically moved and fired, and an electrical contact breaker acted as a form of "interrupter", as used on many forms of multi-engined, turret-armed WW II aircraft, preventing the gunner from shooting off the He 115’s tail plane.
Another armament improvement for all He 115 D variants consisted of the replacement of the light, nose-mounted MG 17 machine gun with a heavier MG 131. The fixed MG 151/20 cannon under the nose, carried in a fairing in front of the bomb bay, was retained or retrofitted to all D conversions.
Several variants were introduced: The D-1 was the initial, standardized torpedo bomber and mine layer, while the D-2 had reinforced floats and special equipment for operation from ice or snow. The D-3 was a dedicated mine layer. For this special role these machines received enlarged bomb bay doors, so that two parachute-droppable sea mines could be carried instead of just one, exploiting the type’s improved ordnance capacity of 2.000 kg (4.400 lb).
The D-4 variant was a specifically modified version for anti-shipping operations. Some were direct conversions, but many D-1s and D-2s were upgraded to this standard, too, all receiving the new designation.
For its special role, the He 115 D-4 variant was outfitted as a carrier aircraft for the guided Henschel Hs 293 glide bomb and the Hs 294 glide torpedo. Due to its weight and size, only a single Hs 294 could be carried externally under the fuselage, and it was rarely deployed since the weapon’s weight and drag drastically affected the He 115’s handling. The weapon’s deployment was also hazardous, due to the struts under the He 115’s fuselage. The Hs 293 saw more frequent (and successful) use. Theoretically, two Hs 293 bombs could be carried on pylons under each of the reinforced outer wings (which could carry up to 1.000 kg (2.200 lb) each), but, typically, only a single Hs 293 was carried under the starboard wing and a drop tank as counterweight and range compensation for the extra drag under the port wing. Furthermore, the He 115 D-4 was outfitted with either the FuG 203 “Kehl” radio guidance and control transmitter system and a steering console at the bomb aimer’s station, who visually guided the bomb to its target through a simple joystick, or, alternatively, the FuG 203 with its draggy antenna array was replaced by the more reliable FuG 207 “Dortmund” wire guidance system (incl. a spool with 18 km /11 ml of 0.3mm wire attached to the weapon pylon). The respective machines were differentiated by an “a” and “b” suffix.
The final variant that entered service was the D-5, a fast, long-range reconnaissance aircraft. It featured a reduced armor and armament, but carried additional fuel tanks and camera equipment.
Field modifications and other upgrades were also common: Some machines received a manually operated MG 151/20 machine cannon in the nose weapon station instead of the standard MG 131 for a better defense of the front sector, and some machines were upgraded with a MK 103 30 mm machine cannon in a more voluminous fairing under the bomb aimer’s station.
A few D-1 and D-4 machines were also experimentally outfitted with a 37 mm (1.46 in) Bordkanone 3,7 (a.k.a. BK 3,7) with 28 rounds and even a 50mm (1.96 in) MK 214 machine cannon with 22 rounds in a drum magazine in this position – primarily against ship targets, but also against slow Allied patrol bombers, which could be attack out of their defensive weapons’ range.
In total, about 100 He 115 B and Cs were upgraded to the D standard, which was finished by late 1943. The aircraft had its finest moment on anti-shipping operations against Arctic convoys from bases in northern Norway. Because the first convoys lacked air cover, the slow and lightly armed He 115 was less vulnerable than near the English coast. With the appearance of carriers and escort carriers, coupled with new Soviet heavy fighters like the Petlyakov Pe-3bis, Luftwaffe air superiority over the convoys was challenged and losses increased. The remaining He 115 B and Cs were consequently taken out of front line service in 1944 (but still served in search and rescue duties or in covert operations), but some of the He 115 D, esp. the more sophisticated D-4 and D-5 versions, soldiered on until 1945.
General characteristics:
Crew: 3 (pilot, bomb aimer, radio operator/rear gunner)
Length: 17.30 m (56 ft 9 in)
Wingspan: 22.28 m (73 ft 1 in)
Height: 6.60 m (21 ft 7.75 in)
Wing area: 87.5 m² (942 ft²)
Empty weight: 6,150 kg (13,564 lb)
Loaded weight: 12,200 kg (26,872 lb)
Powerplant:
2x BMW 801A 14-cylinder radial engine, 1,560 PS (1,539 hp, 1,147 kW) each
Performance:
Maximum speed: 403 km/h (250 mph)
Cruising speed: 365 km/h (227 mph)
Combat radius: 2,100 km (1,305 mi)
Service ceiling: 7,400 m (24,240 ft)
Wing loading: 139.4 kg/m² (28.2 lb/ft²)
Power/mass: 188 W/kg (0.116 hp/lb)
Armament:
1× fixed 20 mm (.787 in) MG 151/20 machine cannon under the front fuselage
1× flexible 13mm (.51 in) MG 131 machine gun in nose position
2× remote-controlled 13 mm (.51 in) MG 131 in FDSL 131/1B barbettes on the flanks
A total internal and external ordnance load of 2.000 kg (4.400 lb),
including up to 5× 250 kg (550 lb) bombs, or two such bombs and one torpedo of 800 kg (1,800 lb),
or one 920 kg (2,030 lb) sea mine in the Internal bomb bay.
A single Hs 294 guided glide torpedo, carried externally under the fuselage.
Alternatively, two underwing hardpoints could carry loads of up to 1.000 kg each, including iron bombs
and drop tanks (up to 900 l), Hs 293 guided glide bombs and unguided LT10 “Friedensengel” or LT 11
“Schneewittchen“ glide torpedoes.
The kit and its assembly:
A project I had on the agenda for a long time, even collecting donor parts and kits, but never had the drive to tackle it. But the “Amphibian” GB at whatifmodelers.com in late 2017 gave the impulse to finally build a model of the semi-fictional upgrade of the rather overlooked He 115 floatplane.
The whole thing is not purely fictional, since the BMW 801-powered He 115 D actually existed – but only as a single prototype. However, I wondered if some more upgrades would have been possible, and this led to this model.
The basic kit is Matchbox’ venerable He 115 B/C – a simple affair, but the He 115 is, to be honest, a simple aircraft, slender and big. In my case, it’s a Revell re-boxing, and the dark green styrene, in which it is moulded, turned out to be rather brittle, not making it a truly pleasant build (unlike the light grey styrene Revell frequently uses for the Matchbox re-issues, which is somewhat smoother).
As the only IP alternative there’s just the FROG mould (and, beware, it comes in a Revell re-boxing, too!), but I am not certain if it is anything good at all? The Matchbox kit appears to be a bit more modern, even though it is very, well, simple, and basically goes together well. But it needs attention at every seam, and the nose section is tricky to mount, too.
The model was built mostly OOB, but received some superficial mods and enhancements:
The BMW 801 engine transplants come from an Italeri Do 217 K-1, including the propellers and the engine mounts/adapters. The problem: the diameter of the 14-cylinder engines is markedly smaller than the original 9-cylinder radials, so that the “adapters” had to be used to bridge this difference. But even with this help, some serious sanding and PSR were necessary. Additionally, the BMW 801s are longer than the original engines, and the adapters push them forward even a little more. Thanks to the aircraft’s sheer size, this change of proportions is not too obvious.
The FDSL 131 barbettes were taken from an Italeri/Bilek Me 210 kit, which has been earmarked for a conversion (without them). In order to mount the weapon stations, holes were drilled into the He 115’s flanks and, internally, a construction to hold them in place, made from styrene strips, was added. The periscopic sights above and below the fuselage were scratched from round styrene strips. As a side effect, the original hole in the canopy for the manual machine gun was elegantly covered.
Under the nose, a fairing for the machine cannon was scratched – it consists of sections from an F-14 recce pod. The MK 103’s barrel was scratched from styrene, with an improvised muzzle brake. The manually operated MG 17 in the nose was replaced by a heavy MG 151/20.
The Hs 293 comes from a Revell He 177 A-6, together with its pylon. Just a small fairing (a modified 1:144 F-16 centerline drop tank) was added as a container for the wire spool. The drop tank on the other side is a find from the scrap box (IIRC, it belongs to an ART Model F8F Bearcat), modified with fins to (vaguely) resemble the Luftwaffe’s 900 l drop tanks for the Do 217 (which carried the Hs 293 in a similar fashion).
Under the floats I added scratched ice skids, a suitable upgrade for an aircraft operated in Norway and over the Northern Atlantic.
Inside of the cockpit, a few details were added like a floor for the bomb aimer figure, and some internal structures added (all scratched from cardboard, and styrene strips and bits), plus a rack for the bomb aimer from an Italeri He 111, IIRC. Not much effort was put into this area of the model, since the kit would have its canopies closed, and the many braces on the clear parts would preclude any good view, anyway.
Painting and markings:
Finally a good occasion to apply a scheme that some He 177 bombers, operated over the Atlantic, carried around 1944, consisting of a disruptive pattern of RLM02 greenish grey and (supposedly) dark green RLM 73, with hard edges and a low, hard waterline to light blue undersides.
However, based on the illustrations and a few real world He 177 color pics in that scheme, I rather changed the dark green tone to RLM 72, which is rather a dull, dark greyish olive drab than the bluish RLM 73. The undersides became Lichtblau, RLM 76 – another deliberate choice instead of the typical, brighter RLM 65 for sea-borne aircraft. The upper camouflage was taken around the wings’ leading edges and onto the floats.
The paints come from the different sources: for the RLM 02, I used Revell’s acrylic 45 (which is a tad more olive green and darker than RLM 02), the RLM 72 was approximated with Humbrol 66 (Olive Drab), which IMHO comes very close to the murky German tone. RLM 76 for the undersides comes from the ModelMaster Authentic line.
Due to the sheer size and the complex structure of the aircraft with its floats and the many struts, painting took some time. Everything was painted with brushes, freehanded, only for the waterline on the rear fuselage some tape was used.
After the basis scheme was settled and dry, the kit received a light black ink wash and some panel post-shading with lighter versions of the basic tones, including “pure” RLM 02 (Humbrol 240).
The markings/decals were puzzled together from the scrap box – on the upper surfaces, simplified white crosses with thin outlines were used, almost resulting in a low-viz livery, and the tactical code was created from single letters (TL Modellbau). The “angry penguin” emblem is not really correct, but I thought that it would be a suitable mascot for the aircraft and its theatre of operations.
After that the model received some weathering with dry-brushed light grey on the leading edges and walkway areas. Exhaust soot behind the engines was created with grinded graphite and also some dry-brushing with light grey, simulating burnt areas due to lean fuel mixtures. On the floats I also added a waterline – a frequent sign of wear on the He 115 when it would stay aground/afloat for some time, with a mix of greens and greys.
The interior became RLM 66 (Dark Grey, used Humbrol 67, which is supposed to be that tone), as a typical late-war color instead of the earlier RLM 02 in which the He 115 was originally delivered. Both Hs 293 and the drop tank were painted in RLM 65 (Humbrol 65), as a subtle color contrast to the otherwise rather subdued aircraft.
A relatively subtle conversion, of a rather overlooked (and actually pretty boring) aircraft. Looks more interesting now, I think, and everything that went into the conversion was picked from real life and mixed up for something new.
The longer, slender BMW 801 engines make the aircraft IMHO look more elegant and purposeful, and the barbettes, as well as the bigger guns in general, are a suitable upgrade, too. The Hs 293 might be a little over the top, but for a slightly futuristic Luft ‘46 touch it’s just the ticket – and from an ordnance load perspective it’s even plausible. And, finally, the special paint scheme (which is real, too) just underlines the modernization of the venerable aircraft type for the late 1944 era.
I like poster modifications, but not so uncreative and primitive. They should go to an Islamic country or to North Korea, where they have not to see naked flesh.
I have been working on a new project for my boy Marcus,
He is getting his demon wings, which are part of his background story.
This is only just the basic frame form of the wings. I will be sculpting them with apoxie soon when I find some more time for it.
The lower two pins were cut to allow them to sit flush. Now I can use the first slot of the filter holder.
The Postcard
A postally unused carte postale published by A. Papeghin of 24, Rue des Petites Écuries, Paris.
Papeghin
Papeghin of Paris and Tours was a publisher of mainly black and white and monochrome collotype postcards between 1900 and 1931.
The firm's output largely depicted local views of amusement areas and sporting events, including the Olympics. Most of the subjects found on their cards were centred around Paris. In fact they published a photo book of Paris in 1919.
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.
i modified my old LC-A rusian version to have some the feature the LC-A+ has. i added a multiple exposure switch and cable shutter release.
I also added a new rubber skin. it is off an old Pentax slide zoom lens, witch is cool because it the skin if from another camera and it adds great grip too
She suddenly got tired of holding the pinwheel and seemed to come up with a better idea. Though after quickly completing the modification mid-parade she seemed unsure if it was functioning to her expectations
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Sd.Kfz. 124 Wespe (German for "wasp", also known as Leichte Feldhaubitze 18/2 auf Fahrgestell Panzerkampfwagen II (Sf.), "Light field howitzer 18 on Panzer II chassis (self-propelled)"), was a German self-propelled gun developed and used during the Second World War. During the Battle of France in 1940 it became apparent that the intermediate tank of the German forces, the Panzer II, had become unsuitable as a main battle tank and outdated. Though mechanically sound, it was both under-gunned and under-armored, and its small size prevented heavier armament and armor so that its development potential was limited. The chassis, however, proved serviceable for providing mobility to the 10.5 cm field howitzer, and important artillery weapon.
The design for the Wespe was produced by Alkett, based on the Panzer II Ausf. F chassis. Among other modifications the Panzer II's engine was moved forward, and the chassis slightly lengthened to accommodate the rear-mounted 10.5 cm leFH 18 howitzer. The boxy superstructure was left open at the top and rear and only lightly armored, with 10 mm armor plate, which was just enough to stop small arms fire. The vehicles were produced by FAMO's Ursus plant in Warsaw from February 1943 until June 1944, when Soviet forces approached the frontier. By that time, 676 had been produced. An additional 159 gun-less Wespe Munitionsträger were produced, too, to serve as mobile artillery ammunition carriers.
The Panzer II chassis also found use for the design of tank hunters: Existing chassis were converted to self-propelled artillery vehicles, such as the Marder II ("marten" in English). The latter was built on the basis of the original Panzer II chassis (with the engine at the rear) in two versions, the first mounted a modified Soviet 7.62 cm gun firing German ammunition, which had been acquired in significant numbers during the German advances the Ostfront, while the other mounted the German 7.5 cm PaK 40 gun. Its high profile and thin open-topped armor provided minimal protection to the crew, though. Nevertheless, the Marder II (as well as the similar Marder III, which was based on the Czech T-38 chassis) provided a great increase in mobility and firepower over contemporary German tanks during 1942 and into 1943.
By early 1944 the war situation had worsened for Germany and ever heavier tanks, esp. at the Eastern Front, appeared. The PaK 40 was effective against almost every Allied tank until the end of the war, only struggling to penetrate heavier vehicles like the Russian IS tanks, the American M4A3E2 Sherman 'Jumbo' assault tank and M26 Pershing, and later variants of the British Churchill tank. More firepower was needed, but the powerful new 88 mm PaK 43 was in short supply or earmarked for use in heavy battle tanks, which had received priority from the Oberkommando. An alternative anti-tank was the 7.5 cm KwK 42 L/70, the main armament of the Panther medium battle tank and of the Jagdpanzer IV self-propelled anti-tank gun. On the latter it was designated as the "7.5 cm Panzerabwehrkanone 42" (7.5 cm Pak 42).
The modified 7.5 cm gun had a longer barrel that increased muzzle velocity and operating pressure, resulting in much improved range and penetration. However, the new gun required a new armor-piercing projectile, the PzGr. 39/42. Apart from the addition of wider driving bands it was otherwise identical to the older 7.5 cm PzGr. 39. The wider driving bands added a little extra weight, from 6.8 kg for the old PzGr.39, to 7.2 kg for the new PzGr.39/42. The gun was fired electrically, the primer being initiated using an electric current rather than a firing pin. The breech operated semi-automatically so that after the gun had fired, the empty shell casing was automatically ejected, and the falling wedge type breech block remained down so that the next round could be loaded. Once the round was loaded the breech closed automatically and the weapon was ready to be fired again. Three different types of ammunition were used: APCBC-HE, APCR and HE.
This 7.5 cm Pak 42’s performance was almost equal to the bigger 88 mm PaK 43, and achieved a penetration of 106 mm hardened steel plate angled at 30° from vertical at 2.000 m (vs. 132 mm with the 88 mm PaK 43).
To increase the output of vehicles armed with the new 7.5 cm Pak 42, the Oberkommando ordered the conversion of existing vehicles, so that these reinforcements could be sent to the frontlines as quickly as possible, esp. at the East where the German troops were more and more caught in defensive battles. The chassis that appeared most suitable for this task was the Sd.Kfz. 124 Wespe, due to its internal layout. The 7.5 cm Pak 42’s long barrel (it was almost 5m/more than 16’ long) required a fighting compartment at the vehicle’s rear, with the engine in front of it – and the Wespe turned out to be suitable to accept the long weapon with relatively few modifications.
For the use on the open-top Wespe, the 7.5 cm Pak 42 was combined with the mount and shield of the old towed 7.5 cm PaK 40 gun, and this new construction simply replaced the Wespe’s original 10.5 cm leFH 18 howitzer. The superstructure’s armor was only minimally modified: the front opening was narrowed, because the longer 7.5 cm Pak 42 had a more limited field of fire than the 10.5 cm leFH 18. As a positive side effect, the superstructure’s walls could be slightly reduced in height (about 10 cm/4”) due to the 7.5 cm Pak 42’s lower gun carriage and front shield.
The vehicle’s internal layout and most of the equipment remained the same, just the crew was reduced from five to four, one loader was omitted. To cope with the slightly higher overall weight and the heavier front due to the long barrel, and the necessity to traverse the vehicle to aim, the gear ratio was lowered from 1:7.33 to 1:8 to reduce the stress on final gears and the wheels were replaced with reinforced alternatives that also used less rubber. Due to the smaller rounds, the internal ammunition supply rose from the Wespe’s forty 10.5 cm rounds to fifty-one 7.5 cm rounds, even though space for the crew became scarce when the Jagdwespe was fully loaded. No other armament was carried, even though a defensive 7.92 mm MG 34 machine gun was frequently installed at the commander’s position to the right of the gun, sometimes with a protective armor shield.
Like its basis, the “Jagdwespe”, how this makeshift vehicle was unofficially called, was only lightly protected, but this was intentionally done in order to reduce the overall weight and speed up the production as much as possible. The armor thickness was also limited in order to not adversely affect the vehicle’s overall driving performance, as this was the main point of this vehicle. The use of the Panzer II light tank chassis was another reason why the armor thickness had to be kept minimal, as the added weight could significantly affect its performance.
The front armor of the hull was 30 mm thick and placed at a 75° vertical angle. The sides were 14.5 mm thick, the rear 14.5 mm at 10° horizontal and the bottom was only 5 mm thick. The front superstructure armor was 15 (or 20 mm) thick and placed at a 30° vertical angle. The sides and rear of the superstructure were 15 mm and the top 10 mm thick. The fighting compartment was protected by only 10 mm thick all-around armor. The front armor was placed at 66°, side 73°, and rear 74° vertical angle.
Strangely, the “Jagdwespe” was allocated an individual ordnance inventory designation, namely Sd. Kfz. 125. This was probably done to keep the practice of the Marder family of light Panzerjäger’s taxonomy, which had received individual Sd. Kfz. Numbers, too, despite being based on existing vehicles. Initially, mostly unarmed Wespe artillery ammunition carriers were converted into Jagdwespe SPGs, but later on Wespe SPGs – primarily damaged vehicles that were refurbished – were also modified, and a few of the final newly build Wespe hulls were finished as Sd.Kfz. 125, too. However, since battle tanks still had priority, Jagdwespe production and output was only marginal, and less than 100 vehicles were completed until early 1945.
Like the various Marder versions before that fought on all European fronts of the war, there was a large concentration of the Jagdwespe on the Eastern Front. They were used by the Panzerjäger Abteilungen of the Panzer divisions of the Heer and served as well with several Luftwaffe units to defend airfields. Like the Marders before, the Jagdwespe's weaknesses were mainly related to survivability. The combination of a relatively high silhouette and open-top fighting compartment made them vulnerable to indirect artillery fire, aircraft strafing, and grenades. The armor was also quite thin, making them vulnerable to enemy tanks or infantry with more than light machine guns or pistols.
Operationally, the Jagdwespe was best employed in defensive or overwatch roles. They were neither assault vehicles nor tank substitutes, and the open-top compartment meant operations in crowded areas such as urban environments or other close-combat situations weren't a valid tactical option. But despite their weaknesses, they were more effective than the towed antitank guns they replaced, and the 7.5 cm Pak 42 with the extended barrel meant a significant improvement in firepower. The vehicle was small, easy to conceal for an ambush and relatively agile, so that it could quickly change position after a shot, and the Panzer II chassis was mechanically reliable, what made it popular with its crews.
Specifications:
Crew: Four (commander, gunner, loader/radio operator, driver)
Weight: 12.5 tonnes (27,533 lb)
Length: 4.81 m (15 ft 9 in)
6.44 m (21 ft 1 1/2 in) overall
Width: 2.28 m (7 ft 6 in)
Height: 2.21 m (7 ft 3 in)
Suspension: Leaf spring
Fuel capacity: 170 L (45 US gal)
Armor:
5 - 30 mm (.19 - 1.18 in)
Performance:
Maximum road speed: 40 km/h (25 mph)
Operational range: 220 km (137 mi) on roads
100 km (62 mi) cross-country
Power/weight: 12.7 PS/tonne
Engine & transmission:
6-cyl petrol Maybach HL62 TR with 140 PS (138 hp, 103 kW)
Armament:
1× 7.5 cm Panzerabwehrkanone 42/L 70 (7.5 cm Pak 42) with 51 rounds
1× 7.92 mm MG 34 machine gun with 2.000 rounds
The kit and its assembly:
This relatively simple German WWII what-if SPG was spawned from the thought that the light Wespe artillery SPG might also have been used for an anti-tank SPG, with relatively few modifications. The long-barreled 7.5 cm KwK 42/L70 appeared to be a suitable weapon for this kind of vehicle around 1944, so I tried to build a respective model.
The basis became the Italeri 1:72 “Wespe” kit, which is in fact a re-boxed ESCI kit. It goes together well, and you can build upper and lower hull separately for a final “marriage”. To change the Wespe’s look a little I exchanged the solid OOB wheels with those from a Panzer III, left over from a Revell/Mako kit. They are perfect in size, but due a lack of depth of their attachment openings (I only used the outer half of the Panzer III wheels) I glued them onto the hull before painting, normally I finish them separately and mount them in a final assembly step.
For the gun I had to improvise a little, because the open casemate would allow a good look at it. I settled for a straightforward solution in the form of a Zvezda 1:72 PaK 40. The gun was taken OOB, I just removed the wheel attachment points from its chassis and replaced the short gun barrel with a muzzle brake with a aluminum 1:72 L70 barrel for a Panther Ausf. F (with a Schmalturm) from Aber. Both elements were relatively easy to combine, and the gun shield could be taken over, too. Once the gun mount’s position in the Wespe hull was defined I narrowed the front opening a little with styrene wedges, added a deflector at its base, and reduced the height of the side walls for a coherent look. All in all the transplant looks very plausible!
Since the kit provides the option I decided to leave the driver’s hatch open and install the OOB driver figure on a raised seat. For the long barrel I scratched a support that was mounted to the front hull. Looks a bit awkward, though, because it obscures the driver’s field of view – but I could not find a better solution.
The only real trouble I had with the Italeri Wespe were the tracks: they were made from a really strange (and effectively horrible) vinyl material. This material repelled EVERYTHING with a kind of lotus effect – paints of any kind, even superglue! My usual method of mounting such tracks on the main wheels did not work at all, because the track would not hold at all. During these trials I also recognized that the tracks were too long – rather unusual, because 1:72 vinyl tracks tend to be too short so that some tension is needed to lengthen them properly. Two molded “links” had to be cut away, and on the kit’s box art you can see the overlength problem when you are aware of it! I guess that the ESCI designers once assumed that the tracks would be closed into a loop (= closing the track and using heat to literally weld it together) first and then forced onto/over the wheels. I was eventually able to outsmart the tracks through the massive use of superglue under the mudguards – while the tracks still do not really stick to the glue, the large surface of the dried instant adhesive keeps the tracks in place and under light tension. Not perfect, but the tracks remain in place…
Painting and markings:
Conservative, once more a variation of the Hinterhalt scheme. Once completed, the still separate hull, gun and shield received an overall base coat with RAL 7028 Dunkelgelb (TS-3 from a rattle can). On top of that I added vertical fields with Olivgrün (RAL 6003, Humbrol 86), and finally I applied branch-like thin stripes with a dark brown (Humbrol 98, which is darker and less reddish than the authentic RAL 8012, for a stronger contrast). The idea was to mimic dense brushes during spring and summertime, and to break up the vehicle’s outlines esp. through the brown lines. Following official camouflage practice the running gear area remained uniform Dunkelgelb, as a counter-shading measure against the upper hull, and to avoid “rotating” and therefore attention-catching color patches on the wheels when the vehicle moved.
Once the camouflage was completed the main wheels received rubber rims (with Revell 09 Anthracite) and the model received a dark red-brown washing. After that, the few decals were applied and overall dry-brushing with a mix of light grey and earth brown acrylic paint was done to emphasize edges and surface details, also on the gun and in the interior. Before their tedious fitting, the vinyl tracks (which came OOB in a metallic grey finish that looked really nice) had received a washing with black and brown acrylic paint as well as dry-brushing with medium grey, too.
A relatively simple and quick project, realized in a couple of days. The concept was quite clear, and thanks to good ingredients the result looks surprisingly plausible, with relatively few and little modifications. The different Panzer III wheels were not a necessary mod, but I like their look, and painting them while being already attached to the hull posed less problems than expected. The only real trouble came through the kit’s vinyl tracks, which I’d call rubbish and recommend a replacement. If they’d be made from a less repellant material, they’d be much easier to mount (and usable). However, the small Jagdwespe really looks like a juvenile Nashorn SPG!
If anyone is insane enough out there to want to use an electronic flash with a Box Brownie, here is one way of doing it. This is a Brownie Flash Capacitor which I picked up for 99p. The circuit is basic and made of sturdy brass pieces. It is easy to dismantle and more importantly, easy to put back together again. Contacts one and two connect to the the flash contacts in the camera. All you have to do is figure out how to connect them to a flash, or flash trigger. (Note that not all box brownie flash contacts are the same)
I chose to use a piece of brass wire, a custom made brass screw (I have a lathe), and a cheap cold shoe designed to mount on a standard 1/4" BSW tripod screw. The custom screw does the twin job of fixing the hot shoe to the flash unit, and making the connection with one of the brass contacts (I drilled a hole through the cold shoe, via the existing threaded hole). The other contact is made between the metal shoe and the second flash contact, using a bit of bent brass wire, running through a second hole drilled in the cold shoe, the other end wedged in the convenient hole in the brass strip that forms a battery contact in the flash unit. I drilled all holes by hand; using high speed is a recipe for melted plastic and burning smells. Anyway, my cold shoe is now a hot shoe.
Oh, and don't put a battery in it or you'll charge up that scary capacitor and who knows what it might do to your flash / flash trigger in the hot shoe. You also need to adjust the camera flash sync a little otherwise it will go off too early.
The advantage to doing it this way is that it is completely reversible (apart from two small holes in the flash unit) and the unit can still be used with a flash bulb if desired. It would probably best to cover the hot shoe in that case; I'm not sure if the contacts could zap a careless finger when the capacitor discharges.
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This photo shows the lighting spread using the 7" reflector modification with the AlienBee/White Lightning grid spots.
Donk - a strange term.
Used in Australia as a slang term for a car engine, Donk is a whole sub-culture of vehicle modification in the US focusing on overly large wheels.
The term 'Donk' refers directly back to the original donor vehicle, popularly, the Chevrolet Impala. It has been said that the leaping Impala logo looks somewhat like a donkey!
The cars are also known by the more generic term of 'Hi-riser' - somewhat more descriptive, but less colourful name.
Hi-Risers are a type of highly customized automobile, typically a traditional, full-size, body on frame, V8 powered, rear wheel drive American-built sedan modified by significantly increasing the ground clearance and adding large-diameter wheels with low-profile tires. Depending on the model and style of body, autos customized in this manner can be labeled "donk," "box," or "bubble."
Hi-risers originally grew out of the Dirty South subculture, but the trend has spread across the United States. Vehicles customized in the hi-riser style are distinguished by their oversized (even disproportionate) wheels, ranging from 20 inches to 30 inches or more in diameter (largest being 50 inch), as well as fanciful custom paint-jobs and expensive audio equipment. Suspension modifications similar to those employed on lifted pickup trucks are made to give adequate clearance for the large wheels. Often the suspension is modified so the front end sits slightly higher than the rear end, giving the car a swaggering appearance. Because of the exaggerated look gained from installing a lifted suspension and enormous wheels, donks are also known as "hi-risers" or "sky-scrapers."
The most popular vehicles for these types of modifications are late 20th century, full-size, rear wheel drive sedans and coupes manufactured by General Motors (Chevrolet, Oldsmobile, Buick, and Cadillac), namely the Impala, Caprice, Buick Roadmaster, Oldsmobile 98, and Cadillac Fleetwood/Fleetwood Brougham, as well as mid-sized models such as the Chevrolet Monte Carlo and Oldsmobile Cutlass Supreme. However, similar full-size Ford models (Crown Victoria, Lincoln Town Car, Mercury Grand Marquis) are also popular, largely due to the ability to cheaply buy former police service Crown Victorias. There are three main sub-types of hi-riser, although the distinctions are blurred and open to debate. Most hi-riser enthusiasts agree that a "donk" traditionally is a 1971 to 1976 Impala. They were given this name because the "Impala" symbol was referred to as a "donkey" by owners or "donk" for short.[citation needed] To complement the sloping rear, the suspension of donks are frequently higher in the front end than the rear, resulting in a nose-up stance. Other hi-risers are usually raised evenly, resulting in a more or less level stance. A box is another sub-type of hi-riser, usually a 1977-1990-era Impala or Caprice with a boxy or squared-off front and rear end. Other models that are frequently made into hi-risers include the G-body Buick Regal, Oldsmobile Cutlass, Chevrolet El Camino, Pontiac Grand Prix, and Pontiac Bonneville.
Other vehicles gaining in popularity as hi-risers are the Cadillac DeVille and Seville, as well as the Buick Roadmaster. Also gaining in popularity are the Ford Crown Victoria, Mercury Grand Marquis, and Lincoln Town Car sedans. These three are the last full sized, body-on-frame, RWD sedans of which the Lincoln Town Car is the only one still being sold for 2011. In fact, the Grand Marquis in particular is enjoying a slight sales surge due to the increasing popularity of buying them new and turning them into hi-risers. Several rappers have alluded to the Grand Marquis in their music, such as Dorrough's "Ice Cream Paint Job": "Grand Marquis, paint job grape jelly
[Text from Wikipedia]
en.wikipedia.org/wiki/Hi-Riser_(automobile)
A key enabler for many of these vehicles is the use of the longitudinal powertrain, driving the rear wheels, and also the use of separate chassis (body-on-frame), decoupling the chassis forces from suspension from the body structure. The BOF layout also allows simpler modification of the vehicle, adopting parts and design solutions from the similarly configured Light Truck, e.g. Ford F150 or similar.
The 1971 Chevrolet Impala Hardtop used here as the base vehicle offers these features and more. Notably engines not restricted by vehicle emissions standards, which had such a detrimental effect on engine output, staring from 1972. The 1971 Impala (the first year of this 5th generation Impala platform), was fitted with engines up to 454 CID (7.4 litres) rated at 365 hp. In 1976, the last year of this 5th generation vehicle, the 454 CID output had fallen to only 225 HP.
For interest, this 1971 Impala Donk is named 'Turkish Delight'. This name reflects the rich colour scheme used for the interior and exterior colour, along with the large gold wheels.
This Lego miniland scale Chevrolet 1971 Impala Hardtop Donk has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 90th Build Challenge, - "Fools Rush In!", - to the subtheme - "BaDONKadonk!". The 90th build challenge presenting 13 different subthemes to choose to build to.
4 days into the healing process. No visible scabbing or scarring. It does itch some, but not too much.
Manufactured by VEB Pentacon Dresden Kamera- und Kinowerke, East Germany
Model: c.1966, First modification, (Produced between 1966-67),
as to Mike's Praktica Collection
all Praktica nova was made from 1964-69
35 mm SLR film camera
Lens: Carl Zeiss Jena Tessar 50 mm f/2.8, M42 mount, w/ small DOF prewiev plunge knob, and DOF scale, serial no.7139074
Aperture: f/2.8 - f/22, setting dial and focusing ring on the lens
Focusing: 1- split image rangefinder and, 2- microprism screen in the viewfinder
Focus range: 0.5-15m +inf
Shutter: mechanically controlled horizontal-run rubberised cloth-blind type shutter
Instant-return mirror
Speeds: pull-up and rotate twin settings dial on the top plate for fast and slow speeds:
1/2-1/500 +B,
Shutter speeds can be selected before or after cocking the shutter but the shutter speed dial rotates both when film is advanced and after the shutter is released.
Shutter speeds 1/2, 1/4 and 1/8 require the indicator knob over the speeds dial to be set to the red triangle on the top plate just back of the dial.
There are no speeds available between 1/8 and 1/30.
Shutter cocking lever: also winds the film, short stroke, on the top plate, right
Shutter release: obliquely mounted, on front-right of the camera, beside the lens mount,
w/ cable release socket and locking device colar around the cable release socket
with a light pressure you can see the DOF preview in the viewfinder
Viewfinder: SLR pentaprism, fixed, eye-level view finder, with Fresnel lens, a triangular red indicator appeares in the top-left of the viewfinder when the shutter required winding
Frame counter: coupled with the winding lever, advance type, auto-reset, beneath the lever
Film memory dial: on the winding lever
Film speed and frame number memory dial: beneath the re-winding lever
Re-winding lever: folding type, on the top plate, left
Re-wind releasing: a small knob just beside the winding lever
Exposure meter: none
Self-timer: none
Flash PC socket: two, X and F synch, on the front of the camera, lower left side
X synch about 1/40, set the speed dial to the flash mark
Flash shoe: none
Back cover: hinged, opens with a small latch, right side of the camera
Tripod socket: 1/4''
Strap lugs
Serial no. 70429
+lens cup and leather ever ready case + strap
VEB Pentacon was an East German camera maker formed in 1964 by amalgation of many companies, including Kamera Werke and Welta. Originally Pentacon was the export model name for the Contax D, since the use of the name Contax had been prohibited for East German company VEB Zeiss Ikon. The new name had been coined from Penta-prism and Con-tax.
The production of VEB Pentacon essentially concentrated on the Praktica SLRs.
Lens mount M42x1 was first used in Zeiss' Contax S of 1949; this East German branch of Zeiss also sold cameras under the Pentacon name; after merger with other East German photographic manufacturers, the name Praktica was used. M42 thread mount cameras first became well-known in Japan under the Praktica brand, and thus the M42 mount is known as the Praktica thread mount there. Since there were no proprietary elements to the M42 mount, many other manufacturers used it; this has led to it being called the Universal thread mount or Universal screw mount by many. The M42 mount was popularized in the United States by Pentax; thus, it is also known as the Pentax thread mount, despite the fact that Pentax did not originate it. From: Camerapedia