A Black Watch Guardsman brings orders to a pair of Flight Pod operators. The BW pods have been modified to run quieter and cooler, and tonight they'll be running a recon mission on their own forces. Why? That's on a need-to-know basis, and these Troopers don't need to know!

 

Thanks to Dan for sacrificing the clear canopies for these. I'm just not sure about the bright red canopies. Funny that I gave the pilots red goggles though. Those Flight Pod decks are made by J_Man at D&J Toys. They're great, I just wish they were black.

Union Army camp area at the Civil War reenactment at Hale Farm and Village.

 

Be sure to check out my blog's Back Roads and Back Roads 365.

 

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

Star Trek: The Motion Picture (Paramount, 1979).

putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature

 

Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.

  

In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.

 

Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.

 

On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."

 

In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.

 

Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.

 

Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.

 

Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.

 

In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.

 

In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.

 

Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.

 

Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.

 

The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.

 

Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.

 

Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.

 

The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.

 

With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.

 

The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.

 

Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.

 

Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.

 

Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.

 

An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.

 

Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.

 

Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.

 

Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.

 

In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.

 

Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."

 

"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.

 

Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.

 

Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.

 

Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.

 

Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.

 

Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.

 

Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.

 

He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.

 

Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.

 

Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"

 

Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.

 

Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.

 

McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.

 

Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."

 

Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.

 

Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.

 

The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.

 

Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.

 

The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.

 

Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.

 

"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.

 

Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.

 

"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.

 

Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.

 

Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.

 

Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.

  

youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme

 

KV-1S/85 KV-122 Diorama complete, Thanks to all for following the progress !

Seen heading a line up of Stagecoach double deckers at the Cheltenham Festival is Stagecoach Midlands Alexander Dennis Enviro 400MMC (Photo By Steve Powell)

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On the 14th June 2020 the brand new VLCC 'Elandra Denali' (2020, 299,999DWT) is seen waiting orders loaded with jet fuel with the 'Crown Valor' (2004), also awaiting orders.

Photo taken in Brechin Ontario - September 2019

 

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The healing begins. Signing Executive Orders on the very day he was inaugurated - looooooong wait to be able to do this and relatively short wait to get pen in hand!

I know I may sound like a noob when I say this, but I have never actually ordered from Bricklink and I'm wondering how to order a bunch of different parts from the same store instead of ordering smaller orders from a bunch a different stores and spending a lot on shipping. Please explain in the comments. Thanks! Have a good day or night!

MMID UBHF passes the order stand at the Union Bridge station.

The headend brakeman has just snagged the 19Y orders at Searchmont.

"Look into my eyes...you will cook salmon for dinner tonight...salmon for dinner tonight...repeat after me...'I will cook salmon for dinner tonight'..."

Clipper Ship

Derelict Atholl Vaults, Vauxhall Road

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Operator Gary Montgomery is hooping up No. 2's 19R orders at Frater station.

 

The ACR used **real** hoops - not those bogus forked things that other roads used :).

4 operator blocks apart, 33 Route numbers apart, but only 1 bus number part.

 

These 2 Neolans built in 2002 are seen at the Temporary Transbay Terminal in San Francisco, CA. While the 71 has a layover on Beale Street, the 38 lays-over on Main Street, 1 block away.

 

©2002-2013 FranksRails.com Photography

A waiter in Tirupati takes orders for lunch

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

KV-1S/85 KV-122 Diorama complete, Thanks to all for following the progress !

Quite a production...

This sign is weird. This White Castle had a typical drive thru setup. I bet this sign caused more confusion than good.

 

Here is the next location in my shuttered White Castle locations in Northeastern Ohio series. This location was White Castle #377 at 2900 South Arlington Road, Akron. This location operated from 1993 until December 2014.

 

White Castle shut down their five remaining locations in Northern Ohio at 6PM on December 24th, 2014. The White Castle that was in Toledo closed in 2011, leaving just a handful open around Cleveland and Akron. For some reason, White Castle never built up much of a market presence in the northern part of the state despite being based in Columbus. The Cleveland Area White Castle locations were co-branded with Church's Chicken until just months before they closed.

 

The other closed locations are; White Castle #371 - 3255 West 117th Street, Cleveland (www.flickr.com/photos/fanofretail/15489291164/); White Castle #372 - 5095 Northfield Road, Bedford Heights (www.flickr.com/photos/fanofretail/16728382015/); White Castle #376 - 13201 Superior Avenue, East Cleveland (haven't posted pictures yet); and White Castle #370 - 5151 Pearl Road, Cleveland (www.flickr.com/photos/fanofretail/16129055181/).

 

If you wish to use this photo please contact me (Nicholas Eckhart) in one of the following ways:

>Send a FlickrMail message

>Comment on the photo(s)

>Send an email to eckhartnicholas@yahoo.com

 

I was in the right place at the right time for this shot.

Game:Devil May Cry 5

Using: Injectable Camera by Otis_Inf, Jim2Point0, Hattiwatti, K-putt.

Reshade 4.2.1.

SRWE.

Brussels City Central District Area

Illustration of three orders in springtails, three species cohabiting in the same biotope: a sandy-clay soil. The same fantastic wine-colored.

 

from left to right : Brachystomella sp., Ballistura schoetti, Sminthurides sp.

 

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Illustration de trois ordres chez les collemboles, trois espèces cohabitant dans le même biotope: un sol argilo-sableux. La même fantastique couleur lie de vin.

 

De gauche à droite : Brachystomella sp., Ballistura schoetti, Sminthurides sp.

SONY Sonnar T* FE 55mm F1.8 ZA

IN ENGLISH BELOW THE LINE

 

Ningú havia vist aquestes fotos fins ara, sobretot els que les varen fer. Fins que jo les he revelat ara.

 

En aquest rodet es veu una excursió a un tipic poblet britanic, probablement cap als anys 90 o principis dels 2000.

 

S'anomena "found film" a aquelles fotografies en pel•licula o placa que es troben sense revelar dins càmeres velles o per altres racons. La gracia és que ningú ha vist mai aquestes fotografies.

 

Vaig trobar uns rodets de 35mm a internet, procedents d'un venedor de Bath (Anglaterra); provenien de càmeres que ell havia anat col•leccionant.

 

Aquest rodet era un Moss Pharmacy Ultima, en color. El vaig revelar amb el kit C41 de Tetenal, fent servir la tecnica "bleach bypass".

 

===================================================

 

Nobody, even less the author, had seen these pictures until now.

 

This cartridge shows a trip to some nice British village, probably in the 90's or early 2000's.

 

They call "found film" at those images in film or plates that are find undeveloped inside old cameras or in other places, like boxes or old houses.

 

I found half a dozen 35mm film cartridges on the internet, from a Bath (UK) sale; they came from cameras the owner had been collecting.

 

This one was a 35mm Moss Pharmacy Ultima cartridge. I developed it with a Tetenal C41 kit, with a bleach bypass.

And orders

Waiting to move off from Rowley Station in Beamish Museum is Hudswell Clark (Leeds,UK) 0-6-0ST No.555 of 1901. The conductor appears to be giving the driver some last minute advice!

 

The shunter started life at the Port Talbot Railway & Docks Company as their No.26. The docks operation was taken over by Great Western Railway in 1908 and, when the operation was fully absorbed into GWR in 1922, this locomotive became GWR 813.

 

In 1934 the engine was sold to Backworth Collieries in Newcastle-upon-Tyne and was later absorbed into the fleet of the newly formed National Coal Board. In 1967 it was sold into preservation and restored to it's GWR 813 persona.

 

The engine was most recently returned to steam in 2016, after a six-year overhaul. It is still owned by the GWR 813 Preservation fund and is currently based at the Severn Valley Railway. It was on short term loan to Beamish during 2019.

 

Copyright © 2019 Terry Pinnegar Photography. All Rights Reserved. THIS IMAGE IS NOT TO BE USED WITHOUT MY EXPRESS PERMISSION!

Shipping day~

 

The Victoria in Staveley which is being made in to flats

From a public house to private housing.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however, we are just a short distance from Cavendish Mews, in front of Mr. Willison’s grocers’ shop. Willison’s Grocers in Mayfair is where Lettice has an account, and it is from here that Edith, Lettice's maid, orders her groceries for the Cavendish Mews flat, except on special occasions, when professional London caterers are used. Mr. Willison prides himself in having a genteel, upper-class clientele including the households of many titled aristocrats who have houses and flats in the neighbourhood, and he makes sure that his shop is always tidy, his shelves well stocked with anything the cook of a duke or duchess may want, and staff who are polite and mannerly to all his important customers. The latter is not too difficult, for aside from himself, Mrs. Willison does his books, his daughter Henrietta helps on Saturdays and sometimes after she has finished school, which means Mr. Willison technically only employs one member of staff: Frank Leadbetter his delivery boy who carries orders about Mayfair on the bicycle provided for him by Mr. Willison. He also collects payments for accounts which are not settled in his Binney Street shop whilst on his rounds.

 

Edith, is stepping out with Frank, so as she nears the shop, she hopes that the errand she has to run for today will allow her to have a few stolen minutes with Frank under the guise of ordering a few provisions required immediately. As she crosses Binney Street, Edith is delighted to see Frank busily decorating the front window. Mr. Willison always has a splendid window display of tinned and canned goods, but as she approaches the window she can see that it is especially festive, draped with patriotic bunting of Union Jacks and blue and red flags. As Frank, crouched in the window, carefully places a jar of Golden Shred marmalade next to a box of Ty-Phoo tea and in front of a jar of Marmite where it glows in the light pouring through the plate glass, Edith taps gently, so as not to startle her beau.

 

Frank smiles broadly and waves enthusiastically as he looks up and sees his sweetheart on the other side of the glass and he beckons her in as he slips back into the shadowy confines of the grocer’s.

 

“Please come in, milady!” he says cheekily as he opens the plate glass shop door for her, bows and doffs an invisible cap as the bell tinkles prettily overhead. “Pray what may we get to you? Let Willison’s the Grocer’s satisfy your every whim.”

 

“Oh Frank!” Edith giggles as she steps across the threshold. “Get along with you!”

 

Stepping into the shop she immediately smells the mixture of comforting aromas of fresh fruits, vegetables and flour, permeated by the delicious scent of the brightly coloured boiled sweets coming from the large cork stoppered jars on the shop counter. The sounds of the busy street outside die away, muffled by shelves lined with any number of tinned goods and signs advertising everything from Lyon’s Tea* to Bovril**.

 

“Where is Mrs. Willison?” Edith continues warily, her eyes darting to the spot behind the end of the return counter near the door where the proprietor’s wife usually sits doing her husband’s accounts, looking imperiously down her nose at Edith through her gold framed pince-nez***.

 

“Luckily the old trout is out with Mr. Willison attending Miss Henrietta’s school.” Frank explains.

 

“Don’t tell me that impudent little minx is in trouble?” Edith asks with a cheeky spark of hope in her voice. She knows that it’s uncharitable, and unchristian of her to wish the young girl ill, but she is still riled over the last time Edith met Frank near the rear door of Mr. Willison’s grocers, where, as he stole a kiss from her, Henrietta spied upon them. Henrietta, who had seen the young couple from a lace framed upstairs window where she was often seen spying on the comings and goings of the neighbourhood, called out loudly to her disapproving mother downstairs in the shop that Edith and Frank were loitering in the back lane, which caused the woman with her old fashioned upswept hairstyle and her high necked starched shirtwaister**** blouse to come hurrying to the back door as fast as her equally old fashioned whale bone S-bend corset***** and button up boots would allow her, where she promptly berated both Edith and Frank with her acerbic tongue, accusing them of lowering the tone of Mr. Willison’s establishment by loitering with intent and fraternising shamelessly. Edith’s cheeks flush at the mere memory of that embarrassing moment with Mrs. Willison.

 

“No,” Frank goes on. “Miss Henrietta is receiving an award at school today for an essay she penned.”

 

“With poison, no doubt.” mutters Edith. She sighs heavily before continuing, “I hate how you call her ‘Miss Henrietta’. She’s no better than you, Frank. In fact she’s a darn sight lesser if you ask me.”

 

“Now, now, Edith. Calm down.” Frank places his slender hands on her forearms and wraps his long and elegant fingers around them comfortingly. “You may well be right, but she is my employer’s daughter.”

 

“And full of her own self-importance.” Edith interrupts.

 

Frank politely ignores her outburst as he continues, “So I must address her as such.”

 

“Well, it’s not right, Frank.” Edith sulks.

 

“That much is true too,” Frank agrees with a sad nod. “And you know I am a man who wants to right the wrongs dealt to hardworking fold like you and I, but this is one fight I can’t have yet, Edith. This bit of deference I need to keep up if I want to keep my job.”

 

“All the same, Frank. I don’t think it’s right.” Edith opines again.

 

“Anyway, let’s not let Henrietta Willison spoil this wonderfully rare moment where we find each other alone together, Edith.” Frank says, pulling her into an embrace. Quickly looking around the quiet shop interior filled with groceries to make sure no-one will see them, Frank gently kisses Edith lovingly on the lips.

 

After a few stolen moments, Frank reluctantly breaks their kiss.

 

“Oh Frank!” Edith exclaims, her head giddy with pleasure and voice heady with love.

 

“Now, Miss Watsford,” Frank asks in a mock businesslike tone. “What can I do for the maid of the Honourable Miss Chetwynd today?”

 

“Well, it’s a funny coincidence, but you happened to be putting what I need in your window display, just as I arrived, Frank.” Edith elucidates. “I need a jar of Golden Shred orange marmalade urgently.”

 

“Urgently?” Frank queries. “Gosh, that does sound extreme.”

 

“But I do, Frank. Miss Lettice has a potential new client coming up from Wiltshire today, and being a somewhat impromptu visit, I haven’t any cake to serve them. I was just about to make my Mum’s pantry chocolate cake when I realised that I’m out of orange marmalade.”

 

“Well that does sound like a serious situation.” Frank agrees.

 

“Don’t tease me Frank! I’m serious.” Edith’s pretty pale blue eyes grow wide. “If I don’t provide something nice to eat for Miss Lettice’s potential new client, everything could go awry, and then I’d get into such trouble.”

 

“Well, I can’t have my best girl getting into trouble because she is missing the essential ingredient to her mum’s delicious chocolate cake, can I?” Frank says. “However I don’t understand why you have marmalade in a cake. It sounds a bit odd to me.”

 

“That’s because you aren’t a baker, Frank. Mum taught me this recipe for chocolate cake which is based on cheap everyday staples you have in the pantry, and that’s why she calls it a pantry chocolate cake.”

 

“Go on,” Frank says, placing his elbows on the counter and resting his smiling face in his hands. “You have my full attention.”

 

“Well, I use the marmalade to give the cake a nice citrus flavour in addition to the chocolate, and it keeps it moist, so it doesn’t dry out when baking. This way, I don’t have to worry about peeling or squeezing oranges either.”

 

“Fascinating!” Frank breathes, smiling broadly as he listens to Edith.

 

“And that’s why I need the marmalade, Frank.” Edith says nervously. “I’ll be lost without it.”

 

“Well, that is a problem, but it’s one I think I can remedy easily.” He smiles as he fossicks behind the counter and withdraws a jar of orange marmalade from somewhere unseen beneath it. Smiling proudly, as though he is a magician who has just conjured his best magic trick, he places it on the surface of counter.

 

“Oh you’re a brick, Frank!” Edith exclaims with eyes sparkling at the sight of the jar as she reaches out and takes it, placing it carefully into her basket.

 

“I’ll add that to Miss Lettice’s account, shall I?”

 

“If you would, Frank.”

 

As Frank writes the purchase on a scrap of lined paper to give to Mrs. Willison to enter into Mr. Willison’s ledger in her fine looping copperplate when she returns, he asks, “So do you like my window display then, Edith?”

 

“Oh yes!” gushes Edith. “Very much so, Frank. It’s wonderfully gay and patriotic.”

 

“I should hope it would be!” Frank replies, as he finishes scrawling Edith’s purchase on the paper with a slightly blunt pencil.

 

“Why, what’s it in aid of, Frank?”

 

“Edith!” Frank gasps. “I must have failed abysmally if you can’t tell.” He frowns, lines of concern furrowing his young brow. “Mr. Willison will never let me arrange the window again if you’re anything to go by.”

 

“Oh, get on with you, Frank!” Edith laughs.

 

However, Frank doesn’t join in her light hearted laughter and continues to look dourly at the back of the window display he has set up. “I’m serious, Edith. Mr. Willison finally let me arrange a window on my own because I implored him that I wanted to do it, and you can’t even identify what it’s promoting.”

 

“Well,” Edith defends, blushing as she does so. “To be fair, I was more concentrating on you, Frank.” When the worried look still doesn’t vanish from his face she adds. “Now that you aren’t standing in it, distracting me, I’ll go and take another look.”

 

She turns around and walks over to the window and peers through the side over the tops of a pyramid of Sunlight soap and a stack of Twinings tea varieties. An equally high pyramid of biscuit varieties, all in bright and colourful tins stands on the other side, whilst several more tins of biscuits appear at the back of the wide window ledge used for advertising. In front of them stand tins of golden syrup and black treacle, jars of marmalade, packets of tea and jelly crystals, containers of baking powder and cocoa, and at the very front of the window, almost flush against the glass, a cardboard cut out of a gollywog advertising Robertson’s marmalade and a little boy smiling as he promotes Rowntree’s clear gums, which Edith knows Mr. Willison keeps safely out of reach behind the shop counter and away from sticky little fingers. Edith gasps as she realises why Frank had hung bunting in the window, for at the back of the display, where usually there would be an advertisement for Lyon’s Tea or Bisto Gravy******, there is a poster promoting the British Empire Exhibition******* at Wembly********. A crowd of figures from British history and the nations of the British Empire crowd for space along several rows, many proudly waving the flags of Empire, whilst the exhibition name and dates are flanked by two very proud stylised Art Deco lions.

 

“The British Empire Exhibition!” Edith gasps, as Frank’s head appears next to a Huntley and Palmer********* biscuit tin on the opposite side of the display to her. “Now that you aren’t crouched in the window, I can see it clearly, Frank.”

 

“Mr. Willison gave me strict instructions to fill the window with only British made products.”

 

“And you’ve done a splendid job, Frank.” Edith replies, causing her beau to smile with pride and blush with embarrassment at her effusive compliment. As she looks at all the products again, she adds, “And I’m glad to see McVite and Price********** at the top of the pyramid of biscuits.

 

“Well, I couldn’t very well step out with the daughter of a McVitie and Price Line Manager and not have it on the top, could I, Edith?”

 

“Indeed no, Frank.” Edith smiles. “Dad will be pleased as punch when I tell him.”

 

“Well, I’m glad to hear that, Edith.” Franks says with a sigh.

 

“I think it will be quite a spectacle,” Edith muses, as she stares at the poster. “I’ve read in the newspapers that there will be fifty-six displays and pavilions from around the Empire! Imagine that! There will be palaces for industry, and art.”

 

“And housing and transport too***********, don’t forget.” adds Frank. “Each colony will be assigned its own distinctive pavilion to reflect local culture and architecture.”

 

“I would like to see the Queen’s Dolls’ House************.” Edith sighs. “I hear it is a whole world in miniature, and it even has electric lights.”

 

“Well, isn’t that fortunate?”

 

Edith pauses mid thought and looks quizzically at Frank. “I suppose it would be,” she considers. “If you were a doll living in the Queen’s Doll House.”

 

Frank starts laughing, quietly at first before growing into louder and louder guffaws.

 

“What, Frank?” Edith asks, blushing. “What have I said? What’s so funny?”

 

After a few moments, Frank manages to recover himself. “You do make me laugh, dear Edith.” He wipes the tears of mirth from the corners of his eyes. “Thank you.” He sighs. “I was really saying it’s fortunate because, I was going to ask you whether you would like to go and see the British Empire Exhibition. I’m just as keen to see all the marvellous wonders of Empire as you are.”

 

“Oh Frank!” Edith gasps, any discomfort and displeasure at her beau laughing at her forgotten as she runs around to his side of the window and throws her arms around his neck. “Frank, you’re such a brick! I’d love to!” And without another word, she places her lips against his and kisses him deeply.

 

*Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J. Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in Britain, Ireland and around the world. In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J. Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England.

 

**Bovril is owned and distributed by Unilever UK. Its appearance is similar to Marmite and Vegemite. Bovril can be made into a drink ("beef tea") by diluting with hot water or, less commonly, with milk. It can be used as a flavouring for soups, broth, stews or porridge, or as a spread, especially on toast in a similar fashion to Marmite and Vegemite.

 

***Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".

 

****A shirtwaister is a woman's dress with a seam at the waist, its bodice incorporating a collar and button fastening in the style of a shirt which gained popularity with women entering the workforce to do clerical work in the late Nineteenth and early Twentieth Centuries.

 

*****Created by a specific style of corset popular between the turn of the Twentieth Century and the outbreak of the Great War, the S-bend is characterized by a rounded, forward leaning torso with hips pushed back. This shape earned the silhouette its name; in profile, it looks similar to a tilted letter S.

 

******The first Bisto product, in 1908, was a meat-flavoured gravy powder, which rapidly became a bestseller in Britain. It was added to gravies to give a richer taste and aroma. Invented by Messrs Roberts and Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". Bisto Gravy is still a household name in Britain and Ireland today, and the brand is currently owned by Premier Foods.

 

*******The British Empire Exhibition was a colonial exhibition held at Wembley Park, London England from 23 April to 1 November 1924 and from 9 May to 31 October 1925. In 1920 the British Government decided to site the British Empire Exhibition at Wembley Park, on the site of the pleasure gardens created by Edward Watkin in the 1890s. A British Empire Exhibition had first been proposed in 1902, by the British Empire League, and again in 1913. The Russo-Japanese War had prevented the first plan from being developed and World War I put an end to the second, though there had been a Festival of Empire in 1911, held in part at Crystal Palace. One of the reasons for the suggestion was a sense that other powers, like America and Japan, were challenging Britain on the world stage. Despite victory in Great War, this was in some ways even truer in 1919. The country had economic problems and its naval supremacy was being challenged by two of its former allies, the United States and Japan. In 1917 Britain had committed itself eventually to leave India, which effectively signalled the end of the British Empire to anyone who thought about the consequences, while the Dominions had shown little interest in following British foreign policy since the war. It was hoped that the Exhibition would strengthen the bonds within the Empire, stimulate trade and demonstrate British greatness both abroad and at home, where the public was believed to be increasingly uninterested in Empire, preferring other distractions, such as the cinema.

 

********A purpose-built "great national sports ground", called the Empire Stadium, was built for the Exhibition at Wembley. This became Wembley Stadium. Wembley Urban District Council was opposed to the idea, as was The Times, which considered Wembley too far from Central London. The first turf for this stadium was cut, on the site of the old tower, on the 10th of January 1922. 250,000 tons of earth were then removed, and the new structure constructed within ten months, opening well before the rest of the Exhibition was ready. Designed by John William Simpson and Maxwell Ayrton, and built by Sir Robert McAlpine, it could hold 125,000 people, 30,000 of them seated. The building was an unusual mix of Roman imperial and Mughal architecture. Although it incorporated a football pitch, it was not solely intended as a football stadium. Its quarter mile running track, incorporating a 220 yard straight track (the longest in the country) were seen as being at least equally important. The only standard gauge locomotive involved in the construction of the Stadium has survived, and still runs on Sir William McAlpine's private Fawley Hill railway near Henley.

 

*********Huntley and Palmers is a British firm of biscuit makers originally based in Reading, Berkshire. The company created one of the world’s first global brands and ran what was once the world’s largest biscuit factory. Over the years, the company was also known as J. Huntley and Son and Huntley and Palmer. Huntley and Palmer were renown for their ‘superior reading biscuits’ which they promoted in different varieties for different occasions, including at breakfast time, morning and afternoon tea and reading time.

 

**********McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.

 

***********The Palace of Engineering was originally called the Palace of Housing and Transport when the British Empire Exhibition opened. It contained a crane capable of moving 25 tons (a practical necessity, not an exhibit) and contained displays on engineering, shipbuilding, electric power, motor vehicles, railways, including locomotives, metallurgy and telegraphs and wireless. In 1925 there seems to have been less emphasis on things that could also be classified as Industry, with instead more on housing and aircraft. The Palace of Industry was slightly smaller. It contained displays on the chemical industry, coal, metals, medicinal drugs, sewage disposal, food, drinks, tobacco, clothing, gramophones, gas and Nobel explosives.

 

************Queen Mary's Dolls' House is a dollhouse built in 1:12 scale in the early 1920s, completed in 1924, for Queen Mary, the wife of King George V. It was designed by architect Sir Edwin Lutyens, with contributions from many notable artists and craftsmen of the period, including a library of miniature books containing original stories written by authors including Sir Arthur Conan Doyle and A. A. Milne illustrated by famous illustrators of the time like Arthur Rackham and Edmund Dulac. The idea for building the dollhouse originally came from the Queen's cousin, Princess Marie Louise, who discussed her idea with one of the top architects of the time, Sir Edwin Lutyens, at the Royal Academy Summer Exhibition of 1921. Sir Edwin agreed to construct the dollhouse and began preparations. Princess Marie Louise had many connections in the arts and arranged for the top artists and craftsmen of the time to contribute their special abilities to the house. It was created as a gift to Queen Mary from the people, and to serve as a historical document on how a royal family might have lived during that period in England. It showcased the very finest and most modern goods of the period. Later the dollhouse was put on display to raise funds for the Queen's charities. It was originally exhibited at the British Empire Exhibition in 1924 and again in 1925, where more than 1.6 million people came to view it, and is now on display in Windsor Castle, at Windsor, as a tourist attraction.

 

This bright window display may look like it is full of real products from today and yesteryear, but just like Queen Mary’s Dolls’ House, these items are all 1:12 scale miniature pieces from my own collection.

 

Fun things to look for in this tableau include:

 

The window is full of wonderful British household brands, some of which like Robertson’s Golden Shred Marmalade, Marmite, Oxo stock cubes and Twinings tea we still know today. All these pieces have been made by various artisans including Little Things Dollhouse Miniatures in Lancashire and Beautifully Handmade Miniatures in Kettering, or supplied from various stockists of 1:12 miniatures including Kathleen Knight’s Dolls’ House Shop and Shephard’s Miniatures in the United Kingdom, or through various online stockists. I created the Union Jack bunting that is draped to either side of the display. I also recreated the British Empire Exhibition poster.

 

The two carboard displays at the very front for Rountree’s Gums and Golden Shred Marmalade are 1:12 size artisan miniatures made by the British miniature artisan Ken Blythe. The Golliwog advertising Robertson’s Golden Shred Marmalade in particular has some nostalgia for me, and takes me back to my own childhood. The famous Robertson's Golliwog symbol (not seen as racially charged at the time) appeared in 1910 after a trip to the United States to set up a plant in Boston. His son John bought a golliwog doll there. For some reason this started to appear first on their price lists and was then adopted as their trade mark. I have pins with the Robertson’s Golliwog on it that I collected as a child. Ken Blythe was famous in miniature collectors’ circles mostly for the miniature books that he made: all being authentically replicated 1:12 scale miniatures of real volumes. I have quite a large representation of Ken Blythe’s work in my collection. However, he did not make books exclusively. He also made other small pieces like these advertising pieces for miniature shops. What might amaze you, looking at these cardboard stand-ups is that they are just like their real life equivalents, both front and back! To create something so authentic to the original in such detail and so clearly, really does make this a real miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago and through his estate courtesy of the generosity of his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.

 

Golden Shred orange marmalade and Silver Shred lime marmalade still exist today and are common household brands both in Britain and Australia. They are produced by Robertson’s. Robertson’s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson’s Silver Shred is a clear, tangy, lemon flavoured shredded marmalade. Robertson’s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.

 

In 1859 Henry Tate went into partnership with John Wright, a sugar refiner based at Manesty Lane, Liverpool. Their partnership ended in 1869 and John’s two sons, Alfred and Edwin joined the business forming Henry Tate and Sons. A new refinery in Love Lane, Liverpool was opened in 1872. In 1921 Henry Tate and Sons and Abram Lyle and Sons merged, between them refining around fifty percent of the UK’s sugar. A tactical merger, this new company would then become a coherent force on the sugar market in anticipation of competition from foreign sugar returning to its pre-war strength. Tate and Lyle are perhaps best known for producing Lyle’s Golden Syrup and Lyle’s Golden Treacle.

 

Peter Leech and Sons was a grocers that operated out of Lowther Street in Whitehaven from the 1880s. They had a large range of tinned goods that they sold including coffee, tea, tinned salmon and golden syrup. They were admired for their particularly attractive labelling. I do not know exactly when they ceased production, but I believe it may have happened just before the Second World War.

 

Founded by Henry Isaac Rowntree in Castlegate in York in 1862, Rowntree's developed strong associations with Quaker philanthropy. Throughout much of the Nineteenth and Twentieth centuries, it was one of the big three confectionery manufacturers in the United Kingdom, alongside Cadbury and Fry, both also founded by Quakers. In 1981, Rowntree's received the Queen's Award for Enterprise for outstanding contribution to international trade. In 1988, when the company was acquired by Nestlé, it was the fourth-largest confectionery manufacturer in the world. The Rowntree brand continues to be used to market Nestlé's jelly sweet brands, such as Fruit Pastilles and Fruit Gums, and is still based in York.

 

Twinings is a British marketer of tea and other beverages, including coffee, hot chocolate and malt drinks, based in Andover, Hampshire. The brand is owned by Associated British Foods. It holds the world's oldest continually used company logo, and is London's longest-standing ratepayer, having occupied the same premises on the Strand since 1706. Twinings tea varieties include black tea, green tea and herbal teas, along with fruit-based cold infusions. Twinings was founded by Thomas Twining, who opened Britain's first known tea room, at No. 216 Strand, London, in 1706; it still operates today. Holder of a royal warrant, Twinings was acquired by Associated British Foods in 1964. The company is associated with Earl Grey tea, a tea infused with bergamot, though it is unclear when this association began, and how important the company's involvement with the tea has been. Competitor Jacksons of Piccadilly – acquired by Twinings during the 1990s – also had associations with the bergamot blend. In April 2008, Twinings announced their decision to close its Belfast Nambarrie plant, a tea company in trade for over 140 years. Citing an "efficiency drive", Twinings moved most of its production to China and Poland in late 2011, while retaining its Andover, Hampshire factory with a reduced workforce. In 2023, Twinings ceased production of lapsang souchong, replacing it with a product called "Distinctively Smoky", widely considered to be inferior quality.

 

In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.

 

Bird’s were best known for making custard and Bird’s Custard is still a common household name, although they produced other desserts beyond custard, including the blancmange. They also made Bird’s Golden Raising Powder – their brand of baking powder. Bird’s Custard was first formulated and first cooked by Alfred Bird in 1837 at his chemist shop in Birmingham. He developed the recipe because his wife was allergic to eggs, the key ingredient used to thicken traditional custard. The Birds continued to serve real custard to dinner guests, until one evening when the egg-free custard was served instead, either by accident or design. The dessert was so well received by the other diners that Alfred Bird put the recipe into wider production. John Monkhouse (1862–1938) was a prosperous Methodist businessman who co-founded Monk and Glass, which made custard powder and jelly. Monk and Glass custard was made in Clerkenwell and sold in the home market, and exported to the Empire and to America. They acquired by its rival Bird’s Custard in the early Twentieth Century.

 

Marmite is a food spread made from yeast extract which although considered remarkably English, was in fact invented by German scientist Justus von Liebig although it was originally made in the United Kingdom. It is a by-product of beer brewing and is currently produced by British company Unilever. The product is notable as a vegan source of B vitamins, including supplemental vitamin B. Marmite is a sticky, dark brown paste with a distinctive, salty, powerful flavour. This distinctive taste is represented in the marketing slogan: "Love it or hate it." Such is its prominence in British popular culture that the product's name is often used as a metaphor for something that is an acquired taste or tends to polarise opinion.

 

Oxo is a brand of food products, including stock cubes, herbs and spices, dried gravy, and yeast extract. The original product was the beef stock cube, and the company now also markets chicken and other flavour cubes, including versions with Chinese and Indian spices. The cubes are broken up and used as flavouring in meals or gravy or dissolved into boiling water to produce a bouillon. Oxo produced their first cubes in 1910 and further increased Oxo's popularity.

 

Bournville is a brand of dark chocolate produced by Cadbury. It is named after the model village of the same name in Birmingham, England and was first sold in 1908. Bournville Cocoa was one of the products sold by Cadbury. The label on the canister is a transitional one used after the First World War and shared both the old fashioned Edwardian letter B and more modern 1920s lettering for the remainder of the name. The red of the lettering is pre-war whilst the orange and white a post-war change.

 

Peek Freans is the name of a former biscuit making company based in Bermondsey, which is now a global brand of biscuits and related confectionery owned by various food businesses. De Beauvoir Biscuit Company owns but does not market in the United Kingdom, Europe and United States; Mondelēz International owns the brand in Canada; and English Biscuit Manufacturers owns the brand in Pakistan. Peek, Frean & Co. Ltd was registered in 1857 by James Peek (1800–1879) and his nephew-in-law George Hender Frean. The business was based in a disused sugar refinery on Mill Street in Dockhead, South East London, in the west of Bermondsey. With a quickly expanding business, in 1860, Peek engaged his friend John Carr, the apprenticed son of the Carlisle-based Scottish milling and biscuit-making family, Carr's. From 1861, Peek, Frean & Co. Ltd started exporting biscuits to Australia, but outgrew their premises from 1870 after agreeing to fulfil an order from the French Army for 460 long tons of biscuits for the ration packs supplied to soldiers fighting the Franco-Prussian War. After hostilities ended, the French Government ordered a further 16,000 long tons (11 million) sweet "Pearl" biscuits in celebration of the end of the Siege of Paris, and further flour supplies for Paris in 1871 and 1872, with financing undertaken by their bankers the Rothschilds. The consequential consumer demands of emigrating French expatriate soldiers, allowed the company to start exporting directly to Ontario, Canada from the mid-1870s. On 23 April 1873, the old Dockhead factory burnt down in a spectacular fire,[1] which brought the Prince of Wales (later Edward VII) out on a London Fire Brigade horse-drawn water pump to view the resulting explosions. In 1906, the Peek, Frean and Co. factory in Bermondsey was the subject of one of the earliest documentary films shot by Cricks and Sharp. This was in part to celebrate an expansion of the company's cake business, which later made the wedding cakes for both Princess Elizabeth and Philip Mountbatten (later Queen Elizabeth II and the Duke of Edinburgh) and Charles, Prince of Wales (later King Charles III), and Lady Diana Spencer. In 1924, the company established their first factory outside the UK, in Dum Dum in India. In 1931, five personnel from the Bermondsey factory went to Australia to train the staff in the new factory in Camperdown, in Sydney. In 1949, they established their first bakery in Canada, located on Bermondsey Road in East York, Ontario, which still today produces Peek Freans branded products. After 126 years, the London factory was closed by then owner BSN on Wednesday 26 May 1989.

 

Carr's is a British biscuit and cracker manufacturer, currently owned by Pladis Global through its subsidiary United Biscuits. The company was founded in 1831 by Jonathan Dodgson Carr and is marketed in the United States by Kellogg's. In 1831, Carr formed a small bakery and biscuit factory in the English city of Carlisle in Cumberland; he received a royal warrant in 1841. Within fifteen years of being founded, it had become Britain's largest baking business. Carr's business was both a mill and a bakery, an early example of vertical integration, and produced bread by night and biscuits by day. The biscuits were loosely based on dry biscuits used on long voyages by sailors. They could be kept crisp and fresh in tins, and despite their fragility could easily be transported to other parts of the country by canal and railway. Carr died in 1884, but by 1885, the company was making 128 varieties of biscuit and employing 1000 workers. In 1894 the company was registered as Carr and Co. Ltd. but reverted to being a private company in 1908. Carrs Flour Mills Limited was incorporated after acquiring the flour-milling assets. It became part of Cavenham Foods in 1964 until 1972, when it was sold to United Biscuits group, along with Cavenham's other biscuit brands Wright's Biscuits and Kemps for $10 million. United Biscuits was sold by its private equity owners to the Turkish-based multinational Yıldız Holding in 2014; in 2016 all UB brands including Carr's were combined with Yildiz's other snack brands to form Pladis Global.

 

Macfarlane Lang and Company began as Lang’s bakery in 1817, before becoming MacFarlane Lang in 1841. The first biscuit factory opened in 1886 and changed its name to MacFarlane Lang & Co. in the same year. The business then opened a factory in Fulham, London in 1903, and in 1904 became MacFarlane Lang & Co. Ltd. In 1948 it formed United Biscuits Ltd. along with McVitie and Price.

 

A co-operative wholesale society, or CWS, is a form of co-operative federation (that is, a co-operative in which all the members are co-operatives), in this case, the members are usually consumer cooperatives. The best historical examples of this are the English CWS and the Scottish CWS, which are the predecessors of the 21st Century Co-operative Group. Indeed, in Britain, the terms Co-operative Wholesale Society and CWS are used to refer to this specific organisation rather than the organisational form. They sold things like tea, cocoa and biscuits.

 

Sunlight Soap was first introduced in 1884 by William Hesketh Lever (1st Viscount Leverhulme) and introduced to the market in 1904. It was produced at Port Sunlight in Wirrel, Merseyside, a model village built by Lever Brothers for the workers of their factories which produced the popular soap brands Lux, Lifebuoy and Sunlight.

 

Before the invention of aerosol spray starch, the product of choice in many homes of all classes was Robin starch. Robin Starch was a stiff white powder like cornflour to which water had to be added. When you made up the solution, it was gloopy, sticky with powdery lumps, just like wallpaper paste or grout. The garment was immersed evenly in that mixture and then it had to be smoothed out. All the stubborn starchy lumps had to be dissolved until they were eliminated – a metal spoon was good for bashing at the lumps to break them down. Robins Starch was produced by Reckitt and Sons who were a leading British manufacturer of household products, notably starch, black lead, laundry blue, and household polish. They also produced Jumbo Blue, which was a whitener added to a wash to help delay the yellowing effect of older cotton. Rekitt and Sons were based in Kingston upon Hull. Isaac Reckitt began business in Hull in 1840, and his business became a private company Isaac Reckitt and Sons in 1879, and a public company in 1888. The company expanded through the late Nineteenth and early Twentieth Centuries. It merged with a major competitor in the starch market J. and J. Colman in 1938 to form Reckitt and Colman.

Dec LFF Leeds 2011

 

Laid up on the River Fal @ Tolverne, Cornwall... a wet crossing on the King Harry Ferry..L-R..RV Triton, Hellas Reefer & Nederland Reefer

update 4/8 - i am no longer taking custom orders. i will be again in a few months!

~ custom orders this weekend ~

~ as the weather cools down the card packaging is warmimg up ~

~ the baker's twine in brown and white has given its place to woolen yarn in shades of brown & blue

~ the card seen here is still not offered at the shop, but will shortly be. However, It is already available as a print in two sizes.