View allAll Photos Tagged practicality
Nº 9.
Aston Martin V12 Vantage (2010).
Escala 1/60.
"Coches en miniatura II" - "El Periódico" (España).
Welly/Nex.
Año 2015.
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Aston Martin Vantage (2005)
From Wikipedia, the free encyclopedia
"The Aston Martin Vantage is series of hand-built sports cars from the British manufacturer Aston Martin.
Aston Martin has previously used the "Vantage" name on high-performance variants of their existing GT models, notably on the Virage-based car of the 1990s.
The modern car, in contrast, is the leanest and most agile car in Aston's lineup. As such, it is intended as a more focused model to reach out to potential buyers of cars such as the Porsche 911 as well as the exotic sports and GT cars with which Aston Martins traditionally compete."
"Following the unveiling of the AMV8 Vantage concept car in 2003 at the North American International Auto Show, the production V8 Vantage was introduced at the Geneva Motor Show in 2005 for the 2006 model year.
The two seat, two -door coupé had a bonded aluminium structure for strength and lightness. The 172.5 inch (4.38 m) long coupé featured a hatchback-style tailgate for practicality, with a large luggage shelf behind the seats. In addition to the coupé, a convertible, known as the V8 Vantage Roadster, is available."
(...)
Current Variants
"These are the current versions of the Aston Martin Vantage
V8 Vantage Coupe
V8 Vantage Roadster
V8 Vantage S Coupe
V8 Vantage S Roadster
V8 Vantage N430 Coupe (RoW only)
V8 Vantage N430 Roadster (RoW only)
V8 Vantage GT Coupe (USA Only)
V8 Vantage GT Roadster (USA only)
V12 Vantage Coupe (discontinued)
V12 Vantage S Coupe
V12 Vantage Roadster (RoW only)
V12 Vantage S Roadster
V12 Vantage GT3 Special Edition
Vantage GT12
Vantage GT8
RoW= Rest of World"
-----------------------------
V12 Vantage
"On 11 December 2007, as part of Aston Martin's opening of their own design studio, the company unveiled a concept based on the V8 Vantage.
The car, known as the V12 Vantage RS, featured the V12 engine from the DBS and produced 510 hp (380 kW). The power along with the weight of 3,704 pounds (1,680 kg) allows the car to reach 60 mph (97 km/h) in 4.1 seconds and achieve a top speed of 190 mph (310 km/h).
Other additions include a new rear diffuser, a rear-wing which can be raised or lowered, and carbon-ceramic brakes. The bootlid and vented bonnet are also made from carbon fibre to help decrease the car's weight.
In early 2008, Aston Martin's CEO confirmed production for V12 Vantage RS for mid-2009.
Development prototypes of the V12 Vantage RS appeared in April 2008 before Aston Martin unveiled the official V12 Vantage in 2009.
On the finale of the 13th series of Top Gear, Jeremy Clarkson drove the car simply saying that "It's wonderful, wonderful, wonderful".
The V12 Vantage has been confirmed for United States market. Dr. Urlich Bez has personally confirmed that USA homologation is underway. This is in response to the decision of expanding the production run beyond 1,000 units. According to the automaker, some subtle changes were necessary to the structure of the car in order for it to meet North and South American regulations.
In addition to these enhancements, Aston has also announced that it will be adding a new Carbon Black version of the V12 Vantage exclusively for the American market.
The V12 Vantage is a drivable vehicle on the video game's Need for Speed: Hot Pursuit. It is available in both factory form and as a police version with full police livery. The Carbon Black edition is available in Test Drive Unlimited 2 as a special pre-order or DLC car along with the standard model. It also featured in Gran Turismo 5 via the Car Pack 3 DLC.
On 24 August 2011, Aston Martin announced that they are developing a GT3 version of the V12 Vantage, to replace the Aston Martin DBRS9. The race car is expected to be delivered by early 2012."
(...)
-------------------------------------
Aston Martin V8 Vantage
Aston Martin V12 Vantage
Manufacturer
Aston Martin Lagonda Limited
Production
2005–present
Assembly
Gaydon, Warwickshire, England
Designer
Henrik Fisker
Class
Grand tourer (S)
Body style
2-door coupé
2-door roadster
Layout
FR layout
Platform
VH Platform
Related
Aston Martin DB9
Aston Martin V12 Zagato
Aston Martin DB10
Engine
4.3 L AJ V8
4.7 L AJ V8
5.9 L AM28 V12
Transmission
6-speed Manual
6-speed Sportshift semi-automatic
7-speed automated manual
7-speed manual (2017 V12 Vantage S)
Dimensions
Wheelbase
2006–07 & 2010 – present: 102.4 in (2,601 mm)
2008–2010: 102.5 in (2,604 mm)
Length
172.5 in (4,382 mm)
2011 – present V12: 172.6 in (4,384 mm)
Width
73.5 in (1,867 mm)
2011 – present V12: 73.4 in (1,864 mm)
Height
2006–07: 49.4 in (1,255 mm)
Roadster: 2006–07: 50.0 in (1,270 mm)
2008–2010: 49.5 in (1,257 mm)
2011 – present V8: 49.6 in (1,260 mm)
2011 – present V8: 49.2 in (1,250 mm)
Kerb weight
1,548 kg (3,413 lb)
1,695 kg (3,737 lb) (V12 Vantage)
1,671 kg (3,684 lb) (V12 Vantage S)
Predecessor
Aston Martin Vantage
Source: en.wikipedia.org/wiki/Aston_Martin_Vantage_(2005)
I took this photo the other day, from the edges of Lake Ontario. This is the Toronto skyline including the CN Tower (182 storeys) and the windmill (30 storeys)
CN TOWER..... www.cntower.ca
Canada's Wonder of the World
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Defining the Toronto skyline, the CN Tower is Canada's most recognizable and celebrated icon. At a height of 553.33m (1,815 ft., 5 inches), it is Canada’s National Tower, the World's Tallest Building, an important telecommunications hub, and the centre of tourism in Toronto.
Each year, approximately 2 million people visit the CN Tower to take in the breath-taking view and enjoy all the attractions it has to offer.
The CN Tower was built in 1976 by Canadian National (CN) who wanted to demonstrate the strength of Canadian industry by building a tower taller than any other in the world. In 1995, the CN Tower became a public company and ownership of the Tower was transferred to Canada Lands (CLC) Company, a federal Crown corporation responsible for real estate development.
Although the CN Tower inspires a sense of pride and inspiration for Canadians and a sense of awe for tourists, its origins are firmly rooted in practicality. The construction boom in Toronto in the 1960's transformed the skyline characterized by relatively low buildings into one dotted with skyscrapers. These new buildings caused serious communication problems. With its microwave receptors at 338 m (1,109 ft.) and 553.33m (1,815 ft., 5 inches) antenna, the CN Tower swiftly solved the communication problems with room to spare. As a result people living in the Toronto area now enjoy some of the clearest reception in North America.
The CN Tower is situated on Front Street which is located in the heart of the Entertainment District. The CN Tower is easily accessible from Union Station as well as many major streets and highways. For a broader sense of the CN Tower's location, it is located on the north shore of Lake Ontario.
The View
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While visiting the CN Tower, guests not only enjoy the amazing view, but the many great attractions available. With 4 lookout levels the view of Toronto just gets better the higher you go.
Located at a height of 342 m (1,122 ft) you will find the Glass Floor and Outdoor Observation Deck.
At 346 m (1,136 ft.) is Horizons Café and the Indoor Observation Deck. Horizons Café offers casual dining for those looking to enjoy a light meal at the top of the world.
360, our award winning fine dining restaurant is located at 351 m (1,150 ft.) and offers guests a complete 360 degree view of the city. The floor in the 360 Restaurant rotates once every 72 minutes allowing you a complete and unobstructed view of the city below. Along with the view 360 also offers an internationally recognized wine cellar of nearly 500 choice labels. Be sure to take a moment to enjoy the artwork located throughout 360, all is provided by the Art Gallery of Ontario and is available for purchase at the gallery.
Think you're high enough now. Think again. Sky Pod, the World's Highest Public Observation Deck is located at a dizzying 447 m (1,465 ft.).
THE WINDMILL...
The mill is 91 metres high (the hub is 65 metres).
It maximum power output is rated at 750 kW,
and it's estimated to produce 1400 MW/h
per year of electrical power.
2,000 views on 30th December 2013
1,000 views - 29th November 2013
In case anyone should wonder WHY the Force was called NORTHERN Constabulary, here is PC 216 Harry Edwards demonstrating EXACTLY why. Where were these photographs taken? –well, you simply cannot drive a vehicle any FURTHER north in the United Kingdom. Harry was the beat bobby for Unst until he retired in 1997.
Unst is one of the North Isles of the Shetland Islands, Scotland. It is the northernmost of the inhabited British Isles and is the third largest island in Shetland after the Mainland and Yell. It has an area of 46 square miles. en.wikipedia.org/wiki/Unst
Just offshore at the northernmost tip of Unst is the islet of Muckle Flugga, and Robert Louis Stevenson's father and uncle were the main design engineers for Muckle Flugga lighthouse. Robert Louis Stevenson visited Unst, and the island is claimed to have become the basis for the map of the fictional Treasure Island.
The Lighthouse is visible in both photos.
The police vehicle is a Vauxhall Corsa, M377VAS newly supplied to Harry.
The car bears the Livery of PERIOD 2 (1980-1995) roundel era (CC: Henderson/MacMillan)
Small cars such as this were undoubtedly economical, but their practicality was suspect since bobbies tended not to be small of stature. I recall one instance where a Corsa was allocated to a one-man station near Inverness, despite the officer there being probably the tallest in the force – and he was proportionately built too. To witness him exit from the vehicle was akin to seeing a genie emerge from a bottle!
Harry clearly was taken with his last beat, as he stayed on, continuing to live on Unst after retirement.
The northern end of Unst is dominated by the hill of Saxa Vord, which housed the Saxa Vord Royal Air Force radar station which closed in 2006, with the loss of more than 100 jobs. RAF Saxa Vord was a vital part of Britain's air defence during the Cold War.
RAF Saxa Vord was further north than Leningrad, and on the same latitude as Anchorage, Alaska. The station was named after Saxa Vord, which is the highest hill on Unst at 935 ft (285 m). It holds the unofficial British record for wind speed, which in 1962 was recorded at 177 mph (285 km/h) — just before the measuring equipment blew away.
Saxa Vord is as near to Bergen (Norway) as it is to Aberdeen, and as close to Dresden as it is to London!
Indeed the “adjoining” beats to Harry’s were :
- west-north-west - the Faroe Islands (Royal Danish Police);
- north west – Iceland; and
- east - Bergen (Norwegian Police).
To the north ………… well, there is nothing (except sea and then ice to the North Pole)!
There is no longer a permanent police presence on Unst, but in years gone by – in addition to the Northern Constabulary officer – the island also had a detachment of Royal Air Force Police, who were based at RAF Saxa Vord.
As the crow flies (or as the Viking longboat sailed) , it is some 250 miles from Unst to Bergen. If however Harry wanted to liase with his “adjoining beat” officer (in Bergen), driving from one to the other would entail travelling 2100 miles, involving 2 Shetland inter-island ferries and 3 major sea crossings (Lerwick-Aberdeen; English Channel and Skagerak) -and passing through 7 countries (Scotland, England, France, Belgium, Netherlands, Germany, Denmark, and Norway). That would have used up all his mileage for the year!!
Many thanks to 216 for supplying the photos and information. Harry, you are a legend!
Photos were taken by a Northern Constabulary officer.
Coimbra University, Portugal.
"One of the most visible and distinctive traditions is the use of the academic costume of the University of Coimbra, a black suit and cape worn on special occasions by the students (and more often by many), which was adopted by other Portuguese universities and is actually used by students of almost all higher education institutions in the city and across the country."
Influence on Harry Potter:
"Consider the cloak: that heavy, full-length piece of outerwear most often associated with epic fantasy franchises, and specifically, Harry Potter. It’s not something you’d wear to class, not if you value practicality—and yet somehow it remains the most iconic part of the wizarding school uniform.
But in the non-magical world, Portuguese university students have been wearing cloaks to class day in, day out, more or less since higher education was invented. They are the indisputable pioneers of the trend—so much so that many would swear, under Veritaserum if needed be, that J.K. Rowling was inspired by the Portuguese when picking out the outfits for her young wizards. Although Rowling has never been explicit about her inspiration for the cloaks, she wrote part of what would become Harry Potter and the Sorcerer's Stone while living in Porto, Portugal, in the 1990s. Tour guides often point out the cloaked university students, whom Rowling must have seen walking to and from class, as the likely inspirations behind the Hogwarts dress code.
The look stems from the history of post-secondary education in Portugal, which has some of the oldest universities in the world. When the country's first university—the University of Coimbra—was created in 1290 in Lisbon, teaching was a religious vocation (as was learning), and so the medieval campus was teeming with clergymen. There wasn’t a student uniform, exactly, but the mish-mash of men from different religious orders did result in a student look: a dark, severe ensemble that civilian students began to approximate in the centuries that followed. As late as 1850, the all-male student body at the University of Coimbra was still wearing knee-length cassocks over shorts and knee socks. A long cloak topped off the whole outfit, lending a decidedly clerical look to the decidedly civilian students.
Things changed, dramatically, in the latter half of the 19th century. The progressive spirit of the era replaced the old-fashioned shorts with a practical three-piece suit, composed of black frock coat, waistcoat, and tailored pants—and so the standard male university uniform, or traje, was born. The cumbersome old cloak very nearly went out of commission then, but the boys had reportedly grown so attached to its drama that they kept wearing it over the new suits. School authorities allowed the cloak to remain, proudly anachronistic, to sweep the cobblestones of Coimbra another day. When the country’s second and third universities were founded in 1911, in the cities of Lisbon and Porto, students rushed to adopt the same weirdly popular suit-and-cloak combo.
Girls didn’t get a standard uniform until 1945, when the Orfeão Universitário do Porto, a student association at the then-young University of Porto, accepted the first female members into its roster. (Before then, women didn't have any particular school attire, although they were sometimes told to wear all black so as not to stand out.) Members of the Orfeão were expected to perform traditional Portuguese singing and dancing in full uniform, and the girls rose to the occasion by suiting up in their very own, alternate version of the traje. They found their inspiration in the stripped-down practicality of military women’s uniforms and settled on a knee-length trapeze skirt and boxy three-button jacket. The cloak, of course, was the final touch, which quickly caught on at other schools.
Today, there are over 300,000 university students in Portugal, a respectable number of whom routinely wear the traje to class. It is no longer mandatory, as it once was, but it doesn’t need to be. To wear this historic uniform is to embrace and broadcast one’s identity as a student—although it’s also to be frequently confused with a Harry Potter cosplayer. Foreign visitors to Portugal sometimes make that mistake, but they should know the opposite is likelier to be true: Local students have been wearing cloaks to class since long before Harry Potter was cool."
Saturday 7th July 2018, a revisit to my favourite place, Stonehaven a 25 minute drive from my home, I can never visit without taking in Dunnottar Castle views, today she looked magnificent.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
The chain link fence encircles a small dog park. I believe these hydrants have either been removed or are awaiting installation. I don’t exactly know why I’m attracted to clunky, oversized, plumbing. I find plumbing hardware like this so unattractive and lacking grace or appeal. I have studied industrial design a little and worked with engineering most of my career. What I see in heavy plumbing is concerns about economy, practicality and durability and almost nothing else. At the same time it is the rusty, crusty, clunkiness that I find so appealing.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
The London Underground (also known simply as the Underground or by its nickname the Tube) is a rapid transit system serving Greater London and some parts of the adjacent home counties of Buckinghamshire, Essex and Hertfordshire in England.
The Underground has its origins in the Metropolitan Railway, opening on 10 January 1863 as the world's first underground passenger railway. It is now part of the Circle, District, Hammersmith & City and Metropolitan lines. The first line to operate underground electric traction trains, the City & South London Railway in 1890, is now part of the Northern line.
The network has expanded to 11 lines with 250 miles (400 km) of track. However, the Underground does not cover most southern parts of Greater London; there are only 33 Underground stations south of the River Thames. The system's 272 stations collectively accommodate up to 5 million passenger journeys a day. In 2020/21 it was used for 296 million passenger journeys, making it one of the world's busiest metro systems.
The system's first tunnels were built just below the ground, using the cut-and-cover method; later, smaller, roughly circular tunnels—which gave rise to its nickname, the Tube—were dug through at a deeper level. Despite its name, only 45% of the system is under the ground: much of the network in the outer environs of London is on the surface.
The early tube lines, originally owned by several private companies, were brought together under the Underground brand in the early 20th century, and eventually merged along with the sub-surface lines and bus services in 1933 to form London Transport under the control of the London Passenger Transport Board (LPTB). The current operator, London Underground Limited (LUL), is a wholly owned subsidiary of Transport for London (TfL), the statutory corporation responsible for the transport network in London. As of 2015, 92% of operational expenditure is covered by passenger fares. The Travelcard ticket was introduced in 1983 and Oyster card, a contactless ticketing system, in 2003. Contactless bank card payments were introduced in 2014, the first such use on a public transport system.
The LPTB commissioned many new station buildings, posters and public artworks in a modernist style. The schematic Tube map, designed by Harry Beck in 1931, was voted a national design icon in 2006 and now includes other transport systems besides the Underground, such as the Docklands Light Railway, London Overground, Thameslink, the Elizabeth line, and Tramlink. Other famous London Underground branding includes the roundel and the Johnston typeface, created by Edward Johnston in 1916.
The history of the London Underground began in the 19th century with the construction of the Metropolitan Railway, the world's first underground railway. The Metropolitan Railway, which opened in 1863 using gas-lit wooden carriages hauled by steam locomotives, worked with the District Railway to complete London's Circle line in 1884. Both railways expanded, the Metropolitan eventually extending as far as Verney Junction in Buckinghamshire, more than 50 miles (80 km) from Baker Street and the centre of London. The first deep-level tube line, the City and South London Railway, opened in 1890 with electric trains. This was followed by the Waterloo & City Railway in 1898, the Central London Railway in 1900, and the Great Northern and City Railway in 1904. The Underground Electric Railways Company of London (UERL) was established in 1902 to fund the electrification of the District Railway and to complete and operate three tube lines, the Baker Street and Waterloo Railway, the Charing Cross, Euston and Hampstead Railway and the Great Northern, Piccadilly and Brompton Railway, which opened in 1906–07. By 1907 the District and Metropolitan Railways had electrified the underground sections of their lines.
Under a joint marketing agreement between most of the companies in the early years of the 20th century, UNDERGROUND signs appeared outside stations in central London. World War I delayed extensions of the Bakerloo and Central London Railways, and people used the tube stations as shelters during Zeppelin air raids by June 1915. After the war, government-backed financial guarantees were used to expand the network, and the tunnels of the City and South London and Charing Cross, Euston and Hampstead Railways were linked at Euston and Kennington, although the combined service was not named the Northern line until later. The Piccadilly line was extended north to Cockfosters and took over District line branches to Harrow (later Uxbridge) and Hounslow. In 1933, the underground railways and all London area tram and bus operators were merged into the London Passenger Transport Board (LPTB). The outlying branches of the Metropolitan were closed; various upgrades were planned. The Bakerloo line's extension to take over the Metropolitan's Stanmore branch, and extensions of the Central and Northern lines, formed part of the 1930s New Works Programme. The outbreak of World War II in 1939 halted or interrupted some of this work, and many tube stations were used as air-raid shelters.
The LPTB was nationalised in 1948, and the reconstruction of the mainline railways was given priority over the maintenance of the Underground. In 1953 an unpainted aluminium train entered service on the District line, and this became the standard for new trains. In the early 1960s the Metropolitan line was electrified as far as Amersham, and steam locomotives no longer hauled passenger trains. The Victoria line, a new tube line across central London, opened in 1968–71 with trains driven automatically. In 1976 the isolated Northern City Line was taken over by British Rail and linked up with the mainline railway at Finsbury Park. In 1979 another new route, the Jubilee line, took over part of the Bakerloo line; it was extended through the Docklands to Stratford in 1999.
Under the control of the Greater London Council, London Transport introduced in 1981 a system of fare zones for buses and underground trains that cut the average fare. Fares increased following a legal challenge but the fare zones were retained, and in the mid-1980s the Travelcard and the Capitalcard were introduced. In the early years of the 21st century, London Underground was reorganised in a public–private partnership where private companies upgraded and maintained the infrastructure. In 2003 control passed to Transport for London (TfL), which had been opposed to the arrangement and, following financial failure of the infrastructure companies, had taken full responsibility by 2010. The contactless Oyster card first went on sale in 2003. The East London line closed in 2007 to be converted into a London Overground line, and in December 2009 the Circle line changed from serving a closed loop around the centre of London to a spiral also serving Hammersmith. Currently there is an upgrade programme to increase capacity on several Underground lines, and work concluded in 2021 on a Northern line extension to Battersea.
The first underground railways (1863–1905)
In the first half of the 19th century, London had grown greatly and the development of a commuting population arriving by train each day led to traffic congestion with carts, cabs and omnibuses filling the roads. By 1850 there were seven railway termini located around the urban centre of London and the concept of an underground railway linking the City of London with these stations was first proposed in the 1830s. Charles Pearson, Solicitor to the City of London, was a leading promoter of several schemes, and he contributed to the creation of the City Terminus Company to build such a railway from Farringdon to King's Cross in 1852. Although the plan was supported by the City of London, the railway companies were not interested and the company struggled to proceed. In 1854 the Metropolitan Railway (also known as the Met) was granted permission to build an underground line at an estimated cost of £1 million. With the Crimean War under way, the Met found it hard to raise the capital, and construction did not start until March 1860. The railway was mostly built using the "cut-and-cover" method from Paddington to King's Cross; east of King's Cross it was built by tunnelling and then followed the culverted River Fleet in an open cutting to the new meat market at Smithfield. The 3.75-mile (6 km) railway opened to the public on 10 January 1863, using steam locomotives hauling wooden carriages. It was hailed as a success, carrying 38,000 passengers on the opening day, borrowing trains from other railways to supplement the service. In the first twelve months 9.5 million passengers were carried and in the second twelve months this increased to 12 million.
The Met's early success prompted a flurry of applications to parliament in 1863 for new railways in London, many competing for similar routes. The House of Lords established a select committee that recommended an "inner circuit of railway that should abut, if not actually join, nearly all of the principal railway termini in the Metropolis". Proposals to extend the Met were accepted, and the committee agreed a proposal that a new company, the Metropolitan District Railway (commonly known as the District Railway), be formed to complete the circuit. Initially, the District and the Met were closely associated and it was intended that they would merge. The Met's chairman and three other directors were on the board of the District, John Fowler was the engineer of both companies. The construction works for the extensions were let as a single contract and the Met initially operated all the services. Struggling under the burden of high construction costs, the District's level of debt meant that merger was no longer attractive to the Met and its directors resigned from the District's board. To improve its finances, the District terminated the operating agreement and began operating its own trains. Conflict between the Met and the District and the expense of construction delayed further progress on the completion of the inner circle. In 1879, the Met now wishing to access the South Eastern Railway via the East London Railway (ELR), an Act of Parliament was obtained to complete the circle and link to the ELR. After an official opening ceremony on 17 September and trial running, a complete Circle line service started on 6 October 1884.
The Metropolitan Railway had been extended soon after opening, reaching Hammersmith with the Great Western Railway in 1864 and Richmond over the tracks of the London and South Western Railway (L&SWR) in 1877. The Metropolitan & St John's Wood Railway opened as a single track branch from Baker Street to Swiss Cottage, and this was to become the Met's most important route as it expanded north into the Middlesex countryside, where it stimulated the development of new suburbs. Harrow was reached in 1880, and the line eventually extended as far as Verney Junction in Buckinghamshire, more than 50 miles (80 kilometres) from Baker Street and the centre of London. From the end of the 19th century, the railway shared tracks with the Great Central Railway route out of Marylebone.
By 1871, when the District began operating its own trains, the railway had extended to West Brompton and a terminus at Mansion House. Hammersmith was reached from Earl's Court and services reached Richmond, Ealing, Hounslow and Wimbledon. As part of the project that completed the Circle line in October 1884, the District began to serve Whitechapel. As a result of the expansion, by 1898, 550 trains operated daily. Services began running to Upminster in 1902, after a link to the London, Tilbury & Southend Railway had been built.
Electric underground railways (1900–1908)
In 1869, a passage was dug through the London Clay under the Thames from Great Tower Hill to Pickle Herring Stairs near Vine Street (now Vine Lane). A circular 7-foot-diameter (2.1 m) tunnel was dug 1,340 feet (410 m), using a wrought iron shield, a method that had been patented in 1864 by Peter William Barlow. A railway was laid in the tunnel and from August 1870 a wooden carriage conveyed passengers from one side to the other. This was uneconomic and the company went bankrupt by the end of the year and the tunnel was converted to pedestrian use, becoming known as the Tower Subway. Construction of the City and South London Railway (C&SLR) was started in 1886 by James Henry Greathead using a development of Barlow's shield. Two 10-foot-2-inch (3.10 m) circular tunnels were dug between King William Street (close to today's Monument station) and Elephant and Castle. From Elephant and Castle, the tunnels were a slightly larger 10 feet 6 inches (3.20 m) to Stockwell. This was a legacy of the original intention to haul the trains by cable. The tunnels were bored under the roads to avoid the need for agreement with owners of property on the surface. The original intention to cable-haul the trains changed to electric power when the cable company went bankrupt. A conductor rail energised with +500 volts DC conductor rail for the northbound tunnel and −500 volts for the southbound laid between the running rails, though offset from the centreline, powered the electric locomotives that hauled the carriages. The carriages were fitted with small windows and consequently were nicknamed padded cells. By 1907, the C&SLR had extended from both ends, south to Clapham Common and north to Euston.
In 1898, the Waterloo & City Railway was opened between London & South Western Railway's terminus at Waterloo station and a station in the City. Operated by the L&SWR, the short electrified line used four-car electric multiple units. Two 11 feet 8+1⁄4 inches (3.562 m) diameter tunnels were dug beneath the roads between Shepherd's Bush and Bank for the Central London Railway (CLR). In 1900 this opened, charging a flat fare of 2d (approximately 96p today), becoming known as the "Twopenny tube" and by the end of the year carrying nearly 15 million passengers. Initially electric locomotives hauled carriages, but the heavy locomotives caused vibrations that could be felt on the surface. In 1902–03 the carriages were reformed into multiple units using a control system developed by Frank Sprague in Chicago. The CLR was extended to Wood Lane (near White City) in 1908 and Liverpool Street in 1912. The Great Northern & City Railway was built to take main line trains from the Great Northern Railway (GNR) at Finsbury Park to the City at a terminus at Moorgate. However the GNR refused permission for trains to use its Finsbury Park station, so platforms were built beneath the station instead and public service on the line, using electric multiple units, began in 1904.
District and Metropolitan electrification
On the District and Metropolitan Railways, the use of steam locomotives led to smoke-filled stations and carriages that were unpopular with passengers and electrification was seen as the way forward. Electric traction was still in its infancy and agreement would be needed between the two companies because of the shared ownership of the inner circle. A tender was announced for an electric system, and the largest European and American companies applied to win the contract. When the experts of the London Metro compared the design of the Ganz Works to the offers of the other large European and American competitors, however, they found that the newest type of AC traction technology of the Ganz Works was more reliable and cheaper, and considered its technology as a "revolution in electric railway traction". In 1901 a Metropolitan and District joint committee recommended the Ganz three-phase AC system with overhead wires. Initially this was accepted by both parties, until the District found an investor, the American Charles Yerkes, to finance the upgrade. Yerkes raised £1 million (adjusted for inflation, £115 million) and soon had control of the District Railway. His experiences in the United States led him to favour the classic traditional DC system similar to that in use on the City & South London Railway and Central London Railway. The Metropolitan Railway protested about the change of plan, but after arbitration by the Board of Trade the DC system was adopted.
The Metropolitan electrified its new line from Harrow to Uxbridge and the route to the inner circle at Baker Street,[46] using separate positive and negative conductor rails energised at 550–600 V. The District electrified its unopened line from Mill Hill Park (now Acton Town) to South Harrow and used this line to test its new trains and to train drivers. Electric multiple units began running on the Metropolitan in January 1905 and by March all local services between Baker Street and Harrow were electric. Electric services began on the District Railway in June 1905 between Hounslow and South Acton. In July 1905 the District began running electric trains from Ealing to Whitechapel and on the same day the Met and the District both introduced electric units on the inner circle until later that day an incompatibility was found between the way the shoe-gear was mounted on the Met trains and the District track. The Met trains were withdrawn from the District lines and modified, full electric service starting on the circle line in September. In the same month, after withdrawing services over the un-electrified East London Railway and east of East Ham, the District were running electric services on all remaining routes. The GWR electrified the line between Paddington and Hammersmith and the branch from Latimer Road to Kensington (Addison Road). An electric service with jointly owned rolling stock started on the route in November 1906. In the same year, the Met suspended running on the East London Railway, terminating instead at the District's station at Whitechapel. The Metropolitan Railway beyond Harrow was not electrified so services were hauled by an electric locomotive from Baker Street and changed for a steam locomotive en route.
Integration (1902–1933)
Underground Electric Railways Company of London
The Charing Cross, Euston and Hampstead Railway, was authorised from Charing Cross to Hampstead and Highgate in 1893, but had not found financial backing. Yerkes bought the rights in 1900, and obtained additional approval for a branch from Camden Town to Golders Green. The Baker Street and Waterloo Railway had been authorised to run from Baker Street to Waterloo station. Work began in 1898, and extensions to Paddington station and Elephant & Castle were authorised in 1900, but came to a halt with the collapse of their financial backers in 1901. Yerkes bought the rights to this railway in 1902. The District had permission for a deep-level tube from Earl's Court to Mansion House and in 1898 had bought the Brompton and Piccadilly Circus Railway that had authority for a tube from South Kensington to Piccadilly Circus. The District's plans were combined by Yerkes with those of the Great Northern and Strand Railway, a tube railway with permission to build a line from Strand to Finsbury Park, to create the Great Northern, Piccadilly and Brompton Railway. In April 1902, the Underground Electric Railways Company of London (UERL) was established, with Yerkes as chairman, to control these companies and manage the planned works.
On 8 June 1902, the UERL took over the Metropolitan District Traction Company. The UERL built a large power station that would be capable of providing power for the District and underground lines under construction. Work began in 1902 at Lots Road, by Chelsea Creek, and in February 1905 Lots Road Power Station began generating electricity. For the three lines similar electric multiple units were purchased, known as "Gate Stock" as access to the cars was via lattice gates at each end operated by gatemen. As on the District Railway the track was provided with separate positive and negative conductor rails, in what was to become a London Underground standard. A number of the surface buildings, with an exterior of glazed dark red bricks, were designed by Leslie Green and 140 electric lifts were imported from America from the Otis Elevator Company. A length of the Baker Street & Waterloo between Baker Street and Kennington Road (now Lambeth North) opened in March 1906, and the line reached Edgware Road the following year. It was named the 'Bakerloo' in July 1906, called an undignified "gutter title" by The Railway Magazine. The Great Northern, Piccadilly & Brompton Railway (the Piccadilly) opened from Finsbury Park to Hammersmith in December 1906, the Aldwych branch opening the following year. "Moving staircases" or escalators were first installed at Earl's Court between the District and Piccadilly line platforms, and at all deep level tube stations after 1912. The last, the Charing Cross, Euston & Hampstead (the Hampstead) opened in 1907, and ran from Charing Cross to Camden Town, before splitting into two branches going to Golders Green and Highgate (now Archway).
London Underground
To promote travel by the underground railways in London a joint marketing arrangement was agreed that included maps, joint publicity and through ticketing. UNDERGROUND signs were used outside stations in Central London. The UERL acquired London bus and tram companies in 1912 and the following year the City & South London and Central London Railway joined the company. That year the Great Northern & City was taken over by the Met. Suggestions of merger with the Underground Group were rejected by the Metropolitan, a press release of November 1912 noting its interests in areas outside London, its relationships with main line railways and its freight business. Further coordination in the form of a General Managers' Conference faltered after the Metropolitan withdrew in 1911 when the Central London Railway, without any reference to the conference, set its season ticket prices significantly lower than those on the Met's competing routes. The UERL introduced station name boards with a red disc and a blue bar and the Met responded with station boards showing a blue bar on a red diamond.
In 1913 the Bakerloo line reached Paddington, and the following year the Hampstead line was extended south of its Charing Cross terminus to an expanded interchange station (currently known as Embankment) with the Bakerloo and District lines. The Bakerloo line was extended north to Queen's Park to link up with the London & North Western Railway's new electric line from Euston to Watford Junction. The start of World War I in 1914 delayed construction, trains reaching Queen's Park in 1915 and Watford Junction in 1917. An extension of the Central line west to Ealing was started in 1913 and, also delayed by the war, was completed in 1920. The war saw growth in traffic and a shortage of men, so women were recruited as temporary replacements in traditional men's jobs such as guards, clerks, painters and cleaners. London saw its first air raids in 1915, and people used the tube stations as bomb shelters.
After the war new trains were purchased to run on the Metropolitan, District, Bakerloo and Piccadilly lines, the Piccadilly line trains having air-operated sliding doors. In the 1920s, taking advantage of government backed financial guarantees for capital projects that promoted employment, there were major extensions of the City & South London and the Hampstead lines. The tunnels of the City & South London Railway were rebuilt to have the same diameter of the other tubes, and then extended north from Euston to a junction with the Hampstead line at Camden Town, and south to Morden. The Hampstead line was extended to the north from Golders Green to Edgware and south to another junction with the City & South London at Kennington, this opening in 1926. Although physically connected, the lines were still officially named the City Railway and Hampstead & Highgate line. The lines were to be known as the Edgware, Highgate and Morden and the Morden-Edgware until finally renamed the Northern line in 1937. Also during the 1920s the original tube gate stock was replaced with 1,460 cars of Standard Stock with air-operating sliding doors, except for the Central line where the cars were refurbished. Busy central London stations were modernised with escalators replacing lifts.
Unlike other railway companies in the London area, the Met was able to develop land for housing. After World War I they promoted housing estates near the railway with the "Metro-land" brand and nine housing estates were built near stations on the line. Taking advantage of the Treasury guarantees electrification was extended north from Harrow to Rickmansworth and a short branch opened from Rickmansworth to Watford in 1925. In the 1920s more powerful electric and steam locomotives were purchased and Metropolitan Railway stations were redesigned by their architect Charles W Clark.
With finance guaranteed by the government the Piccadilly lines and Metropolitan were extended in the early 1930s. The Metropolitan opened a line from Wembley Park to Stanmore, and the Piccadilly line was to extend north from Finsbury Park to Cockfosters and west from Hammersmith and took over the District line Harrow and Hounslow branches. Several stations were rebuilt in a Modernist style influenced or designed by Charles Holden, who called them his 'brick boxes with concrete lids'. Piccadilly line trains took over the District service to South Harrow in 1932, reaching Uxbridge the following year. Piccadilly trains reached Cockfosters and Hounslow West in 1933, although District line services to Hounslow continued until 1964.
London Passenger Transport Board (1933–1947)
In 1933, Harry Beck's diagrammatic tube map appeared for the first time. On 1 July 1933, the London Passenger Transport Board (LPTB), was created as a public corporation and the Metropolitan, the UERL underground railways, tramway companies and bus operators were merged into one organisation. On the former Metropolitan Railway the Brill Branch closed in 1935, followed by the line from Quainton Road to Verney Junction in 1936. It was proposed to electrify to Amersham with additional tracks from Harrow to Rickmansworth and to extend the Bakerloo line to Stanmore to relieve the bottleneck on the Metropolitan from Baker Street to Finchley. Before any work was started on the Met, the 1935–1940 New Works Programme was announced. This included extending the Central line to Stratford and then onto Epping and Ongar and the Northern line was to be extended north to High Barnet, Alexandra Palace and Bushey Heath and link up with the isolated Great Northern & City Railway, renamed the Northern City Line, which was to be extended beyond Finsbury Park to link up at Highgate.
New trains were delivered before the outbreak of World War II in 1939, including 573 cars for the District and Metropolitan lines and 1,121 new cars (1938 Stock) for the tube lines. Following the outbreak of war, services on the Northern line between Strand (now Charing Cross) and Kennington were suspended as the tunnels under the Thames were blocked as a defence against flooding. The Metropolitan Pullman cars were placed into store and first class was removed from London Underground services. The New Works Programme continued, albeit at a reduced pace, the Bakerloo line taking over the Stanmore branch from the Metropolitan in November 1939. The Northern line reached Mill Hill East in May 1941, but by then work on the other Northern and Central line extensions had been suspended. The bombing of London and especially the Blitz led to the use of many tube stations as air-raid shelters, with 175,000 people arriving every night in August 1940. Six stations were breached by a direct hit, and in March 1943, 173 people died in a crowd crush accident at the unfinished Bethnal Green station. In the 1940s a depot built for the Northern line extension and an unfinished stretch of the Central line extension, the underground section between Newbury Park and Leytonstone, was turned into an aircraft factory. The closed Brompton Road station was used as an anti-aircraft control room. The closed Down Street station was used by Winston Churchill and the War Cabinet and the Railway Emergency Committee.
Before the war, the Olympia exhibition centre had been served by the Metropolitan line and by a service from Earl's Court to Willesden Junction. Following bombing in 1940 passenger services over the West London Line were suspended. This left the exhibition centre without a railway service, so after the war the station was renamed Kensington (Olympia) and served by a District line shuttle from Earl's Court. The Central line extensions in east and west London were completed, tube trains running to Epping from 1949.
Nationalisation (1947–2000)
Britain's railways were nationalised on 1 January 1948, and London Transport placed under the authority of the British Transport Commission (BTC). The BTC prioritised the reconstruction of the main line railways over the maintenance of the Underground and most of the unfinished plans of the 1935–40 New Works Programme were shelved or postponed. For the tube lines new cars (1949 Stock) were built to run with the 1938 stock. Some of the cars on the District line were in need of replacement, and in 1953 an unpainted aluminium train (R Stock) entered service, and this became the standard for new trains, and was followed by 1959 tube stock. After experiments with an AEC lightweight diesel multiple unit in 1952, steam trains were removed from the Central line following the electrification of the Epping–Ongar section in 1957.
Between 1963 and 1970, London Transport reported directly to the Minister of Transport, before control passed to the Greater London Council. Electrification work on the Metropolitan line, suspended due to the war, had restarted in 1959. The line was electrified to Amersham and the unpainted aluminium (A Stock) replaced steam trains, British Rail providing services for the former Metropolitan line stations between Amersham and Aylesbury.
Victoria line and Jubilee line
The Victoria line was recommended in a 1949 report as it would reduce congestion on other lines. After some experimental tunnelling in 1959, construction began in 1963 and, unlike the earlier tubes, the tunnels did not have to follow the roads above. The line was originally approved to run from Walthamstow to Victoria station, the extension to Brixton being authorised later. As part of the works, Oxford Circus station was rebuilt to allow interchange with the Central and Bakerloo lines. Cross platform interchanges were built at Euston, Highbury & Islington and Finsbury Park. After running trains from Walthamstow, first to Finsbury Park and then to Warren Street in 1968, the line to Victoria was officially opened in March 1969. The extension to Brixton opened in 1971. Designed for automatic train operation, access to the platforms was by using magnetically encoded tickets collected by automatic gates.
The Moorgate tube crash occurred on 28 February 1975 on the isolated Northern City Line when a southbound train failed to stop at the Moorgate terminus and crashed into the wall at end of the tunnel, killing forty-four people. No fault was found with the train equipment, the subsequent report found that there was insufficient evidence to determine the cause. Following the incident, a system that stops a train automatically if the driver fails to brake was introduced at dead-ends on the London Underground. The Northern City Line was connected to British Rail tracks at Finsbury Park in the 1970s. The last tube train ran in October 1975, and British Rail services began in 1976. In 1977, the Piccadilly line was extended from Hounslow to Heathrow Airport, and in 1986 a platform serving Terminal 4 opened on a loop line.
The Fleet line through central London was first proposed in 1965, taking over the Bakerloo line's Stanmore branch at Baker Street and then running via Fleet Street to Lewisham. To simplify planning the construction was divided into stages, and the first stage from Baker Street to Charing Cross had all the necessary approvals by 1971. Work began the following year and tunnelling had been completed in 1976. After the line had been renamed the Jubilee line in honour of Queen Elizabeth's Silver Jubilee in 1977, the line opened in April 1979 using trains that had been running on the Bakerloo line.
1980s
In 1981, the Greater London Council (GLC) introduced the 'Fares Fair' scheme, a system of fare zones for bus and underground trains, cutting the average fare by 32 per cent. This was challenged in court, the GLC lost and fares doubled in 1982. The fare zones were retained and fares dropped slightly the following year. In 1983 the Travelcard allowed travel within the specified zones on buses and underground trains, and was followed in Capitalcard in 1985 that included British Rail services. In 1984 control of London Buses and the London Underground passed to London Regional Transport (LRT), which reported directly to Secretary of State for Transport.
By the early 1980s, the pre-war trains had been replaced by new unpainted aluminium trains. One person operation had been planned in 1968, but conflict with the trade unions delayed introduction. The Metropolitan, East London, District and Circle lines were converted in 1985–86, the Piccadilly, Jubilee and Bakerloo lines following in 1987–88. One Person Operation was introduced on the Central and Northern lines after they received new trains in the early 1990s.
King's Cross fire
The King's Cross fire killed 31 people in November 1987 when a lit match set fire to a wooden escalator. In the subsequent report London Underground was strongly criticised for its attitude to fires and its publication led to resignations of senior management in both London Underground and London Regional Transport and to the introduction of new fire safety regulations. A Fire Safety Code of Practice was drawn up for rolling stock and this led to internal refurbishment of the trains that included replacing the interior panelling and fitting or improving the public address systems.
1990s
At the same time, the exterior of the trains were painted as it had proved difficult to remove graffiti from unpainted aluminium. The first refurbished trains were presented to the media in September 1989, and the project launched in July 1991. In 1994 LRT took over control of the Waterloo and City line. The Epping–Ongar branch of the Central line and the Aldwych branch of the Piccadilly line closed in the same year. To link the growing Docklands area with central London, several options were considered, and an extension of the Jubilee line was chosen. Approved in 1993, the stations were built to be fully accessible and with platform edge doors. There was pressure on London Transport to get the line open in time for the opening of the Millennium Dome on 1 January 2000 and the extension opened in stages from Stratford, with through running from 22 November 1999, when the Charing Cross terminus closed.
Transport for London (from 2000)
Transport for London (TfL) was created in 2000 as part of the Greater London Authority by the Greater London Authority Act 1999. TfL eventually replaced London Regional Transport, and discontinued the use of the London Transport brand in favour of its own brand. The transfer of responsibility was staged, with transfer of control of London Underground delayed until July 2003, when London Underground Limited became an indirect subsidiary of TfL.
Public–private partnership
In 1999, before control was passed to TfL, London Underground was split up so that a public–private partnership (PPP) arrangement could be put in place, with London Underground remaining a public company running the trains while private companies were responsible for upgrading the railway. Three packages of 30-year franchises were drawn up, covering the Jubilee, Northern and Piccadilly lines (JNP), the Bakerloo, Central, Victoria and Waterloo and City lines (BCV) and the sub-surface lines, the Metropolitan, District, Circle, East London and Hammersmith & City lines (SSL). In 2003 the BCV and SSL contracts were won by Metronet (a consortium of Balfour Beatty, WS Atkins, Bombardier, EDF Energy and Thames Water), while JNP was won by Tube Lines; these were known as the "infracos" (infrastructure companies). In 2003, overall control of the system passed to TfL, which had been opposed to the arrangement. Metronet went into administration in 2007, and TfL took over responsibilities, and TfL also took over Tube Lines in 2010.
Creation
The Mayor of London, Ken Livingstone, was sceptical about the practicality of the PPP plan, and brought in the American Bob Kiley as London's Transport Commissioner to repeat his success with the New York City Subway using public bond finance. Taking office in 2000 as London's first directly elected mayor, it was difficult for Livingstone to block the PPP process, which was entirely in the national Government's hands as it still owned London Underground, which was not transferred to local control until July 2003. Kiley was fired from the board of London Regional Transport (of which he had been chairman) in 2001 over his attempts to block the PPP scheme. Livingstone mounted a legal challenge, but eventually dropped it as it was unlikely to succeed, and Tube Lines and Metronet reached financial close on the contracts in December 2002 and March 2003 respectively. It was later revealed that the legal challenge had cost £4.2 million directly, as well as £36 million reimbursed to the bidders for costs incurred because of the six-month delay. In April 2005 TfL criticised Metronet, saying it had given capital construction work to its shareholders, whilst Tube Lines, which had competitively tendered its work, was performing much better. TfL also said that new technology promised by Metronet had yet to be seen — "We were supposed to be getting private sector expertise and technology with the PPP (Public Private Partnership) but instead they are just using the same old kit."
In March 2005, the House of Commons Public Accounts Committee, charged with ensuring value for money in public spending, published a report concluding that it was "impossible to determine" whether the PPP was better value than a publicly run investment programme, primarily because of the untested periodic review structure of the 30-year contracts. These were to be revised every 7.5 years, meaning that the ultimate price for the promised £15.7 billion of investment was still unknown. It noted that using public bond finance would have saved £90 million a year in financing costs, even though the Government guaranteed repayment of 95% of costs in the event of premature termination, and the contracts placed limits and exemptions on financial risk transferred to the infrastructure companies. The system still received an annual public subsidy of £1 billion, but its spending was now determined entirely by the infracos' interpretation of their 2000-page PPP contracts. Although the private operators were expected to receive at least 18–20% returns on capital (for Metronet), for the type of risk associated with major upgrades, most of the work was low-risk maintenance and replacement. The public-sector procurement option (using private companies for specific major projects) would also have saved the £455 million cost of concluding the PPP contracts, not to mention the five years' delay the contract negotiations caused.
Performance
In April 2005, Bob Kiley pressed for an urgent review of the PPP, describing its performance as "bordering on disaster". A week later the chief executive of Metronet was sacked, after complaints that it had made £50m profit despite being behind on all its major works. By April 2005, it had started work on only 13 station refurbishments (instead of 32 as scheduled), and was more than a year behind on the refurbishment of 78 District line trains. It was also behind on its track replacement programme, having completed 28 km instead of the scheduled 48 km.
In March 2005, the House of Commons Transport Select Committee noted that "Availability is the most important factor for Tube travellers. All the infracos needed to do to meet their availability benchmarks was to perform only a little worse than in the past. On most lines, they did not even manage that."
Metronet was also declared at fault by an accident investigators' report into a May 2004 derailment at White City, for failing to implement sufficient safety checks despite being ordered to do so by TfL.
TfL takes over infracos
Metronet, using its shareholders as its main contractors, was unable to meet its targets and track replacement and station refurbishments fell behind schedule. With increased costs it went into administration in 2007 and TfL took over responsibilities.
The UK government tried to find another private firm to fill the vacuum left by the liquidation of Metronet. However, only TfL expressed a viable interest in taking over Metronet's responsibilities. The case for PPP was also weakened in 2008 when it was revealed that the demise of Metronet had cost the UK government £2bn. The five private companies that made up the Metronet alliance had to pay £70m each towards paying off the debts acquired by the consortium. But due to a deal struck with the government in 2003, when the PPP scheme began operating, the companies were protected from any further liability. The UK taxpayer therefore had to foot the rest of the bill. This undermined the argument that PPP would place the risks involved in running the network into the hands of the private sector.
By 2010, Tube Lines was behind schedule on the Jubilee line upgrade and after conflict arose over costs of future work in that year's PPP review, TfL bought Tube Lines for £310m ($458m).
Despite the collapse of the PPP, substantial investment to upgrade and modernise the Tube has taken place - with new trains (such as London Underground S7 and S8 Stock), new signalling, upgraded stations (such as King's Cross St Pancras) and improved accessibility (such as at Green Park).
Recent history
The Oyster card, a stored-value contactless smart card that can be used on Transport for London services instead of a ticket, first went on sale in 2003. The scheme was originally managed as a PPP by TranSys; TfL bought the rights to the Oyster card name in 2008.
On 7 July 2005 three bombs exploded on underground trains, two on the Circle line at Aldgate and Edgware Road and the third on the Piccadilly line between King's Cross and Russell Square. Later the same day a bomb exploded on a bus in Woburn Place. Four suicide bombers had killed themselves and fifty-two other people, and it took over a month before underground services had been restored.
In 2007 the East London line, operated as an isolated shuttle since 1939, closed so that it could be converted into a London Overground line. In December 2009 the Circle line changed from serving a closed loop around the centre of London on the north side of the River Thames to a spiral serving Hammersmith.
On the Jubilee line a seventh car was added to all trains, in 2006 and a new signalling system allowing automatic operation was commissioned in 2011. On the Victoria line, new trains were introduced between July 2009 and June 2011, and a new signalling system has allowed 33 trains per hour from January 2013. The sub-surface (Metropolitan, District, Circle and Hammersmith & City) lines have been upgraded, with new air-conditioned S Stock. Also, the sub-surface track, electrical supply and signalling systems are also being upgraded in a programme allowing an increased peak-hour capacity by the end of 2018. A single control room for the sub-surface network is to be established in Hammersmith and an automatic train control (ATC) system will replace signalling equipment installed from the 1940s.
During the London 2012 Olympic and Paralympic Games, the Underground saw record ridership levels, with over 4.3 million people using the Tube on some days. This record was subsequently beaten in future years, with 4.82 million riders in December 2015. In 2013, the Underground celebrated its 150th anniversary, with celebratory events such as steam trains and installation of a unique Labyrinth artwork at each station.
In the 2010s, the Crossrail project was built at a cost of £18.8bn to connect two mainline railways with a new east west tunnel under central London, similar to Paris' Réseau Express Régional. Designed to increase rail capacity and reduce cross London journey times, the line opened as the Elizabeth line in May 2022. Although not part of the Underground, the line connects with many Underground stations, with the project rebuilding and expanding several central Underground stations including Tottenham Court Road.
The Tube was heavily affected by the COVID-19 pandemic in 2020. After growing concern that amongst the outbreak and despite government advice on social distancing, tube services were still crowded. All Night Overground and Night Tube services, as well as all services on the Waterloo & City line, were suspended from 20 March, and 40 tube stations were closed on the same day. The Mayor of London and TfL urged people to use public transport only if absolutely essential, so that it could be used by critical workers. London Underground brought in new measures on 25 March to combat the spread of the virus by slowing the flow of passengers onto platforms, which included the imposition of queuing at ticket gates and turning off some escalators. Even with these measures in place there was still criticism that, especially in the rush hour, some stations and trains were experiencing crowding; however, statistics showed that the tube was experiencing some of the lowest passenger journey numbers since the 1800s.
The Northern Line Extension opened in September 2021, extending the Northern line from Kennington to Battersea Power Station via Nine Elms. The extension was privately funded, with contributions from developments across the Battersea Power Station, Vauxhall and Nine Elms areas.
Goods traffic
Goods trains ran over Metropolitan tracks from 1866 when the Great Northern Railway (GNR) and then the Midland Railways began a service to south of the Thames via Farringdon and Snow Hill tunnel. Goods depots were opened in the Farringdon area, accessed from the City Widened Lines. The GWR opened Smithfield Market Sidings in 1869, the GNR opened its depot in 1874, and the Midland in 1878. The Midland also negotiated running rights over the District Railway from the London & South Western Railway at Hammersmith to South Kensington in 1876 and in 1878 it opened coal depots at Kensington High Street and West Kensington.
Goods traffic was to play an important part of Metropolitan traffic on the extension line out of Baker Street. In 1880, the Met started conveying coal from Finchley Road to Harrow. Goods and coal depots were provided at most of the stations on the extension line as they were built. Goods for London were initially handled at Willesden, with delivery by road or by transfer to the Midland. In 1909, the Met opened Vine Street goods depot near Farringdon with a regular service from West Hampstead. Coal for the steam locomotives, the company's electric power station at Neasden and local gasworks were brought in via Quainton Road. Milk was delivered to the London suburbs and foodstuffs from Vine Street to Uxbridge. Fish to Billingsgate Market via the Met and the District joint station at Monument caused some complaints, leaving the station approaches in an "indescribably filthy condition". The District suggested a separate entrance for the fish, but nothing was done. The traffic reduced significantly when road transport was introduced from to Marylebone, but the problem remained until 1936, being one reason the LPTB gave for abolishing the carrying of parcels on trains. The LPTB was also not interested in running the Metropolitan goods services. Vine Street goods station closed in 1936, and the London and North Eastern Railway (LNER) took over all freight traffic from in 1937.
When the Northern line was extended over the lines of the LNER to High Barnet and Mill Hill East in 1940, the stations retained their goods service. Starting at midnight trains would leave Highbury every five to ten minutes and access the line from Finsbury Park via Highgate High Level. The Central line stations also kept their goods service, worked from Temple Mills and accessed via Leytonstone, the Hainault loop stations being served via Woodford.
Goods services were withdrawn in the 1950s and '60s. The GNR goods depot on the City Widened Lines closed in 1956 and Smithfield Market was last served by train in 1962. Goods yards on the Uxbridge branch closed in 1964, and Northern line stations saw their last goods train in the same year. The closure of West Kensington yard the following year meant the withdrawal of goods trains from District and Piccadilly tracks. On the Central line, Hainault loop stations lost their goods service in 1965, and in 1966 the rest of the line followed.
Saturday 7th July 2018, a revisit to my favourite place, Stonehaven a 25 minute drive from my home, I can never visit without taking in Dunnottar Castle views, today she looked magnificent.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
Kālī, also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, shakti. She is the fierce aspect of the goddess Durga (Parvati). The name Kali comes from kāla, which means black, time, death, lord of death: Shiva. Since Shiva is called Kāla— the eternal time — the name of Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess. Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time" but also means "black" in honor of being the first creation before light itself. Kālī means "the black one" and refers to her being the entity of "time" or "beyond time." Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli" referring to Devi Parvathi being a manifestation of Devi MahaKali.
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP & MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is called Devi Argala Stotram.
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā kṣamā śivā dhātrī svāhā svadhā namō'stutē.)
TANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kāli who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.
In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:
At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.
The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)
He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.
The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER OF RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. She is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her. In her fury, she fails to see the body of Shiva lying amongst the corpses on the battlefield and steps upon his chest. Realizing Shiva lies beneath her feet, her anger is pacified and she calms her fury. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist and an enchanted Shiva lies beneath her feet. Each of these icons represent a deep philosophical epithet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali is undoubtedly the primeval energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest; both of them dance and Kali matches Shiva in every step that he takes until Shiva takes the "Urdhvatandava" step, by vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and became pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
Another legend depicts the infant Shiva calming Kali. In this similar story, Kali has defeated her enemies on the battlefield and begun to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child's distress, Kali ceases dancing to care for the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva. This legend is notable because it shows Kali in her benevolent, maternal aspect, with which she is not usually identified.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces and ten feet and three eyes. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda; indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black. The waters of the ocean depths are the same; The infinite is always mysteriously dark. This inebriating darkness is my beloved Kali.
SRI RAMAKRISHNA
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).
The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
IN NEW AGE & NEOPAGANISM
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment." The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
WIKIPEDIA
Fantastic car, one of my favourite Audis. Combines everyday practicality with outstanding performance. This generation of the RS6 has 5.0 V10 580 HP engine. It goes from 0 to 100 km/h in 4.6 seconds, with top speed of 250 km/h.
Despite all their faults, when British Leyland got it right, they really got it right!
When it comes to Four-Wheel-Drives with the go-anywhere, do-anything abilities of a tank, and the luxury and comfort of a high end saloon, this truly is genesis. The Range Rover was really the first SUV to take cars like these out of the mud, and put them into SW1.
Development of the Range Rover dated back to the early 1950's, when the emergence of 4x4's that weren't simply glorified Willys Jeeps such as the original Land Rover's began to come into being, starting the subclass known as the Sports Utility Vehicle or SUV. The first cars to attempt the crossing of the practicality of a Jeep with the comforts of a conventional car were really the Jeep Wagoneer and the Ford Bronco.
But in 1970, years of development came to a head in British Leyland's release of the Range Rover. In its original guise, the Range Rover was more capable off-road than the Land Rover but was much more comfortable, offering a top speed in excess of 100mph, a towing capacity of 3.5 tons, spacious accommodation for five people and groundbreaking features such as a four-speed, dual-range, permanent four-wheel-drive gearbox and hydraulic disc brakes on all wheels.
Additionally, the car was powered by Rover's Buick-derived V8 engine which had been fitted previously into the Rover P5 and P6. This strong, reliable and endlessly tunable engine meant these cars could run forever, and with this British Leyland truly had a winner.
Since then hundreds of thousands of Range Rovers have been sold globally, both in this original 'Classic' version as well as the updated P38 and Sport designs of the 2000's. But it was this original Range Rover that perfected the formula, and since then pretty much every SUV has copied the formula to give the customer an all-terrain vehicle with that luxury edge.
Coachwork by Carrozzeria Pinin Farina
Chassis n° B521004
n° 1 of 7
Bonhams
Les Grandes Marques du Monde à Paris
The Grand Palais Éphémère
Place Joffre
Parijs - Paris
Frankrijk - France
February 2023
Estimated : € 800.000 - 1.000.000
Sold for € 718.750
"The car body is characterised by its streamlined silhouette, tapered toward the tail, the smooth sides, the raised circular front air intake, which generates the central part of the hood, also circular in cross section. Evidently there is the influence of the aeronautics of the era." - Antoine Prunet, Pininfarina.
Offered here is the very first of Pinin Farina's PF200 show cars, built for promotional purposes to generate publicity and never intended for series production, although Pinin Farina (as it was then) went on to build a further six examples, some open, some closed. The seven PF200s were slightly different from one another, although all featured the signature circular front air intake reminiscent of the North American F-86 Sabre jet fighter. The concept made its debut in 1952 when this very car, chassis number '1004', was displayed on the Pinin Farina stand at the Turin Motor Show. Italian film star and lover of fine cars, Renato Rascel (real name Renato Ranucci) met Sergio 'Pinin' Farina at the 1952 Turin Show and purchased '1004'. The side air intakes and six exhaust pipes are delightful details, while instead of stowing the soft-top behind the seats, like many open cars of the period, Pinin Farina arranged for the PF200's hood to fold down out of sight within the body, thus preserving its streamlined appearance.
The PF200 used the chassis and running gear of the Lancia Aurelia B52, one of the most advanced sporting cars of the era. At this time Pinin Farina had yet to supplant Carrozzeria Vignale as Ferrari's coachbuilder of choice, and much of its best work from this period was on Lancia chassis. One of the most influential designs to emerge from Italy post-WW2, Lancia's classic Aurelia was the first car ever to employ a V6 engine. Designed in wartime by Francesco de Virgilio and launched at the 1950 Turin Motor Show, the Aurelia B10 was powered by a 1,754cc 60-degree V6 of all-aluminium construction that used overhead valves operated via short pushrods instead of Lancia's traditional overhead camshafts.
An advanced unitary-construction design, the Aurelia retained Lancia's 'sliding pillar' independent front suspension, first seen on the Lambda, but used a novel semi-trailing-arm layout at the rear, another world first. The transmission too, was unusual, comprising a two-piece prop-shaft and combined gearbox/rear transaxle on which were mounted the inboard brakes, though for once this was not an entirely new departure. The original B10 saloon was joined the following year by the landmark, Pininfarina-styled B20 Coupé, a fastback '2+2' on a shortened wheelbase which, with its combination of sports car performance and saloon car practicality, can be said to have introduced the Gran Turismo concept to the world. Models with longer wheelbases and larger engines in various states of tune followed. To cater for independent coachbuilders, Lancia offered the longer-wheelbase (291cm) B50 chassis, based on B10 mechanicals, and later the B52, which came with the 2.0-litre engine of the B20/B21. In total Lancia built only 98 B52 chassis, the last of which was delivered in 1953.
Bought new by famous Italian film star, Renato Ranucci, in 1952 at the Turin Motor Show, '1004' changed ownership in 1958 and a couple of times more between then and 1961. It then seems to have remained in the same family for some 13 years before being bought by the current owner in 1974.
A passionate collector of classic cars, with a passion for flying, the current owner is himself a pilot of light aircraft, and during military service also of jets. He found the Lancia in a very poor condition; the car was in pieces but what caught his eye was the circular front air-intake: it looked more like a jet than a car so you can imagine how his passion for cars and aircraft coalesced in the same object - it was love at first sight.
The car was restored in the 1980s by the current owner, who commissioned what were then the best specialists for the job. The painstaking professional restoration took almost 10 years, a period in which the owner and the restorer, Mr. Giancarlo Cappa, became very close friends after doing a lot of research about this Pf200 together. During the restoration and despite the time-consuming research, some details had to be altered as replacements for some of the unique parts were unobtainable. The restoration notes/receipts for 35,000,000 liras are on file, an astronomical amount for a restoration if you know that a monthly salary for a worker at that time was around 300.000/350.000 liras. The car is finished in the lovely colour scheme of dark grey with a tan interior.
Once the Lancia came finally 'home', the owner put the car in one of the living rooms of the main house, which had ramp access. It was here that the family spent most evenings, especially at weekends. The car stood in the middle of the room as the centrepiece. The owner's rationale was very clear: the PF200 is a masterpiece and a work of art, which fully justified having it in your main living room. If you are not driving the car, indoors is the best place to enjoy it the most!
In the 1990s the engine failed and was removed, and it was then decided to replace it with one of an identical type (no. B21*2700*). Unfortunately, the original block was not retained, the importance of 'matching numbers' not being appreciated at that time. Carefully looked after by its long-term custodian, the car is presented today in mainly preserved condition following its 1980s restoration, which is now showing signs of age, especially in the paint. Residing for almost 50 years with the same owner, the car has its own dedicated space in the garage with magnificent 'Lancia PF200' badging on the wall.
On old Italian plates, the car has featured on posters and in magazines, etc and comes with an Italian libretto and a quite exceptional history file. The latter contains important correspondence with Pininfarina dating from 1981, which confirms that the car belonged to Renato Rascel; that it is the example exhibited at the 1952 Turin Motor Show; and that it was the first of a 'series' of seven PF200s of the same type built by hand, each of them different from the others even if only by some small functional or ornamental details, very often requested by the customer. Unfortunately, a fire at the Pininfarina factory destroyed all records of the PF200s and there are no photographs of this car's interior. The fascinating history file also contains lots of other correspondence; various articles; period photographs (1970s onwards); restoration photos (1980s); and the all-important Automobile Club D'Italia document confirming build details and ownership history. With the recent announcement of the re-birth of the Lancia Aurelia model, this unique car will become all-the-more collectible and is a unique opportunity for any major collector.
Yoga Flow 1 hour creative yoga flow Vinyasa ~ 2014 youtu.be/YKVhB4TxuwU Yoga Flow 1 hour creative yoga flow Vinyasa is a fun and rigorous yoga flow practice and all over body workout that will leave you feeling energized, clear and refreshed. This one hour yoga practice practice promotes cardiovascular stamina, upper body, lower body and core strength, balance and flexibility by stretching and opening hips, hamstrings, quadriceps, shoulders and lower back. This yoga flow also includes breath work (pranayama) and integrates mindfulness practice and meditation. Veteran teacher Michelle Goldstein of Heart Alchemy Yoga in Venice, California brings a simple practicality to her instruction that provides a safe and easy to understand Yoga program. This yoga course is intended to help improve strength, flexibility, stamina, range of motion, breath capacity and relaxation. About Michelle Goldstein: Michelle has maintained a daily yoga practice for since 1998. A protégée of renowned Yoga teacher, Bryan Kest of Santa Monica Power Yoga, Michelle has been teaching yoga since 2004. A devoted student of Yoga, she has studied under a wide range of teachers including Max Strom, Bryan Kest, Guru Singh, Saul David Raye, Erich Schiffman and others. Check out all of our great Yoga flow videos below: Five Tibetan Rites with John Goltermanhttps://youtu.be/nnNJoRLJG9E Power Yoga for Weight Loss youtu.be/yUtK7v3dsr0 Strong Yoga For Beginners Workout youtu.be/xglmLhDppmo Meditative Bhakti Yoga Flow youtu.be/mQnAvEbDNPg Bhakti Yoga Workout youtu.be/AHMO0Ja0XC4 Cardio Yoga Workout youtu.be/hy-qss2Takg Yoga Workout 1 hour Yoga For Weight Loss youtu.be/yUtK7v3dsr0 Power Yoga Flow youtu.be/XpGnuK_u4gQ Bhakti Yoga Class youtu.be/K9scEzgir-8 Yoga for Beginners youtu.be/EaKZ3Xtxf5A Mindfulness Meditation youtu.be/2K-ZcAgka2g Gentle Yin Yoga Full Class youtu.be/Z3AlyD1CIJw Bhakti Yoga flow heart opening yoga workout with Kumi Yogini youtu.be/onS6uq94NHw Bhakti yoga class yoga flow with Kumi Yogini ॐ youtu.be/K9scEzgir-8 bhakti yoga class with Kumi Yogini youtu.be/ch4CEW-vEoc Advanced Yoga Workout - Inversions, Hand Stand, Core Work youtu.be/KbLVYpQ74Zo Bhakti Yoga Flow youtu.be/KvhIvZyemtI Inspired Yoga Workout with Breathwork youtu.be/_wG5hEBrMJQ Strong beginners Yoga Workout with JQ Williams youtu.be/vQdOhTKfEt8 Bhakti Yoga flow yoga workout youtu.be/VPmOF99bBHg Beginners Yoga Flow 2015 youtu.be/Dva-ThUN6Ww Bhakti Yoga Flow with Kumi Yogini 2015 youtu.be/onS6uq94NHw Yoga for Beginners Level 1 yoga workout youtu.be/f2sIjOHFZuU Yoga Flow youtu.be/YKVhB4TxuwU 40 Minute Yin Yoga Class youtu.be/O_Vg-j5lkuA Strong Power Yoga Flow youtu.be/UwJFpTRXI-g Yoga flow daily recharge total body workout youtu.be/LiTlpC0RU6Q Strong Power Yoga Flow youtu.be/Ua10v6kw27c 30 Minute Power Yoga Flow with Twists for detox youtu.be/Sy25cbDGqBM 30 Minute Daily Yoga Flow for weight loss youtu.be/Vc4u04a5A4o Yoga for Beginners youtu.be/3gWJBgAIXwg Sun Salutations (Surya A Surya B) youtu.be/GHGU18zg4rs Click below to subscribe to our channel: youtube.com/heartalchemyyoga Our Sites www.heartalchemyyoga.com plus.google.com/+HeartAlchemyYoga facebook.com/heartalchemyyoga instagram.com/travlinyogini twitter.com/travlinyogini www.pinterest.com/travlinyogini www.michellegoldsteinyoga.com
Caption reads: The ever-popular bed canopy has gone excitingly modern in this teen-ager's bedroom. The striking effect is created simply by installing tangy orange vinyl wallpaper on the wall and ceiling behind and above the bed. Trimly bordered in black, the paper is cut to exactly the same width as the bed.
A great idea for decorating a small room, the wall trim takes up no space, yet creates the effect of a dramatic headboard and canopy. Use one of the adhesive-backed papers and install it yourself to keep the cost minimal.
Although the colors used in decorating this room are lively, they have a no-nonsense practicality about them. It is well-organized, pleasant, and easy-to-maintain retreat. Brilliant hues used for the floor covering, bedspread, and wall canopy contrast with white walls and draperies. By the choice of well-styled furniture that can grow with a child--perhaps even move with her to her own first home--the often heavy initial cost of furnishing a youngster's room can be amortized over the long years it will be useful.
The Audi A3 Sportback (Mk2) offers a well-rounded premium hatchback experience with a focus on practicality and comfort. It provides a spacious and high-quality interior, with good build quality and a range of engines. While not known for its outright thrilling driving experience, it offers a comfortable and refined ride, making it a good choice for everyday use.
In automotive terms, "Sportback" typically refers to a car model, particularly within the Audi brand, that combines elements of a coupe, saloon, and hatchback. It generally features a sloping roofline, a large rear liftgate for access to a roomy trunk, and a generally sporty or stylish look. Introduced in 2004, it expanded the A3 range from the initial three-door model by adding a longer wheelbase and larger boot space, making it a more family-friendly option. It shares its engineering with the Volkswagen Golf Mk5, known for its class-leading build quality and a wide range of engine options.
A3 Sportback recieved a facelift in 2008. Key features include a revised front and rear end styling, a wider single-frame grille, and daytime running lights. The facelift also saw the introduction of the S3 Sportback model and improvements to the engine range, including the common rail 2.0 TDI engines. Interior details were also updated with higher quality materials and a focus on efficiency.
It was replaced by the Mk3 (Typ 8V) in 2012, with the new A3 arriving in the UK in early 2013. The Mk2 A3 was not discontinued, but rather replaced by the Mk3, which also kept the Sportback body style.
Thanks to the members of staff allowing us to take photos and look round the buses. Also thanks to the staff member who took the time to talk to us about the practicalities of the bendies, and the impracticality of YK06AUA which came here for trials last year.
Looking rather brash in First's barbie 3 with fade out vinyls is ex SBG Volvo Ailsa HSF 81X. It was the only Volvo Ailsa so treated to this livery, which even when fresh rather stupidly looked like the painter had gone home early with before the job was done, and it looked even worse if a panel was replaced without the vinyl. A great example of First's corporate obsession taking over common sense and operational practicality.
It was seen here in 2003 at the Rosewell terminus of the X78.
Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!
This little machine is simply known as the Mini! :D
Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.
In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.
But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!
From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.
In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.
Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!
Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.
Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.
However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!
BOX DATE: 2003
MANUFACTURER: M.G.A.
DOLLS IN LINE: Cloe; Yasmin; Sasha; Jade; Dana; Cameron; Dylan; Eitan; Koby; Nevra
BODY TYPE: 2001; painted shimmer panties; bend & snap legs
HEAD MOLD: 2001; parted lips; pierced ears
PERSONAL FUN FACT: It's quite funny that MGA labeled these Formal Funk dolls as "limited edition" when they are anything but. I found THREE Dana dolls in 2011 alone, and I also acquired Sasha, Yasmin, Koby, and Cameron subsequently (not complete of course). You are probably wondering where the third Dana is. Sadly, she's no longer "alive." She was the first Formal Funk Dana in my collection. Despite the fact that she is no longer here, I figured she deserved a mention. I got her from "50 Cent Guy" at a large outdoor flea market that spring/summer in 2011. That's where some of my other Formal Funk dolls originated from. Since I acquired the two other Dana dolls, shown here, within a few months, I grappled with that feeling of "not needing" my first. I put so much needless pressure on myself during my early days of collecting dolls as an adult. I thought that having duplicates was "bad" unless you could find a reason to "justify" it. My other two Dana dolls came with their outfits and could model both looks on display (that's how they checked off the "need" boxes). Dana #1 did not have that same "practicality." I'm using a lot of quotations here because I'm trying to demonstrate how ridiculous this line of thinking is. If you genuinely like having duplicates, don't stress about keeping them! If you enjoy having a more curated/pruned collection, than go for it. Anyways, I customized Dana #1, it ended disastrously, so now all I have is her body in her memory. It does make me sad when I think back on her, but at least I know my other two Forma Funk Dana dolls have been given a great life. Now on to them...
The Dana on the left was from "Craigslist #1." As the name suggests, this large lot originated from Craigslist. It was the first of three Bratz groups we got in 2011/2012. There were around 73 dolls accompanied by oodles of extra clothes and shoes. Some dolls were shockingly complete, and NONE had haircuts or evil tampering. Obviously the child who owned this Dana before me was a serious Bratz collector at one point. In fact, the only reason the Bratz were getting the boot was because she had turned to Monster High collecting. In order to fund the Monster High collection, she sold the Bratz. Luckily for this lot, I decided to collect BOTH--nobody got kicked out! Anyways, this Dana was my second nearly complete used Formal Funk doll (my Yasmin was just as complete--I found her at an indoor flea market a few weeks earlier). I had always wanted Formal Funk dolls to go with my childhood runway and Dylan doll. Dana was a dream come true. Plus, I loved that I got Dana, rather than another one of the core four!
My doll in the green dress came from "Craigslist 2" which I got a few months after. I call her "Piña Dana" because her hairstyle looks a bit like a pineapple to me. The dolls from "Craigslist #2" had quite the different backstory. They weren't collected to any capacity. Rather, most were purchased secondhand by the previous owner. They were being sold by the girl's grandparents. The grandmother fondly told me of all the memories she had with the Bratz and playing with her granddaughter. All but the Bratz the Movie dolls were clearly loved and played with (those three were still boxed and were unwanted Christmas gifts). She was very glad that the Bratz that were so treasured by her granddaughter once upon a time were going to a home where they'd be cherished. Plus, the grandparents somehow knew my dad through a string of people...Dad ALWAYS had connections! Piña Dana is kind of our resident party girl. It all started as a joke, when we set up photo for Flickr back in 2012 (on my old, now deleted account). I believe it was supposed to be a red carpet scene or something for a tag. For whatever reason, I placed Dana's hands upright into the air. Paired with her pineapple hairdo, she looked drunk. Ever since, Colleen and I have always placed Dana on display with her hands reaching towards the sky, to pay homage to that joke!
One of my many photos taken between the period of Wednesday, 24 March-Sunday, 28 March 1999, during the 1999 Wellington trolleybus festival organised by the Omnibus Society to mark 50 years of continuous trolleybus operation in the Capital, Christchurch No. 210 of 1931 sits on the wharf on the Wellington waterfront after being shipped from Christchurch where it is preserved at the Ferrymead Historic Park by the Tramway Historic Society.
What turned out to be the star of the festival was later towed to Kilbirnie Depot and made ready for celebrations.
When last heard of, No. 210 was still to be certified for operating on the Ferrymead trolleybus museum system.
Sadly some 18 years and 8 months on, the festival has now also marked the demise of the Wellington system on 31 October 2017.
Decommissioning and dismantling of the [Wellington] trolleybus system continued in earnest through December with just a short breather over the Christmas holidays.
By the time you read this, Route 2 will have disappeared other than where it shared wires with other routes and the same goes for the Newtown Park branch from Newtown shops to the terminus beside the Zoo. If all goes to plan, commencement of the CBD wiring will start from Wednesday 3 January. This section was at first scheduled for dismantling from 27 December but it was decided to postpone the date to enable the two work gangs to take a well-earned break.
End of an Era boards have been placed on poles in Lambton Quay, Manners Street and Courtenay Place advising people of the upcoming work.
Once the overhead has been removed from city streets (and this is currently scheduled to be complete by the end of June) the only trace of trolleybus wires in the city will be found inside Kilbirnie depot. Initially the depot’s wiring was down for removal in March but it has been decided to leave it in situ. This is not because trolleybuses might one day return to the city streets (!) but more to do with the practicalities of the exercise.
As an example it would be interesting to see where about 55 trolleybuses could be placed while the work was being carried out. What a sight it would make if they had all been lined up in Onepu Road for a few days! Ironically, Kilbirnie depot will therefore be the only place where tram rails and trolleybus wires will be able to be seen side by side.
The Wrightspeed prototype, former trolleybus 362, continues to be an enigma. It was first touted for testing before Christmas 2016! The most recent expectation was for it to start trials in November 2017 but that deadline passed, as has December. And NZ Bus wanted to convert the trolleybus fleet and some of its diesels to this power application in readiness for the new contracts starting in 2018; it hasn’t quite worked out the way they expected. - Under The Wires, January 2018
The Christchurch trolleybus system opened in 1931 and reached its maximum extent by 1934. It was a small and distinctive operation, which served its city well for a quarter of a century, closing just as the expansion of the three NZ major systems was getting under way.
The system consisted of two routes running generally northeast from the CBD. The first opened in 1931. At its inner end it replaced a motor bus service. Beyond the intersections of Shirley and Marshland Roads, it replaced a loss-making electric tram service, the inner end of which remained as a tram route for anomer three years. The former tramway section of the route passed through the only predominantly rural area ever served by trolleybuses in New Zealand. The outermost section, between Norrh Beach and New Brighton Pier, closed after only 22 month's operation due to insufficient traffic.
In 1934, the surviving inner section of the former North Beach tram route, which had run via Richmond to a terminus at the intersections of Shirley and Marshland Roads, was also converted ro trolleybus operation. Trolleybuses continued to use the composite 1931 route via Shirley for through services to North Beach, while the newly converted length was operated separately. Occasional through-workings over the old tram route required trolleybus poles to be manually pulled across at the Marshland Road intersection. In May 1956 the newer and shorter route was closed. The older and longer North Beach route carried on for five more months.
Christchurch was the only New Zealand trolleybus system to depend exclusively on pull-offs for corners. There was only one set of facing points, situated at the intersection of Cashel Street and Fitzgerald Avenue, where the two routes parted. These were manually operated for many years. Turnback facilities were provided for short workings at Richmond, Shirley, Burwood and the racecourse (destination "Races"). However, all required the poles to be manually changed to turning wires. Movements to and from the depot also required manual pole changes.
The fleet totalled eleven vehicles, all of which had 3-axled chassis, a layout not seen again on New Zealand trolleybuses until 2007. Unlike Wellingron's new Designlines, both rear axles were driven and bogie-mounted, an arrangement thought at the time to provide a better ride on poor roads.
Another distinguishing feature was the use of trolley wheels, rather than the swivel heads with carbon inserts used on all other New Zealand trolleybuses, apart from Wellingron's original trackless tram.
Elsewhere in New Zealand, first generation trolleybuses were given a new number sequence starting at 1. However, in Christchurch me trolleybuses were added onto the tram sequence, resulting in higher fleet numbers than elsewhere, until 1981 when Wellington started a new sequence at 20 l.
The six buses supplied for the North Beach service in 1931 had English Electric chassis with bodies by local Christchurch tram builder Boon & Co. They originally had slatted doors, which allowed in dust from the unsurfaced roads on me outer parts of the system. This defect was soon remedied. Although the bodies were fitted with rear door, these were generally boarded up.
The seventh trolleybus, No. 213, was built by Ransomes Sims & Jefferies, and lent to the CTB as a demonstrator. Tested on the Ipswich system in the UK before shipment, it was the only pre-war trolleybus to be bodied overseas. No. 213 rode well and the bodywork was superior to that fitted to the English Electric trolleybuses. The trolley poles were mounted on a common pivot, and no retrievers were provided.
However, the rarcher-type EMB control gear was very unpopular with drivers and No. 213 was little used initially. The CTB eventually purchased the vehicle, and standardised the control gear and pole mountings with the rest of the fleet. Retrievers were also added.
Opened in 1934, the Richmond route required four further vehicles. Ransomes Sims & Jefferies supplied the chassis, which the CTB bodied in its own workshops. The entire fleet lasted in service until 1956.
After World War II, the CTB considered replacing most, or all, of its trams with trolleybuses. Nine of the existing vehicles received major overhauls in 1950 to fit them for extended service. In 1951, tenders were called for 64 new trolleybuses. However, local body elections produced a change of policy, and the system closed five years later.
CHRISTCHURCH ENGLISH ELECTRIC NO. 210
Date Built: 1930
Written Off: Withdrawn from service in 1956
Acquired by THS in 1965 from Transport North Canterbury Ltd.
Restored: c 1970
Make: English Electric, 3-axle
Bodywork: Boon and Company, Christchurch
Motor: English Electric 70 bhp DK 121
Controllers: 5-notch EMB non-automatic
Seating Capacity: 38 plus driver
Christchurch 209 and 210 are the only known English Electric trolleybuses to survive in the world.
Feb 2016: “A compact, c 1,000 sq ft Victorian chapel by the entrance to the former Our Lady’s Hospital, Cork is coming to market with a guide price for €250,000, via agent John O’Mahony of O’Mahony Walsh, Ballincollig”
Our Lady’s was wound down in the 1980s, and although Our Lady’s Hospital showed some interest it was sold with 50 acres in 1995 by the then-Southern Health Board for £910,000 to Dublin-based Lance Investments.
Some elements of the Our Lady’s complex have since been sold off, such as a number of apartments, town houses, mews houses and stables conversions and the old gate lodge by the Lee Road is now in commercial use, occupied by agriculture advisors the Brady Group.
My understanding is that there are two distinct sections to the main complex.
Our Lady's which was the Lee Road in Ireland. Locals are inclined to refer to the entire structure as St. Anne's and they and do not differentiate between the grey section, Our Lady's and the red section, St. Kevin's which is totally derelict.
A a section of Our Lady’s Hospital has been renovated as Lee Road.
Our Lady’s Hospital, formerly Eglinton Asylum [named after the Earl of Eglinton, Lord Lieutenant of Ireland], Cork was built to house 500 patients. It was the largest of seven district lunatic asylums commissioned by the Board of Public Works in the late 1840s to supplement the nine establishments erected by Johnston and Murray in 1820-35. Like the earlier buildings, the new institutions were ‘corridor asylums’, but with the emphasis on wards rather than cells. There was a change in style from Classical to Gothic.
Designed by local architect William Atkins, the Cork Asylum was one of the longest buildings in Ireland (almost 1000 feet), originally split into three blocks punctuated with towers and gables. Atkins made good use of polychromy, contrasting Glanmire sandstone with limestone dressings. The elevated site overlooking the River Lee, appears to have been chosen for dramatic effect rather than practicality, great difficulty being encountered in providing exercise yards on the steep slope.
Blonde SL Skipper is wearing "Skating Fun." Blonde TNT Barbie wears "Ice Breaker," modern Barbie mittens, and a scarf I knit for her. She looked a little cold with those legs exposed. Titan BL Skipper is wearing "Sledding Fun" with copied mittens. The sled belongs to Madeline, but Skipper is just borrowing it today. Midge is keeping warm in "Its Cold Outside" and Titan Bubble Cut Barbie is wearing "Winter Holiday." She decided to wear black boots instead of the white cork heels since she is walking in the snow. Sometimes practicality does supersede fashion :)
In the bustling heart of the department store, beneath rows of glimmering lights and the hum of quiet chatter, two women moved nervously through separate aisles, their hearts pounding, each with an unspoken secret.
Hanna Beth drifted past racks of leather skirts, fingertips grazing the plastic hangers. In another aisle, Deborah lingered near shimmering satin blouses, hypnotised by the way the fabric caught the light like bottled moonlight. Neither was shopping for practicality; they were drawn toward something deeper, something symbolic.
Each selected an item: Hanna Beth chose a short brown leather skirt. Deborah lifted a yellow satin blouse from the rack. Without a word, they crossed paths, Hanna Beth wandering into blouses, Deborah drifting toward skirts... mirroring each other in a quiet, poetic ballet.
Then came the moment. The threshold.
Hanna Beth paused at the entrance to the changing rooms. The women’s side beckoned. She took a breath.... Would anyone notice?... Would anyone challenge her?... She looked at the outfit she was holding. No... she was convincing enough. More importantly, she was true enough. She stepped inside.
Deborah approached moments later and did the same, her decision just as firm, just as brave.
Inside, they tried on their outfits. Brief moments. Transformative seconds. When they emerged, both within heartbeats of each other, they turned toward the store’s mirror and froze.
Hanna Beth stood in a brown leather skirt and a bright yellow satin blouse. Deborah stood in the exact same outfit. They looked admiringly each other's reflection before turning to face each other.
The air cracked with a burst of shared laughter.
"I’m Hanna Beth," one said.
"Deborah," replied the other.
They shook hands, and in that handshake was something ancient and sacred. A recognition. A revelation. The grip was strong and affirming. Not just of strength, but of truth. In that moment, both knew the other person's secret.
They both paused, looked at each other and nodded in recognition, both smiling.
"Coffee?" Hanna Beth asked.
"Absolutely," Deborah nodded. "Shall we… keep these clothes on?"
Each woman could feel their heart pounding inside their chest, but together, side by side, their fears softened into a shimmer. Two women, satin and leather, secrets still unspoken, but no longer hidden, proudly worn.
As the automatic doors opened and the summer air kissed their cheeks, they stepped outside, not just in style but in solidarity.
Everyone knows I’m all about sensibility, safety, and practicality. That is why when they posted this month’s LUGNuts challenge having to do with cars with place names, pretty much my only choice was the Chevy Monte Carlo SS. This is your average, every day mid-80’s family sedan with some very minor customizations you probably wouldn’t notice. They’re not even worth mentioning, really.
The 1st Series (1963-1966) was the fastest saloon of its time and was groundbreaking, opening a new segment in the automotive market. Adolfo and Omar Orsi conceived th Quattroporte, a car that combined the brand's racing heritage with the practicality and sophistication of a saloon. Giulio Alfieri, a key figure in Maserati's success, was entrusted with engineering, while Pietro Frua penned the design. The clean, elegant lines exuded understated sophistication while incorporating aerodynamics principles to enhance performance. It proved that a car could be a high-performance, luxurious, practical saloon. Its success inspired competitors like Mercedes, Jaguar and BMW to develop their own high-performance sedans, setting the stage for an entirely new class of automobiles.
4.187 cc
V8
260 hp
Maserati 110 Years
19/12/2024 - 23/02/2025
Autoworld
Brussels - Belgium
July 2024
Nº 4.
Renault Estafette "Freixenet" (1962).
Escala 1/43.
"Furgonetas de Antaño" - Altaya.
Ixo.
España.
Año 2004.
La matrícula B-288832 corresponde al año 1962.
More info: www.chema-campos.com/colecciones/FDA.htm
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Renault Estafette
From Wikipedia, the free encyclopedia
"The Renault Estafette is a small front-wheel drive van, first introduced in 1959, initially using the water-cooled Renault Ventoux engine, then later the Cléon-Fonte engine in a range of body styles."
(...)
"Launched in June 1959, the new van was to be called the Estafette from the Italian Staffetta, meaning Courier.
At launch, the engine, although mounted near the front of the Estafette, was of the same size and output as that fitted to the recently introduced Renault Dauphine.
The Estafette's emphasis was always on economy and practicality rather than on power or heavy-duty performance.
It was introduced in four body types:
4-door minibus
4-door panel van
2-door pickup
2-door chassis cab "
(...)
"In 1961 came the Alouette version which was a simpler version of the minibus with removable seats that could convert it into a camper van and was indeed popular with French conversion companies. Finally a chassis-cab version was introduced onto which innumerable bodies could be fitted.
In May 1962 the 800 kg (1,764 lb) rated Estafette was the first vehicle to receive Renault's newly developed "Sierra" series water-cooled four-cylinder 1,108 cc five-bearing engine, which was destined to appear in a passenger car a month later with the launch, in June 1962, of the Renault 8.
In 1968 a series of 70 vans were issued to the police at the winter Olympics held in Grenoble, and this led to a long term contract, but Renault's biggest customer for the Estafette was PTT, the French telephone company.
In 1968 it gained the 1,289 cc engine later seen in the Renault 12 to give a full 1000 kg capacity.
In 1973 the grille was updated, with a plainer modern look.
The Estafette continued in production until 1980 when it was replaced by the Trafic, having sold over 500,000 units.
In Romania, a version of the Estafette was produced for the Romanian Post between 1975 and 1978, by Automobile Dacia, in only 642 units (842 by other sources)."
Versions
R2130/31
in production: May 1959 – May 1962
engine: 845 cc, 32 PS (24 kW)
payload: 600 kg (1,323 lb)
R2132/33/34/35
in production: May 1962 – Nov 1968
engine: 1,108 cc, 45 PS (33 kW), type 688
payload: 800 kg (1,764 lb), 1,000 kg (2,205 lb) for "Estafette 1000"
R2136/37
(2137 being the "Plateau" and "Base Carrosable" open bed pickups)
in production: Sep 1968 – Jun 1980
engine: 1,289 cc, 54 PS (40 kW), type 810
payload: 800 kg (1,764 lb) for R2136, 1,000 kg (2,205 lb) for R2137
-------------------------
Renault Estafette
Manufacturer
Renault
Also called
Renault Hi-Boy (USA, Canada)
Renault Petit-Panel (USA, Canada)
Dacia Estafette (Romania)
Production
1959–1980 (France)
1965–1969 (Algeria)
1975–1978 (Romania)
1964–1986 (Mexico)
Assembly
Algiers, Algeria (CARAL)
Mioveni, Romania (Dacia)
Sahagun City, Mexico (DINA)
?, France
Production
533 209 exemplaires
Successor
Renault Trafic
Sources:
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I posted a question about the practicalities and general worth of a Pro account a few photos back. Well, I think my first Flickr uploads were more popular when I showed my legs more often that say selfies or closeups. So, I will trial this for a year and see how I go. Much love to you all, and thank you for being here on this, photo 1,001 xxx
Kinetic (Coomera) MAN 19.330 HOCL-R-NL (RC2) / GBV "Lion's City" no. 958 is seen pausing between trips outside Fairfield Park on Fairfield Road, having just terminated an inbound route R581 all stations train replacement service from Cannon Hill at Boggo Road.
This was not my first time driving a GBV, however it was my first time taking a GBV out on a shift, and I had mixed feelings about it. The bus itself is very, very nice to drive. Enough power when you need it, and to keep itself going in the hilly suburbs of Brisbane (on this occasion), and very smooth steering. Almost felt as if it was gliding along the road. The bus itself had minimal rattling, and from a passenger perspective was actually very nice.
From a driver perspective however, I found the cabin to be significantly lacking. The cabin itself is very cramped and does not have a great deal of space. There is large ledge on the inside of the driver door which gets in the way when trying to maneuver the bus, not to mention making you uncomfortable. I also found that the handbrake was quite low and in a bit of an awkward spot, which left me with a sore hand at the end of the shift, but I'll play the devil's advocate here and say that that might just be because of the way I set myself up in the seat, as I do generally tend to sit up higher. In contrast to the passenger air conditioning, the driver blower fan didn't seem to be very helpful, and I found it more effective to have the window open - until it started raining torrentially. The way I put it is that it is the opposite of the Bustechs; all about looks rather than practicality.
On the bright side though, there are small comforts, such as a generous drink holder provided, along with USB charging ports for the driver to keep devices charged, and in what is quite a rarity for Gold Coast buses, an FM radio that even has Bluetooth capability (however we are not supposed to be using this).
With all that in mind, the company have undertaken a significant cabin upgrade program, cutting the ledges off the doors and fitting full driver screens rather than just the one on the door, so I would be interested to take one of the ones that has been "fixed" out to see if it's any comfier.
This started on Tumblr but I appreciate a lot of people on Flickr so I'm bringing it over! ;)
@lostfrontier, I appreciate your honesty and practicality in a very frivolous hobby, and I'm so glad you work so hard to make the Boston meets as consistent and awesome as they are! Your nail art and faceups are getting so good, it's a genuine inspiration.
@sephyelysian, I'm so glad we're friends, and by friends I mean mutual enabling society ;) ;) ;) You always have an open ear/chatbox, and it's so fun to discuss plans with you! Also I appreciate Ro, I am the secretary of his fan club (because Mitchell is the president, obviously!)
ChriseeV, I'll never forget how you restrung my very first doll at my second ever meet, out of the kindness of your heart. And because you're really good at it! ;) I'm so glad you moved closer than Mars and I can't wait to come harass you at your new place a little more!
@dolltrash, welcome to the cesspit that is Tumblr! Not as classy as LJ ;) I'm so glad we're friends and I absolutely adore your crew. Especially Sally! ;) I'm glad we've gotten to do dolly travels together, and I'm hoping fortune will give us more opportunities to do that in the future!
@theapathetic, JEEZ could you STOP having a life and COME PLAY DOLLS i mean damn leveling up in your life is fine and like whatever but I mean DOLLS. Dolls dolls dolls. I'm so glad we can play games or dolls, and that your partner is such a kind and sweet vampire.
@magicallyabsurdly, I appreciate your low-key humor and kindness. It's very relaxing to spend time with you because you're so chill. Here's hoping school is a little less brutal next year!
Sjaan, I MISS YOUUUUUU! I'm looking forward to tiny people party times. You're such a genuinely kind person, and your artistic skills are amazing!
Arthur, my world traveling friend, servant of the Daraes, run away from your cold barren home and return to Boston! I miss you too!
@sicktress, it's always fun to see what you're working on, you have so many creative ideas! Naoto being my favorite of those, of course ;) And I like bumping elbows with the Tumblr glitterati ;) ;) ;)
@bellaanaris, I'm so glad you come to the meets, you're such a kind and funny person! :D Morrigan and Eleanor are such cuties!
@traumer-of-dreams, your devotion to Luci is inspiring, Marcus is such a sweetheart, and I can't wait to see what you do with Mr. Aragorn when he gets home! :D
@blithefool, I love seeing your dolls, and I'm so glad you can come to the meets so I can see them in person! You have an amazingly hip collection of dolls and t-shirts, and such a nice sense of humor, too. :D
Lady Kanna and @azurepalerthanthesky, I hope we get to hang out more in 2016! I really enjoy spending time just talking to you guys, and marveling at your dolls' cuteness! :D Your pictures always end up so pretty, with perfect fashion and a perfect backdrop. Lady Kanna, I've known you since the earliest days I was in the hobby, ever since you were kind to my first Littlefee, and it's been so nice to see how our collections have developed over time. Also many thanks for the kind Christmas gifts! I still need to take pictures but both of the necklaces are absolutely perfect!
Essie, thank you again for inviting us to your lovely home! You're so kind and welcoming, and I'm absolutely in awe of your sewing skills, and your generosity in letting me play with your dolls! Here's hoping we get to spend more time together in 2016!
@hushikins, thank you for being a good dolly friend! :D Your crew is lovely and it was so good to see you at Dolpa. Here's hoping 2016 brings health and happiness for you and your family!
@micaeverywhere, I can never stop thanking you for giving my dearest dolly Sofie her perfect face! Your faceups are true art and I love seeing your fabulous cosplays, too!
@darjeeling-shop, your faceups are gorgeous and you're such a sweet person! I'm looking forward to seeing your work, it's always innovative and beautiful!
@mogrifae, your dolls always have such a consistent nature-y mori-y aesthetic that I clearly can't put into words very well, but I love just the same! ;)
@gu-wak-jai, it was so nice to 'meet' you on IG this year. Lately I've felt like it's really hard to talk to new people in the doll hobby because it's so hard to know who's actually nice, but your comments on my dolls were always so kind, and I'm looking forward to knowing you and your cute crew even better in 2016!
And finally, if you've bought a legit doll this year, to support the artists, or even just saved up to do that when you can, you go! Congratulations on your hard work and I hope you enjoy your dolls!
If you've given up recasts and gone legit this year, and posted about it publicly, you go! Please keep speaking out so that others can see the benefits of making an ethical choice in dolly buying.
And last but not least, @anblargray, I love you.
Lone Wolf was the publication of the Washington, D.C. anarchist collective Lone Wolf that explained their views on the theory and practice of anarchism in a series of short tracts 1981-82.
In their own words:
“The Lone Wolf Collective strives to help in building a conscious revolutionary anarchist movement and do outreach, spreading general information about the practicality of anarchism.”
The issues of Lone Wolf covered the principles and goals of the collective, a brief history of anarchism, a critique of Marxism, and an explanation of anarchism.
For PDFs of their publication, The Lone Wolf Bulletin, see
No. 1 – July 1981 - washingtonareaspark.com/wp-content/uploads/2022/04/1981-0...
No. 2 – February 1982 - washingtonareaspark.com/wp-content/uploads/2022/04/1982-0...
No. 3 – March 1982 - washingtonareaspark.com/wp-content/uploads/2022/04/1982-0...
No. 5 – September 1982 - washingtonareaspark.com/wp-content/uploads/2022/04/1982-0...
For more information and related images, see flic.kr/s/aHsmGkArk4
Donated by Craig Simpson
Miss Tack pumps. I decided to go for practicality this time with the heel and shall get a lot of wear out of these.
Barn with Daisies. My thoughts on the original image I captured are here on Flickr (www.flickr.com/photos/14723335@N05/38520929952/in/album-7...). Needless to say, coming this setting in the Lake Chelan and North Cascades was both unexpected and a wonderful blessing. I've seen many a barn on my travels but either didn't have the time or had other things needing to be done to distract me at the time. Here...I had time to soak in the view with the field of flowers as that amazing foreground with its varied colors!
Painting (or rather digitally painting) this image was more of a challenge. As I saw it, I had layers to deal with as well as brush strokes and styles. When I saw this as painting in layers, I approached it with a look to not just the here and there of painting white for the pedals and yellow or oranges for the central portion of the daisy. It was also making the entire field seem real. There had to be grouping and empty spots. And there had to be that contrast of hues...which led to the next thing to approach with the stems. Here I worked with a somewhat newer part of Adobe Sketch and using Kyle Webster's extensive brush set. I was trying to avoid that look of just using my Apple Pencil and sketching in color; I wanted a brush stroke, but different areas would require different ones to have that appropriate looks. The stems needing a tighter look but with some variances. I could also use a different pattern or stroke with the background or base colors adding some grit or crosshatch patterns. That would also come in handy in adding a "texture" to the bricks and wooden walls across the barn. The biggest change I did as I finished up the image was to add blue skies and some clouds. I painted the clouds as a mixture of layers and the right mixture of whites and grays. My choice in using skies was more of practicality as I was struggling to paint a good, realistic backdrop of the that forest of trees. Blue skies and a few trees were just simpler to paint :-)
In the left foreground of the digital painting, you'll find that stick figure image of me "hiking" with my Cubbies hat, loving my time exploring the Lake Chelan National Recreation Area and North Cascades National Park Service Complex...a beautiful spring afternoon in the North Cascade mountains of Washington!
Public toilets in the open can seem like a quirky concept, but they actually serve a purpose. In some cases, it's a matter of practicality and accessibility. Imagine you're at a bustling street festival, and nature calls. You'd be grateful for an open-air loo rather than sprinting blocks to find a hidden restroom, right? Plus, in rural areas or places where infrastructure is limited, open toilets can be a more feasible solution. They're like the minimalist art of the sanitation world: less is more, and open is better than none! And let's not forget, they offer a breath of fresh air and, on rare occasions, a scenic view that indoor facilities just can't match. So next time you come across one, just think of it as a loo with a view! 🚽✨
AI Generated Text
A little flashier than my typical edit, but I haven't had my coffee yet.
This is my first post from a new camera... a Nikon D70s from over a dozen years ago—a digital antique! Back in 2006, when I first moved from film to digital, I researched the camera market heavily and came to a conclusion: Canon deserved its place as #1 in point and shoots, but Nikon's DSLRs produced better results. I went with the Canon P&S. In 2009 I got my first DSLR, and unfortunately, out of simple convenience and practicality, it was a Canon. The experience was... not ideal. More than three years later, I made the switch to Nikon, as I'd planned all along, but by then they'd changed a little since I'd first set myself on them. The experience with the Nikon was much better, but I've always wondered what it'd be like to use one of those older models, from when I first investigated the digital camera market. When this D70s came along for $30, it was an opportunity I couldn't pass up.
Edited in X-Chrome, applied to the jpeg: Polaroid Type-55 (pushed, jpeg version), HC-110+ (raw version), selenium 1.
(DSC_2077LR)
Coachwork by Bertone
430 ex.
Maserati's final major introduction while under Citroën's control, the Khamsin (named after a hot Sahara Desert wind) debuted at the 1972 Turin Show and entered production in 1974. Styled by Marcello Gandini and built at Bertone, the Khamsin's attractive, unitary construction, 2+2 hatchback body was of all-steel construction. The Khamsin featured state-of-the-art, all-independent, double-wishbone suspension similar to that of the mid-engined Bora and Merak which, combined with a 50/50 front/rear weight distribution, endowed it with near perfect balance. The Khamsin's front-engined layout made it easier to control close to the limit, while the speed-sensitive power steering enabled it to be driven as effortlessly in town as when crossing the Continent.
Citroën's hydraulic technology powered the brakes and steering - the latter, in particular, being rated as highly effective by testers - and also to raise the concealed headlamps. Designed by legendary engineering genius Giulio Alfieri, the power unit was a 4,9-litre version of Maserati's familiar quad-cam V8 developing 320 bhp and a lusty 354 lb/ft of torque. A five-speed ZF manual gearbox or three-speed Borg-Warner automatic transmission were options, and when equipped with the former the Khamsin was good for around 240 km/h. The Khamsin was Maserati's biggest-engined and most expensive offering at the time of its introduction, and thus could justifiably claim to be its top-of-the-range model. By virtue of its front-engined layout, the Khamsin offered greater practicality than the mid-engined Bora, providing a roomier and more comfortable interior, and superior luggage carrying capacity. In 1977 the Khamsin benefited from a minor facelift that included the addition of three small vents at the bonnet front to improve cooling. Only 430 Khamsins were produced, 140 of them with the three-speed Borg Warner automatic transmission.
Finished in Argento (silver) with red leather interior, this Khamsin left the Modena factory on 29th September 1978, bound for the USA. It has the desirable five-speed manual gearbox and is a matching numbers and matching colours example (see Maserati Classiche email on file). The Maserati has been back in Italy since 1999, and from 2007 to 2012 belonged to a well-known sports car dealer near Verona. Since 2012, the car has formed part of the current vendor's private collection. Importantly, this Khamsin has been returned to European specification with the rear light clusters fitted in the glass panel, a much more aesthetically pleasing solution than that of the awkward US-specification models, which had the light cluster below the glass panel.
Rome-based classic engine specialist, Paolo Centazzo, has recently completed a comprehensive rebuild of the engine. The work included fitting new pistons, new bearings throughout, new valve guides and valve seats, a new timing chain, and a new clutch. A photographic record of the engine rebuild available and comes with the car, together with confirmation from Paolo Centazzo. Since the work was finished in September 2016 the car has been driven only a minimal distance. Offered with Italian registration documents, it is a stunning example of this classic wedge-shaped Maserati in a most attractive colour combination, with the added benefit of a freshly rebuilt engine.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Sold for € 178.250
Estimated : € 180.000 - 220.000
Parijs - Paris
Frankrijk - France
February 2017
Advanced Yoga Workout for Level 2, 3 Yogis ✪ youtu.be/WkFFAhbu9WE This 30 minute advanced yoga workout video is a perfect daily yoga practice for yogis looking to recharge, build strength, balance and flexibility. This yoga class has an emphasis on upper back and shoulder opening, and includes plenty of cardio, standing poses, yoga flow, and peak poses camel (ustrasana), bow (danurasana) and wheel (urdvha danurasana). Veteran teacher Michelle Goldstein of Heart Alchemy Yoga in Los Angeles, California, brings a simple practicality to her instruction that provides a safe and easy to understand Yoga flow program. This yoga flow workout is intended to help improve strength, flexibility, stamina, range of motion, breath capacity and relaxation. About Michelle Goldstein: Michelle has maintained a daily yoga practice for 15 years. A protégée of renowned Yoga teacher, Bryan Kest of Santa Monica Power Yoga, Michelle has been teaching yoga flow and meditation for 8 years. Michelle leads workshops, immersions & retreats worldwide as well as teaching at Santa Monica Power Yoga, Yogaraj & Equinox Fitness Clubs. Known for her creative vinyasas (sequences of yoga asana) and pranayama, Michelle Goldsteins teaching integrates influences from various forms of movement and meditation set to powerfully inspiring backdrops of music. Approaching instruction with a deep spiritual reverence for the sacredness of yoga coupled with a joyous playful sense of humor, Michelles classes offer a safe, nurturing and challenging environment for students to come and explore their mental and physical boundaries. Prenatal Yoga 30 Minute Class www.youtube.com/watch?v=HTDocfhdA1Y&feature=youtu.be Bikram Yoga inpsired Class with Maggie Grove youtu.be/V5i5Qz2IGJE Power Yoga for Weight Loss youtu.be/yUtK7v3dsr0 Strong Yoga For Beginners Workout youtu.be/xglmLhDppmo Meditative Bhakti Yoga Flow youtu.be/mQnAvEbDNPg Cardio Yoga Workout youtu.be/hy-qss2Takg Yoga Workout 1 hour Yoga For Weight Loss youtu.be/yUtK7v3dsr0 Power Yoga Flow youtu.be/XpGnuK_u4gQ Bhakti Yoga Class youtu.be/K9scEzgir-8 Yoga for Beginners youtu.be/EaKZ3Xtxf5A Mindfulness Meditation youtu.be/2K-ZcAgka2g Gentle Yin Yoga Full Class youtu.be/Z3AlyD1CIJw Bhakti Yoga flow heart opening yoga workout with Kumi Yogini youtu.be/onS6uq94NHw Bhakti yoga class yoga flow with Kumi Yogini ॐ youtu.be/K9scEzgir-8 bhakti yoga class with Kumi Yogini youtu.be/ch4CEW-vEoc Advanced Yoga Workout - Inversions, Hand Stand, Core Work youtu.be/KbLVYpQ74Zo Bhakti Yoga Flow youtu.be/KvhIvZyemtI Inspired Yoga Workout with Breathwork youtu.be/_wG5hEBrMJQ Strong beginners Yoga Workout with JQ Williams youtu.be/vQdOhTKfEt8 Bhakti Yoga flow yoga workout youtu.be/VPmOF99bBHg Beginners Yoga Flow 2015 youtu.be/Dva-ThUN6Ww Bhakti Yoga Flow with Kumi Yogini 2015 youtu.be/onS6uq94NHw Yoga for Beginners Level 1 yoga workout youtu.be/f2sIjOHFZuU Yoga Flow youtu.be/YKVhB4TxuwU 40 Minute Yin Yoga Class youtu.be/O_Vg-j5lkuA Strong Power Yoga Flow youtu.be/UwJFpTRXI-g Yoga flow daily recharge total body workout youtu.be/LiTlpC0RU6Q Strong Power Yoga Flow youtu.be/Ua10v6kw27c 30 Minute Power Yoga Flow with Twists for detox youtu.be/Sy25cbDGqBM
IN ENGLISH BELOW THE LINE
La Butcher's Reflex Carbine fou una camera reflex de format 120 fabricada al Regne Unit als anys 20 i 30. De fet es tracta d'un intent de fabricar una camera reflex de format mitjà senzilla i relativament barata. Obviament tant les seves característiques com la seva practicitat s'en resentiren.
Només tenia una sola velocitat, apart del mode T, i una col·locació dels comandaments molt poc util: s'enfoca amb el botó de la part superior i es dispara amb els botons situats massa arran del objectiu. Vaig tenir aquesta càmera uns pocs dies: tot i que l'obturador "funcionava", en la majoria dels casos quedava encallat a mig, i la vaig retornar al venedor.
L'objectiu es un Aldis Uno Anastigmat.
====================
The Butcher's Reflex Carbine was a 120-format reflex camera manufactured in the United Kingdom in the 1920s and 30s. In fact, it's an attempt to make a simple, relatively cheap medium-format reflex camera. Obviously both its features and its practicality are resentful of this approach.
It only had a single speed, apart from the T mode, and the placement of the controls is awkward: it focuses with the lever at the top and releases the shutter with the buttons located too far near the lens. I had this camera for a few days: although the shutter "worked", in most cases it was stuck in mid-position, and I returned it to the seller.
www.collection-appareils.fr/x/html/camera-2808-Butcher_Re...
Candid shot, Mid-Devon County show.
Farming can be a solitary "isolating" vocation. If you spend a lot of time alone things like fashion and "how you look" give way to practicalities like "does it work".
First of July 2017 I made my way to Stonehaven, a small fishing town a few miles from Aberdeen, while there the sun shone high in the blue sky making it a perfect day to capture the scenery and landscape surrounding me, hence I packed my Nikon D750 and made full use of it, I left Stonehaven around 16pm and drove the few miles to this wonderful location Dunnottar Castle, absolutely breathtaking , I post a few of the photos I have taken along with a brief history of castles heritage
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
First visit of 2019 for me to this stunning castle today Thursday 28th March 2019.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
Nº 4.
Renault Estafette "Freixenet" (1962).
Escala 1/43.
"Furgonetas de Antaño" - Altaya.
Ixo.
España.
Año 2004.
La matrícula B-288832 corresponde al año 1962.
More info: www.chema-campos.com/colecciones/FDA.htm
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Renault Estafette
From Wikipedia, the free encyclopedia
"The Renault Estafette is a small front-wheel drive van, first introduced in 1959, initially using the water-cooled Renault Ventoux engine, then later the Cléon-Fonte engine in a range of body styles."
(...)
"Launched in June 1959, the new van was to be called the Estafette from the Italian Staffetta, meaning Courier.
At launch, the engine, although mounted near the front of the Estafette, was of the same size and output as that fitted to the recently introduced Renault Dauphine.
The Estafette's emphasis was always on economy and practicality rather than on power or heavy-duty performance.
It was introduced in four body types:
4-door minibus
4-door panel van
2-door pickup
2-door chassis cab "
(...)
"In 1961 came the Alouette version which was a simpler version of the minibus with removable seats that could convert it into a camper van and was indeed popular with French conversion companies. Finally a chassis-cab version was introduced onto which innumerable bodies could be fitted.
In May 1962 the 800 kg (1,764 lb) rated Estafette was the first vehicle to receive Renault's newly developed "Sierra" series water-cooled four-cylinder 1,108 cc five-bearing engine, which was destined to appear in a passenger car a month later with the launch, in June 1962, of the Renault 8.
In 1968 a series of 70 vans were issued to the police at the winter Olympics held in Grenoble, and this led to a long term contract, but Renault's biggest customer for the Estafette was PTT, the French telephone company.
In 1968 it gained the 1,289 cc engine later seen in the Renault 12 to give a full 1000 kg capacity.
In 1973 the grille was updated, with a plainer modern look.
The Estafette continued in production until 1980 when it was replaced by the Trafic, having sold over 500,000 units.
In Romania, a version of the Estafette was produced for the Romanian Post between 1975 and 1978, by Automobile Dacia, in only 642 units (842 by other sources)."
Versions
R2130/31
in production: May 1959 – May 1962
engine: 845 cc, 32 PS (24 kW)
payload: 600 kg (1,323 lb)
R2132/33/34/35
in production: May 1962 – Nov 1968
engine: 1,108 cc, 45 PS (33 kW), type 688
payload: 800 kg (1,764 lb), 1,000 kg (2,205 lb) for "Estafette 1000"
R2136/37
(2137 being the "Plateau" and "Base Carrosable" open bed pickups)
in production: Sep 1968 – Jun 1980
engine: 1,289 cc, 54 PS (40 kW), type 810
payload: 800 kg (1,764 lb) for R2136, 1,000 kg (2,205 lb) for R2137
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Renault Estafette
Manufacturer
Renault
Also called
Renault Hi-Boy (USA, Canada)
Renault Petit-Panel (USA, Canada)
Dacia Estafette (Romania)
Production
1959–1980 (France)
1965–1969 (Algeria)
1975–1978 (Romania)
1964–1986 (Mexico)
Assembly
Algiers, Algeria (CARAL)
Mioveni, Romania (Dacia)
Sahagun City, Mexico (DINA)
?, France
Production
533 209 exemplaires
Successor
Renault Trafic
Sources:
"The British built Ginetta G20 is a minimalistic roadster built for driving pleasure. Comfort and practicality are sacrificed for handling and performance. As such, the G20 has no doors and a rather cramped interior space, although with no roof at all there is room for the taller people."
Approximately 200 G20s were built.
Taken at the 2022 Woodward Dream Cruise
The cave dwellers will dig a courtyard that is about 10 meters deep. After that, rooms are dug off the main courtyard. This is a typical sunken courtyard complex, or pit dwelling in Shaanxi or Henan. Most of the time the dweller live in the caves not out of poverty, but for practicality reason.
my father grew up in a lighthouse on Price Rupert Island BC. when I saw this skirt I knew I had to get it, out of my budget or not. it's so soft and pretty and it has pockets!!! how can you beat prettiness and practicality right?
Coachwork by Pinin Farina
Chassis n° B53-1083
Bonhams : the Zoute Sale
Estimated : € 140.000 - 170.000
Unsold
Zoute Grand Prix 2019
Knokke - Zoute
België - Belgium
October 2019
One of the most influential designs to emerge from Italy post-WW2, the classic Aurelia was the first car ever to employ a V6 engine. Launched at the 1950 Turin Motor Show, the original B10 saloon was joined the following year by the landmark, Pinin Farina-styled B20 Coupé, a fastback '2+2' on a shortened wheelbase which, with its combination of sports car performance and saloon car practicality, can be said to have introduced the Gran Turismo concept to the world.
Models with longer wheelbases and larger engines in various states of tune followed, while to cater for independent coachbuilders Lancia produced a platform chassis, designated B50 or B51 (with different gearing/tyres) and powered by the standard 1,754cc 56bhp V6 engine. With the announcement of the B20 Coupé, a 2,000cc engine was introduced, which was also made available for the platform chassis, designated B52 or B53 (again depending on gearing/tyres). It is estimated that fewer than 90 B53 chassis were produced.
According to information supplied by the Centro Storico FIAT, this beautiful Lancia Aurelia B53 Cabriolet left the factory on 21st October 1952. Further research revealed that it is a 'Carrozzeria Speciale' by Pinin Farina, indicating that the body is most likely a one-off; indeed, it is a much sleeker and considerably more modern in appearance than the standard B50 Cabriolet. A most elegant and exclusive example of Pinin Farina styling at its best, it afforded the prospect of open-top motoring for the whole family.
Believed to have been finished originally in dark red with a matching leather interior, the car was changed in colour while in the ownership of a previous owner, a Mr O'Rourke from London, who owned it in the 1990s. The Aurelia then passed to a Mr Ron Francis, again in the UK. When Mr Francis acquired the car, it had a Lancia B20 engine in a very poor state of repair, which he replaced with an over-bored B12 engine. At that time the car was painted bright red. Mr Francis sold the Lancia to its current owner in April 2005.
The new custodian commissioned a comprehensive restoration, which was undertaken between 2006 and 2008 by well-respected Lancia specialists, Omicron Engineering Ltd. They refinished the car in its current shade of light blue (arguably much more attractive than bright red) while carefully preserving the dark red leather interior, which is believed to be original. A new dark blue hood was fitted at the same time.
The Aurelia comes with UK V5C registration document, restoration documentation, copy email from Centro Storico FIAT, and two original photographs taken by Pinin Farina when the car was new.
Very few of these Lancia Aurelia B53 Cabriolets were constructed, and even fewer have survived, making this example an ideal candidate either for continental touring or Concours d'Élégance events where it will surely be enthusiastically welcomed. Rare and desirable, this coachbuilt Lancia represents a wonderful opportunity for the discerning collector.
Coimbra University, Portugal.
"One of the most visible and distinctive traditions is the use of the academic costume of the University of Coimbra, a black suit and cape worn on special occasions by the students (and more often by many), which was adopted by other Portuguese universities and is actually used by students of almost all higher education institutions in the city and across the country."
Influence on Harry Potter:
"Consider the cloak: that heavy, full-length piece of outerwear most often associated with epic fantasy franchises, and specifically, Harry Potter. It’s not something you’d wear to class, not if you value practicality—and yet somehow it remains the most iconic part of the wizarding school uniform.
But in the non-magical world, Portuguese university students have been wearing cloaks to class day in, day out, more or less since higher education was invented. They are the indisputable pioneers of the trend—so much so that many would swear, under Veritaserum if needed be, that J.K. Rowling was inspired by the Portuguese when picking out the outfits for her young wizards. Although Rowling has never been explicit about her inspiration for the cloaks, she wrote part of what would become Harry Potter and the Sorcerer's Stone while living in Porto, Portugal, in the 1990s. Tour guides often point out the cloaked university students, whom Rowling must have seen walking to and from class, as the likely inspirations behind the Hogwarts dress code.
The look stems from the history of post-secondary education in Portugal, which has some of the oldest universities in the world. When the country's first university—the University of Coimbra—was created in 1290 in Lisbon, teaching was a religious vocation (as was learning), and so the medieval campus was teeming with clergymen. There wasn’t a student uniform, exactly, but the mish-mash of men from different religious orders did result in a student look: a dark, severe ensemble that civilian students began to approximate in the centuries that followed. As late as 1850, the all-male student body at the University of Coimbra was still wearing knee-length cassocks over shorts and knee socks. A long cloak topped off the whole outfit, lending a decidedly clerical look to the decidedly civilian students.
Things changed, dramatically, in the latter half of the 19th century. The progressive spirit of the era replaced the old-fashioned shorts with a practical three-piece suit, composed of black frock coat, waistcoat, and tailored pants—and so the standard male university uniform, or traje, was born. The cumbersome old cloak very nearly went out of commission then, but the boys had reportedly grown so attached to its drama that they kept wearing it over the new suits. School authorities allowed the cloak to remain, proudly anachronistic, to sweep the cobblestones of Coimbra another day. When the country’s second and third universities were founded in 1911, in the cities of Lisbon and Porto, students rushed to adopt the same weirdly popular suit-and-cloak combo.
Girls didn’t get a standard uniform until 1945, when the Orfeão Universitário do Porto, a student association at the then-young University of Porto, accepted the first female members into its roster. (Before then, women didn't have any particular school attire, although they were sometimes told to wear all black so as not to stand out.) Members of the Orfeão were expected to perform traditional Portuguese singing and dancing in full uniform, and the girls rose to the occasion by suiting up in their very own, alternate version of the traje. They found their inspiration in the stripped-down practicality of military women’s uniforms and settled on a knee-length trapeze skirt and boxy three-button jacket. The cloak, of course, was the final touch, which quickly caught on at other schools.
Today, there are over 300,000 university students in Portugal, a respectable number of whom routinely wear the traje to class. It is no longer mandatory, as it once was, but it doesn’t need to be. To wear this historic uniform is to embrace and broadcast one’s identity as a student—although it’s also to be frequently confused with a Harry Potter cosplayer. Foreign visitors to Portugal sometimes make that mistake, but they should know the opposite is likelier to be true: Local students have been wearing cloaks to class since long before Harry Potter was cool."
Visit to the North American International Auto Show at the Cobo Center in Detroit, Michigan on January 25, 2019. Hyundai Kona
View my collections on flickr here: Collections
Press L for a larger image on black.
Happy New Year Flickr!
Its at the end of one year, and beginning of another, that reflection seems to be the operative word. The television is full of round-up show, the radio plays music from across the year and the whole world reflects…..on what?
I guess it comes down to growth. How far have we come? What have we achieved? Where are we aspiring to?
I don’t mind telling you; I had a twinge of regret when we reached the end of December, not through any desire to remain in this point time, more that this time last year I was finishing my 365. I felt I had a lot to reflect on and talk about, whereas this year I feel I failed a little in my quests.
My plan was specifically not to carry out another 365, as fun as it was and as challenging as it was, eventually I concluded that the only challenge came through practicality more than technicality. I work full time in the city, and most nights once I’ve eaten, it is already too late to connect up any creative brain-cells. So my 365 evolved more into a photo-journal, which people loved, and which gave my writing skills the chance to add a little background to the shot.
For Christmas 2010, I asked for photography books as my main gift. The plan was to read like crazy and then put my knew found knowledge to the test with a barrage of technically sound shots…….buuuuut, it didn’t quite work out that way, in fact I’m still on book one of three….that plan may take a little time.
I set myself 2 challenges, the Life Lessons, and the Soulpancake….I fell away from both of those too- which really bothered me, as at heart I’m a completer finisher.
On a positive note, I did a Bench Series which got exhibited once in Starbucks, published in the local press and gained a Flickr following, and its own group!
I managed to evolve a style I am comfortable with for my street photography which was something I was striving for last year and I began connecting more with people and strangers to add the human element to my shots.
I didn’t pick Nikon up much over Christmas, I tried for the iconic Christmas Dinner shot, but I didn’t like how that turned out either.
Apologies that this write-up may seem negative, but underneath I am confident. Sometimes it takes periods of struggle before you attain to the places you want to be- or put more simply, its not about the destination, it’s the journey that counts.
I have a band shoot scheduled this year, and 2 engagement shoots, and if I manage to pull it out of the bag, a Lolita girl/Suicide Girl tats and fashion SHOOT OUT!
I also have some amazing Flickr friends that I still haven’t hooked up with (Andy!) and that is on the cards A-SAP. And don’t say it too loudly but…..I’m going to attempt a self-portrait 366!!! I’m not quite there yet in my head with it, but the date I am, it is on :)
I trust you all had great breaks over Christmas and New Year and are as apprehensive (in a good way) about all our photographic quests for 2012.
What are your plans?!
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