This studio portrait depicts an unidentified captain serving with the Großherzoglich-Mecklenburgisches Feld-Artillerie-Regiment Nr. 60 (Schwerin). He is shown wearing his Litewka, the distinctive service tunic favored for its practicality and comfort.

 

The photograph offers a rare glimpse into the uniform and bearing of an officer from this historic regiment, which was part of the Grand Duchy of Mecklenburg’s military contingent within the Imperial German Army.

 

Despite his anonymous status, the captain’s formal pose and meticulously arranged attire reflect the pride and professionalism characteristic of German officers of the era.

Skoda is now a division under the Volkswagen group, but is has a long history, having been founded in the Czech Republic in 1895 as Laurin & Klement. In 1948 the company was nationalised as Skoda Auto during the Soviet occupation. A joint Venture with the Volkswagen group commenced in 1991.

 

The Octavia 1U, shown here, was launced in late 1996 as the marques return to larger family cars, though the model did in fact share its underpinnings (the PQ34 platform) with the Golf MkIV - the Skoda was noticeably larger.

 

At the time it was noted the values espoused by Skoda in their cars matched well with the traditional Volvo virtues of safety, practicality, conservative looks and efficiency.

 

The Octavia was produced with a range of four-cylinder petrol and diesel engines of 1.4L to 2.0L, producing between 60 PS and 193 PS (44 kW and 142 kW).

 

The Octavia Type 1U was replaced by the Type 1Z in 2004, again sharing a VW platform, this time the PQ35 underpinning the Golf MkV.

File name: 09_03_000084

 

Title: Boston Public Library Competition Drawing [Front Elevation on Dartmouth Street]

 

Creator/Contributor: Charles B. Atwood (1848-1895), architect

 

Created/Published:

 

Date created: 1884

 

Physical description: ink drawing

 

Summary: By the early 1880s, the Boston Public Library had outgrown its building on lower Boylston Street and the city announced a competition in 1884 for the design of a public library in Copley Square. Twenty designers competed for four top prizes and $10,000 in prize money. Charles Atwood, a Massachusetts native, won the $4,000 First Prize and praise from The American Architect and Building News, which stated that “Atwood’s plan appears to be the nearest approach to practicality... and adapted to the peculiar demands of a library.”

 

Ultimately, all of the designs from the 1884 competition were judged unsuitable and Atwood’s design was never constructed. In 1887, the library’s Board of Trustees awarded the commission to the renowned New York architecture firm of McKim, Mead, and White, and the "McKim Building," as it is now known, opened to the public in 1895.

 

Location: Boston Public Library, Fine Arts Department

 

Rights: No known restrictions.

 

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!

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.

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.

Power Yoga Flow with Michelle Goldstein (1 Hour) youtu.be/XpGnuK_u4gQ www.heartalchemyyoga.com/power-yoga-flow-video-1-hour/ This power yoga workout is an excellent full body workout with an emphasis on twists, shoulder openers and backbends, working into locust pose (shalabasana), bow pose (danurasana) and wheel (urdvha danurasana). This thorough, well rounded practice also includes plenty of vinyasa and standing poses to keep your heart moving and body working. Led by renowned Los Angeles Yoga teacher, Michelle Goldstein of Heart Alchemy Yoga, this yoga workout is certain to inspire your practice. Michelle brings a simple practicality to her instruction that results in a safe and easy to understand yoga workout. This vinyasa flow is intended to open the chakras, while improving strength, coordinated breathing, flexibility, stamina, awareness and relaxation. About Michelle Goldstein: Michelle has maintained a daily yoga practice for 16 years. Micgelle has studied and practiced with many inspiring teachers including Max Strom, Saul David Raye, Bryan Kest of Santa Monica Power Yoga, Erich Schiffman, Annie Carpenter, Vinnie Marino, & Jerome Mercier. Michelle has been teaching yoga flow and meditation for over 10 years and leads workshops, immersions & retreats worldwide as well as teaching at Santa Monica Power Yoga & Equinox Fitness Clubs. Known for her creative vinyasas (sequences of yoga asana) and pranayama, Michelle Goldstein's 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, Michelle's classes offer a safe, nurturing and challenging environment for students to come and explore their mental and physical boundaries. Check out all of our great Heart Alchemy 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

Long story, but let's just put it this way. I decided I needed to sell my Boxster, and I kind of wanted to update my daily driver BMW 325xiT (wagon). I basically tried to combine the practicality of my wagon with the fun of the Boxster.

 

This was my solution. Certified pre-owned purchase of a 2013 S4 with 25k miles. This thing is just crazy fast, and fun to drive. And has so much tech it makes my head spin (and this car isn't really that up-to-date WRT tech).

Not quite the most exciting subject in the world, but at least the destination is partially visible and it means I can score another retake after two years. Speaking of destinations, the more eager-eyed of you may notice something a little different with this partially-displaying one: with the closure of Drypool Bridge severely shaking up the bus network and causing endless amounts of congestion for repair work that can only be described as 'extremely essential', Hull City Council have, in their infinite wisdom, set up a so-called 'park and ride' scheme that:

A. doesn't have buses running into it,

B. has been thrown up on the undeveloped brownfield site of a former Ford dealership, and.

C. literally looks like it could fall over with a few strong gusts of wind like we've had this week.

 

The onus of what Hull City Council are doing is to suggest that, if you're commuting from East Hull, you park your car at the 'park and ride' and catch any one of the many buses that pass by. We'll get to the practicality of that whenever I get around to photographing the diversions, but diverted buses that make use of this 'park and ride' have a little boxed 'P' symbol indicating their use. Will this and the extra publicity surrounding the closure encourage folk to use the bus in this time of transport crisis? Let me find out in a couple of weeks.

 

Seen on the other end of town from the so-called 'park and ride' the destination display is advertising, Stagecoach in Hull's 11687, a 2023 ADL Enviro400 MMC, pulls into Castle Hill Hospital as it prepares to work an 11 back to Hull Interchange.

Scotland baked in the sun today 25/5/2018, with the sun beating down it felt like a day to get out and about, I decided to revisit one of my favourite sites

Dunnottar Castle as it is located

40 minutes drive from my home in Aberdeen,a piper played as visitors and tourists arrived , what a magnificent sight.

 

I wandered along the base of the castle and enjoyed the bay with its calm waters and great views, after an hour or so it was time to leave and climb the numerous stairs back up the hill to the car park.

 

Castles History.

 

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.

Bonhams : The Autumn Sale 2020

Estimated : € 25.000 - 30.000

Sold for € 14.375

 

Autoworld

www.autoworld.be

Brussels - Belgium

September 2020

 

Immensely popular during the 1950s and 1960s, the diminutive 'bubble car' or 'cabin scooter' is currently enjoying a revival of interest - not surprisingly given the congested state of today's urban roads. Nowadays though, the Bubble's attraction has just as much to do with fashion as practicality. One of the more successful designs of the cabin scooter's heyday was the BMW Isetta, a design the German firm manufactured under license from its Italian originator, Iso. (The name means 'little Iso'.) Faced with competition from the FIAT 500 and 600, both of which were seen as 'proper'; motor cars, albeit small, Renzo Rivolta's Iso was not selling well in its native Italy and it would be left to BMW to fully exploit the design's potential.

 

Although at first glance a three-wheeler, the Isetta built for the German market used a pair of closely spaced wheels at the rear and was powered by a BMW single-cylinder four-stroke motorcycle engine of 247cc, replacing the original's noisy two-stroke power unit. Isettas destined for overseas markets had a single rear wheel. The coachwork of early examples featured a single side-hinged door at the front, a roll-top sunroof and fixed side windows, while the steering wheel and dashboard were attached to the door to facilitate entry. The two-seater Isetta's most popular accessory, understandably so given the limited interior space, was a small luggage rack mounted at the rear. Later (1957-onwards) models incorporated sliding side windows for better ventilation. These improved models displaced 297cc, and the 'big' Isetta 300 was reckoned capable of 65mph (105km/h) and 55mpg (5.1 litres/100km). Approximately 162,000 Isettas had been made by the time production ceased in 1962.

 

Delivered new to Belgium, this BMW Isetta 300 still carries the plaque of the supplying dealer, 'J Dumont, Poperinge'. The car is most unusual in never having been restored and remains highly original, retaining matching numbers. Reported as in very good working order and said to drive very well, this charming little microcar is offered with its original Belgian registration document.

The Citroën 2CV (French: "deux chevaux" i.e. "deux chevaux-vapeur" (lit. "two steam horses", "two tax horsepower") is an air-cooled front-engine, front-wheel-drive economy car introduced at the 1948 Paris Mondial de l'Automobile and manufactured by Citroën for model years 1948–1990.

 

Conceived by Citroën Vice-President Pierre Boulanger to help motorise the large number of farmers still using horses and carts in 1930s France, the 2CV has a combination of innovative engineering and utilitarian, straightforward metal bodywork — initially corrugated for added strength without added weight. The 2CV featured low cost; simplicity of overall maintenance; an easily serviced air-cooled engine (originally offering 9 hp); low fuel consumption; and an extremely long-travel suspension offering a soft ride and light off-road capability. Often called "an umbrella on wheels", the fixed-profile convertible bodywork featured a full-width, canvas, roll-back sunroof, which accommodated oversized loads and until 1955 reached almost to the car's rear bumper.

 

Manufactured in France between 1948 and 1989 (and in Portugal from 1989 to 1990), over 3.8 million 2CVs were produced, along with over 1.2 million small 2CV-based delivery vans known as Fourgonnettes. Citroën ultimately offered several mechanically identical variants including the Ami (over 1.8 million); the Dyane (over 1.4 million); the Acadiane (over 250,000); and the Mehari (over 140,000). In total, Citroën manufactured almost 7 million 2CV variants.

 

A 1953 technical review in Autocar described "the extraordinary ingenuity of this design, which is undoubtedly the most original since the Model T Ford". In 2011, The Globe and Mail called it a "car like no other". The motoring writer L. J. K. Setright described the 2CV as "the most intelligent application of minimalism ever to succeed as a car", and a car of "remorseless rationality".]

 

HISTORY

DEVELOPMENT

In 1934, family-owned Michelin, being the largest creditor, took over the bankrupt Citroën company. The new management ordered a new market survey, conducted by Jacques Duclos. France at that time had a large rural population which could not yet afford cars; Citroën used the survey results to prepare a design brief for a low-priced, rugged "umbrella on four wheels" that would enable four people to transport 50 kg of farm goods to market at 50 km/h, if necessary across muddy, unpaved roads. In fuel economy, the car would use no more than 3 l/100 km (95 mpg-imp). One design requirement was that the customer be able to drive eggs across a freshly ploughed field without breaking them.

 

In 1936, Pierre-Jules Boulanger, vice-president of Citroën and chief of engineering and design, sent the brief to his design team at the engineering department. The TPV (Toute Petite Voiture — "Very Small Car") was to be developed in secrecy at Michelin facilities at Clermont-Ferrand and at Citroën in Paris, by the design team who had created the Traction Avant.

 

Boulanger was closely involved with all decisions relating to the TPV, and was determined to reduce the weight to targets that his engineers thought impossible. He set up a department to weigh every component and then redesign it, to make it lighter while still doing its job.

 

Boulanger placed engineer André Lefèbvre in charge of the TPV project. Lefèbvre had designed and raced Grand Prix cars; his speciality was chassis design and he was particularly interested in maintaining contact between tyres and the road surface.

 

The first prototypes were bare chassis with rudimentary controls, seating and roof; test drivers wore leather flying suits, of the type used in contemporary open biplanes. By the end of 1937 20 TPV experimental prototypes had been built and tested. The prototypes had only one headlight, all that was required by French law at the time. At the end of 1937 Pierre Michelin was killed in a car crash; Boulanger became president of Citroën.

 

By 1939 the TPV was deemed ready, after 47 technically different and incrementally improved experimental prototypes had been built and tested. These prototypes used aluminium and magnesium parts and had water-cooled flat twin engines with front-wheel drive. The seats were hammocks hung from the roof by wires. The suspension system, designed by Alphonse Forceau, used front leading arms and rear trailing arms, connected to eight torsion bars beneath the rear seat: a bar for the front axle, one for the rear axle, an intermediate bar for each side, and an overload bar for each side. The front axle was connected to its torsion bars by cable. The overload bar came into play when the car had three people on board, two in the front and one in the rear, to support the extra load of a fourth passenger and fifty kilograms of luggage.

 

In mid-1939 a pilot run of 250 cars was produced and on 28 August 1939 the car received approval for the French market. Brochures were printed and preparations made to present the car, renamed the Citroën 2CV, at the forthcoming Paris Motor Show in October 1939.

 

WORLD WAR II

On 3 September 1939, France declared war on Germany following that country's invasion of Poland. An atmosphere of impending disaster led to the cancellation of the 1939 motor show less than a month before it was scheduled to open. The launch of the 2CV was abandoned.

 

During the German occupation of France in World War II Boulanger personally refused to collaborate with German authorities to the point where the Gestapo listed him as an "enemy of the Reich", under constant threat of arrest and deportation to Germany.

 

Michelin (Citroën's main shareholder) and Citroën managers decided to hide the TPV project from the Nazis, fearing some military application as in the case of the future Volkswagen Beetle, manufactured during the war as the military Kübelwagen. Several TPVs were buried at secret locations; one was disguised as a pickup, the others were destroyed, and Boulanger spent the next six years thinking about further improvements. Until 1994, when three TPVs were discovered in a barn, it was believed that only two prototypes had survived. As of 2003 there were five known TPVs.

 

By 1941, after an increase in aluminium prices of forty percent, an internal report at Citroën showed that producing the TPV post-war would not be economically viable, given the projected further increasing cost of aluminium. Boulanger decided to redesign the car to use mostly steel with flat panels, instead of aluminium. The Nazis had attempted to loot Citroën's press tools; this was frustrated after Boulanger got the French Resistance to re-label the rail cars containing them in the Paris marshalling yard. They ended up all over Europe, and Citroën was by no means sure they would all be returned after the war. In early 1944 Boulanger made the decision to abandon the water-cooled two-cylinder engine developed for the car and installed in the 1939 versions. Walter Becchia was now briefed to design an air-cooled unit, still of two cylinders, and still of 375 cc. Becchia was also supposed to design a three-speed gearbox, but managed to design a four-speed for the same space at little extra cost. At this time small French cars like the Renault Juvaquatre and Peugeot 202 usually featured three-speed transmissions, as did Citroën's own mid-size Traction Avant - but the 1936 Italian Fiat 500 "Topolino" "people's car" did have a four-speed gearbox. Becchia persuaded Boulanger that the fourth gear was an overdrive. The increased number of gear ratios also helped to pull the extra weight of changing from light alloys to steel for the body and chassis. Other changes included seats with tubular steel frames with rubber band springing and a restyling of the body by the Italian Flaminio Bertoni. Also, in 1944 the first studies of the Citroën hydro-pneumatic suspension were conducted using the TPV/2CV.

 

The development and production of what was to become the 2CV was also delayed by the incoming 1944 Socialist French government, after the liberation by the Allies from the Germans. The five-year "Plan Pons" to rationalise car production and husband scarce resources, named after economist and former French motor industry executive Paul-Marie Pons, only allowed Citroën the upper middle range of the car market, with the Traction Avant. The French government allocated the economy car market, US Marshall Plan aid, US production equipment and supplies of steel, to newly nationalised Renault to produce their Renault 4CV. The "Plan Pons" came to an end in 1949. Postwar French roads were very different from pre-war ones. Horse-drawn vehicles had re-appeared in large numbers. The few internal combustion-engined vehicles present often ran on town gas stored in gasbags on roofs or wood/charcoal gas from gasifiers on trailers. Only one hundred thousand of the two million pre-war cars were still on the road. The time was known as "Les années grises" or "the grey years" in France.

 

PRODUCTION

Citroën unveiled the car at the Paris Salon on 7 October 1948. The car on display was nearly identical to the 2CV type A that would be sold the next year, but it lacked an electric starter, the addition of which was decided the day before the opening of the Salon, replacing the pull cord starter. The canvas roof could be rolled completely open. The Type A had one stop light, and was only available in grey. The fuel level was checked with a dip stick/measuring rod, and the speedometer was attached to the windscreen pillar. The only other instrument was an ammeter.In 1949 the first delivered 2CV type A was 375 cc, 9 hp, with a 65 km/h top speed, only one tail light and windscreen wiper with speed shaft drive; the wiper speed was dependent on the driving speed. The car was heavily criticised by the motoring press and became the butt of French comedians for a short while. One American motoring journalist quipped, "Does it come with a can opener?" The British Autocar correspondent wrote that the 2CV "is the work of a designer who has kissed the lash of austerity with almost masochistic fervour".

 

Despite critics, Citroën was flooded with customer orders at the show. The car had a great impact on the lives of the low-income segment of the population in France. The 2CV was a commercial success: within months of it going on sale, there was a three-year waiting list, which soon increased to five years. At the time a second-hand 2CV was more expensive than a new one because the buyer did not have to wait. Production was increased from 876 units in 1949 to 6,196 units in 1950.

 

Grudging respect began to emanate from the international press: towards the end of 1951 the opinion appeared in Germany's recently launched Auto, Motor und Sport magazine that, despite its "ugliness and primitiveness" ("Häßlichkeit und Primitivität"), the 2CV was a "highly interesting" ("hochinteressantes") car.

 

In 1950, Pierre-Jules Boulanger was killed in a car crash on the main road from Clermont-Ferrand (the home of Michelin) to Paris.

 

In 1951 the 2CV received an ignition lock and a lockable driver's door. Production reached 100 cars a week. By the end of 1951 production totalled 16,288. Citroën introduced the 2CV Fourgonnette van. The "Weekend" version of the van had collapsible, removable rear seating and rear side windows, enabling a tradesman to use it as a family vehicle on the weekend as well as for business in the week.

 

By 1952, production had reached more than 21,000 with export markets earning foreign currency taking precedence. Boulanger's policy, which continued after his death, was: "Priority is given to those who have to travel by car because of their work, and for whom ordinary cars are too expensive to buy." Cars were sold preferentially to country vets, doctors, midwives, priests and small farmers. In 1954 the speedometer got a light for night driving. In 1955 the 2CV side repeaters were added above and behind the rear doors. It was now also available with 425 cc (AZ), 12.5 hp and a top speed of 80 km/h. In 1957 a heating and ventilation system was installed. The colour of the steering wheel changed from black to grey. The mirrors and the rear window were enlarged. The bonnet was decorated with a longitudinal strip of aluminium (AZL). In September 1957, the model AZLP (P for porte de malle, "boot lid"), appeared with a boot lid panel; previously the soft top had to be opened at the bottom to get to the boot. In 1958 a Belgian Citroën plant produced a higher quality version of the car (AZL3). It had a third side window, not available in the normal version, and improved details.

 

In 1960 the production of the 375 cc engine ended. The corrugated metal bonnet was replaced by a 5-rib glossy cover.

 

The 2 CV 4 × 4 2CV Sahara appeared in December 1960. This had an additional engine-transmission unit in the rear, mounted the other way around and driving the rear wheels. For the second engine there was a separate push-button starter and choke. With a gear stick between the front seats, both transmissions were operated simultaneously. For the two engines, there were separate petrol tanks under the front seats. The filler neck sat in the front doors. Both engines (and hence axles) could be operated independently. The spare wheel was mounted on the bonnet. 693 were produced until 1968 and one more in 1971. Many were used by the Swiss Post as a delivery vehicle. Today they are highly collectable.

 

From the mid-1950s economy car competition had increased — internationally in the form of the 1957 Fiat 500 and 1955 Fiat 600, and 1959 Austin Mini. By 1952, Germany produced a price-competitive car - the Messerschmitt KR175, followed in 1955 by the Isetta - these were microcars, not complete four-door cars like the 2CV. On the French home market, from 1961, the small Simca 1000 using licensed Fiat technology, and the larger Renault 4 hatchback had become available. The R4 was the biggest threat to the 2CV, eventually outselling it.

 

1960s

In 1960 the corrugated Citroën H Van style "ripple bonnet" of convex swages was replaced (except for the Sahara), with one using six larger concave swages and looked similar until the end of production. The 2CV had suicide doors in front from 1948 to 1964, replaced with front hinged doors from 1965 to 1990.

 

In 1961 Citroën launched a new model based on the 2CV chassis, with a 4-door sedan body, and a reverse rake rear window: the Citroën Ami. In 1962 the engine power was increased to 14 hp and top speed to 85 km/h. A sun roof was installed. In 1963 the engine power was increased to 16 hp. An electric wiper motor replaced the drive on the speedo. The ammeter was replaced by a charging indicator light. The speedometer was moved from the window frame into the dash. Instead of a dip stick/measuring rod, a fuel gauge was introduced.

 

Director of publicity Claude Puech came up with humorous and inventive marketing campaigns. Robert Delpire of the Delpire Agency was responsible for the brochures. Ad copy came from Jacques Wolgensinger Director of PR at Citroën. Wolgensinger was responsible for the youth orientated "Raids", 2CV Cross, rallies, the use of "Tin-Tin", and the slogan "More than just a car — a way of life". A range of colours was introduced, starting with Glacier Blue in 1959, then yellow in 1960. In the 1960s 2CV production caught up with demand. In 1966 the 2CV got a third side window. From September 1966 a Belgian-produced variant was sold in Germany with the 602 cc engine and 21 hp Ami6, the 3 CV (AZAM6). This version was only sold until 1968 in some export markets.

 

In 1967 Citroën launched a new model based on the 2CV chassis, with an updated but still utilitarian body, with a hatchback (a hatchback kit was available from Citroën dealers for the 2CV, and aftermarket kits are available) that boosted practicality: the Citroën Dyane. The exterior is more modern and distinguished by the recessed lights in the fenders and bodywork. Between 1967 and 1983 about 1.4 million were built. This was in response to competition by the Renault 4. The Dyane was originally planned as an upmarket version of the 2CV and was supposed to supersede it, but ultimately the 2CV outlived the Dyane by seven years. Citroën also developed the Méhari off-roader.

 

From 1961, the car was offered, at extra cost, with the flat-2 engine size increased to 602 cc, although for many years the smaller 425 cc engine continued to be available in France and export markets where engine size determined car tax levels. This was replaced by an updated 435 cc engine in 1968.

 

1970s

In 1970 the car gained rear light units from the Citroën Ami 6, and also standardised a third side window in the rear pillar on 2CV6 (602 cc) models. From 1970, only two series were produced: the 2CV 4 (AZKB) with 435 cc and the 2CV 6 (Azka) with 602 cc displacement. All 2CVs from this date can run on unleaded fuel. 1970s cars featured rectangular headlights, except the Spécial model. In 1971 the front bench seat was replaced with two individual seats. In 1972 2CVs were fitted with standard three-point seat belts. In 1973 new seat covers, a padded single-spoke steering wheel and ashtrays were introduced.

 

The highest annual production was in 1974. Sales of the 2CV were reinvigorated by the 1974 oil crisis. The 2CV after this time became as much a youth lifestyle statement as a basic functional form of transport. This renewed popularity was encouraged by the Citroën "Raid" intercontinental endurance rallies of the 1970s where customers could participate by buying a new 2CV, fitted with a "P.O." kit (Pays d'Outre-mer — overseas countries), to cope with thousands of miles of very poor or off-road routes.

 

1970: Paris–Kabul: 1,300 young people, 500 2CVs, 16,500 km to Afghanistan and back.

1971: Paris–Persepolis: 500 2CVs 13,500 km to Iran and back.

1973: Raid Afrique, 60 2CVs 8000 km from Abidjan to Tunis, the Atlantic capital of Ivory Coast through the Sahara, (the Ténéré desert section was unmapped and had previously been barred to cars), to the Mediterranean capital of Tunisia.

 

The Paris to Persepolis rally was the most famous. The Citroën "2CV Cross" circuit/off-road races were very popular in Europe.

 

Because of new emission standards, in 1975 power was reduced from 28 hp to 25 hp. The round headlights were replaced by square ones, adjustable in height. A new plastic grille was fitted.

 

In July 1975, a base model called the 2CV Spécial was introduced with the 435 cc engine. Between 1975 and 1990 under the name of AZKB "2CV Spécial" a drastically reduced trim basic version was sold, at first only in yellow. The small, square speedometer (which dates back to the Traction Avant), and the narrow rear bumper was installed. Citroën removed the third side window, the ashtray, and virtually all trim from the car. It also had the earlier round headlights. From the 1978 Paris Motor Show the Spécial regained third side windows, and was available in red and white; beginning in mid-1979 the 602 cc engine was installed. In June 1981 the Spécial E arrived; this model had a standard centrifugal clutch and particularly low urban fuel consumption.

 

1980s

In 1981 a yellow 2CV6 was driven by James Bond (Roger Moore) in the 1981 film For Your Eyes Only. The car in the film was fitted with the flat-4 engine from a Citroën GS which more than doubled the power. In one scene the ultra light 2CV tips over and is quickly righted by hand. Citroën launched a special edition 2CV "007" to coincide with the film; it was fitted with the standard engine and painted yellow with "007" on the front doors and fake bullet hole stickers.

 

In 1982 all 2CV models got inboard front disc brakes.

 

In 1988, production ended in France after 40 years but continued at the Mangualde plant in Portugal. This lasted until 1990, when production of the 2CV ended. The 2CV outlasted the Visa, another of the cars which might have been expected to replace it, and was produced for four years after the start of Citroën AX production.

 

Portuguese-built cars, especially those from when production was winding down, have a reputation in the UK for being much less well made and more prone to corrosion than those made in France. According to Citroën, the Portuguese plant was more up-to-date than the one in Levallois near Paris, and Portuguese 2CV manufacturing was to higher quality standards.

 

As of October 2016, 3,025 remained in service in the UK.

 

SPECIAL EDITION SALOON MODELS

The special edition models began with the 1976 SPOT model and continued in the with the 1980 Charleston, inspired by Art-Deco two colour styles 1920s Citroën model colour schemes. In 1981 the 007 arrived. In 1983 the 2CV Beachcomber arrived in the United Kingdom; it was known as "France 3" in France or "Transat" in other continental European markets — Citroën sponsored the French America's Cup yacht entry of that year. In 1985 the two-coloured Dolly appeared, using the "Spécial" model's basic trim rather than the slightly better-appointed "Club" as was the case with the other special editions. In 1986 there was the Cocorico. This means "cock-a-doodle-doo" and tied in with France's entry in the 1986 World Cup. "Le Coq Gaulois" or Gallic rooster is an unofficial national symbol of France. In 1987 came the Bamboo, followed by the 1988 Perrier in association with the mineral water company.

 

The Charleston, having been presented in October 1980 as a one-season "special edition" was incorporated into the regular range in July 1981 in response to its "extraordinary success". By changing the carburetor to achieve 29 hp a top speed of 115 km/h was achieved. Other changes were a new rear-view mirror and inboard disc brakes at the front wheels. In the 1980s there was a range of four full models:

 

Spécial

Dolly (an improved version of the Spécial)

Club (discontinued in the early 1980s)

Charleston (an improved version of the Club)

 

In Germany and Switzerland a special edition called, "I Fly Bleifrei" — "I Fly Lead Free" was launched in 1986, that could use unleaded, instead of then normal leaded petrol and super unleaded. It was introduced mainly because of stricter emissions standards. In 1987 it was replaced by the "Sausss-duck" special edition.

 

EXPORT MARKETS

The 2CV was originally sold in France and some European markets, and went on to enjoy strong sales in Asia, South America, and Africa. During the post-war years Citroën was very focused on the home market, which had some unusual quirks, like puissance fiscale. The management of Michelin was supportive of Citroën up to a point, and with a suspension designed to use Michelin's new radial tyres the Citroën cars clearly demonstrated their superiority over their competitors' tyres. But they were not prepared to initiate the investment needed for the 2CV (or the Citroën DS for that matter) to truly compete on the global stage. Citroën was always under-capitalised until the 1970s Peugeot takeover. The 2CV sold 8,830,679 vehicles; the Volkswagen Beetle, which was available worldwide, sold 21 million units.

 

CONSTRUCTION

The level of technology in the 1948 2CV was remarkable for the era. While colours and detail specifications were modified in the ensuing 42 years, the biggest mechanical change was the addition of front disc brakes (by then already fitted for several years in the mechanically similar Citroën Dyane 6), in October 1981 (for the 1982 model year). The reliability of the car was enhanced by the minimalist simplification of the designers, being air-cooled (with an oil cooler), it had no coolant, radiator, water pump or thermostat. It had no distributor either, just a contact breaker system. Except for the brakes, there were no hydraulic parts on original models; damping was by tuned mass dampers and friction dampers.

 

The 1948 car featured radial tyres, which had just been commercialised; front-wheel drive; rack and pinion steering mounted inside the front suspension cross-tube, away from a frontal impact; rear fender skirts (the suspension design allowed wheel changes without removing the skirts); bolt-on detachable front and rear wings; detachable doors, bonnet (and boot lid after 1960), by "slide out" P-profile sheet metal hinges; flap-up windows, as roll up windows were considered too heavy and expensive.; and detachable full length fabric sunroof and boot lid, for almost pickup-like load-carrying versatility. Ventilation in addition to the sunroof and front flap windows was provided by an opening flap under the windscreen. The car had load adjustable headlights and a heater (heaters were standardised on British economy cars in the 1960s).

 

BODY

The body was constructed of a dual H-frame platform chassis and aircraft-style tube framework, and a very thin steel shell that was bolted to the chassis. Because the original design brief called for a low speed car, little or no attention was paid to aerodynamics; the body had a drag coefficient of Cd=0.51, high by today's standards but typical for the era.

 

The 2CV used the fixed-profile convertible, where the doors and upper side elements of its bodywork remain fixed, while its fabric soft top can be opened. This reduces weight and lowers the centre of gravity, and allows the carrying of long or irregularly shaped items, but the key reason was that fabric was cheaper than steel which was in short supply and expensive after the war. The fixed-profile concept was quite popular in this period.

 

SUSPENSION

The suspension of the 2CV was very soft; a person could easily rock the car side to side dramatically. The swinging arm, fore-aft linked suspension system with inboard front brakes had a much smaller unsprung mass than existing coil spring or leaf spring designs. The design was modified by Marcel Chinon.

 

The system comprises two suspension cylinders mounted horizontally on each side of the platform chassis. Inside the cylinders are two springs, one for each wheel, mounted at each end of the cylinder. The springs are connected to the front leading swinging arm and rear trailing swinging arm, that act like bellcranks by pull rods (tie rods). These are connected to spring seating cups in the middle of the cylinder, each spring being compressed independently, against the ends of the cylinder. Each cylinder is mounted using an additional set of springs, originally made from steel, called "volute" springs, on later models made from rubber. These allow the front and rear suspension to interconnect. When the front wheel is deflected up over a bump, the front pull rod compresses the front spring inside the cylinder, against the front of the cylinder. This also compresses the front "volute" spring pulling the whole cylinder forwards. That action pulls the rear wheel down on the same side via the rear spring assembly and pull rod. When the rear wheel meets that bump a moment later, it does the same in reverse, keeping the car level front to rear. When both springs are compressed on one side when travelling around a bend, or front and rear wheels hit bumps simultaneously, the equal and opposite forces applied to the front and rear spring assemblies reduce the interconnection. It reduces pitching, which is a particular problem of soft car suspension.

 

The swinging arms are mounted with large bearings to "cross tubes" that run side to side across the chassis; combined with the effects of all-independent soft springing and excellent damping, keeps the road wheels in contact with the road surface and parallel to each other across the axles at high angles of body roll. A larger than conventional steering castor angle, ensures that the front wheels are closer to vertical than the rears, when cornering hard with a lot of body roll. The soft springing, long suspension travel and the use of leading and trailing arms means that as the body rolls during cornering the wheelbase on the inside of the corner increases while the wheelbase on the outside of the corner decreases. As the corning forces put more of the car's weight on the inside pair of wheels the wheelbase extends in proportion, keeping the car's weight balance and centre of grip constant. promoting excellent road holding. The other key factor in the quality of its road holding is the very low and forward centre of gravity, provided by the position of the engine and transmission.

 

The suspension also automatically accommodates differing payloads in the car- with four people and cargo on board the wheelbase increases by around 4 cm as the suspension deflects, and the castor angle of the front wheels increases by as much as 8 degrees thus ensuring that ride quality, handling and road holding are almost unaffected by the additional weight. On early cars friction dampers (like a dry version of a multi-plate clutch design) were fitted at the mountings of the front and rear swinging arms to the cross-tubes. Because the rear brakes were outboard, they had extra tuned mass dampers to damp wheel bounce from the extra unsprung mass. Later models had tuned mass dampers ("batteurs") at the front (because the leading arm had more inertia and "bump/thump" than the trailing arm), with hydraulic telescopic dampers / shock absorbers front and rear. The uprated hydraulic damping obviated the need for the rear inertia dampers. It was designed to be a comfortable ride by matching the frequencies encountered in human bipedal motion.

 

This suspension design ensured the road wheels followed ground contours underneath them closely, while insulating the vehicle from shocks, enabling the 2CV to be driven over a ploughed field without breaking any eggs, as its design brief required. More importantly it could comfortably and safely drive at reasonable speed, along the ill-maintained and war-damaged post-war French Routes Nationales. It was commonly driven "Pied au Plancher" — "foot to the floor" by their peasant owners.

 

FRONT-WHEEL DRIVE AND GEARBOX

Citroën had developed expertise with front-wheel drive due to the pioneering Traction Avant, which was the first mass-produced steel monocoque front-wheel-drive car in the world. The 2CV was originally equipped with a sliding splined joint, and twin Hookes type universal joints on its driveshafts; later models used constant velocity joints and a sliding splined joint.

 

The gearbox was a four-speed manual transmission, an advanced feature on an inexpensive car at the time. The gear stick came horizontally out of the dashboard with the handle curved upwards. It had a strange shift pattern: the first was back on the left, the second and third were inline, and the fourth (or the S) could be engaged only by turning the lever to the right from the third. Reverse was opposite first. The idea was to put the most used gears opposite each other — for parking, first and reverse; for normal driving, second and third. This layout was adopted from the H-van's three-speed gearbox.

 

OTHER

The windscreen wipers were powered by a purely mechanical system: a cable connected to the transmission; to reduce cost, this cable also powered the speedometer. The wipers' speed was therefore dependent on car speed. When the car was waiting at a crossroad, the wipers were not powered; thus, a handle under the speedometer allowed them to be operated by hand. From 1962, the wipers were powered by a single-speed electric motor. The car came with only a speedometer and an ammeter.

 

The 2CV design predates the invention of disc brake, so 1948–1981 cars have drum brakes on all four wheels. In October 1981, front disc brakes were fitted. Disc brake cars use green LHM fluid – a mineral oil – which is not compatible with standard glycol brake fluid.

 

ENGINES

The engine was designed by Walter Becchia and Lucien Gerard, with a nod to the classic BMW boxer motorcycle engine. It was an air-cooled, flat-twin, four-stroke, 375 cc engine with pushrod operated overhead valves and a hemispherical combustion chamber. The earliest model developed 9 PS (6.6 kW) DIN (6.5 kW). A 425 cc engine was introduced in 1955, followed in 1968 by a 602 cc one giving 28 bhp (21 kW) at 7000 rpm. With the 602 cc engine, the tax classification of the car changed so that it became a 3CV, but the name remained unchanged. A 435 cc engine was introduced at the same time to replace the 425 cc; the 435 cc engine car was named 2CV 4 while the 602 cc took the name 2CV 6 (a variant in Argentina took the name 3CV). The 602 cc engine evolved to the M28 33 bhp (25 kW) in 1970; this was the most powerful engine fitted to the 2CV. A new 602 cc giving 29 bhp (22 kW) at a slower 5,750 rpm was introduced in 1979. This engine was less powerful, and more efficient, allowing lower fuel consumption and better top speed, but decreased acceleration. All 2CVs with the M28 engine can run on unleaded petrol.

 

The 2CV used the wasted spark ignition system for simplicity and reliability and had only speed-controlled ignition timing, no vacuum advance taking account of engine load.

 

Unlike other air-cooled cars (such as the Volkswagen Beetle and the Fiat 500) the 2CV's engine had no thermostat valve in its oil system. The engine needed more time for oil to reach normal operating temperature in cold weather. All the oil passed through an oil cooler behind the fan and received the full cooling effect regardless of the ambient temperature. This removes the risk of overheating from a jammed thermostat that can afflict water- and air-cooled engines and the engine can withstand many hours of running under heavy load at high engine speeds even in hot weather. To prevent the engine running cool in cold weather (and to improve the output of the cabin heater) all 2CVs were supplied with a grille blind (canvas on early cars and a clip-on plastic item called a "muff" in the owner's handbook, on later ones) which blocked around half the aperture to reduce the flow of air to the engine.

 

The engine's design concentrated on the reduction of moving parts. The cooling fan and dynamo were built integrally with the one-piece crankshaft, removing the need for drive belts. The use of gaskets, seen as another potential weak point for failure and leaks, was also kept to a minimum. The cylinder heads are mated to the cylinder barrels by lapped joints with extremely fine tolerances, as are the two halves of the crankcase and other surface-to-surface joints.

 

As well as the close tolerances between parts, the engine's lack of gaskets was made possible by a unique crankcase ventilation system. On any 2-cylinder boxer engine such as the 2CV's, the volume of the crankcase reduces by the cubic capacity of the engine when the pistons move together. This, combined with the inevitable small amount of "leakage" of combustion gases past the pistons leads to a positive pressure in the crankcase which must be removed in the interests of engine efficiency and to prevent oil and gas leaks. The 2CV's engine has a combined engine "breather" and oil filler assembly which contains a series of rubber reed valves. These allow positive pressure to escape the crankcase (to the engine air intake to be recirculated) but close when the pressure in the crankcase drops as the pistons move apart. Because gases are expelled but not admitted this creates a slight vacuum in the crankcase so that any weak joint or failed seal causes air to be sucked in rather than allowing oil to leak out.

 

These design features made the 2CV engine highly reliable; test engines were run at full speed for 1000 hours at a time, equivalent to driving 80,000 km at full throttle. They also meant that the engine was "sealed for life" — for example, replacing the big-end bearings required specialised equipment to dismantle and reassemble the built-up crankshaft, and as this was often not available the entire crankshaft had to be replaced. The engine is very under-stressed and long-lived, so this is not a major issue.

 

If the starter motor or battery failed, the 2CV had the option of hand-cranking, the jack handle serving as starting handle through dogs on the front of the crankshaft at the centre of the fan. This feature, once universal on cars and still common in 1948 when the 2CV was introduced, was kept until the end of production in 1990.

 

PERFORMANCE

In relation to the 2CV's performance and acceleration, it was joked that it went "from 0–60 km/h in one day". The original 1948 model that produced 9 hp had a 0–40 time of 42.4 seconds and a top speed of 64 km/h, far below the speeds necessary for North American highways or the German Autobahns of the day. The top speed increased with engine size to 80 km/h in 1955, 84 km/h in 1962, 100 km/h in 1970, and 115 km/h in 1981.

 

The last evolution of the 2CV engine was the Citroën Visa flat-2, a 652 cc featuring electronic ignition. Citroën never sold this engine in the 2CV, but some enthusiasts have converted their 2CVs to 652 engines, or even transplanted Citroën GS or GSA flat-four engines and gearboxes.

 

In the mid-1980s Car magazine editor Steve Cropley ran and reported on a turbocharged 602 cc 2CV that was developed by engineer Richard Wilsher.

 

END OF PRODUCTION

The 2CV was produced for 42 years, the model finally succumbing to customer demands for speed, in which this ancient design had fallen significantly behind modern cars, and safety. Although the front of the chassis was designed to fold up, to form a crumple zone according to a 1984 Citroën brochure, in common with other small cars of its era its crashworhiness was very poor by modern standards. (The drive for improved safety in Europe happened from the 1990s onwards, and accelerated with the 1997 advent of Euro NCAP.) Its advanced underlying engineering was ignored or misunderstood by the public, being clothed in an anachronistic body. It was the butt of many a joke, especially by Jasper Carrott in the UK.

 

Citroën had attempted to replace the ultra-utilitarian 2CV several times (with the Dyane, Visa, and the AX). Its comically antiquated appearance became an advantage to the car, and it became a niche product which sold because it was different from anything else on sale. Because of its down-to-earth economy car style, it became popular with people who wanted to distance themselves from mainstream consumerism — "hippies" — and also with environmentalists.

 

Although not a replacement for the 2CV, the AX supermini, a conventional urban runabout, unremarkable apart from its exceptional lightness, seemed to address the car makers' requirements at the entry level in the early 1990s. Officially, the last 2CV, a Charleston, which was reserved for Mangualde's plant manager, rolled off the Portuguese production line on 27 July 1990, although five additional 2CV Spécials were produced afterwards.[citation needed]

 

In all a total of 3,867,932 2CVs were produced. Including the commercial versions of the 2CV, Dyane, Méhari, FAF, and Ami variants, the 2CV's underpinnings spawned 8,830,679 vehicles.

 

The 2CV was outlived by contemporaries such as the Mini (out of production in 2000), Volkswagen Beetle (2003), Renault 4 (1992), Volkswagen Type 2 (2013) and Hindustan Ambassador (originally a 1950s Morris Oxford), (2014).

 

CONTINUED POPULARITY

The Chrysler CCV or Composite Concept Vehicle developed in the mid-1990s is a concept car designed to illustrate new manufacturing methods suitable for developing countries. The car is a tall, roomy four-door sedan of small dimensions. The designers at Chrysler said they were inspired to create a modernised 2CV.

 

The company Sorevie of Lodève was building 2CVs until 2002. The cars were built from scratch using mostly new parts. But as the 2CV no longer complied with safety regulations, the cars were sold as second-hand cars using chassis and engine numbers from old 2CVs.

 

The long-running 2CV circuit racing series organized by The Classic 2CV Racing Club continues to be popular in the UK.

 

English nicknames include "Flying Dustbin", "Tin Snail", "Dolly", "Tortoise"

 

WIKIPEDIA

Series 5

Coachwork by Pininfarina

 

2.451 cc

V6 - 60°

110 hp @ 5.300 rpm

Vmax : 178 km/h

1.150 kg

 

'The B20 represented the birth and the realisation of the "Gran Turismo" concept – that is, an elegant comfortable sports car. The contemporary slogan was right on target: "A sports car in Tails" and Pininfarina's bodywork remains a masterpiece of formal beauty.' – Manganaro and Vinai 'Lancia Corse', 1988.

 

Introduced in 1907, the Vincenzo Lancia's first car showed an independence of thought and defiance of convention that would remain associated with the marque well into the modern era. After WW2 Lancia had recommenced production with the Aprilia and its smaller cousin the Ardea, but waiting in the wings was yet another groundbreaking design: the Aurelia. Lancia's classic Aurelia, the first car ever to employ a V6 engine, was launched at the 1950 Turin Motor Show. Designed in wartime by Francesco de Virgilio, the 1.754 cc 60-degree V6 was of all-aluminium construction and 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 B10 saloon was joined the following year by the 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. The Aurelia engine had been increased to 1.991 cc in 1951 and it was this unit in up-rated form that went into the B20. Lighter and higher geared than the saloon, the B20 was good for a top speed of over 100 mph.

 

Stunning the motor racing world, a mildly race-developed B20 driven by chain-smoking, brandy-swigging Giovanni Bracco finished 2nd in the 1951 Mille Miglia, beaten only by Luigi Villoresi's 4,1-litre works Ferrari! It is worth noting that the nimble Aurelia was actually faster than the Ferrari over the mountain passes north of Florence. Sharing his Aurelia B20 with Umberto Maglioli, Bracco won the Targa Florio for Lancia in 1952 and in 1954 another B20 won the Monte Carlo Rally in the hands of the famous Monegasque driver Louis Chiron.

 

Almost all Lancias of this period were right-hand drive, which makes this 'S' (Sinistra) left-hand drive B20 all the more unusual. A matching-numbers example, this car was completed in May 1956 and originally was finished in grey with matching cloth interior. First registered by a famous French chanteur in France, it has belonged to other members of his family since 1963.

 

Between 2005 and 2007, the Aurelia was restored by noted Lancia specialist, Albert Cailler (invoices on file). Well cared for and serviced regularly since then, the car remains in excellent, nearly flawless condition. We are advised that the engine is responsive, and that the car handled and drives well. Eligible for a variety of the most prestigious events, this iconic 1950s GT is offered with restoration invoices and French Carte Grise.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 373.750

Estimated : € 350.000 - 400.000

 

Parijs - Paris

Frankrijk - France

February 2017

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

Hamburgo - Alemanha

 

É disso que precisamos nos dias de hoje nas grandes cidades.

Bom se houvesse mais desses circulando nas ruas.

 

Repare com atenção nas ruas a grande quantidade desses carros enormes levando apenas uma pessoa. Cada um tem seu carro hoje, tudo mundo pra cima e pra baixo motorizado, até pra ir no mercado ou na padaria tem que ir acompanhado do grandão.

As ruas cada vez mais empesteadas deles, o trânsito cada vez mais caótico e o ar mais poluído,

 

Todo mundo reclama do alto preço do carro no Brasil, imagina então se o preço fosse como no mercado internacional, seria mais rápido sair a pé.

 

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|| Blog: Fotografando e Viajando || Skoob || YouTube ||

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!

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) 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".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). 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, whose 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 AND 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

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

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 Kali 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 AND 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 consumes Raktabija and his duplicates, and dances 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, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. 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 Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali 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, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes 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

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

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, ten feet, and three eyes for each head. 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.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

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 [28] 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. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

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."[60] 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. [For them], 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, [who only rarely] 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.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

At myuniqueweddings you are sure to get best flower girl clothes. As for colors, we provide a wide range. With us you get stylish, uniqueness and practicality. Visit: www.myuniqueweddings.com/best-flower-girl-dresses/

Tiffany Studios

New York, NY 1902 - 1932

Prima c. 1890

Lead glass window panel

 

The Aesthetic Movement is a late 19th century genre that focused on pure beauty over practicality, also coined "art for art's sake." The movement originated in Britain across literature and fine art including stained glass. As the movement swept through America (1860 - 1890), the belief was that a beautiful environment could enhance the quality of life and beauty should exist for the enjoyment of everyone, not only the elite.

 

This window is an example of the Aesthetic Movement. It uses light, color and nature to depict Flora, the roman goddess of flowers and the season of spring. She is exemplified by a beautiful maiden, garlanded with flowers, wearing white drapery. Tiffany exuded elements of Aestheticism in his glass designs and in his paintings. He created a large canvas between 1887-1898 called The Blossoms of Spring also known as Flora and Spring which depicts a procession of ethereal women gathering in a beautiful field of flowers. While this window is much smaller in size and scale, and is inscribed with the words "Prima," Italian for first, it's possible that it was created for a patron with less economical means.

Two classics from different eras are seen side by side on the Blackpool promenade tramway. The iconic Blackpool Tower is seen in the background.

In 1995, the CN Tower was classified as one of the Seven Wonders of the Modern World by the American Society of Civil Engineers. The World’s Tallest Tower shares this designation with the Itaipu Dam on the Brazil/Paraguay border, the Golden Gate Bridge in San Francisco, the Panama Canal, the Chunnel under the English Channel, the North Sea Protection Works off the European coast, and the Empire State Building.

 

Defining the Toronto skyline at 553.33m (1,815ft5in), the CN Tower is Canada’s most recognizable and celebrated icon. The CN Tower is an internationally renowned architectural triumph, an engineering Wonder of the Modern World, world-class entertainment and dining destination and a must see for anyone visiting Toronto. Each year, over 1.5 million people visit Canada’s National Tower to take in the breathtaking views and enjoy all the CN Tower has to offer.

 

After 40 months of construction, the CN Tower was opened to the public on June 26, 1976 and it was well on its way to becoming the country’s most celebrated landmark. It is the centre of telecommunications for Toronto serving over 16 Canadian television and FM radio stations, the workplace of over 500 people throughout the year, and an internationally renowned tourism destination.

 

Although the CN Tower inspires a sense of pride and inspiration for Canadians and a sense of awe for foreign tourists, its origins are rooted in practicality. The 1960s ushered in an unprecedented construction boom in Toronto transforming a skyline characterized by relatively low buildings into one dotted with skyscrapers. These buildings caused serious communications problems for existing transmission towers, which were simply not high enough to broadcast over the new buildings. Signals bounced off the buildings creating poor television and radio reception for residents. With its microwave receptors at 338 m (1,109 ft.) and at the 553.33m (1,815 ft., 5 inches) antenna, the CN Tower swiftly solved the communications problems with room to spare and as a result, people living in the Toronto area now enjoy some of the clearest reception in North America.

 

The CN Tower was built in 1976 by Canadian National who wanted to demonstrate the strength of Canadian industry by building a tower taller than any other in the world. Building the CN Tower was a vast and ambitious project that involved 1,537 workers who worked 24 hours a day, five days a week for 40 months to completion.

 

Tower construction crews moved in on February 6, 1973, and started to remove over 56 metric tonnes of earth and shale for the foundation. Once the foundation was ready, work began on the CN Tower’s 335 m (1,100ft.) concrete shaft, a hexagonal core with three curved support arms. This involved pouring concrete into a massive mold or “slipform”. As the concrete hardened, the slipform, supported by a ring of climbing jacks powered by hydraulic pressure, moved upwards, gradually decreasing in size to produce the CN Tower’s gracefully tapered contour.

 

Eight months later, the CN Tower’s concrete shaft was the tallest structure in Toronto and by February 1974, it was the tallest in Canada. In August 1974, work began on the seven-story tower sphere that would eventually house the observation decks and revolving restaurant. The CN Tower approached completion in March 1975, when Olga, the giant Sikorsky helicopter flew into the city to lift the 44 pieces of the antenna into place. The CN Tower was finished on April 2, 1975, and opened to the public June 26, 1976.

 

When the 44th and final piece of the CN Tower’s antenna was bolted into place April 2, 1975, the CN Tower joined the ranks of 17 other great structures that had previously held the title of World’s Tallest Free-Standing Structure, a record the Tower would hold for an incredible 34+ years. Ross McWhirter, editor of the Guinness Book of World Records, was on hand to record the milestone for history and since then, the CN Tower has received numerous mentions in the famous book including most recently the World’s Highest Wine Cellar.

 

In 1995, the CN Tower was classified as one of the Seven Wonders of the Modern World by the American Society of Civil Engineers. Canada’s Wonder of the World shares this designation with the Empire State Building, the Chunnel under the English Channel, the Golden Gate Bridge in San Francisco, Itaipu Dam on the Brazil/Paraguay border, the Panama Canal, and the North Sea Protection Works off the European coast.

 

I live in Australia, near the beach (actually, fairly close to the famous Bell's Beach).

 

During the 1970s the growing Surfing culture flowed over into automotive design here in Australia. The result was the Panel Van - these were developed from the local large rear-drive cars built here, using the Coupe-Utility as a base, but enclosing the rear load area with a high-roof. The rear panel behind the seats was also removed, allowing access to the converted load area.

 

Great for surfing, and camping by the beach. Great for a cuddle with a pretty girl too, and hence the colloquial name 'shaggin-wagon' was coined.

 

This practicality, along with the bad-boy image made these the must-have car for the young man. Particularly if you lived near a beach.

 

The two companies Ford and Holden dominated the market, but a strong third was Chrysler Australia, Their local large car was developed from the 1960s Valiant, and the Panel Van version was known as the Sundowner.

 

I have applied the classic Sundowner graphic to what could have been a great retro product from the early 2000s Chrysler catalog, the PT Cruiser. With a longer wheelbase, 2-door-only, and panel van blanked windows, this would make the perfect low-cost surfing wagon for a new generation.

I was left speechless after visiting the flood-affected areas. I had absolutely no idea where to begin when it came to describing what I saw while I was in Sukkur.

 

Floods are slow killers; they don’t shock you or trample all over you. They remind me of someone being stuck in a locked room with the water level slowly rising until one is left gasping for air. The enormity of the disaster is something which is tough to grasp. It was only the Nasa imagery of the swollen river Indus that gave me a sense of scale of the situation.

 

Sukkur right now is a centre for all the rural areas around it which have been simply wiped out from the map because of inundation. People told me they waded through knee-deep water with all they could carry for four or five miles until they found a tractor-trolley which brought them to Sukkur. They didn’t need to tell me they were hungry – they looked it.

 

When we handed them canisters containing biryani, they wouldn’t start eating it but instead would save it for their children who were a stone’s throw away from our makeshift relief camp.

 

Scuffles broke out when we were distributing ration bags, with one old man being overpowered by those around him. The sheer desperation really humbled you.

 

These people need clean water and tents as the first measure of requirements, and then sustained efforts to keep them away from unhygienic conditions so that we may avert another major disaster, which could be sparked from diseases like cholera.

 

The challenges we face are both immediate as well as long term if a disaster of an enormous magnitude is to be avoided. We cannot fall into the trap of comparing this with anything that has happened beforehand. The logistic issues here need to be solved using a very strong practicality and on-the-ground experience.

 

We will obviously be helped by one thing though – our people from the rural areas are very resilient souls. I saw them wait patiently for tents in the dead of the night, sacrificing anything they can for their young. Some of them still managed to muster up a smile and pose eagerly for the cameras.

 

Their patience, no matter how resolute, will only last so long. Certainly, our limits as human beings will be tested to no end in the coming days.

  

*These pictures were made possible with the help of the Offroaders Club of Pakistan with special thanks to Dr. Awab Alvi, Faisal Kapadia, Imran Hussein, Faraz Khan and Rehan Bandukda.

 

Ali Khurshid is a student of architecture at the Indus Valley School of Art & Architecture, and a freelance photographer based in Karachi. You can contact him at hello@alikhurshid.com or check out his website for more information.

Sophie Malgat modelling a very early 1950's straight skirted suit.

These generously cut straight skirts were produced originally as an affordable alternative to the extravagant full skirts of Dior's "New Look" which received much criticism in the austere years after the war.

These early straight skirts evolved into the more fitted skirts of the late 1950's.

By 1957 this skirt style had reached the limit of practicality and it had acquired a reputation for being limiting and awkward to walk in.

 

E36/8

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Estimated : € 35.000 - 55.000

Sold for € 32.200

 

Parijs - Paris

Frankrijk - France

February 2018

  

- Two previous owners

- Manual transmission

- Recent servicing and detailing

- Circa 59.500 km recorded

 

A brilliant exercise in 'retro' styling that recalled its fabulous '328' sports car of pre-war days, BMW's Z3 was introduced in 1996. The original four-cylinder 1.9-litre Z3 was more of a stylish boulevard cruiser than out-and-out sports car, a successful concept perhaps best exemplified by Mercedes-Benz's old 230/250/280SL family, and would prove equally appealing to both men and women drivers. The arrival of the 2.8-litre six-cylinder engine in 1997 transformed the Z3, endowing it with a level of performance that at last matched the promise of its looks. Six-cylinder cars enjoyed a lengthier equipment list than the 'fours', which included an electric hood (roadster), leather upholstery, and 16" alloy wheels.

 

Commencing in the early 1980s with the limited edition 'homologation special' M3, BMW Motorsport GmbH went on to create its own distinctive 'M-Power' brand of performance-enhanced luxury models. The first M-Power Z3, powered by the 3,2-litre engine from the 3-Series Evolution model, appeared in January 1998. Built until February 2001 when the model was revised, the first-series Z3M Coupé and Roadster were powered by the 3.201 cc S50 engine producing 321 bhp and 258 lb/ft of torque; figures that translated into a tyre-smoking 0-60 mph (97 km/h) time of 5,2 seconds and a top speed of 155 mph (249 km/h). The fastest-accelerating BMW ever at the time of its introduction, the Z3M Coupé boasted a generous specification that included electric windows, ABS, PAS, air conditioning, heated seats, driver/passenger air bags, six-speaker stereo system, alarm/immobiliser, heated exterior mirrors, 17" alloy wheels, and a limited-slip differential as standard. Combining outrageous looks and performance with impressive practicality, the Z3M Coupé was not replaced within BMW's line-up after its deletion in 2002, and is surely destined for 'highly collectible' status in the future.

Delivered new to Japan and purchased by the vendor in January 2017, this exciting Z3M Coupé features various desirable enhancements provided by BMW's long-time competitions collaborators, Schnitzer. These additions consist of a rear spoiler, chromed exhaust pipe embellishers, front splitter, limited edition alloy wheels, and custom pedals, all of which are perfectly suited to the car and make it look slightly more aggressive. No changes were made to the engine or drive train.

•) The Inspiration Behind this French Brooch Necklace (•

 

This particular creation was inspired by a French, 13th century gold ring brooch decorated with rubies and sapphires in tall collets encircled with foliage. We have named our own piece with an inscription that was common during this era: "Ami Amet Deli Pencet", which translated from French means "think of a friend who loves you".

 

True to the period we wanted this to be a versatile adornment, so we chose to include a little inspiration from a portrait of Sir Christoper Hatton, circa 1589, in which he wore a cameo suspended from a luxurious set of gold chains around his neck. In our own creation we've substituted the thick chains with fine, gold filgree leaves and stems, cultivating a more delicate art piece to grace a woman's gentle throat, while still being substantial enough for a man.

 

We say "inspired" because we don't recreate pieces, but rather conjure up our own jewelled magic based on the spirit of authentic renaissance adornments that capture our imagination, and that allow us to both explore and share some of the rich, historical context behind them.

 

Jewelry was worn by all ages and genders in the middle ages, and often had functional purposes as well as decorative ones. Pieces were often ornate and elaborate, with courtly love appearing as a central theme in many creations. This is the "intent" that this necklace was infused with during it's creation.

 

As influence increased toward the latter half of the thirteenth century so so the demand for jewellery outside of court circles. As a result, laws were passed in an attempt to prevent the lower classes from wearing jewellery at all. Edward III introduced a law in England in 1363 forbidding the families of artisans and yeoman from wearing "belts,

collars, clasps, rings, garters, brooches, ribbons, chains, bands or seals, or any other thing whatsoever of gold or silver", though this proved a rather difficult thing to enforce. Imagine trying to make that law work in Second Life *grins*

 

Curious about the historical details behind this ring and other jewelry from it's time period? We've shared some of our favourite facts with you on this below.

 

(See the section called: •) This Collection's Historical Roots and Inspirations (• )

  

•) Collection features (•

 

Alchemy is the art of turning something base into something of value, and that's exactly what we have in mind when we dig into the earth for raw metals and stones to conjure up collections of mystical and mythical body art.

 

Our creations draw on an eclectic mix of personal cravings and a desire for authenticity and historical relevance. While many inworld jewellers feature traditional stone cuts, polish and scripted sparkle, we embrace a more natural approach to creation, adopting the beauty of unpredictable earthstone shapes, cabochon cuts and a painstaking attention to the details of natural lighting and shine. We treat our renaissance gems as beautiful pieces of personal, natural art.

 

From baroque trinkets to Byzantine, hammered metal and gusseted jewels, we craft a quixotic mix of personal treasures decadent enough to tantalize the appetites of gypsies, kings and whores.

 

Our second collection draws on the raw decadence of ancient metals and powerful stones, invested with the intent of "courtly love" through a set of real life rituals infused into a delicate sigil concealed against your skin. With a lust for the kind of lavish personal adornment that made Roman and medieval cultures so distinctive in their styles, we set out to drape you in tasteful motifs of jewelled antiquities, metals with rich patinas, delicious age, and a constellation of both powerful and healing talismans and stones.

 

Our "intentional jewelry" is much more than simple adornment. Each piece is a tool that can be used to invoke a level of magic in your own first and second life. A carefully chosen set of first life rituals were used in it's creation, including a combination of incense, oils and candle magic. We anoint our tools (including our computers) with oils blended for consecration, creativity and balance. In the creation of this piece we used both "consecration" and "attraction" oils.

  

Just add magic ...

 

Our "intentional jewelry" is much more than simple adornment. Each piece is a tool that can be used to invoke a level of magic in your own first and second life. A carefully chosen set of first life rituals were used in it's creation, including a combination of incense, oils and candle magic. We anoint our tools (including our computers) with oils blended for consecration, creativity and balance.

 

We've included a little guide to help you understand a bit more about the stones we chose, the planets that they are associated with, and some of the ways that you might use them in your own rituals through this inworld jewelry to invest your intentions.

 

For more information on how we use magic in our work and what our views are regarding magic, please see the "magic" tab on our website for more information. alchemyimmortalis.com

 

The necklace arrives tucked into a bottle of elixir that renames itself and converts to a beautiful alchemy prop when unpacked. We tend to use dual use packagers because we value practicality. Dual use means, once an item or items are unpacked, your unpacker becomes a decorative item. Nifty! It's like recycling. Don't fill up the landfill with prim packaging and risk your mother boxing your ears.

 

The potion bottle that the packaging transforms into is a special edition, containing an authentic Gypsy rose love potion and spell that you can make as part of your own kitchen witchery. We chose this particular potion and spell because of it's relevance to the intention of "courtly love" that this piece of jewelry is infused with.

 

*** Please note that we do NOT advocate using any potion or practice in a way that compromises the free will of/causes harm to another person or thing.

  

And a dash of relentless, loving care ...

 

If your belief system doesn't include magic, we wanted to appeal to your appreciation for realism, quality and thoughtful construction. This item is mostly sculptwork (sculpted prims) so care was taken in minimising LOD falloff by not overstressing the verts. We also used design elements that are more resistant to LOD falloff to camoflague any shortcomings so that enjoyment of this item could be had at reasonable distances.

 

All of the texture work is hand painted on the model directly. The textures are not simply applied but matched to the depressions and curves of every single prim within the design. Although we can easily and realistically cast light using our 3D programme, we hand paint the shadows for a more artistic appearance that better matches our overall sim design and theme. One is not better than the other, as it's like choosing between a photograph and a painting. We actually have a variable mix of both depending on the piece, but tend towards mostly hand painted as it better marries our pieces to our overall sim concept. Each piece you buy from us is crafted as part of a greater whole and lends a finished wholeness to its design.

 

The textures are hand drawn, not photo sourced. Our jewelry is completely created by us and for us, to give our users a rare uniqueness to their items because exclusivity is ultimately what gives a virtual item it's personality when many produced items tend to share particle effect base and texture sources.

 

And a healthy pinch of scripted resource stewardship ...

 

We've scripted this collection to be low lag overall, and anytime we script that is our main objective. We also want something to be extremely easy to use or we know that you simply won't use it. That's no good at all. We like items to move if they are designed to mimic RL elements. The coding behind the scenes is clean and sharp...not very exciting to anyone disinterested in geeky things like that, but believe me when we tell you we celebrate and salivate when we conquer aspects of messy code we've seen inworld in the past. Always expect our items to be cleanly coded, interactive if we can manage it, and have a usefulness beyond simply looking pretty.

  

Here's to living a more magical life!

-- Alchemy and Immortalis Cyannis.

  

•) This Collection's Historical Roots and Inspirations (•

 

Jewelry was worn by all ages and genders in the middle ages, and often had functional purposes as well as decorative ones. Pieces were often ornate and elaborate, with courtly love appearing as a central theme in many creations.

 

As influence increased toward the latter half of the thirteenth century so so the demand for jewellery outside of court circles. As a result, laws were passed in an attempt to prevent the lower classes from wearing jewellery at all. Edward III introduced a law in England in 1363 forbidding the families of artisans and yeoman from wearing "belts, collars, clasps, rings, garters, brooches, ribbons, chains, bands or seals, or any other thing whatsoever of gold or silver", though this proved a rather difficult thing to enforce. Imagine trying to make that law work in Second Life *grins*

 

•) Metals and Stones (•

 

Most medieval jewelry was crafted with gold and silver, decorated with colourful enamels, niello (a black alloy of silver, sulphur and lead) and gemstones. Rubies, sapphires and pearls were favourite choices, and markedly different from the faceted cuts set into jewelry today. Medieval gems were generally polished instead, creating pebble-like shapes with soft pools of colour. This cabochon cut is what gives jewelry from this period such a distinctively rustic look and feel.

 

While the colour of stones added to the beauty of a piece, they were often chosen for their healing or spiritual powers. This was a widely embraced part of the culture during middle ages, and something we personally embrace as we set out to craft new collections of "intentionally created" jewelled art at Alchemy Immortalis.

 

•) Magical Properties and Healing Powers (•

 

Much was written about these powers, including eleventh century references to stones such as sapphires, which were considered to possess the power to protect one against physical injury, fear, fraud and envy, and also to protect one's chastity. While sapphires were revered for their significance as a sign of peace and reconciliation, they were also thought to have the ability to promote the healing of ulcers, eye conditions and headaches. Some gemstones contained fossilized fish teeth (known as toadstones), and were also embedded into jewelry because they were thought to have similar healing powers.

 

You will sometimes find that stones have been drilled. This was done in the belief that it would increase the effectiveness of the stone's power.

 

Because of this belief in the magical and healing properties of many stones, they were often set into jewelry in a way that provided direct contact with the skin. Open-backed settings were a common feature of rings and pendants, thought to increase the effectiveness of a stone's magical or healing powers.

 

In addition to precious stones, other substances were sometimes used to infuse jewelry with special powers. For instance, the "unicorn horn" -- the name given to the horn of the dolphin-like Narwhal at the time -- was sometimes cut into semi-circular pieces and mounted on gold chains as a means of detecting poison.

 

•) Pendants (•

 

Pendants were prolific during the Renaissance, and again worn by both genders and all ages. Men and children tended to wear them hung on a chain around their neck, while women often fixed them to their girdles, bodices, sleeves or ruffles with ribbons or pins. Intended to hang freely, the backs were often as ornately decorated as the fronts.

 

Artisans of the time tended to craft pendants out of gold and enamels, generously nestled in beds of precious stones, such as diamonds or ambergris, and the naturally shaped baroque pearls which became wildly popular at the end of the 16th century.

 

•) Design as a Nod to an Expanding World (•

 

The beginning of the sixteenth century was marked by the excitement of exploration by sea, and the wild and perilous journeys embarked on to trade with distant continents. This was celebrated in the crafting of elaborately jewelled pieces that included galleons, sea monsters and mermaids at the time.

 

•) Personal Expression (•

 

People living in the renaissance often chose pieces of jewelry for the same reasons that many of us do today: as an expression of some unique aspect of their personality or the things they care most about. As we do now, people would sometimes choose jewelled pieces bearing an animal or symbol as a nod to some personal context or joke.

 

Certain animals and talismans had particular significance at the time. For instance, the "salamander" was considered to be a sign of passionate love, as it was believed to thrive in fire. Cupid was another popular symbol during this time, often found on pendants as a sign of courtly love.

 

Insignias were also a popular form of symbolic personal decoration, with the initials of a husband and wife perhaps being engraved into a ring or pendant in celebration of marriage.

 

•) All Roads Lead to Rome (•

 

A revived interest in the arts of ancient Greece and Rome had a heavy influence in the design of much renaissance jewelry. Pediments and pillars were motifs borrowed from

ancient architecture. Historical figures and characters from mythology came to life again through elaborately designed pieces of jewelry bearing their likeness carved into cameos and elements of gold. While religion had long been a major influence in personal adornment, mythical figures such as Hercules, Cupid, Apollo, Daphne, Leda and the Swan began to take their place as prominent fixtures in jeweled art.

 

Greek and Roman craftsman had created highly prized pieces engraved into carnelian and other stones. Carved Byzantine pieces were similarly valued antiquities. The Renaissance fueled a renewed dedication to this intricate art, inspiring a prolific collection of cameos, where the design is carved in relief, and intaglios where the design is a more subtle etching into the surface of a gem.

 

While a variety of gemstones and even shells were sometimes used for these pieces, multi-layered onyx and sardonyx were the preferred materials for this time period, revealing

contrasting shades of glossy brown and white.

  

•) A Guide on the Powers and Use of the Stones(•

 

Ruby

 

Rubies are associated with Mars, which rules physical strength and symbolizes predominantly male energy. Philosophically, Mars represents a need to temper primal urges while at the same to embracing the fire within. Rubies can give the wearer clairvoyance and guards against deception.

 

A ruby can can be useful at times when you want to summon up strength, energy, creativity, sexuality, confidence, courage, adventure. It can also be a helpful stone to set in order to draw success to you when engaging in sports or combat, or entering a new venture that has high risk.

 

The Ruby is a powerful heart stone, healing the heart, protecting against the loss of heart energy, and dissolving emotional congestion. Rubies heal and balance emotions, making you more emotionally aware and helping you to connect with others emotionally. Rubies have an intense and vivid energy, stimulating loving emotions, helping with the expression of love, and facilitating states of passion and bliss.

 

Rubies can also be used to shield you against psychic and emotion attacks. They're a good stone for Aries, Leo and Cancer.

 

Sapphire

 

Sapphires are associated with the planet Jupiter, whose historical alchemical value was it's optimistic characteristics. Jupiter was often called on to temper Saturn's dark moods, and tends to be recognized as a planet of the higher mind. It also represents generosity, goodness and opportunity.

 

Much was written about the powers of stones in the middle ages, including eleventh century references to sapphires, which were considered to possess the power to protect one against physical injury, fear, fraud and envy, and also to protect one's chastity. While sapphires were revered for their significance as a sign of peace and reconciliation, they were also thought to have the ability to promote the healing of ulcers, eye conditions and headaches. Some gemstones contained fossilized fish teeth (known as toadstones), and were also embedded into jewelry because they were thought to have similar healing powers.

 

You will sometimes find that stones have been drilled. This was done in the belief that it would increase the effectiveness of the stone's power.

 

Because of this belief in the magical and healing properties of many stones, they were often set into jewelry in a way that provided direct contact with the skin. Open-backed settings were a common feature of rings and pendants, thought to increase the effectiveness of a stone's magical or healing powers.

 

Jupiter is known as the 'great teacher'. It is associated with wisdom, optimism and honour. It's stones, including sapphires, are associated with higher education, religion, law, philosophy, gurus, rules, law, judges and physicians. These stones are also used in rituals focusing on humanitarian and protecting roles, your values, beliefs, friends and aspirations.

 

They are also used in business and personal rituals based on the principles of growth, expansion, prosperity and good fortune, as well as those focusing on your inner sense of justice and morality, your ideals and higher goals, and mercy.

 

In healing sapphires govern blood and have traditionally been used for rituals involving the liver, pituitary gland and the disposition of fats.

 

Jupiter stones also govern long distance and foreign travel, adventurers, languages and foreign cultures. They are associated with the urge for freedom and exploration, fun and laughter, joy, confidence, optimism, generosity and even sports.

 

You might choose to set the stones in your jewelry to sapphires when you want to focus on financial aspects in your life, or at the start of new undertakings when you are focusing on activities of expansion, philanthropy, gain and increase. They are also used when you are seeking favors from grandparents, aunts and uncles, advisers (doctors, lawyers, accountants, astrologers). You may also use them when you are seeking advice or consultation, including in settling disputes.

 

Bloodstone

 

Like a Ruby, Bloodstone (also known as Heliotrope) is associated with Mars, which rules physical strength and symbolizes predominantly male energy. Philosophically, Mars represents a need to temper primal urges while at the same to embracing the fire within. Bloodstone can give the wearer clairvoyance and guards against deception.

 

It can be useful at times when you want to summon up strength, energy, creativity, sexuality, confidence, courage, adventure. It can also be a helpful stone to set in order to draw success to you when engaging in sports or combat, or entering a new venture that has high risk.

 

Legend suggests that Bloodstone was first formed by drops of blood staining the stones at the foot of the cross at Christ's crucifixion. It is a powerful healing stone, valuable for grounding negative energy and cleansing the body. It can be used to increase enery and strength, and in helping to overcome fearfulness

and worry.

 

You can also set Bloodstone when you want to enhance intuition and creativity, or to combat fatigue, irritability and confusion.

 

Carnelian

 

Carnelian is a stone associated with both the Sun and Mercury. It provides a great stablizing energy, protecting the wearer against envy, fear and rage, and helping to banish sorrow. It can be used in rituals where courage is required to make big decisions and launch new ventures, drawing prosperity.

 

As a sun stone it can also be used for healing and health, and it's alignment with Mercury can be particularly helpful when healing nervous disorders. Sun stones can also be used to summon up the kinds of creative forces that give vitality to endeavors such as acting and the stage, hobbies and activities marking the fun side of life.

 

This stone can also be set when summoning favours from friends or those in a position of authority over you.

 

As a stone associated with Mercury it can pave the way for success in forms of communication such as writing, journalism and giving speeches, as well as fuel success in studies and education. It can be empowering when seeking a new job, and where a reflectivity and rational thinking is required.

 

Hematite

 

Hematite is associated with Saturn, and is a very protective and detoxifying stone. Lore suggests that hematite was formed from drops of dragons blood.

 

It's known as the "stone of the mind", enhancing memory, original thinking and technical knowledge. It can help focus energy and dissolve negativity, calming and grounding you during times of stress or worry.

 

Hematite can also be used to help you find your own gifts and to release any limitations that you may have imposed on yourself. Set Hematite when in need of balance and equilibrium, or when having difficulty focusing energies.

 

While Saturn at times played a role in more sinister alchemical processes, it also represents order and a gravitational pull to balance and moderation. Alchemists drew on the power of Saturn when they wanted to take matters into their own hands, so using it's associated stones can reinforce the desire to call your own energy into focus in a very powerful way.

 

As a stone of Saturn, hematite can be used in rituals where you want to summon physical or emotional endurance and patience during hardships. You can set it when you want to give up bad habits and unhealthy choices, and make repairs.

 

It can be invoked in a focus on longterm goals, gains and planning, including career longevity, rewards and investments.

 

Saturn's stones can also be used when seeking favours from elders who we are not related to, or from difficult people.

 

It can also be used to attract "kind" love.

  

In 1969, the Wisconsin Annual Conference of The United Methodist Church was formed from the East Wisconsin (Methodist), West Wisconsin (Methodist), and Wisconsin (Evangelical United Brethren) Conferences. In one form or another, all of these bodies had actively served the ministry needs of Wisconsin residents from the recognition of the Wisconsin Territory in 1836, and before.

 

According to the United Methodist Church ¶601 of The Book of Discipline 2008, "The purpose of the Annual Conference is to make disciples of Jesus Christ for the transformation of the world by equipping its local churches for ministry and by providing a connection for ministry beyond the local church; all to the glory of God." United Methodist Congregations seek to call persons to new life in Christ, nurture persons to be disciples of Jesus Christ, and address the needs in our local and global communities through mission and ministry, and by advocating for justice.

 

The Wisconsin Annual Conference fulfills this mission through the ministry of more than 81,000 United Methodists in 458 local congregations, served by the Bishop, the Conference Center in Sun Prairie, five districts served by a district superintendent and 77 circuits served by dedicated and devoted clergy and laity leaders.

 

Frederic is a village in Polk County, Wisconsin, United States. The population was 1,137 at the 2010 census. It was established as a village in 1901.

 

Frederic is located at 45°39′32″N 92°28′1″W (45.658797, -92.466921).

 

According to the United States Census Bureau, the village has a total area of 1.79 square miles (4.64 km2), of which, 1.72 square miles (4.45 km2) of it is land and 0.07 square miles (0.18 km2) is water.

 

Frederic is along Wisconsin Highways 35 and 48, and Polk County Road W.

 

The Frederic School District consists of Frederic Elementary School and Frederic 6-12 School, which contains Frederic Middle School and Frederic High School.

 

Notable people

Robert M. Dueholm, Wisconsin politician, was born in Frederic.

Rodney Erickson, former president of Pennsylvania State University

Nathan Heffernan, member of the Wisconsin Supreme Court, was born in Frederic.

Erick H. Johnson, Wisconsin politician, lived in Frederic.

Rita Lee, Playboy's Playmate for the Month of November 1977, was born in Frederic.

Carol Merrill, a model for the original television game show Let's Make A Deal, was born in Frederic.

Erin Gloria Ryan, writer and podcaster, was born in Frederic.

Harvey Stower, Wisconsin politician, was born in Frederic.

 

Polk County is a county in the U.S. state of Wisconsin. As of the 2020 census, the population was 44,977. Its county seat is Balsam Lake. The county was created in 1853 and named for United States President James K. Polk.

 

Wisconsin is a state in the Upper Midwestern region of the United States. It borders Minnesota to the west, Iowa to the southwest, Illinois to the south, Lake Michigan to the east, Michigan to the northeast, and Lake Superior to the north. Wisconsin is the 25th-largest state by land area and the 20th-most populous.

 

The bulk of Wisconsin's population live in areas situated along the shores of Lake Michigan. The largest city, Milwaukee, anchors its largest metropolitan area, followed by Green Bay and Kenosha, the third- and fourth-most-populated Wisconsin cities, respectively. The state capital, Madison, is currently the second-most-populated and fastest-growing city in the state. Wisconsin is divided into 72 counties and as of the 2020 census had a population of nearly 5.9 million.

 

Wisconsin's geography is diverse, having been greatly impacted by glaciers during the Ice Age with the exception of the Driftless Area. The Northern Highland and Western Upland along with a part of the Central Plain occupy the western part of the state, with lowlands stretching to the shore of Lake Michigan. Wisconsin is third to Ontario and Michigan in the length of its Great Lakes coastline. The northern portion of the state is home to the Chequamegon-Nicolet National Forest. At the time of European contact, the area was inhabited by Algonquian and Siouan nations, and today it is home to eleven federally recognized tribes. During the 19th and early 20th centuries, many European settlers entered the state, most of whom emigrated from Germany and Scandinavia. Wisconsin remains a center of German American and Scandinavian American culture, particularly in respect to its cuisine, with foods such as bratwurst and kringle. Wisconsin is home to one UNESCO World Heritage Site, comprising two of the most significant buildings designed by Wisconsin-born architect Frank Lloyd Wright: his studio at Taliesin near Spring Green and his Jacobs I House in Madison.

 

The Republican Party was founded in Wisconsin in 1854. In more recent years, Wisconsin has been a battleground state in presidential elections, notably in 2016 and 2020.

 

Wisconsin is one of the nation's leading dairy producers and is known as "America's Dairyland"; it is particularly famous for its cheese. The state is also famous for its beer, particularly and historically in Milwaukee, most notably as the headquarters of the Miller Brewing Company. Wisconsin has some of the most permissive alcohol laws in the country and is well known for its drinking culture. Its economy is dominated by manufacturing, healthcare, information technology, and agriculture—specifically dairy, cranberries, and ginseng. Tourism is also a major contributor to the state's economy. The gross domestic product in 2020 was $348 billion.

 

The history of Wisconsin encompasses the story not only of the people who have lived in Wisconsin since it became a state of the U.S., but also that of the Native American tribes who made their homeland in Wisconsin, the French and British colonists who were the first Europeans to live there, and the American settlers who lived in Wisconsin when it was a territory.

 

Since its admission to the Union on May 29, 1848, as the 30th state, Wisconsin has been ethnically heterogeneous, with Yankees being among the first to arrive from New York and New England. They dominated the state's heavy industry, finance, politics and education. Large numbers of European immigrants followed them, including German Americans, mostly between 1850 and 1900, Scandinavians (the largest group being Norwegian Americans) and smaller groups of Belgian Americans, Dutch Americans, Swiss Americans, Finnish Americans, Irish Americans and others; in the 20th century, large numbers of Polish Americans and African Americans came, settling mainly in Milwaukee.

 

Politically the state was predominantly Republican until recent years, when it became more evenly balanced. The state took a national leadership role in the Progressive Movement, under the aegis of Robert M. "Fighting Bob" La Follette and his family, who fought the old guard bitterly at the state and national levels. The "Wisconsin Idea" called for the use of the higher learning in modernizing government, and the state is notable for its strong network of state universities.

 

The first known inhabitants of what is now Wisconsin were Paleo-Indians, who first arrived in the region in about 10,000 BC at the end of the Ice Age. The retreating glaciers left behind a tundra in Wisconsin inhabited by large animals, such as mammoths, mastodons, bison, giant beaver, and muskox. The Boaz mastodon and the Clovis artifacts discovered in Boaz, Wisconsin show that the Paleo-Indians hunted these large animals. They also gathered plants as conifer forests grew in the glaciers' wake. With the decline and extinction of many large mammals in the Americas, the Paleo-Indian diet shifted toward smaller mammals like deer and bison.

 

During the Archaic Period, from 6000 to 1000 BC, mixed conifer-hardwood forests as well as mixed prairie-forests replaced Wisconsin's conifer forests. People continued to depend on hunting and gathering. Around 4000 BC they developed spear-throwers and copper tools such as axes, adzes, projectile points, knives, perforators, fishhooks and harpoons. Copper ornaments like beaded necklaces also appeared around 1500 BC. These people gathered copper ore at quarries on the Keweenaw Peninsula in Michigan and on Isle Royale in Lake Superior. They may have crafted copper artifacts by hammering and folding the metal and also by heating it to increase its malleability. However it is not certain if these people reached the level of copper smelting. Regardless, the Copper Culture of the Great Lakes region reached a level of sophistication unprecedented in North America. The Late Archaic Period also saw the emergence of cemeteries and ritual burials, such as the one in Oconto.

 

The Early Woodland Period began in 1000 BC as plants became an increasingly important part of the people's diet. Small scale agriculture and pottery arrived in southern Wisconsin at this time. The primary crops were maize, beans and squash. Agriculture, however, could not sufficiently support these people, who also had to hunt and gather. Agriculture at this time was more akin to gardening than to farming. Villages emerged along rivers, streams and lakes, and the earliest earthen burial mounds were constructed. The Havana Hopewell culture arrived in Wisconsin in the Middle Woodland Period, settling along the Mississippi River. The Hopewell people connected Wisconsin to their trade practices, which stretched from Ohio to Yellowstone and from Wisconsin to the Gulf of Mexico. They constructed elaborate mounds, made elaborately decorated pottery and brought a wide range of traded minerals to the area. The Hopewell people may have influenced the other inhabitants of Wisconsin, rather than displacing them. The Late Woodland Period began in about 400 AD, following the disappearance of the Hopewell culture from the area. The people of Wisconsin first used the bow and arrow in the final centuries of the Woodland Period, and agriculture continued to be practiced in the southern part of the state. The effigy mound culture dominated Southern Wisconsin during this time, building earthen burial mounds in the shapes of animals. Examples of effigy mounds still exist at High Cliff State Park and at Lizard Mound County Park. In northern Wisconsin people continued to survive on hunting and gathering, and constructed conical mounds.

 

People of the Mississippian culture expanded into Wisconsin around 1050 AD and established a settlement at Aztalan along the Crawfish River. While begun by the Caddoan people, other cultures began to borrow & adapt the Mississippian cultural structure. This elaborately planned site may have been the northernmost outpost of Cahokia, although it is also now known that some Siouan peoples along the Mississippi River may have taken part in the culture as well. Regardless, the Mississippian site traded with and was clearly influenced in its civic and defensive planning, as well as culturally, by its much larger southern neighbor. A rectangular wood-and-clay stockade surrounded the twenty acre site, which contained two large earthen mounds and a central plaza. One mound may have been used for food storage, as a residence for high-ranking officials, or as a temple, and the other may have been used as a mortuary. The Mississippian culture cultivated maize intensively, and their fields probably stretched far beyond the stockade at Aztalan, although modern agriculture has erased any traces of Mississippian practices in the area. Some rumors also speculate that the people of Aztalan may have experimented slightly with stone architecture in the making of a man-made, stone-line pond, at the very least. While the first settler on the land of what is now the city supposedly reported this, he filled it in and it has yet to be rediscovered.

 

Both Woodland and Mississippian peoples inhabited Aztalan, which was connected to the extensive Mississippian trade network. Shells from the Gulf of Mexico, copper from Lake Superior and Mill Creek chert have been found at the site. Aztalan was abandoned around 1200 AD. The Oneota people later built agriculturally based villages, similar to those of the Mississippians but without the extensive trade networks, in the state.

 

By the time the first Europeans arrived in Wisconsin, the Oneota had disappeared. The historically documented inhabitants, as of the first European incursions, were the Siouan speaking Dakota Oyate to the northwest, the Chiwere speaking Ho-Chunk (Winnebago) and the Algonquian Menominee to the northeast, with their lands beginning approximately north of Green Bay. The Chiwere lands were south of Green Bay and followed rivers to the southwest. Over time, other tribes moved to Wisconsin, including the Ojibwe, the Illinois, the Fauk, the Sauk and the Mahican. The Mahican were one of the last groups to arrived, coming from New York after the U.S. congress passed the Indian Removal Act of 1830.

 

The first European known to have landed in Wisconsin was Jean Nicolet. In 1634, Samuel de Champlain, governor of New France, sent Nicolet to contact the Ho-Chunk people, make peace between them and the Huron and expand the fur trade, and possibly to also find a water route to Asia. Accompanied by seven Huron guides, Nicolet left New France and canoed through Lake Huron and Lake Superior, and then became the first European known to have entered Lake Michigan. Nicolet proceeded into Green Bay, which he named La Baie des Puants (literally "The Stinking Bay"), and probably came ashore near the Red Banks. He made contact with the Ho-Chunk and Menominee living in the area and established peaceful relations. Nicolet remained with the Ho-Chunk the winter before he returned to Quebec.

 

The Beaver Wars fought between the Iroquois and the French prevented French explorers from returning to Wisconsin until 1652–1654, when Pierre Radisson and Médard des Groseilliers arrived at La Baie des Puants to trade furs. They returned to Wisconsin in 1659–1660, this time at Chequamegon Bay on Lake Superior. On their second voyage they found that the Ojibwe had expanded into northern Wisconsin, as they continued to prosper in the fur trade. They also were the first Europeans to contact the Santee Dakota. They built a trading post and wintered near Ashland, before returning to Montreal.

 

In 1665 Claude-Jean Allouez, a Jesuit missionary, built a mission on Lake Superior. Five years later he abandoned the mission, and journeyed to La Baie des Puants. Two years later he built St. Francis Xavier Mission near present-day De Pere. In his journeys through Wisconsin, he encountered groups of Native Americans who had been displaced by Iroquois in the Beaver Wars. He evangelized the Algonquin-speaking Potawatomi, who had settled on the Door Peninsula after fleeing Iroquois attacks in Michigan. He also encountered the Algonquin-speaking Sauk, who had been forced into Michigan by the Iroquois, and then had been forced into central Wisconsin by the Ojibwe and the Huron.

 

The next major expedition into Wisconsin was that of Father Jacques Marquette and Louis Jolliet in 1673. After hearing rumors from Indians telling of the existence of the Mississippi River, Marquette and Joliet set out from St. Ignace, in what is now Michigan, and entered the Fox River at Green Bay. They canoed up the Fox until they reached the river's westernmost point, and then portaged, or carried their boats, to the nearby Wisconsin River, where they resumed canoeing downstream to the Mississippi River. Marquette and Joliet reached the Mississippi near what is now Prairie du Chien, Wisconsin in June, 1673.

 

Nicolas Perrot, French commander of the west, established Fort St. Nicholas at Prairie du Chien, Wisconsin in May, 1685, near the southwest end of the Fox-Wisconsin Waterway. Perrot also built a fort on the shores of Lake Pepin called Fort St. Antoine in 1686, and a second fort, called Fort Perrot, on an island on Lake Peppin shortly after. In 1727, Fort Beauharnois was constructed on what is now the Minnesota side of Lake Pepin to replace the two previous forts. A fort and a Jesuit mission were also built on the shores of Lake Superior at La Pointe, in present-day Wisconsin, in 1693 and operated until 1698. A second fort was built on the same site in 1718 and operated until 1759. These were not military posts, but rather small storehouses for furs.

 

During the French colonial period, the first black people came to Wisconsin. The first record of a black person comes from 1725, when a black slave was killed along with four Frenchmen in a Native American raid on Green Bay. Other French fur traders and military personnel brought slaves with them to Wisconsin later in 1700s.

 

None of the French posts had permanent settlers; fur traders and missionaries simply visited them from time to time to conduct business.

 

In the 1720s, the anti-French Fox tribe, led by war chief Kiala, raided French settlements on the Mississippi River and disrupted French trade on Lake Michigan. From 1728 to 1733, the Fox fought against the French-supported Potawatomi, Ojibwa, Huron and Ottawa tribes. In 1733, Kiala was captured and sold into slavery in the West Indies along with other captured Fox.

 

Before the war, the Fox tribe numbered 1500, but by 1733, only 500 Fox were left. As a result, the Fox joined the Sauk people.

 

The details are unclear, but this war appears to have been part of the conflict that expelled the Dakota & Illinois peoples out onto the Great Plains, causing further displacement of other Chiwere, Caddoan & Algonquian peoples there—including the ancestors of the Ioway, Osage, Pawnee, Arikara, A'ani, Arapaho, Hidatsa, Cheyenne & Blackfoot.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761, gaining control of all of Wisconsin in 1763, and annexing the area to the Province of Quebec in 1774. Like the French, the British were interested in little but the fur trade. One notable event in the fur trading industry in Wisconsin occurred in 1791, when two free African Americans set up a fur trading post among the Menominee at present day Marinette. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. In 1766 the Royal Governor of the new territory, Robert Rogers, engaged Jonathan Carver to explore and map the newly acquired territories for the Crown, and to search for a possible Northwest Passage. Carver left Fort Michilimackinac that spring and spent the next three years exploring and mapping what is now Wisconsin and parts of Minnesota.

 

Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey", however British fur traders referred to it as "Green Bay", because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" eventually stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established at this time as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities.

 

The United States acquired Wisconsin in the Treaty of Paris (1783). Massachusetts claimed the territory east of the Mississippi River between the present-day Wisconsin-Illinois border and present-day La Crosse, Wisconsin. Virginia claimed the territory north of La Crosse to Lake Superior and all of present-day Minnesota east of the Mississippi River. Shortly afterward, in 1787, the Americans made Wisconsin part of the new Northwest Territory. Later, in 1800, Wisconsin became part of Indiana Territory. Despite the fact that Wisconsin belonged to the United States at this time, the British continued to control the local fur trade and maintain military alliances with Wisconsin Indians in an effort to stall American expansion westward by creating a pro-British Indian barrier state.

 

The United States did not firmly exercise control over Wisconsin until the War of 1812. In 1814, the Americans built Fort Shelby at Prairie du Chien. During the war, the Americans and British fought one battle in Wisconsin, the July, 1814 Siege of Prairie du Chien, which ended as a British victory. The British captured Fort Shelby and renamed it Fort McKay, after Major William McKay, the British commander who led the forces that won the Battle of Prairie du Chien. However, the 1815 Treaty of Ghent reaffirmed American jurisdiction over Wisconsin, which was by then a part of Illinois Territory. Following the treaty, British troops burned Fort McKay, rather than giving it back to the Americans, and departed Wisconsin. To protect Prairie du Chien from future attacks, the United States Army constructed Fort Crawford in 1816, on the same site as Fort Shelby. Fort Howard was also built in 1816 in Green Bay.

 

Significant American settlement in Wisconsin, a part of Michigan Territory beginning in 1818, was delayed by two Indian wars, the minor Winnebago War of 1827 and the larger Black Hawk War of 1832.

 

The Winnebago War started when, in 1826, two Winnebago men were detained at Fort Crawford on charges of murder and then transferred to Fort Snelling in present-day Minnesota. The Winnebago in the area believed that both men had been executed. On June 27, 1827, a Winnebago war band led by Chief Red Bird and the prophet White Cloud (Wabokieshiek) attacked a family of settlers outside of Prairie du Chien, killing two. They then went on to attack two keel-boats on the Mississippi River that were heading toward Fort Snelling, killing two settlers and injuring four more. Seven Winnebago warriors were killed in those attacks. The war band also attacked settlers on the lower Wisconsin River and the lead mines at Galena, Illinois. The war band surrendered at Portage, Wisconsin, rather than fighting the United States Army that was pursuing them.

 

In the Black Hawk War, Sac, Fox, and Kickapoo Native Americans, otherwise known as the British Band, led by Chief Black Hawk, who had been relocated from Illinois to Iowa, attempted to resettle in their Illinois homeland on April 5, 1832, in violation of Treaty. On May 10 Chief Black Hawk decided to go back to Iowa. On May 14, Black Hawk's forces met with a group of militiamen led by Isaiah Stillman. All three members of Black Hawk's parley were shot and one was killed. The Battle of Stillman's Run ensued, leaving twelve militiamen and three to five Sac and Fox warriors dead. Of the fifteen battles of the war, six took place in Wisconsin. The other nine as well as several smaller skirmishes took place in Illinois. The first confrontation to take place in Wisconsin was the first attack on Fort Blue Mounds on June 6, in which one member of the local militia was killed outside of the fort. There was also the Spafford Farm Massacre on June 14, the Battle of Horseshoe Bend on June 16, which was a United States victory, the second attack on Fort Blue Mounds on June 20, and the Sinsinawa Mound raid on June 29. The Native Americans were defeated at the Battle of Wisconsin Heights on July 21, with forty to seventy killed and only one killed on the United States side. The Ho Chunk Nation fought on the side of the United States. The Black Hawk War ended with the Battle of Bad Axe on August 1–2, with over 150 of the British Band dead and 75 captured and only five killed in the United States forces. Those crossing the Mississippi were killed by Lakota, American and Ho Chunk Forces. Many of the British Band survivors were handed over to the United States on August 20 by the Lakota Tribe, with the exception of Black Hawk, who had retreated into Vernon County, Wisconsin and White Cloud, who surrendered on August 27, 1832. Black Hawk was captured by Decorah south of Bangor, Wisconsin, south of the headwaters of the La Crosse River. He was then sold to the U.S. military at Prairie du Chien, accepted by future Confederate president, Stephen Davis, who was a soldier at the time. Black Hawk's tribe had killed his daughter. Black Hawk moved back to Iowa in 1833, after being held prisoner by the United States government.

 

The Francois Vertefeuille House in Prairie du Chien was built in the 1810s by fur traders. A rare example of the pièce-sur-pièce à coulisse technique once common in French-Canadian architecture, it is one of the oldest buildings in the state and is listed on the National Register of Historic Places.

 

The Cornish immigrants who worked in Wisconsin's lead mines build simple stone cabins from limestone. Six cabins are preserved at the Pendarvis Historic Site in Mineral Point.

The resolution of these Indian conflicts opened the way for Wisconsin's settlement. Many of the region's first settlers were drawn by the prospect of lead mining in southwest Wisconsin. This area had traditionally been mined by Native Americans. However, after a series of treaties removed the Indians, the lead mining region was opened to white miners. Thousands rushed in from across the country to dig for the "gray gold". By 1829, 4,253 miners and 52 licensed smelting works were in the region. Expert miners from Cornwall in Britain informed a large part of the wave of immigrants. Boom towns like Mineral Point, Platteville, Shullsburg, Belmont, and New Diggings sprang up around mines. The first two federal land offices in Wisconsin were opened in 1834 at Green Bay and at Mineral Point. By the 1840s, southwest Wisconsin mines were producing more than half of the nation's lead, which was no small amount, as the United States was producing annually some 31 million pounds of lead. Wisconsin was dubbed the "Badger State" because of the lead miners who first settled there in the 1820s and 1830s. Without shelter in the winter, they had to "live like badgers" in tunnels burrowed into hillsides.

 

Although the lead mining area drew the first major wave of settlers, its population would soon be eclipsed by growth in Milwaukee. Milwaukee, along with Sheboygan, Manitowoc, and Kewaunee, can be traced back to a series of trading posts established by the French trader Jacques Vieau in 1795. Vieau's post at the mouth of the Milwaukee River was purchased in 1820 by Solomon Juneau, who had visited the area as early as 1818. Juneau moved to what is now Milwaukee and took over the trading post's operation in 1825.

 

When the fur trade began to decline, Juneau focused on developing the land around his trading post. In the 1830s, he formed a partnership with Green Bay lawyer Morgan Martin, and the two men bought 160 acres (0.6 km2) of land between Lake Michigan and the Milwaukee River. There they founded the settlement of Juneautown. Meanwhile, an Ohio businessman named Byron Kilbourn began to invest in the land west of the Milwaukee River, forming the settlement of Kilbourntown. South of these two settlements, George H. Walker founded the town of Walker's Point in 1835. Each of these three settlements engaged in a fierce competition to attract the most residents and become the largest of the three towns. In 1840, the Wisconsin State Legislature ordered the construction of a bridge over the Milwaukee River to replace the inadequate ferry system. In 1845, Byron Kilbourn, who had been trying to isolate Juneautown to make it more dependent on Kilbourntown, destroyed a portion of the bridge, which started the Milwaukee Bridge War. For several weeks, skirmishes broke out between the residents of both towns. No one was killed but several people were injured, some seriously. On January 31, 1846, the settlements of Juneautown, Kilbourntown, and Walker's Point merged into the incorporated city of Milwaukee. Solomon Juneau was elected mayor. The new city had a population of about 10,000 people, making it the largest city in the territory. Milwaukee remains the largest city in Wisconsin to this day.

 

Wisconsin Territory was created by an act of the United States Congress on April 20, 1836. By fall of that year, the best prairie groves of the counties surrounding Milwaukee were occupied by New England farmers. The new territory initially included all of the present day states of Wisconsin, Minnesota, and Iowa, as well as parts of North and South Dakota. At the time the Congress called it the "Wiskonsin Territory".

 

The first territorial governor of Wisconsin was Henry Dodge. He and other territorial lawmakers were initially busied by organizing the territory's government and selecting a capital city. The selection of a location to build a capitol caused a heated debate among the territorial politicians. At first, Governor Dodge selected Belmont, located in the heavily populated lead mining district, to be capital. Shortly after the new legislature convened there, however, it became obvious that Wisconsin's first capitol was inadequate. Numerous other suggestions for the location of the capital were given representing nearly every city that existed in the territory at the time, and Governor Dodge left the decision up to the other lawmakers. The legislature accepted a proposal by James Duane Doty to build a new city named Madison on an isthmus between lakes Mendota and Monona and put the territory's permanent capital there. In 1837, while Madison was being built, the capitol was temporarily moved to Burlington. This city was transferred to Iowa Territory in 1838, along with all the lands of Wisconsin Territory west of the Mississippi River.

 

Wyman calls Wisconsin a "palimpsest" of layer upon layer of peoples and forces, each imprinting permanent influences. He identified these layers as multiple "frontiers" over three centuries: Native American frontier, French frontier, English frontier, fur-trade frontier, mining frontier, and the logging frontier. Finally the coming of the railroad brought the end of the frontier.

 

The historian of the frontier, Frederick Jackson Turner, grew up in Wisconsin during its last frontier stage, and in his travels around the state he could see the layers of social and political development. One of Turner's last students, Merle Curti used in-depth analysis of local history in Trempealeau County to test Turner's thesis about democracy. Turner's view was that American democracy, "involved widespread participation in the making of decisions affecting the common life, the development of initiative and self-reliance, and equality of economic and cultural opportunity. It thus also involved Americanization of immigrant." Curti found that from 1840 to 1860 in Wisconsin the poorest groups gained rapidly in land ownership, and often rose to political leadership at the local level. He found that even landless young farm workers were soon able to obtain their own farms. Free land on the frontier therefore created opportunity and democracy, for both European immigrants as well as old stock Yankees.

 

By the mid-1840s, the population of Wisconsin Territory had exceeded 150,000, more than twice the number of people required for Wisconsin to become a state. In 1846, the territorial legislature voted to apply for statehood. That fall, 124 delegates debated the state constitution. The document produced by this convention was considered extremely progressive for its time. It banned commercial banking, granted married women the right to own property, and left the question of African-American suffrage to a popular vote. Most Wisconsinites considered the first constitution to be too radical, however, and voted it down in an April 1847 referendum.

 

In December 1847, a second constitutional convention was called. This convention resulted in a new, more moderate state constitution that Wisconsinites approved in a March 1848 referendum, enabling Wisconsin to become the 30th state on May 29, 1848. Wisconsin was the last state entirely east of the Mississippi River (and by extension the last state formed entirely from territory assigned to the U.S. in the 1783 Treaty of Paris) to be admitted to the Union.

 

With statehood, came the creation of the University of Wisconsin–Madison, which is the state's oldest public university. The creation of this university was set aside in the state charter.

 

In 1847, the Mineral Point Tribune reported that the town's furnaces were producing 43,800 pounds (19,900 kg) of lead each day. Lead mining in southwest Wisconsin began to decline after 1848 and 1849 when the combination of less easily accessible lead ore and the California Gold Rush made miners leave the area. The lead mining industry in mining communities such as Mineral Point managed to survive into the 1860s, but the industry was never as prosperous as it was before the decline.

 

By 1850 Wisconsin's population was 305,000. Roughly a third (103,000) were Yankees from New England and western New York state. The second largest group were the Germans, numbering roughly 38,000, followed by 28,000 British immigrants from England, Scotland and Wales. There were roughly 63,000 Wisconsin-born residents of the state. The Yankee migrants would be the dominant political class in Wisconsin for many years.

 

A railroad frenzy swept Wisconsin shortly after it achieved statehood. The first railroad line in the state was opened between Milwaukee and Waukesha in 1851 by the Chicago, Milwaukee, St. Paul and Pacific Railroad. The railroad pushed on, reaching Milton, Wisconsin in 1852, Stoughton, Wisconsin in 1853, and the capital city of Madison in 1854. The company reached its goal of completing a rail line across the state from Lake Michigan to the Mississippi River when the line to Prairie du Chien was completed in 1857. Shortly after this, other railroad companies completed their own tracks, reaching La Crosse in the west and Superior in the north, spurring development in those cities. By the end of the 1850s, railroads crisscrossed the state, enabling the growth of other industries that could now easily ship products to markets across the country.

 

Nelson Dewey, the first governor of Wisconsin, was a Democrat. Born in Lebanon, Connecticut, Dewey's father's family had lived in New England since 1633, when their ancestor, Thomas Due, had come to America from Kent County, England. Dewey oversaw the transition from the territorial to the new state government. He encouraged the development of the state's infrastructure, particularly the construction of new roads, railroads, canals, and harbors, as well as the improvement of the Fox and Wisconsin Rivers. During his administration, the State Board of Public Works was organized. Dewey was an abolitionist and the first of many Wisconsin governors to advocate against the spread of slavery into new states and territories. The home Dewey built near Cassville is now a state park.

 

Between 1848 and 1862, Wisconsin had three Democratic governors, all of whom were in office prior to 1856, four Republican governors, all of whom were in office after 1856, and one Whig governor, Leonard J. Farwell, who served from 1852 to 1854. Under Farwell's governorship, Wisconsin became the second state to abolish capital punishment.

 

In the presidential elections of 1848 and 1852, the Democratic Party won Wisconsin. In the elections of 1856, 1860, and 1864, the Republican Party won the state.

 

Between the 1840s and 1860s, settlers from New England, New York and Germany arrived in Wisconsin. Some of them brought radical political ideas to the state. In the 1850s, stop-overs on the underground railroad were set up in the state and abolitionist groups were formed. Some abolitionist and free-soil activists left the Whig and Democratic parties, running and in some cases being elected as candidates of the Liberty Party and Free Soil Party. The most successful such group was the Republican Party. On March 20, 1854, the first county meeting of the Republican Party of the United States, consisting of about thirty people, was held in the Little White Schoolhouse in Ripon, Wisconsin. Ripon claims to be the birthplace of the Republican Party, as does Jackson, Michigan, where the first statewide convention was held. The new party absorbed most of the former Free Soil and Liberty Party members.

 

A notable instance of abolitionism in Wisconsin was the rescue of Joshua Glover, an escaped slave from St. Louis who sought refuge in Racine, Wisconsin in 1852. He was caught in 1854 by federal marshals and put in a jail at Cathedral Square in Milwaukee, where he waited to be returned to his owner. A mob of 5,000 people led by Milwaukee abolitionist Sherman Booth, himself a "Yankee" transplant from rural New York, sprung Glover from jail and helped him escape to Canada via the underground railroad.

 

In the 1850s, two-thirds of immigrants to Wisconsin came from the eastern United States, the other one-third being foreign-born. The majority of the foreign born were German immigrants. Many Irish and Norwegian immigrants also came to Wisconsin in the 1850s. Northern Europeans, many of whom were persecuted in their home countries because of their support for the failed bourgeois Revolutions of 1848, often chose Wisconsin because of the liberal constitution of human rights such as the state's unusual recognition of immigrants' right to vote and rights to citizenship.

 

Yankee settlers from New England started arriving in Wisconsin in the 1830s spread throughout the southern half of the territory. They dominated early politics. Most of them started as farmers, but the larger proportion moved to towns and cities as entrepreneurs, businessmen and professionals.

 

Historian John Bunker has examined the worldview of the Yankee settlers in the Wisconsin:

 

Because they arrived first and had a strong sense of community and mission, Yankees were able to transplant New England institutions, values, and mores, altered only by the conditions of frontier life. They established a public culture that emphasized the work ethic, the sanctity of private property, individual responsibility, faith in residential and social mobility, practicality, piety, public order and decorum, reverence for public education, activists, honest, and frugal government, town meeting democracy, and he believed that there was a public interest that transcends particular and stick ambitions. Regarding themselves as the elect and just in a world rife with sin, air, and corruption, they felt a strong moral obligation to define and enforce standards of community and personal behavior....This pietistic worldview was substantially shared by British, Scandinavian, Swiss, English-Canadian and Dutch Reformed immigrants, as well as by German Protestants and many of the "Forty-Niners."

 

The color guard of the Wisconsin 8th Infantry with Old Abe

Wisconsin enrolled 91,379 soldiers in the Union Army during the American Civil War. 272 of enlisted Wisconsin troops were African American, with the rest being white. Of these, 3,794 were killed in action or mortally wounded, 8,022 died of disease, and 400 were killed in accidents. The total mortality was 12,216 men, about 13.4 percent of total enlistments. Many soldiers trained at Camp Randall currently the site of the University of Wisconsin's athletic stadium.

 

The draft implemented by President Lincoln in 1862 was unpopular in some Wisconsin communities, particularly among German and Luxembourgish immigrants. In November 1862, draft riots broke out in Milwaukee, Port Washington, and West Bend, which were quelled by deploying U.S. troops in the cities.

 

Most Wisconsin troops served in the western theater, although several Wisconsin regiments fought in the east, such as the 2nd Wisconsin Volunteer Infantry Regiment, 6th Wisconsin Volunteer Infantry Regiment, and 7th Wisconsin Volunteer Infantry Regiment, which formed part of the Iron Brigade. These three regiments fought in the Northern Virginia Campaign, the Maryland Campaign, the Battle of Fredericksburg, the Battle of Chancellorsville, the Gettysburg Campaign, the Battle of Mine Run, the Overland Campaign, the Siege of Petersburg, and the Appomattox Campaign.

 

The 8th Wisconsin Volunteer Infantry Regiment, which fought in the western theater of war, is also worthy of mention, having fought at the Battle of Iuka, the Siege of Vicksburg, the Red River Campaign, and the Battle of Nashville. The 8th Wisconsin is also known for its mascot, Old Abe.

 

Agriculture was a major component of the Wisconsin economy during the 19th century. Wheat was a primary crop on early Wisconsin farms. In fact, during the mid 19th century, Wisconsin produced about one sixth of the wheat grown in the United States. However, wheat rapidly depleted nutrients in the soil, especially nitrogen, and was vulnerable to insects, bad weather, and wheat leaf rust. In the 1860s, chinch bugs arrived in Wisconsin and damaged wheat across the state. As the soil lost its quality and prices dropped, the practice of wheat farming moved west into Iowa and Minnesota. Some Wisconsin farmers responded by experimenting with crop rotation and other methods to restore the soil's fertility, but a larger number turned to alternatives to wheat.

 

In parts of northern Wisconsin, farmers cultivated cranberries and in a few counties in south central Wisconsin, farmers had success growing tobacco, but the most popular replacement for wheat was dairy farming. As wheat fell out of favor, many Wisconsin farmers started raising dairy cattle and growing feed crops, which were better suited to Wisconsin's climate and soil. One reason for the popularity of dairy farming was that many of Wisconsin's farmers had come to the state from New York, the leading producer of dairy products at the time. In addition, many immigrants from Europe brought an extensive knowledge of cheese making. Dairying was also promoted by the University of Wisconsin–Madison's school of agriculture, which offered education to dairy farmers and researched ways to produce better dairy products. The first test of butterfat content in milk was developed at the university, which allowed for consistency in the quality of butter and cheese. By 1899, over ninety percent of Wisconsin farms raised dairy cows and by 1915, Wisconsin had become the leading producer of dairy products in the United States, a position it held until the 1990s. The term America's Dairyland appeared in newspapers as early as 1913 when the state's butterfat production became first in the nation. In 1939 the state legislature enacted a bill to add the slogan to the state's automobile license plates. It continues to be the nation's largest producer of cheese, no longer focusing on the raw material (milk) but rather the value-added products. Because of this, Wisconsin continues to promote itself as "America's Dairyland", Wisconsinites are referred to as cheeseheads in some parts of the country, including Wisconsin, and foam cheesehead hats are associated with Wisconsin and its NFL team, the Green Bay Packers.

 

The first brewery in Wisconsin was opened in 1835 in Mineral Point by brewer John Phillips. A year later, he opened a second brewery in Elk Grove. In 1840, the first brewery in Milwaukee was opened by Richard G. Owens, William Pawlett, and John Davis, all Welsh immigrants. By 1860, nearly 200 breweries operated in Wisconsin, more than 40 of them in Milwaukee. The huge growth in the brewing industry can be accredited, in part, to the influx of German immigrants to Wisconsin in the 1840s and 1850s. Milwaukee breweries also grew in volume due to the destruction of Chicago's breweries during the great Chicago fire. In the second half of the 19th century, four of the largest breweries in the United States opened in Milwaukee: Miller Brewing Company, Pabst Brewing Company, Valentin Blatz Brewing Company, and Joseph Schlitz Brewing Company. In the 20th century Pabst absorbed Blatz and Schlitz, and moved its brewery and corporate headquarters to California. Miller continues to operate in Milwaukee. The Jacob Leinenkugel Brewing Company opened in Chippewa Falls, Wisconsin in 1867 and continues to operate there to this day.

 

Agriculture was not viable in the densely forested northern and central parts of Wisconsin. Settlers came to this region for logging. The timber industry first set up along the Wisconsin River. Rivers were used to transport lumber from where the wood was being cut, to the sawmills. Sawmills in cities like Wausau and Stevens Point sawed the lumber into boards that were used for construction. The Wolf River also saw considerable logging by industrious Menominee. The Black and Chippewa Rivers formed a third major logging region. That area was dominated by one company owned by Frederick Weyerhaeuser. The construction of railroads allowed loggers to log year round, after rivers froze, and go deeper into the forests to cut down previously unshippable wood supplies. Wood products from Wisconsin's forests such as doors, furniture, beams, shipping boxes, and ships were made in industrial cities with connects to the Wisconsin lumber industry such as Chicago, Milwaukee, Sheboygan, and Manitowoc. Milwaukee and Manitowoc were centers for commercial ship building in Wisconsin. Many cargo ships built in these communities were used to transport lumber from logging ports to major industrial cities. Later a growing paper industry in the Fox River Valley made use of wood pulp from the state's lumber industry.

 

Logging was a dangerous trade, with high accident rates. On October 8, 1871, the Peshtigo Fire burned 1,875 square miles (4,850 km2) of forest land around the timber industry town of Peshtigo, Wisconsin, killing between 1,200 and 2,500 people. It was the deadliest fire in United States history.

 

From the 1870s to the 1890s, much of the logging in Wisconsin was done by immigrants from Scandinavia.

 

By the beginning of the twentieth century, logging in Wisconsin had gone into decline. Many forests had been cleared and never replanted and large corporations in the Pacific Northwest took business away from the Wisconsin industry. The logging companies sold their land to immigrants and out of work lumberjacks who hoped to turn the acres of pine stumps into farms, but few met with success.

 

Wisconsin is known in the 18th century to have discovered gold deposits in western Wisconsin. Such discoveries occurred around the town of St. Croix Falls where a settler stumbled across a gold nugget valued to be worth lots at the time. It's no surprise Wisconsin's western region was once the site of volcanic eruptions so it makes sense that minerals that weren't commonly found in other parts of the state would be present here.

 

Wisconsin was a regional and national model for innovation and organization in the Progressive Era in the early 20th century. The direct primary law of 1904 made it possible to mobilize voters against the previously dominant political machines. The first factors involved the La Follette family going back and forth between trying control of the Republican Party and third-party activity. Secondly the Wisconsin idea, of intellectuals and planners based at the University of Wisconsin shaping government policy. LaFollette started as a traditional Republican in the 1890s, where he fought against populism and other radical movements. He broke decisively with the state Republican leadership, and took control of the party by 1900, all the time quarrelling endlessly with ex-allies.

 

Wisconsin at this time was a de facto one party state, as the Democratic Party was then a minor conservative group in the state. Serious opposition more often than not came from the Socialist Party, with a strong German and union constituency in Milwaukee. The socialists often collaborated with the progressive Republicans in statewide politics. Senator Robert M. La Follette tried to use his national reputation to challenge President Taft for the Republican nomination in 1912. However, as soon as Roosevelt declared his candidacy, most of La Follette's supporters switched to the former president. During the Wilson administration he supported many of Wilson's domestic programs in Congress, however he strongly opposed Wilson's foreign policy, and mobilized the large German and Scandinavian populations in Wisconsin to demand neutrality during World War I. During the final years of his career, he split with the Republican Party and ran an independent campaign for president in 1924. In his bid for the presidency he won 1/6 of the national popular vote, but was only able to win his home state.

 

Following his death, his two sons assumed control of the Wisconsin Republican Party after a brief period of intraparty factional disputes. Following in their father's footsteps they helped form the Wisconsin Progressive Party, in many ways a spiritual successor to the party La Follette had founded in 1924. The party surged to popularity during the mid-1930s off of the inaction of the moderately conservative Schmedeman administration, and were able to gain the support of then president Franklin D. Roosevelt. Much of the new party's support could be owed to the personalities leading it, and the support of Roosevelt and progressive Democrats. The party saw success across Wisconsin's elected offices in the state and congress. Despite its popularity the party eventually declined as Philip, engulfed in scandal and accusations of authoritarianism and fiscal responsibility, lost re-election for the final time in 1938. Following this defeat Philip left electoral politics and joined World War II in the Pacific Theater. Due to joining the war, the National Progressives of America, an organization the La Follettes had hoped would precede a national realignment, faltered. Both organizations began to tear themselves apart as La Follette's absence led to vicious intraparty fighting which ultimately led to a vote to dissolve itself, which Philip was told to stay away from.

 

The Wisconsin Idea was the commitment of the University of Wisconsin under President Charles R. Van Hise, with LaFollette support, to use the university's powerful intellectual resources to develop practical progressive reforms for the state and indeed for the nation.

 

Between 1901 and 1911, Progressive Republicans in Wisconsin created the nation's first comprehensive statewide primary election system, the first effective workplace injury compensation law, and the first state income tax, making taxation proportional to actual earnings. The key leaders were Robert M. La Follette and (in 1910) Governor Francis E. McGovern. However, in 1912 McGovern supported Roosevelt for president and LaFollette was outraged. He made sure the next legislature defeated the governor's programs, and that McGovern was defeated in his bid for the Senate in 1914. The Progressive movement split into hostile factions. Some was based on personalities—especially La Follette's style of violent personal attacks against other Progressives, and some was based on who should pay, with the division between farmers (who paid property taxes) and the urban element (which paid income taxes). This disarray enabled the conservatives (called "Stalwarts") to elect Emanuel Philipp as governor in 1914. The Stalwart counterattack said the Progressives were too haughty, too beholden to experts, too eager to regulate, and too expensive. Economy and budget cutting was their formula.

 

During World War I, due to the neutrality of Wisconsin and many Wisconsin Republicans, progressives, and German immigrants which made up 30 to 40 percent of the state population, Wisconsin would gain the nickname "Traitor State" which was used by many "hyper patriots".

 

As the war raged on in Europe, Robert M. La Follette, leader of the anti-war movement in Wisconsin, led a group of progressive senators in blocking a bill by president Woodrow Wilson which would have armed merchant ships with guns. Many Wisconsin politicians such as Governor Phillipp and senator Irvine Lernroot were accused of having divided loyalties. Even with outspoken opponents to the war, at the onset of the war many Wisconsinites would abandon neutrality. Businesses, labor and farms all enjoyed prosperity from the war. With over 118,000 going into military service, Wisconsin was the first state to report for four national drafts conducted by the U.S. military.

 

The progressive Wisconsin Idea promoted the use of the University of Wisconsin faculty as intellectual resources for state government, and as guides for local government. It promoted expansion of the university through the UW-Extension system to reach all the state's farming communities. University economics professors John R. Commons and Harold Groves enabled Wisconsin to create the first unemployment compensation program in the United States in 1932. Other Wisconsin Idea scholars at the university generated the plan that became the New Deal's Social Security Act of 1935, with Wisconsin expert Arthur J. Altmeyer playing the key role. The Stalwarts counterattacked by arguing if the university became embedded in the state, then its internal affairs became fair game, especially the faculty preference for advanced research over undergraduate teaching. The Stalwarts controlled the Regents, and their interference in academic freedom outraged the faculty. Historian Frederick Jackson Turner, the most famous professor, quit and went to Harvard.

 

Wisconsin took part in several political extremes in the mid to late 20th century, ranging from the anti-communist crusades of Senator Joseph McCarthy in the 1950s to the radical antiwar protests at UW-Madison that culminated in the Sterling Hall bombing in August 1970. The state became a leader in welfare reform under Republican Governor Tommy Thompson during the 1990s. The state's economy also underwent further transformations towards the close of the 20th century, as heavy industry and manufacturing declined in favor of a service economy based on medicine, education, agribusiness, and tourism.

 

In 2011, Wisconsin became the focus of some controversy when newly elected governor Scott Walker proposed and then successfully passed and enacted 2011 Wisconsin Act 10, which made large changes in the areas of collective bargaining, compensation, retirement, health insurance, and sick leave of public sector employees, among other changes. A series of major protests by union supporters took place that year in protest to the changes, and Walker survived a recall election held the next year, becoming the first governor in United States history to do so. Walker enacted other bills promoting conservative governance, such as a right-to-work law, abortion restrictions, and legislation removing certain gun controls. Walker's administration also made critical changes to Wisconsin's election process, enacting one of the most aggressive legislative gerrymanders in the country and replacing Wisconsin's nonpartisan state elections board with a commission of political appointees. When Walker lost re-election in 2018, he collaborated with the gerrymandered Republican legislature to strip powers from the incoming Governor and Attorney General. Since 2011, Wisconsin has seen increasing governmental dysfunction and paralysis, as the durable gerrymander insulated the legislature from electoral consequences.

 

Following the election of Tony Evers as governor in 2018, Wisconsin has seen a string of liberal victories at every level of government which have slowly chipped away at the conservative dominance within the state. This eventually led to the Wisconsin supreme court overturning the Walker-era legislative gerrymander in Clarke v. Wisconsin Elections Commission.

Being friends on Facebook with Lino means that from time to time you see him 'Like' something pretty cool.

 

Actually Lino like lots of things that are cool - but they don't always coincide with a LUGNuts design challenge that makes the most of it.

 

Fortunately, the two coincided this month, so I introduce the Kustom Ford Thundertruck. Part Ford 1961 Thunderbird Hardtop - in fact, mostly a Ford 1961 Thunderbird, but the the engine in the middle where the people would normally be, and the people in the front where the engine would normally be.

 

Pretty straightforward, except that it was pretty tricky.

 

Looks cool nonetheless. Bizarrely, other that Lino's like, and a google search that only turned up a Pintrest link, that's all I've got to work with.

 

And this month's LUGNuts' Challenge - the 113th, - 'For Your Exhibition' - yields a very exhibition worthy vehicles, regardless of sensible practicality.

 

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!

Not the most practical winter ensemble, I admit, but now and then practicality must take a back seat to some sense of style.

 

Now, as to exactly what "style" I am wearing, that's open to debate

1993 Ford Granada GLX auto estate.

 

Last taxed in April 2015. Classics Central auction, Bedford Autodrome -

 

"Sporting the new 2.0 litre DOHC engine with all the convenience and practicality of an estate, Ford’s Granada was an established luxury line by the time the MkIII was facelifted in the early 1990s.

 

This three-owner, 1993 example is presented in an attractive blue and benefits from regular recent use, having been MoTd and on the road every year from 2006- 2015. Said to be in very good overall condition and offering the lines only a factory-built full-size estate car can offer, with a large glass area and excellent proportions, this model is now becoming rare and good examples are hard to find.

 

Expected to possess a fresh MoT at time of sale, this now-iconic Granada estate offers an ideal combination of early 1990s classic motoring with the useful capacity of an estate car, finished in the European styling reminiscent of Ford’s glory days of the 1980s."

 

No reserve. Sold for £150.

I live in Australia, near the beach (actually, fairly close to the famous Bell's Beach).

 

During the 1970s the growing Surfing culture flowed over into automotive design here in Australia. The result was the Panel Van - these were developed from the local large rear-drive cars built here, using the Coupe-Utility as a base, but enclosing the rear load area with a high-roof. The rear panel behind the seats was also removed, allowing access to the converted load area.

 

Great for surfing, and camping by the beach. Great for a cuddle with a pretty girl too, and hence the colloquial name 'shaggin-wagon' was coined.

 

This practicality, along with the bad-boy image made these the must-have car for the young man. Particularly if you lived near a beach.

 

The two companies Ford and Holden dominated the market, but a strong third was Chrysler Australia, Their local large car was developed from the 1960s Valiant, and the Panel Van version was known as the Sundowner.

 

I have applied the classic Sundowner graphic to what could have been a great retro product from the early 2000s Chrysler catalog, the PT Cruiser. With a longer wheelbase, 2-door-only, and panel van blanked windows, this would make the perfect low-cost surfing wagon for a new generation.

For some reason I always had a bit of an affinity towards these cars, largely due to the fact that they seemed to be smiling with those light clusters. But much like the Maestro, it had purpose, it was innovative, and it was a car that refused to die!

 

The Austin Montego first started development life way back in 1977 under project code LC10 (Leyland Cars 10), as an intended replacement for the Morris Marina and the Princess. However, like many of the company's promising projects, such as the Maestro and the Metro, it was shelved for years on account of the fact that British Leyland ran out of money! After a corporate bailout by the British Government, the company chose instead to prolong the development of these cars and instead simply give the existing Marina and Princess a facelift, resulting in the Morris Ital and Austin Ambassador, both cars notable for being unimpressively bland masterpieces.

 

However, this delay did give British Leyland a chance to tie up with Honda, and in 1980 launched the Triumph Acclaim as both the first Japanese/British hybrid car, but also British Leyland's first consistently reliable product! The result was that both the simultaneously developed Austin Maestro and Montego could take some leaves out of Honda's book and therefore improve the reliability. Styling came from David Bache, who had previously had a hand in penning the Rover P4, the Rover SD1 and the Range Rover, and Roy Axe, who would later go on to style the Rover 800 and the Rolls Royce Silver Seraph. The lengthy development time of the car however clearly showed as the first sketches of the car were done back in 1975. Apparently when Roy Axe, who took over as Director of Design in 1982, saw the first prototype with the original design, he was so horrified that he suggested they scrap the whole thing and start over!

 

However, their combined design talent truly shows through with the Montego as in essence these are very handsome cars, with a long smooth body, a pleasing frontal alignment and design, and internally very capable and comfortable. Some novel features included were the colour coordinated bumpers that matched the rest of the car, and the wiper spindles hiding under the bonnet when parked.

 

Although many consider the Maestro just to be a hatchback version of the Montego, there were many features the Montego had that made it an all around better car. These included a new S-Series engine in place of the A-Series engine that dated back to the 1950's, and a more practical and robust dashboard. Variations of the car included the stylish and luxury Vanden Plas, which was styled internally by the world renowned coachbuilder with lavish wood veneer and seating (thankfully not given a chrome nose, that would have been insane!), the sporty MG Montego which featured a higher performance O-Series Turob Engine and a revolutionary synthesised computer voice that announced problems and warnings, and finally the Estate versions which were by far the most popular and received almost unanimous acclaim for their spacious interior.

 

The Montego was launched on April 25th 1984, being available at first as a 4-door saloon to replace the standard Morris Ital, but the Ital in estate form continued on until August, bringing an end to the 11 year old Morris Marina family. In October the Estate version was launched at the British International Motor Show. Initially things were looking up for the Montego, as mentioned the Estate version was lauded for its practicality, the MG Montego became the fastest MG ever built with 115hp to rocket it up to a top speed of 126mph at a rate of 0-60 in 7.1 seconds, and the Vanden Plas was a modest success for the business executive, as well as finding a home in the company car market.

 

Promotion for the car also helped to seal the deal with a fantastically choreographed advert where professional stunt driver Russ Swift, pretty much danced around a crowded car park in a Montego, doing reverse 180's in gaps only a few feet wide, and driving the car on two wheels through a gap only a ruler's length apart! Jeremy Clarkson would attempt to do the same thing 14 years later on one of his DVD's in another Montego, again with the help of Russ Swift, which went well the first time, but not so well the second, third, fourth, fifth, sixth or seventh time. Eventually the Montego was smashed in half by a large truck in a fiery explosion.

 

Sadly though, the honeymoon like with all good British Leyland cars was short lived, and soon afterwards the various faults and build quality problems became once again apparent. Although many of the features fitted to these cars such as the synthesised voice, the computer engine management and the redesigned dashboard were endearing, the main fault that these cars had were in the electrics, which would frequently go wrong. Some examples I've heard from early Montego owners have included the car failing to start, pressing the indicator switch only to blow the horn, or the synthesised talking lady never, ever, ever shutting up! Because of these problems the cars built up a very quick and poor reputation, added to by the poor construction of the actual car, with the colour coded bumpers being particularly problematic as they'd crack in cold weather.

 

But British Leyland didn't give up on the Montego, and in the background designers continued to tinker with the idea of further additions and changes to the car. Throughout the period following its introduction, British Leyland began to be broken up by the Thatcher Government, with Jaguar being made independent, the various parts manufacturers such as UNIPART being sold off, Leyland Trucks and Buses being sold to Volvo and DAF, and eventually the whole outfit being reduced to just MG and Rover. The Montego has been credited with being the last car to carry the Austin name, the badge being dropped in 1988 with future cars simply being dubbed the Montego. This coincided with a facelift in 1989 and the re-engineering of the car to be fitted with a Perkins Diesel. In 1989 a new seven-seater estate model was created called the Montego Countryman, built to combat the rising trend of People-Carriers such as the Renault Espace, but still being able to perform as well as a regular car. This, much like the original estate, proved immensely popular, especially in France for some reason, which went on to be one of the Montego's major markets.

 

In the early 90's the Montego did start getting back some reputation, winning the CAR Magazine's 'Giant Test' (all technical names I'm sure) when competing against the likes of the Citroen BX and the Audi 80. In fact the Rover Montego Turbo became a favourite with the RAF, and was used to whisk Officers across airfields as a personal transport. The Montego may have failed to outdo the Volkswagen Passat, but as for the British mob such as the Ford Sierra and the Vauxhall Cavalier, it was able competition. In fact when I was young in the 90's a lot of kids I'd see dropped off to school would be in then new Montego's because by this point the reliability issues had been ironed out following Rover Group's return to private ownership under British Aerospace.

 

But by 1992 the car was very much looking its age and was in desperate need of a replacement. In 1993 the Rover 600 was launched which pretty much ended the Montego for mass-production then and there, but special orders for the car continued until 1995. The machines continued to be a favourite among Company Car firms, and a lot of the developments made in the Montego lived on in later Rover cars, primarily the 600 and the 75, which inherited its rear suspension which was often held in high regard. But the curtain did eventually fall for the official Montego production in 1995 as new owners BMW desired nothing more than to be out with the old and in with the new, with facelifts all around including a new Rover 25 to replace the 200, a new Rover 45 to replace the 400, and a new Rover 75 to replace the 800, and the original Range Rover was revamped into the absolutely magnificent Range Rover P38 in 1995. The Maestro too was axed and the Metro followed not long afterwards in 1999, with the classic Mini being killed off in 2000, only to be brought back to life the same year under BMW management after the breakup of Rover that year.

 

But like the Maestro, the Montego simply wouldn't die, but unlike the Maestro, attempts to revive the car under bootlegged brands weren't as prosperous. In India, the company Sipani Automobiles, notable for attempting to recreate British cars such as the Reliant Kitten but instead consistently turning out garbage, attempted to built a few, but folded soon afterwards. In Trinidad & Tobago, a small firm attempted to sell their own copycat versions of the Montego, which were notable for their exceptional poor quality. But most famously was the attempt to recreate the car in China with the Lubao CA 6410, which yoked the nose of a Montego onto the back of a Maestro using a Maestro platform. Today that car is technically still in production as the Jiefang CA 6440 UA Van, but owes more to the Maestro than the Montego.

 

Today the Montego is a very rare car to find. Of the 571,000 cars built, only 296 remain, making it Britain's 8th most scrapped car. Contributing to this, areas of the bodywork that were to be covered by plastic trim (such as the front and rear bumpers) were left unpainted and thus unprotected. In addition, pre-1989 models cannot run on unleaded petrol without the cylinder head being converted or needing fuel additives.

 

However, as mentioned, the Montego estate was a huge hit in France, and chances are you'll find a fair number ambling about the countryside there. Malta too was another popular locale for the Montego, as well as many other British Leyland cars, including Marina's, Allegros and even Princesses!

 

My opinion on the Montego? Like most British Leyland cars it had prospects and purpose, but lacked the desire to build good, honest cars. It was comfortable, it was handsome, it performed as well as a family saloon car should, it was spacious and very well equipped, and like many British Leyland cars, such as the Princess with its Hydragas suspension, it was innovative. If these cars had been built better and had some of the teething problems ironed out with the electrical systems, then British Leyland could have easily gone on to make the family car of the 1980's. But like all pathfinders in the world of technology, they will suffer the full brunt of the problems they are most likely to experience.

 

People rarely remember the originals, only the one's that perfected it...

Irreverent, extravagant, bold , Elsa Schiaparelli was born in Rome , was actually far more avant-garde designer of the 30s and 40s, she was one of the fashion icons of the 20th century , His pieces , completely inspired by surrealism, shocked the more conservative . While Coco Chanel prized for its simplicity and practicality , Elsa went beyond the surreal and exotic eccentricity, introduced the manga called pagoda, influenced by Egyptian fashion, the broad shoulders that characterize fashion until the so-called New Look , phosphorescent , like the buttons weights , padlocks in coats , fur dyeing , innovated , and much, clothing production , was a pioneer in knitting products , the vibrant colors and the introduction of music and art in parades , has partnered with Salvador Dali and many others. The artistic movements of Cubism and Surrealism had a fundamental influence on his work , was in surrealism that she has found her primary source of inspiration .

one of their best sellers prmeiros was a black sweater with a white lace detail imitating , achieving an effect known as trompel'oeil ( fools the eye ) , or a false impression .

Schiaparelli was the first designer to use plastic material , a novelty at the time, as was also the pioneer closing clothing with zippers , and leaving them apparent . Its sleek, sophisticated style clothes resulted in sometimes very eccentric , but they attracted a large clientele

A shoe which Schiaparelli hat exotic created in partnership with Dali became famous . The scholarships were no less entertaining , his use of color was unique , created a shade of pink so strong as to be dramatic, She named it the " shocking" , its pink .

Elsa Schiaparelli was among his assistants designers Pierre Cardin and Hubert de Givenchy , and was innovative

in tribute to Elsa Schiaparelli Yrwin presents the dress ................ and representing at her pink " Shocking , described by Yves Saint - Laurent as: " . A provocation " in detail handbag and headdress added for a more fun look .

 

- Style Card -

headress by Bliss Couture

shoes : *MJS*Mary Janes

jowelery: !Lyrical B!zarre Templates!

Dress: !Lyrical B!zarre Templates!

handbag by Yrwin

eyeshadow Glamorize:

lipstik: Shakeup!Cosmetics

  

on the catwalk have the bold poposta gorgeous dress by Lyrical B Zarre inspired by designer Elsa Schiaparelli brings the glamor of the contoured shoulders with black velvet crystal at the end of long lace gloves shows the extravagant detail on the back and remember the Schiaparelli style, lace bodice enhances the waistline skirt with contrasting white Shantung slipping on the hip to reach the flowing skirt of organza, which gives the device a feminine charm to complete the Shiaparelli style Yrwin wears a headdress of Bliss Couture, jewelery Lyrical B Zarre, and adds a more fun look with own handbag produced by the model in tribute to pink Elsa.

 

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!

Burj Al Arab (Arabic: برج العرب‎,Tower of the Arabs) is a luxury hotel located in Dubai, United Arab Emirates. It has been called "The world's only 7 star Hotel" and is the third tallest hotel in the world; however, 39% of its total height is made up of non-occupiable space. Burj Al Arab stands on an artificial island 280 m (920 ft) from Jumeirah beach and is connected to the mainland by a private curving bridge. The shape of the structure is designed to mimic the sail of a ship. It has a helipad near the roof at a height of 210 m (689 ft) above ground.

 

Design and construction

Burj Al Arab was designed by architect Tom Wright of WKK Architects. The design and construction were managed by Canadian engineer Rick Gregory of WS Atkins. Construction of the Island began in 1994. It built to resemble the sail of a dhow, a type of Arabian vessel. Two "wings" spread in a V to form a vast "mast", while the space between them is enclosed in a massive atrium. The architect Tom Wright said "The client wanted a building that would become an iconic or symbolic statement for Dubai; this is very similar to Sydney with its Opera House, London with Big Ben, or Paris with the Eiffel Tower. It needed to be a building that would become synonymous with the name of the country."

 

Atkins. Fletcher Construction from New Zealand was the lead joint venture partner in the initial stages of pre-construction and construction. The hotel was built by South African construction contractor Murray & Roberts and Al Habtoor Engineering.

 

The building opened in December 1999.

 

Site

The beachfront area where Burj Al Arab and Jumeirah Beach Hotel are located was previously called Chicago Beach. The hotel is located on an island of reclaimed land 280 meters offshore of the beach of the former Chicago Beach Hotel. The locale's name had its origins in the Chicago Bridge & Iron Company which at one time welded giant floating oil storage tanks, known locally as Kazzans on the site.

 

The old name persisted after the old Hotel was demolished in 1997. Dubai Chicago Beach Hotel remained as the Public Project Name for the construction phase of Burj Al Arab Hotel until Sheikh Mohammed bin Rashid Al Maktoum announced the new name.

 

Features

Several features of the hotel required complex engineering feats to achieve. The hotel rests on an artificial island constructed 280 m (920 ft) offshore. To secure a foundation, the builders drove 230 forty-meter-long (130 ft) concrete piles into the sand.[16]

 

Engineers created a ground/surface layer of large rocks, which is circled with a concrete honeycomb pattern, which serves to protect the foundation from erosion. It took three years to reclaim the land from the sea, while it took fewer than three years to construct the building itself. The building contains over 70,000 m3 (92,000 cu yd) of concrete and 9,000 tons of steel.

 

Inside the building, the atrium is 180 m (590 ft) tall.

 

Burj Al Arab is the world's third tallest hotel (not including buildings with mixed use). The structure of the Rose Rayhaan, also in Dubai, is 11 m (36 ft) taller than Burj Al Arab.

 

Rooms and suites

The hotel is managed by the Jumeirah Group. Despite its size, Burj Al Arab holds only 28 double-story floors which accommodate 202 bedroom suites. The smallest suite occupies an area of 169 m2 (1,820 sq ft), the largest covers 780 m2 (8,400 sq ft).

 

Suites feature design details that juxtapose east and west. White columns show great influence.[clarification needed] Bathrooms are accented by mosaic tile patterns.[citation needed]

 

The Royal Suite, billed at US$18,716 per night, is listed at number 12 on World's 15 most expensive hotel suites compiled by CNN Go in 2012.

 

The Burj Al Arab is very popular with the Chinese market, which made up 25 percent of all bookings at the hotel in 2011 and 2012.

  

Restaurants

Al Muntaha (Arabic for "Highest" or "Ultimate"), is located 200 m (660 ft) above the Persian Gulf, offering a view of Dubai. It is supported by a full cantilever that extends 27 m (89 ft) from either side of the mast, and is accessed to a panoramic elevator.

 

Al Mahara ("Oyster"), which is accessed via a simulated submarine voyage, features a large seawater aquarium, holding roughly 990,000 L (260,000 US gal) of water. The wall of the tank, made of acrylic glass in order to withstand the water pressure, is about 18 cm (7.1 in) thick.

 

Rating

While the hotel is frequently described as "the world's only seven-Star hotel", the hotel management claims to never have done that themselves. In the words of a Jumeirah Group spokesperson: "There's not a lot we can do to stop it. We're not encouraging the use of the term. We've never used it in our advertising." According to the group, the "Seven-Star" notion was brought to being by a British journalist who visited the hotel on a pre-opening press trip. The journalist "described Burj al Arab in her article as above and beyond anything she had ever seen and called it a seven-star hotel.

  

Reception

Reviews by architecture critics

Burj Al Arab has attracted criticism as well "a contradiction of sorts, considering how well-designed and impressive the construction ultimately proves to be." The contradiction here seems to be related to the hotel’s decor. "This extraordinary investment in state-of-the-art construction technology stretches the limits of the ambitious urban imagination in an exercise that is largely due to the power of excessive wealth." Another critic includes negative critiques for the city of Dubai as well: "both the hotel and the city, after all, are monuments to the triumph of money over practicality. Both elevate style over substance." Yet another: "Emulating the quality of palatial interiors, in an expression of wealth for the mainstream, a theater of opulence is created in Burj Al Arab … The result is a baroque effect"

 

Public relations stunts

 

Several events have taken place on the helipad 210 m (689 ft) above ground to attract media attention. These include :

 

2004: Tiger Woods teeing off

2005: Andre Agassi and Roger Federer playing tennis

2011: Golfer Rory McIlroy performing a bunker shot.

2013: Heli-lift of Aston Martin Vanquish.

2013: David Coulthard performing donuts in a Formula 1 racecar

 

When you think of poor cars and the worst era of British Industry, most will cite the Austin Allegro, a car that truly is a staple of its time, and those times were pretty grim to say the least! It has become a symbol of failure, a monument to catastrophic engineering, a beacon of impracticality and a terrible tribute to an age we Brits would sooner forget.

 

Bit is the Austin Allegro really deserving of such maligned opinions? Should we really hate it as much as we do?

 

The story of the Allegro goes back to the previous model of its range, the Austin 1100, a car that had become symbolic of the British family motor industry, with crisp smooth lines, round peeking headlights and a good blend of space and practicality, it sold by the millions and could have almost been described as a family equivalent of the Mini, novelty that you can use everyday. Trouble was that the 1100 was starting to look very much its age in 1971, and thus British Leyland, the new owners of Austin, took it upon themselves to design a new car that would be sheek and European, something that could win both the British and the International markets.

 

For this they enlisted the help of Chief BL Designer Harris Mann, famous for many great BL products such as the Marina, the Ital, the Princess and the Triumph TR7. Today many people blame him for the poor designs that the company spewed out onto the roads of Britain, but I personally feel sorry for him, especially with cars such as the Allegro. His original design for the car was an angular and very streamlined looking piece of kit, a hatchback and with two fins on the rear to compliment the long smooth waistband, making it look almost reminiscent of an Aston Martin DB5 crossed with a 1969 DBS. However, his promising designs were sadly watered down by British Leyland, tinkered, altered, and, quite frankly, ruined his idea to become what it is, with its bathtub curves, long sloping back and piggy headlights. I will say, it's not the ugliest car in the world, far from it, I've seen much worse like the Pontiac Aztek which looks like a cross between a Bug and a mutant Rhino, but when you compare it to Harris Mann's original sketches, then, and only then, do you understand how far down the Allegro design came.

 

But styling wasn't what BL expected to win the market with, but instead with the car's practicality, starting with the new Hydragas suspension to replace the previous Hydrolastic suspension of the 1100. With this suspension, The Allegro intended to lock horns with the likes of the outgoing Citroën DS and its replacement the CX. Hydragas uses displaced spheres of Nitrogen gas to replace the conventional steel springs of a regular suspension design. The means for pressurising the gas in the displacers is done by pre-pressurising a hydraulic fluid, and then connecting the displacer to its neighbour on the other axle. This is unlike the Citroën system, which uses hydraulic fluid continuously pressurised by an engine-driven pump and regulated by a central pressure vessel. However, the attempt at being an outstanding motor ended at Hydragas because there was nothing else particularly endearing about the Allegro. The interior was cheap, nasty and very cramped, especially in the back where you couldn't even fit a bag of shopping let alone your children! Rather than taking the sensible approach of the competition by fitting the car with a hatchback for more boot space, the car was just fitted with a tiny little trunk that you couldn't fit a bag of shopping into either! The engine, the BMC A-Series, was carried over from the 1100, which was a fine little engine, perky and fairly reliable if maintained properly, as well as the heater being carried over from the Morris Marina, but I'm no judge of heaters so I won't say if that was for good or for ill. Most jarring however was when the car was fitted with a square steering wheel! Probably the most memorable part of the Allegro is the fact that it was given a quartic steering wheel, which BL claimed was for ease of access to the front seat and so that the instruments could be seen, which leaves one asking whether you couldn't see them with a round steering wheel! In the end even Harris Mann disowned the car with disappointment, claiming it was nothing like his original idea, which is pretty bad when even the Chief Designer disowns it!

 

Either way, in spite of Mr. Mann's space-age design being watered down to something unrecognisable and with only Hydragas suspension to make it any different from anything else on the market, the Allegro was launched in 1973 with a promotional trip to Marbella in the south of Spain, and early reviews, despite there being a unanimous dislike to the car's shape and styling, were quite warm, many praising the comfort of the Hydragas suspension. However, reviews of the drive quality, such as the car's heavy steering and cheap, plastic interior, were less favourable.

 

Nevertheless, initial sales of the Allegro were promising and it was in 1973 one of the best selling cars of the year, but things truly went for the plunge soon afterwards, and the car never fully recovered. The flaws of the design became prominent, followed by British Leyland's infamous low quality builds. Roofs, panels and boots leaked, rear wheels flew off, and rumour has it that these cars were banned from the Mersey Tunnel in Liverpool because they couldn't be towed after a breakdown without the chassis bending in the middle! Engines failed to start, wiring was abysmal, rear windows popped out, the paint colours were dreary and dismal, the car would rust before you got it home and many commented that the car had a better drag co-efficiency going backwards!

 

The Allegro did come in a selection of variants, including an estate, a sporty coupé known as the Equipe, and a very strange luxury variant known as the Vanden Plas 1500, a peculiar which was fitted with luxury items carried over from the Jaguar XJ range and had a big chrome nose yoked onto the front to try and make it look reminiscent of a Rolls Royce or a Bentley. Only problem is that Rolls Royce's and Bentley's have their front ends designed around the chrome nose, and thus the result was that it looked something like a pig! Also, another thing about Rollers and Bentleys is that they're much, much bigger than a tiny Allegro, which had absolutely no legroom in the back which made the concept entirely pointless! The car was also sold in Italy as the Innocenti Regent, nothing particularly different apart from different badges.

 

In 1975 the Allegro II was launched to try and redress some of the issues with the original car, including a slightly altered front-end and some minor changes internally, but overall it was very much the same. These changes however weren't enough to save the car's dwindling reputation, and even though the BL advertisers continued to lay on the imaginative promotion, the car was still losing heavily to the likes of the Ford Cortina.

 

The final variant, the Allegro III, had the most changes upon its launch in 1979, including a new version of the A-Series engine and quad round headlights to make it look a bit more modern. Apart from that the car was still very much the same as it was in 1973, and it was truly showing its age. British Leyland, recovering from the bankruptcy of 1977, attempted to rationalise the company by pulling out of the sports car range as well as some of their older products. The MG sportsters were killed off in 1980 and their factory closed whilst production of the Allegro and the Mini were slowed down as they prepared to discontinue to both of them in favour of the Austin Metro. The Morris Marina and Princess were replaced by the mostly identical Morris Ital and the Austin Ambassador, and Triumph was now being used to pioneer a tie up with Japan to create good and reliable cars in the form of the Triumph Acclaim.

 

The hammer eventually fell on the Allegro after 9 years of production in 1982 when the Austin Maestro was launched after 5 years of development. In all, 642,000 Allegros left the factory during its lifetime, but today less than 250 are known to exist, with many rusting away or being part exchanged for a plant pot by the time 1990 hit. The reputation of these cars is still very much maligned by both critics and motoring enthusiasts alike, with it topping many people's worst car in history lists, and becoming Britain's worst car of all time followed closely by the Morris Marina. Top Gear were always quick to bash the Allegro, with two of the ambiguous Vaden Plas 1500's meeting their maker, one being smashed with a suspended Morris Marina in a giant game of Bar Skittles, whilst another was driven in reverse off a ramp and smashed into a pile of scrapyard cars.

 

Me personally? I feel that the Allegro was a car with promise and premise, but the abilities of British Leyland fell far short of their ambitions, not helped by their incompetence and desire to commit corporate suicide. If the car had been built as Harris Mann had designed, been given a hatchback, and had been created with the slightest semblance of sense, then it could have truly been a winner. As it is, the car is now a sorry marker in the world of broken dreams, one that we simply choose to forget and never forgive.

When you think of poor cars and the worst era of British Industry, most will cite the Austin Allegro, a car that truly is a staple of its time, and those times were pretty grim to say the least! It has become a symbol of failure, a monument to catastrophic engineering, a beacon of impracticality and a terrible tribute to an age we Brits would sooner forget.

 

Bit is the Austin Allegro really deserving of such maligned opinions? Should we really hate it as much as we do?

 

The story of the Allegro goes back to the previous model of its range, the Austin 1100, a car that had become symbolic of the British family motor industry, with crisp smooth lines, round peeking headlights and a good blend of space and practicality, it sold by the millions and could have almost been described as a family equivalent of the Mini, novelty that you can use everyday. Trouble was that the 1100 was starting to look very much its age in 1971, and thus British Leyland, the new owners of Austin, took it upon themselves to design a new car that would be sheek and European, something that could win both the British and the International markets.

 

For this they enlisted the help of Chief BL Designer Harris Mann, famous for many great BL products such as the Marina, the Ital, the Princess and the Triumph TR7. Today many people blame him for the poor designs that the company spewed out onto the roads of Britain, but I personally feel sorry for him, especially with cars such as the Allegro. His original design for the car was an angular and very streamlined looking piece of kit, a hatchback and with two fins on the rear to compliment the long smooth waistband, making it look almost reminiscent of an Aston Martin DB5 crossed with a 1969 DBS. However, his promising designs were sadly watered down by British Leyland, tinkered, altered, and, quite frankly, ruined his idea to become what it is, with its bathtub curves, long sloping back and piggy headlights. I will say, it's not the ugliest car in the world, far from it, I've seen much worse like the Pontiac Aztek which looks like a cross between a Bug and a mutant Rhino, but when you compare it to Harris Mann's original sketches, then, and only then, do you understand how far down the Allegro design came.

 

But styling wasn't what BL expected to win the market with, but instead with the car's practicality, starting with the new Hydragas suspension to replace the previous Hydrolastic suspension of the 1100. With this suspension, The Allegro intended to lock horns with the likes of the outgoing Citroën DS and its replacement the CX. Hydragas uses displaced spheres of Nitrogen gas to replace the conventional steel springs of a regular suspension design. The means for pressurising the gas in the displacers is done by pre-pressurising a hydraulic fluid, and then connecting the displacer to its neighbour on the other axle. This is unlike the Citroën system, which uses hydraulic fluid continuously pressurised by an engine-driven pump and regulated by a central pressure vessel. However, the attempt at being an outstanding motor ended at Hydragas because there was nothing else particularly endearing about the Allegro. The interior was cheap, nasty and very cramped, especially in the back where you couldn't even fit a bag of shopping let alone your children! Rather than taking the sensible approach of the competition by fitting the car with a hatchback for more boot space, the car was just fitted with a tiny little trunk that you couldn't fit a bag of shopping into either! The engine, the BMC A-Series, was carried over from the 1100, which was a fine little engine, perky and fairly reliable if maintained properly, as well as the heater being carried over from the Morris Marina, but I'm no judge of heaters so I won't say if that was for good or for ill. Most jarring however was when the car was fitted with a square steering wheel! Probably the most memorable part of the Allegro is the fact that it was given a quartic steering wheel, which BL claimed was for ease of access to the front seat and so that the instruments could be seen, which leaves one asking whether you couldn't see them with a round steering wheel! In the end even Harris Mann disowned the car with disappointment, claiming it was nothing like his original idea, which is pretty bad when even the Chief Designer disowns it!

 

Either way, in spite of Mr. Mann's space-age design being watered down to something unrecognisable and with only Hydragas suspension to make it any different from anything else on the market, the Allegro was launched in 1973 with a promotional trip to Marbella in the south of Spain, and early reviews, despite there being a unanimous dislike to the car's shape and styling, were quite warm, many praising the comfort of the Hydragas suspension. However, reviews of the drive quality, such as the car's heavy steering and cheap, plastic interior, were less favourable.

 

Nevertheless, initial sales of the Allegro were promising and it was in 1973 one of the best selling cars of the year, but things truly went for the plunge soon afterwards, and the car never fully recovered. The flaws of the design became prominent, followed by British Leyland's infamous low quality builds. Roofs, panels and boots leaked, rear wheels flew off, and rumour has it that these cars were banned from the Mersey Tunnel in Liverpool because they couldn't be towed after a breakdown without the chassis bending in the middle! Engines failed to start, wiring was abysmal, rear windows popped out, the paint colours were dreary and dismal, the car would rust before you got it home and many commented that the car had a better drag co-efficiency going backwards!

 

The Allegro did come in a selection of variants, including an estate, a sporty coupé known as the Equipe, and a very strange luxury variant known as the Vanden Plas 1500, a peculiar which was fitted with luxury items carried over from the Jaguar XJ range and had a big chrome nose yoked onto the front to try and make it look reminiscent of a Rolls Royce or a Bentley. Only problem is that Rolls Royce's and Bentley's have their front ends designed around the chrome nose, and thus the result was that it looked something like a pig! Also, another thing about Rollers and Bentleys is that they're much, much bigger than a tiny Allegro, which had absolutely no legroom in the back which made the concept entirely pointless! The car was also sold in Italy as the Innocenti Regent, nothing particularly different apart from different badges.

 

In 1975 the Allegro II was launched to try and redress some of the issues with the original car, including a slightly altered front-end and some minor changes internally, but overall it was very much the same. These changes however weren't enough to save the car's dwindling reputation, and even though the BL advertisers continued to lay on the imaginative promotion, the car was still losing heavily to the likes of the Ford Cortina.

 

The final variant, the Allegro III, had the most changes upon its launch in 1979, including a new version of the A-Series engine and quad round headlights to make it look a bit more modern. Apart from that the car was still very much the same as it was in 1973, and it was truly showing its age. British Leyland, recovering from the bankruptcy of 1977, attempted to rationalise the company by pulling out of the sports car range as well as some of their older products. The MG sportsters were killed off in 1980 and their factory closed whilst production of the Allegro and the Mini were slowed down as they prepared to discontinue to both of them in favour of the Austin Metro. The Morris Marina and Princess were replaced by the mostly identical Morris Ital and the Austin Ambassador, and Triumph was now being used to pioneer a tie up with Japan to create good and reliable cars in the form of the Triumph Acclaim.

 

The hammer eventually fell on the Allegro after 9 years of production in 1982 when the Austin Maestro was launched after 5 years of development. In all, 642,000 Allegros left the factory during its lifetime, but today less than 250 are known to exist, with many rusting away or being part exchanged for a plant pot by the time 1990 hit. The reputation of these cars is still very much maligned by both critics and motoring enthusiasts alike, with it topping many people's worst car in history lists, and becoming Britain's worst car of all time followed closely by the Morris Marina. Top Gear were always quick to bash the Allegro, with two of the ambiguous Vaden Plas 1500's meeting their maker, one being smashed with a suspended Morris Marina in a giant game of Bar Skittles, whilst another was driven in reverse off a ramp and smashed into a pile of scrapyard cars.

 

Me personally? I feel that the Allegro was a car with promise and premise, but the abilities of British Leyland fell far short of their ambitions, not helped by their incompetence and desire to commit corporate suicide. If the car had been built as Harris Mann had designed, been given a hatchback, and had been created with the slightest semblance of sense, then it could have truly been a winner. As it is, the car is now a sorry marker in the world of broken dreams, one that we simply choose to forget and never forgive.

Yes, believe it or not, the origin of the mighty Range Rover goes back to the communistic clumsiness of British Leyland, where, in one of their rare moments of genius, they realised the dream that a contemporary 4x4 could be married with the luxuries and styling of a regular saloon car!

 

The original concept of the Range Rover can be traced back to the groundbreaking original Land Rover of the 1940's, where upon its introduction in 1948 as an extended development of the American Willy's Jeep, the Land Rover had taken the world by storm and become the most desired 4x4 in the world. Light, practical, endlessly tunable and easy to maintain, the Land Rover was a hit across the globe, primarily in the colonies of the British Empire, taking people to remote regions that had once been only within the reach of a Horse or a Camel. Initially, a plan was made to create a saloon style version of the Land Rover in 1949 with the help of coachbuilder Tickford, dubbed the 'Land Rover Station-Wagon', but this was not exactly a success and sold only 700 examples before the car was withdrawn from production in 1951. The main features of the Station-Wagon were a wooden-framed body, seven seats, floor carpets, a heater, a one-piece windscreen and other car-like features, its hand-built nature kept prices high.

In 1954 Land Rover took another stab at the Station Wagon concept, only this time it was built in-house rather than outsourced to a different company. This version's primary market was for those who required an off-road vehicle with greater capacity, such as ambulances or even small buses in remote regions such as the Scottish Highlands. But even though this second incarnation of the Station Wagon was available with features such as an interior light, heater, door and floor trims and upgraded seats, the basic Land Rover roots of this car meant it was still tough and capable, but the firm suspension made its road performance somewhat mediocre.

 

In 1958, Land Rover took yet another stab with the Road Rover, a development of combining the Land Rover chassis and running gear with the internal furnishings and body of a regular saloon car. The intended audience of the Road Rover was again in the remote British Colonies of Africa and the Australian Outback, where the firm suspension would be useful on the long, uneven roads. By the 1960's however, developments across the pond in the United States were starting to rock Rover's boat, as the newly coined Sports Utility Vehicle (SUV) began to make progress. International Harvester released the Scout, and Ford the Bronco, offering a different blend of off and on-road ability from existing utility 4x4s such as the Land Rover and the Jeep, proving capable of good on-road comfort and speed while retaining more than adequate off-road ability for most private users. The Jeep Wagoneer proved the concept further, being both spacious and practical, but still with the raunchy off-road abilities to conquer the harsh American terrain.

 

Being frontline observers to this, Rover dealers in the United States looked on in horror as the American motor industry cornered the market for the SUV, and through frustration the president of Rover's USA division sent head office a Land Rover Series II 88 fitted with a Buick V8, designed for contemporary American pickup trucks, which offered far greater on-road performance and refinement than any Land Rover then in production.

 

Things came full circle though thanks to a man named Charles Spencer King, a former apprentice at Rolls Royce and one of the most prominent figures in the ownership of Rover and its transition to British Leyland. Taking over the development, he began the development program with the 100-inch Station Wagon project, taking the original concepts of the previous Road Rover and fitting it with coil springs after coming to the conclusion that only long-travel coil springs could provide the required blend of luxury car comfort and Land Rover's established off-road ability. His realisation of this apparently came when he drove a Rover P6 across rough scrubland adjacent to Land Rover's Solihull Factory, but was also helped by the fact that Land Rover purchased the coil springs from a Ford Bronco and began developing from those. Permanent 4WD was also necessary so as to provide both adequate handling and to reliably absorb the power that would be required by the vehicle if it was to be competitive, which came through in the form of a new transmission known as the Land Rover 101 Forward Control. The final piece to the puzzle though was the use of the Buick derived Rover V8, a strong, reliable, lightweight and endlessly tunable engine. In addition to the regular V8, the car was fitted with both a starting handle for emergencies, and carburettors to help continue to supply fuel at extreme angles.

 

The final design, launched in 1970 with bodywork styled largely by the engineering team rather than David Bache's styling division, was marketed as 'A Car For All Reasons'. 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. The body was constructed, in keeping with other Rover products, of lightweight aluminium, and in its first incarnation was only available as a two-door utilitarian runabout, rather than the five-door luxury car we know today. This was rectified in 1981 when a 4-door version was made available, but this doesn't mean that the Range Rover wasn't a success before this change.

 

Upon its launch in June 1970, the Range Rover was lauded with critical acclaim, and Rover was praised for succeeding in marrying the practicalities of a modern 4x4 with the luxury capabilities of a standard road car. With a top speed of 95mph and a 0-60 acceleration of less than 15 seconds, performance was stated as being better than many family saloon cars of its era, and off-road performance was good, owing to its long suspension travel and high ground clearance. The bulky but practical design was also praised, with many considering it a piece of artwork, with one example being put on display in the Louvre in Paris! Early celebrity ownership also helped the sales quota, but not in the same way you'd expect today. Instead of Musicians and Movie Stars buying up stashes of Range Rovers like they do nowadays, people of established wealth such as Princess Diana and Government bodies became proud custodians of these mighty machines.

 

Problems however were quick to occur, as let's not forget, this was a British Leyland product. Reliability was a major issue, with strike cars being especially poor as many would leave the factory with vital components missing or not installed properly. To save costs, many pieces of the cars were carried over from other Leyland products, with switches and dials being donated from Austin Allegros, and the door handles coming direct from Morris Marinas. Name any of the faults endemic to British Leyland products of the time, and the Range Rover suffered from the same curse, be they mechanical, electric, cosmetic, or, worst of all, the demon rust!

 

But the Range Rover survived to see the 1980's despite its faults, and after the introduction of an extra set of doors it started to gain a true identity as the luxury motor of choice for the new money. With the additional 5-door layout, new variants such as the long wheelbase Vogue and the SE (Special Equipment) versions took many of the luxury items of the Jaguar XJ series such as leather seats and hazelnut wooden trim and placed them into the Range Rover. In the 1980s as well, special utility versions began to be developed, including a 6x6 Fire Tender for airfields and small airports, Ambulances for military bases and remote regions, and one special variant for his holiness the Pope, affectionately dubbed the Popemobile!

 

However, towards the late 1980's the Range Rover in its original incarnation was starting to look very much its age. The angular design was looking tired, and internally its utilitarian roots were in evidence. The dashboard was not much like that of a regular saloon car, but more a bus or a truck, with a huge steering wheel like that from a tractor, and was not particularly well equipped. Land Rover however intended to narrow the Range Rover's portfolio to the truly luxury market rather than having the low end versions which didn't sell as well due to their expense. In 1989 Land Rover launched the Discovery, which was similar in size to the Range Rover but cheaper and given a more family layout with seats and furnishings being carried over from the Austin Montego. To bring the Range Rover back into the front line of luxury motors for the 1990's, Rover Group (the descendant of British Leyland) put together a plan to design a new car under the chassis codenumber P38A (or just P38 for short). Four years of development and £300 million later, the car was launched to a whirlwind of critical acclaim. With a beautifully equipped interior, a more car-like design of dashboard and with a wider variety of luxury trim levels, including the personalised Autobiography editions, the P38 was the first of the mighty Range Rovers to appeal to the bling-bling generation.

 

This, however, left the original Range Rover out in the cold, and even though it was still a much loved part of the British motoring scene, the time had come for the original, dubbed the Range Rover Classic after launch of the P38. The last of the original Range Rovers slunk silently of the production line at Solihull in 1996, with production now fully based on the new P38, as well as to future developments such as the Freelander of 1997 and ongoing Discovery and Defender. Today original Range Rovers are somewhat easy to come by depending on where you look. In London you'll find a fair few (after all, these were the original Chelsea Tractors), but even in the country you'll bump into these things, especially around my home of Devon where the Range Rover/Land Rover products were perfect for the rugged Moorland terrain. Early British Leyland ones you'd be hard pressed to find, most rusting away in the 1980's, but the Rover Group ones of the 80's and 90's are by no means rare.

 

But even so, 45 years after the first Range Rover left the factory in Solihull, Range Rovers continue to be produced today, now in it's 4th Generation and available in more variations than ever before! Although British Leyland has long since died together with their many woeful products such as the Morris Marina and the Austin Allegro, the Range Rover is very much their legacy, the last of their original products to survive the strikes and bankruptcy, fighting off the fuel crisis and privatisation by the Thatcher Government, and then being split in 2000 by BMW and juggled between owners Ford and TATA Steel, and still being the luxury motorised toy of the modern day rich! :)

Visit to the North American International Auto Show at the Cobo Center in Detroit, Michigan on January 25, 2019. Hyundai Kona

 

The Infiniti website: Infiniti Prototype 10

 

View my collections on flickr here: Collections

 

Press L for a larger image on black.

Sold for £ 9.600

 

The Jaguar Land-Rover Collection

Brightwells Auctions

Bicester Heritage

Buckingham Road

Bicester

Oxfordshire

England

March 2018

 

While Triumph enjoyed considerable success with the estate version of their 2000 saloon, Rover seemed happy to leave that sector of the market entirely open to their old rival. That is until coachbuilders FLM Panelcraft in Battersea, London produced their own estate conversion of the P6 called the Estourer.

 

Having been officially approved by Rover, the conversions were completed by H.R. Owen and Crayford Engineering, with bodywork executed by FLM Panelcraft. However, in trying to maintain the car’s sleek styling, the practicality of the estate bodywork was somewhat compromised and, with the relatively high cost of the conversion, only around 150 were built.

 

This 1974 Estourer Automatic was sold new to a Mr Jackson, and delivered on 9th August to coincide with the new number plate change. It has had a further nine owners according to the accompanying V5C, passing to a Swedish Gentleman in 2004 who exported the car to the Malmo area. A file of correspondence lists a number of jobs completed during its time overseas, including work to the brakes and attention to sort out low oil pressure. The car covered some 6,300 miles during this period.

 

The Estourer subsequently returned to the UK in 2012, at which point it was given a fresh MOT which shows no advisories. The file includes a further seven old MOTs and plenty of bills and invoices, which help substantiate the total indicated mileage of 56,164 miles as correct. It does not have a current MOT and having covered just six miles over the last six years, will require some light recommissioning before use once more. Bidders are advised that we have not attempted to start the vehicle since it has arrived onsite.

 

Rare, unusual and attractive, this low-mileage P6 Estate looks very smart and has a lovely black leather interior. It should take little to turn it back into one of the nicest examples in existence.

Yes, believe it or not, the origin of the mighty Range Rover goes back to the communistic clumsiness of British Leyland, where, in one of their rare moments of genius, they realised the dream that a contemporary 4x4 could be married with the luxuries and styling of a regular saloon car!

 

The original concept of the Range Rover can be traced back to the groundbreaking original Land Rover of the 1940's, where upon its introduction in 1948 as an extended development of the American Willy's Jeep, the Land Rover had taken the world by storm and become the most desired 4x4 in the world. Light, practical, endlessly tunable and easy to maintain, the Land Rover was a hit across the globe, primarily in the colonies of the British Empire, taking people to remote regions that had once been only within the reach of a Horse or a Camel. Initially, a plan was made to create a saloon style version of the Land Rover in 1949 with the help of coachbuilder Tickford, dubbed the 'Land Rover Station-Wagon', but this was not exactly a success and sold only 700 examples before the car was withdrawn from production in 1951. The main features of the Station-Wagon were a wooden-framed body, seven seats, floor carpets, a heater, a one-piece windscreen and other car-like features, its hand-built nature kept prices high.

In 1954 Land Rover took another stab at the Station Wagon concept, only this time it was built in-house rather than outsourced to a different company. This version's primary market was for those who required an off-road vehicle with greater capacity, such as ambulances or even small buses in remote regions such as the Scottish Highlands. But even though this second incarnation of the Station Wagon was available with features such as an interior light, heater, door and floor trims and upgraded seats, the basic Land Rover roots of this car meant it was still tough and capable, but the firm suspension made its road performance somewhat mediocre.

 

In 1958, Land Rover took yet another stab with the Road Rover, a development of combining the Land Rover chassis and running gear with the internal furnishings and body of a regular saloon car. The intended audience of the Road Rover was again in the remote British Colonies of Africa and the Australian Outback, where the firm suspension would be useful on the long, uneven roads. By the 1960's however, developments across the pond in the United States were starting to rock Rover's boat, as the newly coined Sports Utility Vehicle (SUV) began to make progress. International Harvester released the Scout, and Ford the Bronco, offering a different blend of off and on-road ability from existing utility 4x4s such as the Land Rover and the Jeep, proving capable of good on-road comfort and speed while retaining more than adequate off-road ability for most private users. The Jeep Wagoneer proved the concept further, being both spacious and practical, but still with the raunchy off-road abilities to conquer the harsh American terrain.

 

Being frontline observers to this, Rover dealers in the United States looked on in horror as the American motor industry cornered the market for the SUV, and through frustration the president of Rover's USA division sent head office a Land Rover Series II 88 fitted with a Buick V8, designed for contemporary American pickup trucks, which offered far greater on-road performance and refinement than any Land Rover then in production.

 

Things came full circle though thanks to a man named Charles Spencer King, a former apprentice at Rolls Royce and one of the most prominent figures in the ownership of Rover and its transition to British Leyland. Taking over the development, he began the development program with the 100-inch Station Wagon project, taking the original concepts of the previous Road Rover and fitting it with coil springs after coming to the conclusion that only long-travel coil springs could provide the required blend of luxury car comfort and Land Rover's established off-road ability. His realisation of this apparently came when he drove a Rover P6 across rough scrubland adjacent to Land Rover's Solihull Factory, but was also helped by the fact that Land Rover purchased the coil springs from a Ford Bronco and began developing from those. Permanent 4WD was also necessary so as to provide both adequate handling and to reliably absorb the power that would be required by the vehicle if it was to be competitive, which came through in the form of a new transmission known as the Land Rover 101 Forward Control. The final piece to the puzzle though was the use of the Buick derived Rover V8, a strong, reliable, lightweight and endlessly tunable engine. In addition to the regular V8, the car was fitted with both a starting handle for emergencies, and carburettors to help continue to supply fuel at extreme angles.

 

The final design, launched in 1970 with bodywork styled largely by the engineering team rather than David Bache's styling division, was marketed as 'A Car For All Reasons'. 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. The body was constructed, in keeping with other Rover products, of lightweight aluminium, and in its first incarnation was only available as a two-door utilitarian runabout, rather than the five-door luxury car we know today. This was rectified in 1981 when a 4-door version was made available, but this doesn't mean that the Range Rover wasn't a success before this change.

 

Upon its launch in June 1970, the Range Rover was lauded with critical acclaim, and Rover was praised for succeeding in marrying the practicalities of a modern 4x4 with the luxury capabilities of a standard road car. With a top speed of 95mph and a 0-60 acceleration of less than 15 seconds, performance was stated as being better than many family saloon cars of its era, and off-road performance was good, owing to its long suspension travel and high ground clearance. The bulky but practical design was also praised, with many considering it a piece of artwork, with one example being put on display in the Louvre in Paris! Early celebrity ownership also helped the sales quota, but not in the same way you'd expect today. Instead of Musicians and Movie Stars buying up stashes of Range Rovers like they do nowadays, people of established wealth such as Princess Diana and Government bodies became proud custodians of these mighty machines.

 

Problems however were quick to occur, as let's not forget, this was a British Leyland product. Reliability was a major issue, with strike cars being especially poor as many would leave the factory with vital components missing or not installed properly. To save costs, many pieces of the cars were carried over from other Leyland products, with switches and dials being donated from Austin Allegros, and the door handles coming direct from Morris Marinas. Name any of the faults endemic to British Leyland products of the time, and the Range Rover suffered from the same curse, be they mechanical, electric, cosmetic, or, worst of all, the demon rust!

 

But the Range Rover survived to see the 1980's despite its faults, and after the introduction of an extra set of doors it started to gain a true identity as the luxury motor of choice for the new money. With the additional 5-door layout, new variants such as the long wheelbase Vogue and the SE (Special Equipment) versions took many of the luxury items of the Jaguar XJ series such as leather seats and hazelnut wooden trim and placed them into the Range Rover. In the 1980s as well, special utility versions began to be developed, including a 6x6 Fire Tender for airfields and small airports, Ambulances for military bases and remote regions, and one special variant for his holiness the Pope, affectionately dubbed the Popemobile!

 

However, towards the late 1980's the Range Rover in its original incarnation was starting to look very much its age. The angular design was looking tired, and internally its utilitarian roots were in evidence. The dashboard was not much like that of a regular saloon car, but more a bus or a truck, with a huge steering wheel like that from a tractor, and was not particularly well equipped. Land Rover however intended to narrow the Range Rover's portfolio to the truly luxury market rather than having the low end versions which didn't sell as well due to their expense. In 1989 Land Rover launched the Discovery, which was similar in size to the Range Rover but cheaper and given a more family layout with seats and furnishings being carried over from the Austin Montego. To bring the Range Rover back into the front line of luxury motors for the 1990's, Rover Group (the descendant of British Leyland) put together a plan to design a new car under the chassis codenumber P38A (or just P38 for short). Four years of development and £300 million later, the car was launched to a whirlwind of critical acclaim. With a beautifully equipped interior, a more car-like design of dashboard and with a wider variety of luxury trim levels, including the personalised Autobiography editions, the P38 was the first of the mighty Range Rovers to appeal to the bling-bling generation.

 

This, however, left the original Range Rover out in the cold, and even though it was still a much loved part of the British motoring scene, the time had come for the original, dubbed the Range Rover Classic after launch of the P38. The last of the original Range Rovers slunk silently of the production line at Solihull in 1996, with production now fully based on the new P38, as well as to future developments such as the Freelander of 1997 and ongoing Discovery and Defender. Today original Range Rovers are somewhat easy to come by depending on where you look. In London you'll find a fair few (after all, these were the original Chelsea Tractors), but even in the country you'll bump into these things, especially around my home of Devon where the Range Rover/Land Rover products were perfect for the rugged Moorland terrain. Early British Leyland ones you'd be hard pressed to find, most rusting away in the 1980's, but the Rover Group ones of the 80's and 90's are by no means rare.

 

But even so, 45 years after the first Range Rover left the factory in Solihull, Range Rovers continue to be produced today, now in it's 4th Generation and available in more variations than ever before! Although British Leyland has long since died together with their many woeful products such as the Morris Marina and the Austin Allegro, the Range Rover is very much their legacy, the last of their original products to survive the strikes and bankruptcy, fighting off the fuel crisis and privatisation by the Thatcher Government, and then being split in 2000 by BMW and juggled between owners Ford and TATA Steel, and still being the luxury motorised toy of the modern day rich! :)

Taurus - SALMIAH HASSAN

youtu.be/b6xzKeX9gTw

 

The characteristics of taurus are solidity, practicality, extreme determination and strength of will - no one will ever drive them, but they will willingly and loyally follow a leader they trust. They are stable, balanced, conservative good, law-abiding citizens and lovers of peace, possessing all the best qualities of the bourgeoisie. As they have a sense of material values and physical possessions, respect for property and a horror of falling into debt, they will do everything in their power to maintain the security of the status quo and be somewhat hostile to change.

 

Mentally, the caracteristics of taurus are keen-witted and practical more often than intellectual, but apt to become fixed in their opinions through their preference for following accepted and reliable patterns of experience. Taurus character is generally dependable, steadfast, prudent, just, firm and unshaken in the face of difficulties. Their vices arise from their virtues, going to extremes on occasion,such as sometimes being too slavish to the conventions they admire.

 

On rare occasions a Taurus may be obstinately and exasperatingly self-righteous, unoriginal, rigid, ultraconservative, argumentative, querulous bores, stuck in a self-centered rut. They may develop a brooding resentment through nursing a series of injuries received and, whether their characters are positive or negative, they need someone to stroke their egos with a frequent, "Well Done!" Most Taurus people are not this extreme though.

 

They are faithful and generous friends with a great capacity for affection, but rarely make friends with anyone outside their social rank, to which they are ordinarily excessively faithful. In the main, they are gentle, even tempered, good natured, modest and slow to anger, disliking quarreling and avoiding ill-feeling. If they are provoked, however, they can explode into violent outbursts of ferocious anger in which they seem to lose all self-control. Equally unexpected are their occasional sallies into humor and exhibitions of fun.

 

Although their physical appearance may belie it, they have a strong aesthetic taste, enjoying art, for which they may have a talent, beauty (recoiling from anything sordid or ugly) and music. They may have a strong, sometimes unconventional, religious faith. Allied to their taste for all things beautiful is a love for the good things of life pleasure, comfort, luxury and good food and wine and they may have to resist the temptation to over indulgence, leading to drunkenness, gross sensuality, and covetousness.

 

In their work, Taurus are industrious and good craftspeople, and are not afraid of getting their hands dirty. They are reliable, practical, methodical and ambitious, within a framework of obedience to superiors. They are at their best in routine positions of trust and responsibility, where there is little need of urgency and even less risk of change, and a pension at the end. Yet they are creative and good founders of enterprises where the rewards of their productiveness come from their own work and not that of others.

 

They can flourish in many different trades and professions: banking, architecture, building, almost any form of bureaucracy, auctioneering, farming, medicine, chemistry, industry Taurus make good managers and foremen surveying, insurance, education and, perhaps surprisingly, music and sculpture. They make an ideal trustee or guardian, and can attain eminence as a chef. Some Taurus are gifted enough in singing to become opera stars or to excel in more popular types of music.

They are more than averagely amorous and sensually self-conscious, but sexually straightforward and not given to experiment. They make constant, faithful, home loving spouses and thoughtful, kindly parents, demanding too much of neither their spouses nor children. They can be over possessive and may sometimes play the game of engineering family roles for the pleasure of making up the quarrel. If anyone offends their amour proper they can be a determined enemy, though magnanimous in forgiveness if their opponent makes an effort to meet them halfway.

 

No other sign in the zodiac is closer to earth then Taurus. The main objective in leading a Taurean life is primarily (though not entirely) to maintain stability and physical concerns. Your inner spiritual sense longs for earthly harmony and wholesomeness. When you fully understand this, and work toward this end, you will no longer need to blindly reassure yourself with external possessions and comforts. A realization that finding this inner peace will cause all of the above mentioned positive things will overtake you and your life will be very full.

 

Ultimately the Taurean needs to discover their truest, deepest and highest values. When they know what is truly valuable, they are no longer chained to people and to things that have to do with lesser values. The greatest indication of value to a Taurean is beauty, which cannot be owned, only appreciated.

 

Possible Health Concerns For Taurus...

Taurus governs the throat and neck and its subjects need to beware throat infections, goiter and respiratory ailments such as asthma. They are said to be at risk of diseases of the genitals, womb, liver and kidneys, and of abscesses and rheumatism. Because their body type has an inclination to physical laziness, Taureans can be overweight.

   

It seated eight passengers in comfort and came from the factory with bright windshield and rear window trim, richer interior fabric choices, Special Deluxe fender script badges, and a wood-grain finish on the interior metal panels. All three seats were upholstered in leather-like material and the rear two seats were totally removable. Offering an adequate 97 bhp from the 217.8-cu. in. six-cylinder backed by a three-speed manual transmission and a 118.5-in. wheelbase, this Plymouth wagon is a versatile and comfortable vehicle which also provides a large dose of practicality. Only 2,072 Special Deluxe wagons were produced for 1950.

 

Classic Car Auctions

Classic & Sports Cars te Druten

31/05/21 - 16/06/21

Market Value : -

Highest bid : € 17.500

 

3,6 Litre

6 Cylinder

97 bhp

 

Metropole Classic Cars

Meubellaan 1

Druten

Nederland - Netherlands

June 2021

The same train on two different displays. Above a new screen in Bad Ragaz, below an older one in Sargans. The train is a 300 m long double Traverso of the Südostbahn as IR35. The new screens offer a wealth of information but poor readability for long trains. In addition, the display on the right changes every few seconds. The teddy bear shows the family compartment. But if symbols for bicycles, buggies and wheelchairs then appear, it gets really bad. The secret of the car numbers is also not obvious at first glance. The trains are numbered from back to front, but not consecutively. For the rear train, there is simply put a 1 before the car number. So car no. 18, which actually doesn't exist, is just car no. 8 of the rear train. Spreading the information across two screens and then switching them was not a good idea. Anyone who develops something like this on the computer in the office is familiar with it and thinks it's cool how much information can be displayed, but he loses the connection to practicality. The passengers do not study these displays very closely and look more at the designations on a incoming train. It would be important to know at a glance where the different classes are and possibly the restaurant or a family compartment. On the lower display you can see very quickly that the first class is at the very end and in the middle. Switzerland February 9, 2022.

 

A video of a new screen when it was launched four years ago shows a 150m train. The change of symbols and of the whole display can be seen.

Lark: *nods fervently, falling back so Yuri and Kumi can hug Sparrow* “We didn’t know you were coming home! Why didn’t you tell anyone?”

 

Sparrow: “I wasn’t sure when I’d be flying in exactly, so I thought it best to just show up unannounced. Talk about good timing, since Yin and Yang are here this weekend, too.”

 

Yuri: “Row, your hair! You cut it!”

 

Kumi: “Yeah…*eyes Row critically* looks good. Real good.”

 

Sparrow: *runs her hand through her newly shorn locks* “Thanks. I did it out of practicality more than anything, just took the scissors and…*makes a snipping motion* It ended up suiting me, funnily enough.”

 

Kumi (aghast): “You mean you chopped off all your hair…by yourself, with absolutely no thought to how it would look on you? Seriously, the vow of poverty wasn’t enough? Now you gotta play loosey-goosey with your looks, too?”

 

Sparrow (patiently): “I didn’t take a vow of poverty, Kumi. Docs Without Borders pays me. I just don’t make supermodel money. And I didn’t cut my hair totally by myself. XL did the back for me…” *lips curve into a secretive smile*

 

Yuri: “Excel? What a peculiar name? Is it Bolivian?”

 

Sparrow: “Not Excel. ‘XL’, like the letter X and then the letter L.”

 

Lark: “Like extra-large?”

 

Sparrow: *eyes spark with mirth* “Exactly like extra-large.”

 

Kumi: *exchanges a speculative look with Yuri* “Hmm…”

 

—Loud crash interrupts the reunion, as the back of Lark’s display case falls to the floor—

 

Girls: *jump, startled*

 

Lark: “Dammit! There it goes again! *glares at the offensive piece of furniture* Wren said she’d come over and fix it for me, but she hasn’t had the chance yet. The back keeps falling off. It’s already gotten my shins twice today.”

 

Kumi (smugly): “See, this is what happens when you insist on buying used…”

 

Lark (derisively): “And that Dior you just tried on was what, Kums, brand-spankin’ new? Besides, I like using reclaimed stuff in the store. It’s green, and—” *interrupted as the bell over the door jingles again* Geez! We’re closed! I’m gonna have to lock that door. Mags can just knock when she gets here.”

 

Unidentified Man: *strolls over* “I knew there was a reason I didn’t come to Boston more often. The parking’s a bitch.”

 

All the Girls (except Sparrow): *turn to gawk at the tall, rakishly handsome stranger in their midst*

 

Fashion Credits

**Any doll enhancements (i.e. freckles, piercings, eye color changes) were done by me unless otherwise stated.**

 

Yuri

Slacks: IT – Fashion Royalty – Optic Verve Agnes

Top: Clear-lan

Sweater: Dressmaker Details – Feet First Fashion

Belt: IT – NuFace – London Mist Imogen

Shoes: IT – Monogram – Extravagance

Earrings: IT – Poppy Parker

Bracelets from ‘Gluttony’ Set: Knife’s Edge Designs (me)

 

Doll is a Nu.Fantasy Red Riding Hood Yuri transplanted to a NuFace body.

 

Kumi

Skirt: Jakks-Pacific – Hannah Montana Lilly Doll

Crochet Top: Katalina

Belt: Randall Craig RTW – The Secretary

Shoes: IT – NuFace – Morning Dew Giselle

Earrings & Ring: IT – NuFace – Miracle Child Ayumi

 

Doll is a Nu.Fantasy Wild Wolf Kumi transplanted to a NuFace body.

 

Lark

Dress: yukostevens (etsy.com)

Bodysuit: IT – NuFace – Great Pretender Lilith

Belt: Randall Craig RTW – Delightful

Shoes: IT – NuFace – Great Pretender Lilith

Cuff Bracelet: IT

Free Radical Earrings: Knife’s Edge Designs (me)

 

Doll is a Great Pretender Lilith.

 

Sparrow

Skirt: Volks – Who’s That Girl? – Natural Love

Sweater: Randal Craig RTW - Separate

Belt: Randall Craig RTW – Belt Accessory Pack

Boots: Dressmaker Details – Casual Comfort

Metallic Mesh Earrings: Knife’s Edge Designs (me)

Bracelet from ‘Greed’ Set: Knife’s Edge Designs

 

Doll is a London Mist Imogen.

 

Xavier

Jeans: IT – Homme – Style Strategy Lukas

Shirt & Jacket: BFMC – New England Escape Fashion Set

Belt: Volks – Who’s That Girl? – Selfish

Shoes: IT – Homme – Euro-Classic Fashion

Necklace: Me

 

Doll is a Leading Man Lukas.

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) 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".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). 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, whose 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 AND 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

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

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 Kali 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 AND 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 consumes Raktabija and his duplicates, and dances 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, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. 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 Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali 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, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes 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

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

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, ten feet, and three eyes for each head. 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.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

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 [28] 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. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

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."[60] 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. [For them], 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, [who only rarely] 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.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

A Unique Configuration of 1850 facades

 

A Bird-eye View of Downtown Delphi in the 1850s

 

Dan McCain, Paul Brandenburg, Charkes Gerard & Tom Castaldi, successfully campaigned for the importance & practicality of using the historic business named & facades from Delphi's Canal Era. Charles Gerard shouldered the task of providing the architects enough authentic photos & description to faithfully represent a section of an 1850s street front in Delphi.

Understanding, architectural license has been taken to accommodate the dimensions of the Canal Center & its surrounds, but this benchmark decision allows today's onlooker to step into early, virile Delphi, a hustling trade center, rather than a generic facsimile. With the completion of the Wabash & Eric Canal to Delphi in 1840 a steady stream of fashions & new products turned Delphi into a cultural outpost in the Indiana wilderness.

The highest selling item was this

one of a kind 1917 WILLMAR LITTLE OAK – Sold $420,000

 

Believed to be the only known Little Oak in existence

Purchased from Ralph Hall

 

Featured in the magazine Antique Power - March/April 2015 edition.

 

Old advertising promoted it as a one-man tractor.

 

Cross-mounted engine - engine sits crossways in the frame to eliminate the need for bevel.

Engine is located between the machine's rear wheels.

Engine is started from the driver's seat with a lever.

One of the first tractors to use the engine's power to lift the plow.

 

Upon looking at the tractor in its original form, it was discovered there was red paint hidden in the corners and edges on the exterior of the sheet metal and under the hood.

 

Waukesha Model P Engine

4-cylinder engine

20 HP - drawbar

40 HP - belt

Chain driven

All-new clutch parts were cast

New drive chains

Radiator cleaned and repaired

All-new sheet metal

Painted with high-quality automotive paint

 

The Little Oak tractor was an engineering masterpiece of its time. This machine was coined the one-man tractor for the operator's ability to start the tractor from the platform and raise and lower the plow from the operating position. While most tractors of the time were unstyled machines built for practicality, the Little Oak was built as an absolute work of art.

 

An example of the amazing craftsmanship on this tractor is the oil tank above the chain that drips oil on the chain as it operates. In today’s world, where tractors steer themselves and turn around on their own, it’s hard to imagine how revolutionary a one-man tractor like this was at the time.

 

There is no other prairie tractor like it. George has a keen eye for capturing the absolute best tractors ever built, and this Little Oak is a testament to the extraordinary machines in his museum.

 

Mecum Gone Farmin’ Auction

Schaaf Truck & Tractor Museum

Frankfort, Illinois

Will County, USA.