Precise timing and one of my favorite captured moments

In the quiet woods, nature’s most efficient handyman gets to work. A determined woodpecker grips a heavy cordless drill like a seasoned carpenter, boring a perfect round entryway into the tree. Wood chips scatter, echoing his rhythm of precise craftsmanship. Today’s project: a custom luxury penthouse nest, complete with reinforced walls and impeccable design. With safety goggles unseen but spirit strong, the forest’s tiniest contractor proves—sometimes, power tools make nest-building a whole lot easier.

The man here portrayed is, certainly, the emperor Hadrian. This portrait does not have precise iconographic parallels with other Hadrian's coeval sculptures and, therefore, its authenticity has been questioned by some scholars. The artist's effort to avoid any idealization is evident. He prefers the realistic treatment of his facial features highlighting the character and expression of Hadrian depicted in his mature age, as the wrinkles around the eyes and the slightly sunken cheeks testify. This treatment differs from the classicizing style which had found great consensus in the pro-Hellenic circles close to the emperor, an idealizing style that characterizes many of his official portraits. The sculptural style of the hair and beard set the date of this work in the late Hadrian age or in a posthumous period near to 138 AD.

 

Source: “Museo Archeologico Nazionale di Venezia”, ELECTA

 

Marble Roman sculpture

Height 86 cm.

1st half 2nd century AD

Collection Giovanni Grimani

Venice, National Archaeological Museum, Inv. No 125

  

Check out this super detailed artwork printed in engraving (intaglio) technique. Intaglio is really beautiful, one of the oldest and most precise printing technology that is used for passports or money printing. We will use this technology to print your stationery and business cards. #businesscard #printmaking #stationery #engraving #illustration #intaglio

Spiritual crises as the cause of paranormal phenomena, Paranormal phenomena seen in connection with clairvoyance, and Paranormal phenomena seen in connection with channeling).Symbols from the universal images are of a completely different character. They reproduce a much clearer, more precise and superior astral wholeness. It is from these symbols you can receive direct teachings about your spiritual development process.

 

When you have trained meditation and dream yoga in many years, a so-called divine being can visit you through a symbol from the universal images: Christ, Buddha, masters, teachers, angels. Note that these of course also can from the collective images – the difference is explained below:

 

Such a symbol is, as mentioned, a telescopying, a representing quintessence of the informationquantities, which the wholeness in a universal image contains. The divine being will in that way canalize information to you from the universal image, which, together with the whole of the universal vision, constitutes the dream-tracks and the songlines in the artwork of your life. The divine being (or other symbols from the universal images) will in that way help you to compose, to synthesize and interlock, what your inner thinker in the waking state has divided. But it is very important to understand that this nothing has to do with the channeling phenomenon, which belongs to the collective images. In order to receive help from a divine being you must be very close to enlightenment yourself. Our suffering, our painbody is, through the inner evaluating ego, which the painbody is constructed around, connected with the more dangerous dephts of the astral plane´s collective history, which also are a kind of dark, ancient inertia, which opposes any change of the ego (see my article The emotional painbody and why psychotherapy can´t heal it). That is also the reason why you, through therapy, can´t heal Man from the ground. In order to heal Man from the ground you need to go into a spiritual practice. It is only within the religions and their spiritual traditions they have knowledge and names for the more dark sides of the astral plane´s collective history. The West has very precisely called this factor the original sin. The East has called it negative karma. The concepts indicate, that the inertia projects beyond the personal history (growing up conditions, traumatic bindings, painful experiences etc.) and far down into the collective inherit-backgrounds of history (genes, environment, society-ideals, the archetypes and the primordial images of the dreams, fantasies, fairy-tales, myths, and finally: instincts inherited from the animals). It is a factor, which lies in the evolution itself, in the genes, in the collective subconcious, in the collectice history.

A mystical experience is happening when astral energies and content arrive to the consciousness, either from the collective images, or from the universal images. When energy and content arrive to the consciousness from the collective images, then this energy, and this content, will symbolize itself. This is due to, that the collective images are in a condition of vague, diffuse, astral oneness. What is coming from the collective images therefore contains a much greater width and depth than the limitary, relatively narrow and clear concepts and classes of the ordinary consciousness. The vague, wide contents and energies from the collective images are therefore growing narrower in the meeting with the consciousness. The symbol is this quintessence, this shortened, condensed form of expression of the vague, wide collective material. The other types of symbols are coming from the universal images, and therewith from reality and truth itself. All reality, which shall mirror itself in the superficial mind, will automatically symbolize itself. Again the symbol is a telescopying, a representing quintessence of the informationquantities, and the greater clarity, which are connected with reality. Symbols from the collective images reproduce a more vague, more imprecisely, but richer organic astral oneness. Symbols from the universal images reproduce a clearer, more precise and superior astral oneness. The more vague astral oneness, or the more precise astral oneness, shows itself in symbolic form in the dividing, separating structure of consciousness. This refers to the three forms of states the wholeness can be in: sleep, dream, awake. When the wholeness is sleeping, mountains are mountains and woods are woods. This is the reality of the ordinary consciousness (the Ego-consciousness). The ordinary consciousness can sleep in three ways: 1) the dark sleep, which is the Ego´s deep nightly sleep; 2) the grey sleep, which is the Ego´s nightly dreams and other dreams; 3) the light sleep, where the Ego is awake. The three forms of states the wholeness can be in, can also be described as the personal time, the collective time and the universal time. Furthermore it can be described as the personal history, the collective history and the universal history. Time and history constitute the structure under your thinking. This structure is also called the astral plane, or the astral world. It is a plane of existence postulated both by classical (particular neo-Platonic), medieval, oriental and esoteric philosophies and mystery religions. It is the world of the planetary spheres, crossed by the soul in its astral body, either through the dream state, or on the way to being born and after death, and generally said to be populated by angels, demons, spirits or other immaterial beings. The astral plane is connected with the so-called Akashic records. The Akashic records are a compendium of mystical knowledge encoded in a non-physical plane of existence: the astral plane. These records are described as containing all knowledge of human experience and the history of the cosmos. They are holding a record of all events, actions, thoughts and feelings that have ever occurred or will ever occur. Since my teenage years, I have had relationships with Beings of Light such as Jeshua, Michael, Sanat Kumara, Lady Portia, Amira, Maitreya, Sananda, the Great Crystal Master, the Dragon and many others. They instructed me in their conceptions that allowed me to prune my beliefs, to experience new knowledge. Thanks to their attention, I was progressing in my inner study. Taking advantage of their advice and encouragement, I went through the adversity I had encountered. During all this time, I carefully integrated their teachings without disclosing them, I applied them consciously in my daily life. Several times they told me, through mediums, that it was time for me to work with my fellow human beings. I would say "I, who have so many obstacles" and I would continue my studies with them. More than twenty years ago, Awakeness told me that I had the opportunity to read Akashic annals, I didn't know what it was. It took me a long time to get acquainted with the library of Nature where everything is recorded in every detail, from Creation to infinity. Today, I confess that I used this database in ignorance. Facts arose without my knowledge, I met more and more people in great difficulty, I offered them, anonymously, what I had received. One day, I was offered a book on Akashic annals. I knew the time had come to expose myself. The opportunity to concretize this new experimentation presented itself to me, through one of my friends who was experiencing an important annoyance. I said to him:"If you want I ask Akasha for teachings to give you solutions to your context". The impact of the explanation and the akashic vibration collected by Martine was immediate and spread throughout her home. His entourage was surprised by this change and asked him what had happened. She received the necessary answers to her family situation and also all the understandings that allowed her to find joy in sincere and harmonious relationships, which are still in force and spread to her household. Everyone watched and looked at the sufferings he was carrying in order to transform them. An information was transmitted to her by her husband, who had crossed the bridge of earthly life for the afterlife, which confirmed her to act on the decisions.

The Sanskrit term akasha was introduced to the language of theosophy through H. P. Blavatsky (1831–1891), who characterized it as a sort of life force; she also referred to "indestructible tablets of the astral light" recording both the past and future of human thought and action, but she did not use the term "akashic". The notion of an akashic record is attributed to Alfred Percy Sinnett, who, in his book Esoteric Buddhism (1883), wrote of a Buddhist belief in "a permanency of records in the Akasa" and "the potential capacity of man to read the same."By C. W. Leadbeater's Clairvoyance (1899) the association of the term with the idea was complete, and he identified the akashic records by name as something a clairvoyant could read. In his 1913 Man: How, Whence, and Whither?, Leadbeater claims to record the history of Atlantis and other civilizations as well as the future society of Earth in the 28th century.The Akasha is an “astral light” containing occult records, which spiritual beings can perceive by their “astral senses” and “astral bodies”. Clairvoyance, spiritual insight, prophecy and many other metaphysical and religious notions are made possible by tapping into the Akashic reacords. They are metaphorically described as a library. They can be accessed through astral projection, meditation, near-death experience, lucid dreaming, or other means. The Akashic records are the wholeness, and as mentioned: the wholeness can be in three states of spiritual awakening - sleep, dream, awake – which again can be described as the personal, collective and universal time (or history).

The reactions to experience of the entire animal kingdom, the aggregation of the thought-forms of a karmic nature (based on desire) of every human unit throughout time. Herein lies the great deception of the records. Only a trained occultist can distinguish between actual experience and those astral pictures created by imagination and keen desire. Since Wilhelm Haidinger discovered the phenomenon of the ‘brush’ which is named after him in 1844, there can be no doubt that human vision comprises an additional sense for the orientation of a so called polarised luminance. In this paper the physical conditions under which Haidinger’s Brush is to be observed in transparent or reflective media are described in detail. Furthermore it will be shown how Goethe’s work on ‘entoptic colour’, Steiner’s concept of the U-Region and modern physiological and natural science touch on a mutual ground that is to be characterised by Haidinger’s Brush appearing.Seen from a spiritual perspective, this instinctive survival strategi (the Ego) appears as a resistance, an invincible inertia: original sin, negative karma. You can´t, by therapeutic strategies, free the consciousness for its attachment to this inertia. You can therefore not dissolve or dilute or convert the original sin through therapy. Only the intervention of the Source (God, Christ, the enlightened consciousness) can basically help Man with a trancendence of the negative karma of the original sin. But in order to, that a human being should be able to receive this help from the Source (gift of grace), then this requires an eminently precise and profound preparation. And as part of this preparation serve the true spiritual practice within the religions

 

mortentolboll.weebly.com/paranormal-phenomena-seen-in-con...

 

The whole extent of circumstances which have its observation in common, distinguish it as a higher phenomenon among others, that it is the primary phenomenon of polarisation.Haidinger-Büschel als Urphänomen der Polarisationserscheinungen Albert Pröbstl.f Goethe’s Urphänomen, the ferreting out of the simplest,

archetypal concept which exhibits the characteristics of the complex whole and proceeding from the simple to the more composite. At this point, the similarity of Hegel’s method to that of Goethe is evident, except of course that the relevant complex whole is not to be understoodas a natural phenomenon but rather manifestations of Spirit, specificallyformations of consciousness. , this stream of impressions has to be surmounted, and grasped as

a whole. This holistic view is not attained by contemplation of the name or the idea of Nature, but on the contrary by contemplation of Nature itself and determination of the archetypal phenomenon, the simplest unit of a complex natural process. This insight is only the outcome of patient, attentive and delicate observation. Likewise, if a citizen of any social formation, recognizes as Absolute the guiding principle of his own activity, Hegel does not suppose that they see in that form of practice a finite manifestation of Absolute Spirit. That is an insight which becomes available only to the philosopher who looks back from the end of the journey of Spirit. Goethe and Hegel shared a common concern, not just for Truth, but for the Spiritual Community. One of the driving forces of Goethe’s science was to work out a practice and concept of science which would be accessible to participation by the entire people,something of which Hegel despaired. But there are obvious differences in the conception of the Deity as well. For Goethe, God is Nature, and insofar as he is engaged with Nature, it is the principle of his relation to Nature. Man is part of Nature, but he cannot understand his literary and social activities Pantheistically. For Hegel on the other hand, Spirit produces Nature and the human world of finite spirit, and out of them produces itself, but it is above all to human affairs that Hegel looks for his glimpse of the Deity. In the human world, Hegel gains insight into the absolute Absolute which manifests in each shape of consciousness. For Goethe we have a reified God/Nature; for Hegel we have Spirit. The crucial innovation made by Hegel is his use of the Triune structure of the concept which transcends the various dichotomies inherited from Kant whilst investing the concept with internal resources for self-mediation

A central element of Hegel’s view of the relation of man

to the Absolute, he appropriated from Goethe’s Romantic

science. Goethe’s Pantheistic conception of Urphänomen

was the single archetypal phenomena exhibiting the

essential features of some natural phenomena.

Recognition of the Urphänomen constituted a glimpse of

the Deity. Although the Urphänomen is specific to some

given complex, Goethe came to see in it a general

principle. Hegel appropriated Goethe’s idea of

Urphänomen, not unlike Herder’s Schwerpunkt, in the

Phenomenology, and transformed the archetypal norm of

a Gestalt des Bewußtseins into the Begriff of the Logic, as

an archetype of the Absolute. Expressed more generally, Goethe’s problem was this: how can we understand a complex process as a whole, as a Gestalt? Goethe rejected a

number of approaches which are characteristic of what he called ‘Newtonian’ natural science. He rejected the method of hypothesising some force or vibration or principle which controlled the complex whole from beyond the horizon of phenomena. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmeric, magnetic, and psychic phenomena and is a component in all magical operations of nature.

Hegel polemicised along the same lines in the Logic. To say that people come to the city because the

city exerts a force of attraction explains nothing. Newton’s idea of acceleration being caused by gravity simply shifts the problem from understanding a form of motion sensuously given to us, to understanding an invisible and baseless force, known only through its expression for which it is supposed to be the explanation.The Urphänomen was Goethe’s solution to the problem of how to conceive of the whole.“... the Divine, which reveals Itself in Urphänomene, physical and moral, behind which it dwells, and which proceed from It” (To Eckermann, February 13 1829, quoted in Heinemann 1934)“This spiritual breath – it is of this that I really wished to

speak and that alone is worth speaking of – is what has

necessarily given me such great delight in Your

Excellency’s exposition of the phenomena surrounding

entopic colours. What is simple and abstract, what you

strikingly call the Urphänomen, you place at the very

beginning. You then show how the intervention of further

spheres of influence and circumstances generates the

concrete phenomena, and you regulate the whole

progression so that the succession proceeds from simple

conditions to the more composite, and so that the

complex now appears in full clarity through this

decomposition. To ferret out the Urphänomen, to free it

from those further environs which are accidental to it, to

apprehend as we say abstractly – this I take to be a matter

of spiritual intelligence for nature, just as I take that

course generally to be the truly scientific knowledge in

this field” (Hegel 1984: 698).New York: akasha (akasa) Im Eastern mysticism and oeculism, the all-pervasive lile principle or all pervasive space of the cosmos. The term akasha is derived from the Sanskrit term for 'sky." The akasha is known by various other names in Western occultism and MAGIC. In Hinduism, the akasha is the substance ether, a fifth element and the subtlest of all elements. The akasha per meates everything in the universe and is the vehicle for all life and sound. In yoga, the akasha is one of three unit versal principles along with prana, the universal life force, and creative mind. These three principles are immanent in all things throughout the universe and are the sources of magical and psychic power. From the akasha comes will, an important component of magic, which enables all man ner of feats to be accomplished. In Buddhism, is not ether but space, ol which there are rwo kinds. One is space that is limited by the material, from which springs the manifestation of the elements of nature. The second is space that is unlimited, unbounded by the material and beyond description. The concept of the akasha was inaroduced to Weslern occultism in the early 20th century by hel ena p blavat sky, founder of the theosophical society. Blavatsky said the akasha forms the ANIMA MUNDI and constitutes the soul and astral spirit of man. It produces mesmerie, magnetic and psychic phenomena and is a component in all magi cal operations of nature. Blavatsky compared the akasha to lhe "sidereal lighi" ol rosic rucianism, he asi ral light of iphas levi, and the odyle or odic lorce of Baron Karl von uivalent of the llebrew ruah, the Reichenbach is th in motion, or moving spirit and is identi- wind, breath, air cal with the spirit of God moving on the tace ol the waters described the akasha as incomprehensible. non-created, and undefinable. Akasha creates everything and keeps everything in bal it is the all in all.

Five arts was Goethe's method of transmuting his observation of human nature into sharable form. Drawing from his novel, Elective Affinities (Wahlverwandschaften), Goethe discerned a geheime Verwandschaft (hidden relationship) of parts that explains how one form can transform into another form whilst being part of an underlying archetypal form (Ur-phänomen). It is this organizing idea or form that guides the consideration of the parts; it is a Bild or virtual image that "emerges and re-emerges from the interaction of experience and ideas"[3] This consideration is a special type of thinking (noetic ideation or denken) carried out with a different organ of cognizance to that of the brain (mentation or sinnen), one that involves an act of creative imagination, what Goethe terms "the living imaginal beholding of Nature" (das lebendige Anschauen der Natur). Goethe's nature (natura naturans, the activity of "nature naturing" – as distinguished from natura naturata, "nature natured", the domain of naturally formed objects) is one in constant flux and flow, but nonetheless governed by law, logic and intelligence above the mind. To approach vital nature requires a different cognitive capacity (denken) and cognitive organ (Gemüt) from that used to perceive inert nature (sinnen based on the Intellect or Sinn).

Hegel goes on to speak of his philosophical appropriation of the Urphänomen: “But may I now still speak to you of the special interest that an Urphänomen, thus cast in relief, has for us philosophers, namely that we can put such a preparation – with Your Excellency’s permission – directly to

philosophical use. But if we have at last worked our

initially oyster-like Absolute – whether it be grey or

entirely black, suit yourself – through towards air and

light to the point that the Absolute has itself come to

desire this air and light, we now need to throw open the

window so as to lead the Absolute fully out into the light

of day” (Hegel 1984: 699).Leaf operculum alone all others as a blessing creativity, vitality, hope and madness and more !!! Akasha is the aura of the Earth. physically. All trace continues to exist in the akasha of the Earth, which made the Egyptians say that we can survive through supports representing us (statuettes, photos, engravings, icons) and that gives the feeling to certain peoples that being photographed traps the soul ... it's partly true but not definitively. At each new galactic hour (every 25 600 years in human years), a reset of the akasha takes place. The next is scheduled for December 21, 2012. Getting back to work can be a good thing. Pilgrims of Heaven, we are! Good day. The Astral is another name to refer to the psyche (radiation of thoughts and human emotions) and the energetic aura (electromagnetic radiation) of the Earth for me. Etheric means spiritual energy of the higher consciousness planes tand qu 'energetic' refers to terrestrial and human radiation. The Paradise are the high parts of the astral, in these circles of purity are the teachings of the Ascended Masters. There are also portals to other dimensions of life here, on Earth in the 3rd dimension we are calibrated by a heart rate, a lunar rhythm, a terrestrial electro magnetic energy and the frequencies of human thoughts and emotions. All these frequencies reduce us condense us, lower us. We live at best on the frequency of our stomach (self-enhancement individualism and competition at worst on the frequency of our gut (withdrawal on the family, devaluation of self for the benefit of the local collective, war to defend its territory against invaders, aliens, energy racism) And when one is underdeveloped socially, one is based on the root chakra, connected to the spirit of survival, leads to mistrust vis-avis humans, with the need to live outside without social constraints like solitary wild animals (sdf and marginality chosen)

en.wikipedia.org/wiki/Goethean_science

  

1984 to 2011

 

For the majority of my charts I have attempted to visualise precise quantitive data that can be accurately measured, however I also wanted to explore how more subjective information can be represented. This graphic is a visualisation of my life to date and shows a range of activities and allows comparisons to made to my general mood at this time. Most of the information presented here still needs to be represented accurately so I have used line lengths to communicate this clearly. Happiness of course is something that can't be measures accurately so I have selected a method that shows this which is more subjective way. I have chosen the colours that I feel are most appropriate, yellow for happy and blue for miserable. Each red bar represents four weeks at Tesco, the length relates to the mean average number of hours worked per week in that period. Light work is shown as a light shade and more work as a darker one. The viewer is able to see how these activities relate to each other, for example after initially finishing University I worked more at Tesco, became depressed and returned to study for an MA.

 

For higher quality images visit:

lifeindata.site50.net/life.html

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

In 1948, a swept wing version of the F-84 was created with the hope of bringing performance to the level of the F-86. The last production F-84E was fitted with a swept tail, a new wing with 38.5 degrees of leading-edge sweep and 3.5 degrees of anhedral, and a J35-A-25 engine producing 5,300 pound-force (23.58 kN) of thrust. The aircraft was designated XF-96A and flew on 3 June 1950. Although the airplane was capable of 602 knots (693 mph, 1,115 km/h), the performance gain over the F-84E was considered minor. Nonetheless, it was ordered into production in July 1950 as the F-84F Thunderstreak. The F-84 designation was eventually retained because the fighter was expected to be a low-cost improvement of the straight-wing Thunderjet with over 55 percent commonality in tooling.

 

In the meantime, the USAF, hoping for improved high-altitude performance from a more powerful engine, arranged for the British Armstrong Siddeley Sapphire turbojet engine to be built in the United States as the Wright J65. To accommodate the larger engine, YF-84Fs with a British-built Sapphire as well as production F-84Fs with the J65 had a vertically stretched fuselage, with the air intake attaining an oval cross-section. Production quickly ran into problems, though. Although tooling commonality with the Thunderjet was supposed to be 55 %, but just 15 % of the tools could actually be re-used. To make matters worse, the F-84F utilized press-forged wing spars and ribs. At the time, only three presses in the United States could manufacture these, and priority was given to the Boeing B-47 Stratojet bomber over the F-84. The YJ65-W-1 engine was considered obsolete, too, and the improved J65-W-3 did not become available until 1954. When the first production F-84F flew on 22 November 1952, it was considered not ready for operational deployment due to control and stability problems. The first 275 aircraft, equipped with conventional stabilizer-elevator tailplanes, suffered from accelerated stall pitch-up and poor turning ability at combat speeds. Beginning with Block 25, the problem was improved upon by the introduction of a hydraulically powered one-piece stabilator. A number of aircraft were also retrofitted with spoilers for improved high-speed control. As a result, the F-84F was not declared operational until 12 May 1954.

 

The second YF-84F prototype was completed with wing-root air intakes. These were not adopted for the fighter due to loss of thrust, but this arrangement kept the nose section free and permitted placement of cameras, and the different design was adopted for the RF-84F Thunderflash reconnaissance version. Being largely identical to the F-84F, the Thunderflash suffered from the same production delays and engine problems, though, delaying operational service until March 1954.

 

During the F-84F’s development the Air Defense Command was looking for a replacement for the outdated F-94 ‘Starfire’ interceptor, a hasty development from the T-33 trainer airframe with an afterburner engine and an on-board radar. However, the F-94 was only armed with machine guns in its early versions or unguided missiles in its later incarnations, which were inadequate. An aircraft with better performance, ideally with supersonic speed, a better radar, and the ability to carry guided missiles (in the form if the AIR-1 and 2 ‘Falcon’ AAMs) as well as the AIR-2 ‘Genie’ missile was now requested.

 

The Douglas AIR-2 Genie followed a unique but effective concept that represented the technological state-of-the-art: it was an unguided air-to-air rocket with a 1.5 kt W25 nuclear warhead. The interception of Soviet strategic bombers was a major military preoccupation of the late 1940s and 1950s. The World War II-age fighter armament of machine guns and cannon were inadequate to stop attacks by massed bomber formations, which were expected to come in at high altitude and at high subsonic speed. Firing large volleys of unguided rockets into bomber formations was not much better, and true air-to-air missiles were in their infancy. In 1954 Douglas Aircraft began a program to investigate the possibility of a nuclear-armed air-to-air weapon. To ensure simplicity and reliability, the weapon would be unguided, since the large blast radius made precise accuracy unnecessary. Full-scale development began in 1955, with test firing of inert warhead rockets commencing in early 1956. The final design carried a 1.5-kiloton W25 nuclear warhead and was powered by a Thiokol SR49-TC-1 solid-fuel rocket engine of 162 kN (36,000 lbf) thrust, sufficient to accelerate the rocket to Mach 3.3 during its two-second burn. Total flight time was about 12 seconds, during which time the rocket covered 10 km (6.2 mi). Targeting, arming, and firing of the weapon were coordinated by the launch aircraft's fire-control system. Detonation was by time-delay fuze, although the fuzing mechanism would not arm the warhead until engine burn-out, to give the launch aircraft sufficient time to turn and escape. However, there was no mechanism for disarming the warhead after launch. Lethal radius of the blast was estimated to be about 300 meters (980 ft). Once fired, the Genie's short flight-time and large blast radius made it virtually impossible for a bomber to avoid destruction. The rocket entered service with the designation MB-1 Genie in 1957.

 

During the development phase the first carrier aircraft earmarked to carry the AIR-2 was the Northrop F-89 Scorpion, which had already been introduced in the early Fifties. While being an all-weather interceptor with on-board radar, it was a slow and large aircraft, and outdated like the F-94. Trying to keep the F-84 production lines busy, however, Republic saw the chance to design an all-weather interceptor aircraft that would surpass the F-89’s mediocre performance and meet the AIR-2 carrier requirements on the basis of the swept-wing (R)F-84F. To emphasize its dedicated interceptor role and set it apart from its fighter-bomber ancestors, the heavily modified aircraft was designated F-96B (even though it had little to do with the XF-96A that became the F-84F) and called ‘Thunderguard’.

 

The F-96B was largely based on the RF-84F’s airframe with its wing-root air intakes, what offered ample space in the aircraft’s nose for a radar system and other equipment. The radar was coupled with a state-of-the-art Hughes MC-10 fire control system. To relieve the pilot from operating the radar system one of the fuel cells behind the cockpit was deleted and a second crew member was placed behind him under an extended, strutless hood that opened to starboard. To compensate for the loss of fuel and maintain the F-84F’s range, a new tank was mounted under the cockpit floor in the aircraft’s center of gravity.

To improve performance and cope with the raised take-off weight, the F-96B was powered by an uprated Wright J65-W-18 turbojet, which generated 0.4 kN more dry thrust than the F-84F’s original J65-W-3 (7,700 lbf/34 kN). This was not too much, though, so that the J65 was additionally outfitted with an afterburner. With this upgrade the powerplant provided a maximum thrust of 10,500 lbf (47 kN), what resulted in a markedly improved rate of climb and the ability to break the sound barrier in level flight. The additional reheat section necessitated a wider and longer rear fuselage, which had to be redesigned. As an unintended side benefit, this new tail section reduced overall drag due to a slightly area-ruled coke-bottle shape behind the wings’ trailing edge, which was even emphasized through the ventral brake parachute fairing.

Armament consisted only of missiles, which were all carried externally on wing stations, all guns of the former F-84 versions were deleted to save weight. The F-96B’s weapons range included GAR-1/2/3/4 (Later re-designated as AIM-4) radar- and IR-guided Falcon air-to-air missiles and a pair of MB-1 Genie missiles. Up to four pods with nineteen unguided 2.75 in (70 mm) "Mighty Mouse" Mk 4/Mk 40 Folding-Fin Aerial Rockets each were an alternative, too, and a pair of drop tanks were typically carried under the inner wings to provide the aircraft with sufficient range, since the new afterburner significantly increased fuel consumption.

 

Even though it was only a derivative design, the F-96B introduced a lot of innovations. One of these was the use of a diverertless supersonic inlet (DSI), a novel type of jet engine air intake to control air flow into their engines. Initial research into the DSI was done by Antonio Ferri in the 1950s. It consisted of a "bump" and a forward-swept inlet cowl, which worked together to divert boundary layer airflow away from the aircraft's engine. In the case of the F-96B this was realized as an inward-turning inlet with a variable contraction ratio. However, even though they had not been deemed necessary to guarantee a clean airflow, the F-96B’s air intakes were further modified with splitter plates to adapt them to the expected higher flight speeds and direct the air flow. The initial flight tests had also revealed a directional instability at high speed, due to the longer nose, so that the tail surfaces (both fin and stabilizers) were enlarged for the serial aircraft to compensate.

 

Another novel feature was an IRST sensor in front of the windscreen which augmented the on-board radar. This sensor, developed by Hughes International and designated ‘X-1’, was still very experimental, though, highly unreliable, and difficult to handle, because it relied on pressurized coolant to keep the sensor cold enough to operate properly, and dosing it at a consistent level proved to be difficult (if not impossible). On the other side the IRST allowed to track targets even in a massively radar-jammed environment. The 7” diameter silicone sensor was, together with the on-board radar, slaved to the fire control system so that its input could be used to lock guided missiles onto targets, primarily the GAR-1 and GAR-2 AAMs. The X-1 had a field of view of 70×140°, with an angular resolution of 1°, and operated in 2.5 micron wavelength range. When it worked properly the sensor was able to detect a B-47-sized aircraft’s tails aspect from 25 nm (29 ml/46 km) and a target of similar size from directly ahead from 10 nm (12 ml/19 km). Later, better developed versions of Hughes IRST, like the X-3 that was retrofitted to the F-101B in the early Sixties, had a better range and were more reliable.

 

During the Thunderguard’s development another competitor entered the stage, the F-101B Voodoo. In the late 1940s, the Air Force had already started a research project into the future interceptor aircraft that eventually settled on an advanced specification known as the 1954 interceptor. Contracts for this specification eventually resulted in the selection of the F-102 Delta Dagger, but by 1952 it was becoming clear that none of the parts of the specification other than the airframe would be ready by 1954; the engines, weapons, and fire control systems were all going to take too long to get into service. An effort was then started to quickly produce an interim supersonic design to replace the various subsonic interceptors then in service, and the F-101 airframe was selected as a starting point. Although McDonnell proposed the designation F-109 for the new aircraft (which was to be a substantial departure from the basic Voodoo fighter bomber), the USAF assigned the designation F-101B. Its development was protracted, so that the F-96B – even though it offered less performance – was ordered into production to fill the USAF’s urgent interceptor gap.

 

F-96B production started after a brief test phase in late 1957, and the first aircraft were delivered to the 60th Fighter-Interceptor Squadron in 1958. However, when it became clear that the F-101B would finally enter service in 1959, F-96B production was quickly cut down and the initial order of 300 aircraft reduced to only 150, which were produced until early 1960 in three batches. Only sixty were directly delivered to ADC units, because these were preferably equipped with the supersonic F-102A and the new F-101B, which could also carry the nuclear Genie missile. The rest was directly handed over to Air National Guard units – and even there they were quickly joined and replaced by the early ADC aircraft.

 

Operationally, almost all F-96Bs functioned under the US–Canadian North American Air Defense Command (NORAD), which protected North American airspace from Soviet intruders, particularly the threat posed by nuclear-armed bombers. In service, the F-96Bs were soon upgraded with a data link to the Semi-Automatic Ground Environment (SAGE) system, allowing ground controllers to steer the aircraft towards its targets by making adjustments through the plane's autopilot. Furthermore, the F-96B was upgraded to allow the carrying of two GAR-11/AIM-26 Nuclear Falcon missiles instead of the Genies when they became available in 1961.

A handful F-96Bs were camouflaged during the late Sixties with the USAF’s new SEA scheme, but most aircraft retained their original bare metal finish with more or less colorful unit markings. Due to its limited capabilities and the introduction of the Mach 2 McDonnell F-4 Phantom, the last F-96B was retired from ANG service in 1971.

  

General characteristics:

Crew: 2

Length: 54t 11 1/2 in (16,77 m) incl. pitot

Wingspan: 33 ft 7.25 in (10,25 m)

Height: 16 ft 9 in (5,11 m)

Wing area: 350 sq ft (37,55 m²)

Empty weight: 13,810 lb (6.264 kg)

Gross weight: 21,035 lb (9.541 kg)

Max takeoff weight: 28,000 lb (12.701 kg)

 

Powerplant:

1× Wright J65-W-18 turbojet with 8,600 lbf (34 kN) dry thrust and 10,500 lbf (47 kN) with afterburner

 

Performance:

Maximum speed: 695 mph (1,119 km/h, 604 kn, Mach 1.1) at 35,000 ft (10,668 m)

Cruise speed: 577 mph (928 km/h, 501 kn)

Range: 810 mi (1,304 km, 704 nmi) combat radius with two droptanks

Service ceiling: 49,000 ft (15,000 m)

Rate of climb: 16,300 ft/min (83 m/s)

Wing loading: 86 lb/sq ft (423 kg/m²)

 

Armament:

No internal guns;

6× underwing hardpoints for a total ordnance load of up to 6,000lb (2,727 kg), including

a pair of 191.5 US gal (727 l) or 375 US gal (1.429 l) drop tanks on the inner stations

and a mix of AIM-4 Falcon (up to six), MB-1 Genie (up to two) and/or pods with

nineteen 2.75”/70 mm FFAR unguided missiles each (up to four) on the outer stations

  

The kit and its assembly:

This fictional missing link between the RF-84F and the F-105 was conceived for the Fifties Group Build at whatifmodellers.com, an era when the USAF used a wide variety of interceptor aircraft types and technical advancements were quick and significant – in just a decade the interceptor evolved from a subsonic machine gun-toting aircraft to a guided weapons carrier platform, capable of Mach 2.

 

The F-96B (I re-used Republic’s dropped designation for the swept-wing F-84F) was to display one of the many “in between” designs, and the (R)F-84F was just a suitable basis for a conversion similar to the T-33-derived F-94, just more capable and big enough to carry the nuclear Genie missile.

The basis became Italeri’s vintage RF-84F kit, a rather simple affair with raised panel lines and a mediocre fit, plus some sinkholes. This was, however, heavily modified!

 

Work started with the implantation of a new tandem cockpit, taken wholesale from a Heller T-33. Fitting the cockpit tub into the wider Thunderflash hull was a bit tricky, putty blobs held the implant in place. The canopy was taken from the T-33, too, just the RF-84F’s original rear side windows were cut away to offer sufficient length for the longer clear part and the cockpit side walls had to be raised to an even level with the smaller windscreen with the help of styrene strips. With these adapters the T-33 canopy fitted surprisingly well over the opening and blended well into the spine.

 

The camera nose section lost its tip, which was replaced with the tail cone from a Matchbox H.S. Buccaneer (actually its air brake), and the camera windows as well as the slant surfaces that held them were PSRed away for a conical shape that extended the new pointed radome. Lots of weight in the nose and under the cockpit floor ensured a safe stance on the OOB landing gear.

The rear section behind the air brakes became all-new; for an afterburner I extended and widened the tail section and implanted the rear part from a B-66 (Italeri kit, too) engine nacelle, which received a wider nozzle (left over from a Nakotne MiG-29, a featureless thing) and an interior.

To balance the longer nose I also decided to enlarge the tail surfaces and replaced the OOB fin and stabilizers with leftover parts from a Trumpeter Il-28 bomber – the fin was shortened and the stabilizers reduced in span to match the rest of the aircraft. Despite the exotic source the parts blend well into the F-84’s overall design!

 

To add supersonic credibility and to connect the design further with the later F-105 I modified the air intakes and cut them into a raked shape – quite easy to realize. Once the wings were in place, I also added small splitter plates, left over from an Airfix BAC Strikemaster.

 

As an interceptor the armament had to be adapted accordingly, and I procured the quartet of IR-guided Falcons as well as the Genie duo from an Academy F-89. The large drop tanks were taken OOB from the Italeri kit. The Genies were mounted onto their massive Scorpion pylons under the outer wings of the F-96B, while the Falcons, due to relatively little space left under the wings, required a scratched solution. I eventually settled for dual launchers on small pylons, mounted in front of the landing gear wells. The pylons originally belong to an ESCI Ka-34 “Hokum” helicopter kit (they were just short enough!), the launch rails are a halved pair of F-4 Sidewinder rails from a Hasegawa air-to-air weapons set. With everything on place the F-96B looks quite crowded.

  

Painting and markings:

The machine would represent a late Fifties USAF type, so that the paint options were rather limited if I wanted to be authentic. ADC Grey was introduced in the early Sixties, SEA camouflage even later, so that bare metal became a natural choice – but this can be quite attractive! The model received an overall coat with acrylic “White Aluminum” from the rattle can, plus some darked panels all over the hull (Humbrol 56 for good contrast) and an afterburner section in Revell 91 (Iron Metallic) and Humbrol’s Steel Metallizer. The radome became deep black, the anti-glare panel in front of the windscreen olive drab (Revell 46). Light grey (Revell 75) was used for some small di-electric fairings.

Interior surfaces (cockpit and landing gear wells) were painted with Zinc Chromate primer (I used Humbrol 80), while the landing gear struts became silver-grey (Humbrol 56) and the inside of the covers as well as the air brakes were painted in bright red (Humbrol 19).

Once basic painting was done the model received a black ink washing and was rubbed with grinded graphite to emphasize the raised panel lines, and the material adds a nice dark metallic shine to the silver base coat.

 

Another challenge was to find suitable unit markings for the Fifties era in the decal vault, which would also fit onto the model. After a long search I eventually settled for rather simple markings from a 325th FIS F-102 from an Xtradecal sheet, which only features a rather timid fin decoration.

Finding other suitable standard markings remained demanding, though. Stars-And-Bars as well as the USAF taglines were taken from the Academy F-89 that also provided the ordnance, most stencils were taken from the OOB Italeri sheet and complemented by small markings from the scrap box. The biggest problem was the creation of a matching serial number. The “FF” code was originally used for P/F-51D Mustangs during the Korea War, but after the type had been phased out it might have been re-used? The letters as well as the serial number digits were created from various markings for USAF F-100s, also from an Xtradecal sheet.

 

Once the decals had been applied the model was sealed with semi-gloss acrylic varnish, except for the radome, the anti-glare panel as well as the walking areas on the wings as well as parts of the afterburner section, which were coated with matt varnish.

  

A rather straightforward conversion, even though finishing the project took longer than expected. But the result looks surprisingly natural and plausible. Lots of PSR was needed to modify the fuselage, though, especially the tail section was not easy to integrate into the Thunderflash’s hull. Sticking to the simple NMF livery paid IMHO out, too: the livery looks very natural and believable on the fictional aircraft, and it suits the F-84’s bulbous shape well.

Some background:

With more and more experience through military mecha in Japan during the late Nineties, Schaft Enterprise’s Europe branch started the development of civil Labors for public use. These models included the Type-8FF firefighting Labor, which was originally created for the Japanese market but eventually only sold and operated in the European market, and the Type-10P, a dedicated police duty Labor and a direct competitor to Shinohara Industry’s highly successful AV-98 Ingram.

 

The Type-10P was based on a completely new chassis and introduced many composite material elements that lightened its structure and even gave it a light armor protection against small caliber rounds. It was designed to be effective in situations like dealing with stolen labor units or rogue labors, but also for more mundane duties like riot control and escorts. Its intimidating size certainly helped psychologically. However, the Type-10P was not designed to take on military labors in close combat, even though it could be outfitted with manual weapon that would offer considerable firepower at distance. Typical police service weapons included a shield and a stun stick (with an optional taser function) as well as a handheld revolver gun, but other equipment was available, too. Precise manipulator fingers (with three fingers and one thumb on each hand) allowed delicate handling.

 

The pilot sat in a fully enclosed, climatized cabin in the Labor’s breast section, with an excellent field of view and protected from water and gas. In order to ensure proper surveillance under harsh conditions in any weather and at day and night, the Type-10P received a complex sensor suite, including a telescopic camera boom, a close-range Lidar and a directional microphone. Communication with other units was ensured by both radio and laser communication systems.

 

Further special equipment could be attached to the Type-10P’s back. These easily interchangeable “backpacks” included an extra battery for extended operation, a fuel-powered external generator with one or two powerful searchlights, a pack with loudspeakers, a large, retractable LED matrix display, and two packs with pressurized canisters that were connected with a handheld spray gun each, either carrying CO2 as a fire extinguisher or OC spray for riot control. Even an inflatable lifeboat was available, as well as special weapons like an EMP pulse rifle, which necessitated an external auxiliary battery pack, and a rearward-facing “brown note” infranoise generator.

 

Officially baptised “Michael”, after the German police’s Christian patron saint, the Type-10P was in 2000 adopted by special units of the German Bundespolizei and by some major police departments on federal state level. Typical German Labor units would operate two or three of these vehicles, primarily as support units for standard units when called upon in an emergency and also to counter Labor crimes and accidents. Their psychological value in riot control duties was highly appreciated, and the Type 10Ps were also frequently sent to official political events for PR purposes.

The Type-10P was also promoted abroad, esp. in Japan, but it was rejected there due to its size and the strong (and established) competition from Shinohara Industry, namely the MPL-97S “Python” and the AV-98 “Ingram”. However, eight Type-10Ps were sold to the Austrian Bundespolizei and an undisclosed small number was bought by a private security service company in Northern America.

  

Technical Data:

Code name: Type-10P "Michael"

Unit type: police labor

Manufacturer: SEE (Schaft Enterprises Europe)

Operator: German Federal Police (Bundespolizei) and several major German federal state

police departments (Berlin, Northrhine-Westphalia, Bavaria), Austria, USA

Number built: 33

Accommodation: pilot only, in heat- and ABC-insulated cockpit in front torso

 

Dimensions:

Overall height 9.42 meters

Overall width 5.95 meters

Minimum revolving radius: 6.0 meters

 

Weight:

Standard 6.55 metric tons

Full 8.1 metric tons

 

Armor materials:

Light composite armor, effective against fire and small caliber rounds of up to 12.7 mm

 

Powerplant:

unknown

 

Maximum weight lifting capacity:

2.50 metric tons

 

Equipment and design features:

Visual and acoustic sensors, range unknown, with suitable recording and data transfer equipment

Retractable visor cover

Highly articulated manipulator hands

Searchlights

Flashlights and four claxons/loudspeakers on the shoulders

 

Armaments:

No internal weapons installed;

The Type-10P can operate a wide range of handheld equipment like an extendable baton,

anti-terror shields, and weapons like a 42 mm revolver handgun, a taser or a 90 mm pellet shotgun.

Two hardpoints on the lower arms to attach equipment/weapons, plus a single hardpoint on the

back with the option to carry a wide range of equipment packages.

  

The kit and its assembly:

Traditions can be nice to keep up, and this build is actually a kind of serial project: in 2015, a group build under the motto "De-/Militarize it" ran at whatifmodellers.com, and I submitted a thorough conversion of a 1:60 "SEE Type-7 Brocken" Labor it from Bandai – a pure military Labor turned into a firefighting mecha.

 

Now, in early 2021, the “Blue Lights” group build ran, and Patlabor – an anime near-SF universe circling around robot-assisted police work – lent itself for another mecha submission. I had an AV-X0 prototype as well as two Ingram kits in store, but I wanted “something different” and also not a Japanese police Labor, since I had just built a fictional Daihatsu Move police car of the Tokyo Metropolitan Police Department. So, the choice fell on the “Phantom” kit as basis, what called for considerable modifications. The “Phantom” is actually an unmanned robot, but I found its stature quite intimidating and more plausible for a non-Japanese police Labor than e. g. a re-badged AV-X0.

 

At an early stage I already settled for a German police Labor, and took inspiration in some heavier vehicles that are operated by special units of the Bundespolizei, e.g. armored cars or water throwers. This also defined the Labor’s paint scheme (see below). However, the new police Labor’s design was far from certain, it gradually evolved while building the separate OOB elements. Thankfully, this 3rd generation mecha kit allows such a gradual progress, and step by step the details that had to be changed or scratched became clearer.

 

This primarily included:

A completely new head section; the Phantom has a kind of fixed "hood" with a relatively small and fixed "face unit" in its front. This would be changed into a free-standing head unit, like the standard Labors. I was lucky to find a leftover head unit from a “Helldiver”, an airborne military Labor from the same model universe – its pilot helmet added a tough look to my build, and I added some sensor booms from an Ingram, too. Some PSR went into the head’s re-design, too, and, in the end, it adds to the “riot control” look of my build.

The completely new head necessitated the complete removal of the original “hood” of the “Phantom” and its fixed, small head, and this gap had to be filled/framed with a scratched collar and a new attachment point for the new head. Later, the OOB “neck” element was integrated into the opening, and scratched hydraulic pistons filled void space.

 

In the same wake, a cockpit fairing was added to the chest, since this would become a manned vehicle, not a robot. This, as well as the collar, were sculpted with 2C putty.

In order to change the Labor’s hull shape a little more, I added a pair of headlights to the flanks of the breast – these are 1:24 car parts, left over from my recent Daihatsu Move build. The parts were fitted into holes, received a shiny backing with chrome foil (hard to tell through the protective grates, though) and were blended into the hull via PSR.

The pack with retractable boosters in the back as well as the extentable upper body (with the visible innards and the spinning blades hidden there) were omitted. Instead, I implanted a donor piece to the back (a back pack from an 1:144 Yha-Giga mecha from Megaro Zamac), which looks very mechanical (a heat exchanger, maybe?) and natural.

Furthermore, the openings for the “Phantom”’s original optical sensors in the chest were faired over.

 

New hands were deemed necessary; the OOB hands are much too slender and claw-like, and I was able to use the hands from an 1:24 PA-36HD (from Dorvack).

 

While raiding the donor banks I also came across suitable new shoulder guards, from an 1:144 “Serpent Custom” (Gundam). They replaced the OOB parts, they are taller and more edgy, which is against the “Phantom”’s rather organic design – but they were too good to be rejected, with consoles that would later carry flashlights (scratched) and louvres that could easily hide (and protect) sirens inside.

 

However, in order to integrate the new shoulder parts better into an overall look, I decided to modify the knee and elbow guards into a more squarish shape – with the help of styrene sheet and some (more) PSR. This stunt worked surprisingly well.

 

During this modification I also added hardpoints to the lower arms for equipment. I did not want a gun but rather fancied a riot shield and a baton. The right hand was modified to carry a stun baton, sourced from an Ingram kit, and the transparent shield was scratched from a mouth wash bottle.

 

Lots of work, but it was necessary to move the build away from its “Phantom” basis.

  

Painting and markings:

Basically very simple: all-blue. The current ID color of German police vehicles is RAL 5017 (Verkehrsblau/Traffic Blue), and before 2006 it was RAL 6029 (Pfefferminzgrün/Peppermint Green), both combined on standard vehicles with white - normally, these are leased white or, more recently, silver vehicles with foil. For the Labor's time frame around 2000, the classic green would have been appropriate, but I eventually voted for the later blue because it looks IMHO less militaristic.

Further design background: German special police vehicles like water throwers or armored cars rather carry a uniform livery, contrasted with very dark grey around the lower areas, and that's what I adopted for the Michael I police Labor, too, using the “Phantom”’s original livery as benchmark.

 

In Gunze Sangyo’s Mr. Hobby H15 (Bright Blue) I found a pretty good guesstimate for the characteristic German police blue, and it was contrasted with Revell 06 (Tar Black; RAL 9021). The backpack became medium grey, a similar tone to the silicone covers (which were left unpainted, just treated with a washing with thinned dark grey acrylic artist paint), and this medium grey was also used for some detail contrasts around the hull. This looks rather dry, but it reflects the sobriety of German police items, and the uniform blue is also a good contrast to the Japanese police Labors in white and black in my collection, and the others, too. A few highlights in white and cream are the only distractions.

 

Even though I did not want to weather the model, I did some dry-brushing/post shading (Humbrol 25, Revell 09, 77 and 75 in some areas) to emphasize the shapes/edges and to make the large areas, esp. on the legs, less uniform.

 

The markings come from two aftermarket sheets for German police cars: one is a 1:43 scale sheet from IDC Decals, the other a 1:87 scale sheet from TL Modellbau. The provided not only suitably-sized “Polizei” letterings and emblems, the IDC set also came with the characteristic dotted trim lines (reflective material in real life) that decorate many typical German police cars and which help to visually structure the Labor’s lines – even though their application to the bulbous surface of the model was not easy, and I rather used them sparsely.

 

After some more detail painting (e. g. some fake black panel lines, created with a fine felt tip pen) the model’s sections were sealed with a mix of matt and some semi-gloss acrylic varnish on the blue areas for a sheen finish, while the dark grey areas were painted with pure matt varnish.

  

The build of the “Michael I” police Labor was quite a challenge – mostly because it was not easy to get away from the model’s “Phantom” basis. But with the completely new head/shoulder section and the slight mods on arms and legs it looks quite unrelated – but still intimidating. The all-blue livery is not spectacular, but true to German standards, and it works surprisingly well and convincingly.

 

Almost every single component of the Flavel mansion seen here came from a carpenter's shop.

 

It would be a colossal job to build a precise replica of this building today even with our power tools.

 

In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.

 

However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.

 

I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!

 

Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.

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

Flavel House History

 

The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.

 

His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.

 

The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.

 

The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.

 

In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.

 

From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.

 

In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.

 

Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.

 

Eventually, the County transferred full ownership of the property to the Historical Society.

 

About the Interior

 

The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.

 

The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.

 

Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.

 

The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.

 

The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.

 

The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.

 

The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.

 

The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.

 

The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.

 

The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.

 

About the Exterior

 

The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.

 

The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.

 

Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.

 

Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.

 

Outlining the roof and verandas of the house is the original wrought-iron cresting.

 

About the Carriage House

 

The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.

 

It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.

 

In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.

 

In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.

 

Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.

astoriamuseums.org/explore/flavel-house-museum/

Taken with a drone, this view looks straight down upon precise lines of Alstom Metropolis EMU sets where driverless passenger trains wait their turn for service on the Northwest Metro line between Tallawong, where this scene was captured, and Chatswood in New South Wales, Australia, on February 5, 2022.

 

Judges’ Comments: The factory-like precision of this drone photograph beautifully captures the standardization that has taken hold within the rail industry over the last fifty years. A stark and exceptional portrait of stored EMU commuter equipment speaks to the scale and character of modern railroading; and also the sterility and industrial nature of an industry where the relentless march of technological advancement has eliminated many aspects of individuality and personality.

 

Read more about the 2023 John E. Gruber Creative Photography Awards: railphoto-art.org/awards-2023/

 

 

atelier ying, nyc

 

This is a wonderful accessory for this famed conductor known for his precise yet lyric and exciting interpretations. Here the metaphor seems to be that he works the orchestra as a race car, recalled in the 35ti's ultra-cool dashboard atop the camera, and it's high quality optics. It is very difficult to modify such a tiny camera as the machinery is packed so densely inside. However, this design proposes twin hydroponic gardens reminiscent of Sir Georg's countryside hut in Roccamere where he studied orchestral scores and prepared for his seasons as music director of the Chicago Symphony. The gardens are a living memento of his favorite retreat, containing moss from the site. The "Swarovski" styling mimics piano keys as Solti was a concert pianist and spent much of his early career as a repetiteur for the ballet. Solti as a street photographer is an interesting proposition. His conducting style is visually unforgettable; you were either addicted to it or nauseated by it. i have a photo of him horsing around with a singer both of them carrying water guns during a picnic. The idea of Solti on a busy corner shooting street might be a tad intimidating. I've been making plans for more Solti-inspired cameras, his legendary Ring cycle recording, etc. It's easier for me to say things across a few designs rather than clump it all together in one creation. And I'd really like one of these Nikons too. The Rollei 35 is also on my mind.

Those that follow my drawings might ask themselves, why the combination of these unsuitable ideas for a camera? Actually, cameras with fantasies allow me to work and think at a detached aesthetic distance; it frees my mind, like the element of chance did in the work of John Cage or Marcel Duchamp.

Note that this plan is only for the all-black Nikon 35TI. Also, the "oxidized copper" moss cladding will need a breathable plastic cover for short term storage to protect the optics of the camera.

 

This design drawing is copyright 2013 by David Lo,

  

Very cute bat, and very precise anatomically. I made six of them before I was satisfied! Peyton's origami is not easy at all!!

So I was spotting in Paris when a friend calls me up and says a 599 GTO is at Hotel Meurice. Needless to say, I walked really fast to get there, and thankfully it was still there. This is my first Ferrari 599 GTO I spot "in the wild". It's red with a black roof and black side-view mirrors. The plates are from Switzerland (Valais to be precise) and it's simply a beautiful car. It has a "Ferrari France" sticker on it too! What do you think of this 599-limited edition and 670 horse-powered beast?

 

video: www.youtube.com/watch?v=OFxF-iB2yXo

 

-_-_-_-_-_-_-_-

 

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Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.

Unusual to find such a precise date on one of these little publicity or advertising recipe booklets but this has a date of 1929 and also has a gummed in slip showing the full range of Bird's 'Household Specialities' and a retail price list for 1930. Such booklets were commonplace marketing material for companies such as Bird's who were amongst the pioneers of 'ready made' or branded food products that were sold on the national market and that advertised heavily - a product of Victorian food technology, transport and newspapers.

 

Alfred Bird's origins were in invention of their still famous 'custard' powder that replaced the real thing with a dissolvable powder based on cornflour starch, colourings and vanilla flavours. They also made a wide range of similar baking and pudding 'specialities' as can be seen from the list. An old established Birmingham company now simply a brand of an international concern, their home city heritage is still to be found thanks to a re-use of the 'Custard Factory' and the survival of the railings that use the famous trilling bird motif seen here. This was first introduced in the 1920s by the company.

Skilled operator at work in Leander Texas. With Facebook, Tesla and SamSung creating thousands of jobs nearby, new housing construction projects are all around the area.

How else do you describe what these incredibly skilled pilots do for a living?

Just awesome to have your eyes track their precise path and form across the sky!

Superb!

‪

#‎BlueAngels‬

‪#‎FleetWeek‬

‪#‎AlwaysSF‬

 

— in San Francisco, California.

Windsor (/ˈwɪnzər/) is a town and unparished area in the Royal Borough of Windsor and Maidenhead in Berkshire, England. It is widely known as the site of Windsor Castle, one of the official residences of the British Royal Family.

 

The town is situated 23 miles (37 km) west of Charing Cross, London. It is immediately south of the River Thames, which forms its boundary with Eton. The village of Old Windsor, just over 2 miles (3 km) to the south, predates what is now called Windsor by around 300 years; in the past Windsor was formally referred to as New Windsor to distinguish the two.

 

The early history of the site is unknown, although it was almost certainly settled some years before 1070 when William the Conquerorhad a timber motte and bailey castle constructed.[2] The focus of royal interest at that time was not the castle, however, but a small riverside settlement about 3 miles (5 km) downstream, possibly established from the 7th century.

 

Windsor, or Windlesora as it was called in the 11th century, is first mentioned in the Anglo-Saxon Chronicle. The name originates from old English Windles-ore, or 'winch by the riverside'. The settlement had used an earlier name, but this is unknown. From about the 8th century, high status people started to visit the site occasionally, and possibly this included royalty. From the 11th century the site's link with king Edward the Confessor is documented, but again, information about his use of the place is scant. After the Conquest of 1066 royal use of the site increased, probably because it offered good access to woodlands and opportunities for hunting – a sport which also practised military skills. By the late 12th century, and the relocation of the royal household to an enlarged castle in 1110, the site was renamed Old Windsor.

 

Windsor Castle is noted in the Domesday Bookunder the entry for Clewer, the neighbouring manor to Windsor. Although this might seem strange, it occurred because plans for the castle had changed since 1070, and more land had been acquired in Clewer on which to site a castle town. This plan was not actioned until the early 12th century. By 1110, meetings of the Great Council, which had previously taken place at Windlesora, were noted as taking place at the Castle – referred to as New Windsor, probably to indicate that it was a two ward castle/borough complex, similar to other early castle designs, such as Denbigh. Henry I – according to one chronicle – had rebuilt it, and this followed the Norman kings' actions at other royal sites, such as Westminster, where larger and more magnificent accommodation was thought necessary for the new dynasty. King Henry married his second wife at Windsor Castle in 1121, after the White Ship disaster. The settlement at Old Windsor largely transferred to New Windsor during the 12th century, although substantial planning and setting out of the new town (including the parish church, marketplace, bridge, hermitage and leper hospital) did not take place until c. 1170, under Henry II, following the civil war of Stephen's reign. At about the same time, the present upper ward of the castle was rebuilt in stone. Windsor Bridge is the earliest bridge on the Thames between Staines and Reading, built at a time when bridge building was rare; it was first documented in 1191, but had probably been built, according to the Pipe rolls, in 1173. It played an important part in the national road system, linking London with Reading and Winchester, but also, by diverting traffic into the new town, it underpinned the success of its fledgling economy.

 

The town of New Windsor, as an ancient demesne of the Crown, was a privileged settlement from the start, apparently having the rights of a 'free borough', for which other towns had to pay substantial fees to the king. It had a merchant guild (known by the 14th century as the Fraternity or brotherhood of the Holy Trinity) from the early 13th century and, under royal patronage, was made the chief town of the county in 1277, as part of its grant of royal borough status by Edward I's charter. Somewhat unusually, this charter gave no new rights or privileges to Windsor but probably codified the rights which it had enjoyed for many years. Windsor's position as chief town of Berkshire was short-lived, however, as people found it difficult to reach. Wallingford took over this position in the early 14th century. As a self-governing town Windsor enjoyed a number of freedoms unavailable to other towns, including the right to hold its own borough court, the right of membership (or 'freedom') and some financial independence. The town accounts of the 16th century survive in part, although most of the once substantial borough archive dating back to the 12th century was destroyed, probably in the late 17th century.

 

The early history of the site is unknown, although it was almost certainly settled some years before 1070 when William the Conquerorhad a timber motte and bailey castle constructed.[2] The focus of royal interest at that time was not the castle, however, but a small riverside settlement about 3 miles (5 km) downstream, possibly established from the 7th century.

 

Windsor, or Windlesora as it was called in the 11th century, is first mentioned in the Anglo-Saxon Chronicle. The name originates from old English Windles-ore, or 'winch by the riverside'. The settlement had used an earlier name, but this is unknown. From about the 8th century, high status people started to visit the site occasionally, and possibly this included royalty. From the 11th century the site's link with king Edward the Confessor is documented, but again, information about his use of the place is scant. After the Conquest of 1066 royal use of the site increased, probably because it offered good access to woodlands and opportunities for hunting – a sport which also practised military skills. By the late 12th century, and the relocation of the royal household to an enlarged castle in 1110, the site was renamed Old Windsor.

 

Windsor Castle is noted in the Domesday Bookunder the entry for Clewer, the neighbouring manor to Windsor. Although this might seem strange, it occurred because plans for the castle had changed since 1070, and more land had been acquired in Clewer on which to site a castle town. This plan was not actioned until the early 12th century. By 1110, meetings of the Great Council, which had previously taken place at Windlesora, were noted as taking place at the Castle – referred to as New Windsor, probably to indicate that it was a two ward castle/borough complex, similar to other early castle designs, such as Denbigh. Henry I – according to one chronicle – had rebuilt it, and this followed the Norman kings' actions at other royal sites, such as Westminster, where larger and more magnificent accommodation was thought necessary for the new dynasty. King Henry married his second wife at Windsor Castle in 1121, after the White Ship disaster. The settlement at Old Windsor largely transferred to New Windsor during the 12th century, although substantial planning and setting out of the new town (including the parish church, marketplace, bridge, hermitage and leper hospital) did not take place until c. 1170, under Henry II, following the civil war of Stephen's reign. At about the same time, the present upper ward of the castle was rebuilt in stone. Windsor Bridge is the earliest bridge on the Thames between Staines and Reading, built at a time when bridge building was rare; it was first documented in 1191, but had probably been built, according to the Pipe rolls, in 1173. It played an important part in the national road system, linking London with Reading and Winchester, but also, by diverting traffic into the new town, it underpinned the success of its fledgling economy.

 

The town of New Windsor, as an ancient demesne of the Crown, was a privileged settlement from the start, apparently having the rights of a 'free borough', for which other towns had to pay substantial fees to the king. It had a merchant guild (known by the 14th century as the Fraternity or brotherhood of the Holy Trinity) from the early 13th century and, under royal patronage, was made the chief town of the county in 1277, as part of its grant of royal borough status by Edward I's charter. Somewhat unusually, this charter gave no new rights or privileges to Windsor but probably codified the rights which it had enjoyed for many years. Windsor's position as chief town of Berkshire was short-lived, however, as people found it difficult to reach. Wallingford took over this position in the early 14th century. As a self-governing town Windsor enjoyed a number of freedoms unavailable to other towns, including the right to hold its own borough court, the right of membership (or 'freedom') and some financial independence. The town accounts of the 16th century survive in part, although most of the once substantial borough archive dating back to the 12th century was destroyed, probably in the late 17th century.

  

The Last Supper by Franz de Cleyn in the West Gallery of Windsor parish church of St John The Baptist.[3]

New Windsor was a nationally significant town in the Middle Ages, certainly one of the fifty wealthiest towns in the country by 1332. Its prosperity came from its close association with the royal household. The repeated investment in the castle brought London merchants (goldsmiths, vintners, spicers and mercers) to the town in the late 13th century and provided much employment for townsmen. The development of the castle under Edward III, between 1350–68, was the largest secular building project in England of the Middle Ages, and many Windsor people worked on this project, again bringing great wealth to the town. Although the Black Death in 1348 had reduced some towns' populations by up to 50%, in Windsor the building projects of Edward III brought money to the town, and possibly its population doubled: this was a 'boom' time for the local economy. People came to the town from every part of the country, and from continental Europe. The poet Geoffrey Chaucerheld the honorific post of 'Clerk of the Works' at Windsor Castle in 1391.

 

The development of the castle continued in the late 15th century with the rebuilding of St George's Chapel. With this Windsor became a major pilgrimage destination, particularly for Londoners. Pilgrims came to touch the royal shrine of the murdered Henry VI, the fragment of the True Cross and other important relics. Visits to the chapel were probably combined with a visit to the important nearby Marian shrine and college at Eton, founded by Henry VI in 1440, and dedicated to the Assumption; which is now better known as Eton College. Pilgrims came with substantial sums to spend. From perhaps two or three named inns in the late 15th century, some 30 can be identified a century later. The town again grew in wealth. For London pilgrims, Windsor was probably – but briefly – of greater importance than Canterbury and the shrine of the City's patron Saint Thomas Becket. With the closures of the Reformation, however, Windsor's pilgrim traffic died out. Henry VIII was buried in St George's Chapel in 1547, next to Jane Seymour, the mother of his only legitimate son, Edward (Edward VI). Henry, the founder of the Church of England, may have wanted to benefit from the stream of Catholic pilgrims coming to the town. His will gives that impression.

 

The town began to stagnate about ten years after the Reformation. The castle was considered old-fashioned and shrines to the dead were thought to be superstitious. The early modern period formed a stark contrast to the medieval history of the town. Most accounts of Windsor in the 16th and 17th centuries talk of its poverty, badly made streets and poor housing. Shakespeare's play The Merry Wives of Windsor is set in Windsor and contains many references to parts of the town and the surrounding countryside. Shakespeare must have walked the town's streets, near the castle and river, much as people still do. The play may have been written in the Garter Inn, opposite the Castle, but this was destroyed by fire in the late 17th century. The long-standing – and famous – courtesan of king Charles II, Nell Gwyn, was given a house on St Albans Street: Burford House (now part of the Royal Mews). Her residence in this house, as far as it is possible to tell, was brief. Only one of her letters addressed from Burford House survives: it was probably intended as a legacy for her illegitimate son, the Earl of Burford, later the Duke of St Albans.

 

Windsor was garrisoned by Colonel Venn during the English Civil War. Later it became the home of the New Model Army when Venn had left the castle in 1645. Despite its royal dependence, like many commercial centres, Windsor was a Parliamentarian town. Charles Iwas buried without ceremony in St George's Chapel after his execution at Whitehall in 1649. The present Guildhall, built in 1680–91, replaced an earlier market house that had been built on the same site around 1580, as well as the old guildhall, which faced the castle and had been built around 1350. The contraction in the number of old public buildings speaks of a town 'clearing the decks', ready for a renewed period of prosperity with Charles II's return to the Castle. But his successors did not use the place, and as the town was short of money, the planned new civic buildings did not appear. The town continued in poverty until the mid 19th century.

 

In 1652 the largest house in Windsor Great Park was built on land which Oliver Cromwell had appropriated from the Crown. Now known as Cumberland Lodge after the Duke of Cumberland's residence there in the mid 18th century, the house was variously known as Byfield House, New Lodge, Ranger's Lodge, Windsor Lodge and Great Lodge.

 

In 1778, there was a resumption of the royal presence, with George III at the Queen's Lodge and, from 1804, at the castle. This started a period of new development in Windsor, with the building of two army barracks. However the associated large numbers of soldiers led to a major prostitution problem by 1830, in a town where the number of streets had little changed since 1530. In the 18th c. the town traded with London selling the Windsor Chair which was actually made in Buckinghamshire.

 

A number of fine houses were built in this period, including Hadleigh House on Sheet Street, which was built in 1793 by the then Mayor of Windsor, William Thomas. In 1811 it was the home of John O'Reilly, the apothecary-surgeon to George III.

 

Windsor Castle was the westernmost sighting-point for the Anglo-French Survey (1784–1790), which measured the precise distance between the Royal Greenwich Observatory and the Paris Observatory by trigonometry. Windsor was used because of its relative proximity to the base-line of the survey at Hounslow Heath.

 

The substantial redevelopment of the castle in the subsequent decade and Queen Victoria's residence from 1840, as well as the coming of two railways in 1849, signalled the most dramatic changes in the town's history. These events catapulted the town from a sleepy medieval has-been to the centre of empire – many European crowned heads of state came to Windsor to visit the Queen throughout the rest of the 19th century. Unfortunately, excessive redevelopment and 'refurbishment' of Windsor's medieval fabric at this time resulted in widespread destruction of the old town, including the demolition of the old parish church of St John the Baptist in 1820. The original had been built around 1135.

 

Most of the current town's streets date from the mid to late 19th century.[5] However the main street, Peascod Street (pronunciation: /ˈpɛskɒd/) is very ancient, predating the castle by many years, and probably of Saxon origin. It formed part of the 10th-century parish structure in east Berkshire[citation needed] and is first referred to as Peascroftstret in c. 1170. The 1000-year-old royal Castle, although the largest and longest-occupied in Europe, is a recent development in comparison. "New Windsor" was officially renamed "Windsor" in 1974.

 

is accessible from Junction 6 of the M4 and from Slough via a 3 mile long dual carriageway. Bus services in the town are mostly provided by First Berkshire & The Thames Valley, although a park-and-rideservice and one local route are operated by Courtney Coaches.

 

Windsor has two railway stations. Windsor & Eton Central railway station has a shuttle service to Slough. Windsor & Eton Riverside station provides a service to London Waterloo. Both stations were time in the 19th century, as the two train companies which owned the lines both wanted to carry Queen Victoria to Windsor, with the first line opened gaining the privilege.[8] From 1883 to 1885, the London Underground's District line's westbound service ran as far as Windsor.

 

Windsor has frequent bus services to/from London Heathrow Airport, Victoria Coach Station in central London and Legoland Windsor Resort.

  

en.m.wikipedia.org/wiki/Windsor,_Berkshire

  

Singapore's Poh Swee Kiat Johnson in action during the 28th SEA Games Men's Individual Round 4 at the Sentosa Serapong Golf Course on 12 June 2015

Osaka ou Ōsaka (大阪市, Ōsaka-shi, est la troisième plus grande ville du Japon et le chef-lieu de la préfecture du même nom. Située sur l'île de Honshū, l'île principale sur laquelle se trouve également Tokyo, au bord de l'océan Pacifique, plus précisément dans la baie d'Osaka. Elle est traversée par plusieurs rivières, dont la principale est la Yodo.

 

Le PIB dans la région du Keihanshin (Osaka, Kyoto et Kōbe) est de 240 milliards d'euros, en faisant une des régions les plus productives du monde.

 

La fondation de la ville remonterait au IIIe siècle. Son port joue un rôle fondamental dans son développement et lui permet de nouer des contacts avec la Corée et la Chine. C'est de cette époque que datent les kofuns, d'impressionnantes structures funéraires.

 

Tournée vers le commerce et l'industrie, Osaka est aussi devenue grâce à l'empereur Tenji, sous son ancien nom de Naniwa (難波 / 浪華 / 浪花), la capitale de l'empire entre le milieu du VIIe et le milieu du VIIIe siècle. On construit à cette période le premier temple bouddhique du Japon, Shi Tennō-ji.

 

Un autre événement essentiel dans l'histoire d'Osaka a été la décision prise par Toyotomi Hideyoshi d'y construire un imposant château, Ōsaka-jō, en 1583. Cela attira de nombreux négociants. Bien qu'elle ait souffert lors des sièges de 1614 et 1615, Osaka retrouva la prospérité et, lors de la période Edo, était parfois surnommée "le garde-manger de la nation"(天下の台所, tenka no daidokoro) à cause de son rôle central dans le commerce du riz.

 

Outre son économie florissante, la ville était un centre culturel qui vit se développer, par exemple, le bunraku (théâtre de marionnettes) et le kabuki ainsi qu'un lieu de savoir et d'éducation, en particulier dans le domaine de la médecine.

 

Au début du XXe siècle, Osaka était devenu un important centre industriel.

  

Soryu: No, more precisely it creates an affinity. So, we call it a lure. Silva has Ash's precise biometrics and so we will use this to track him and, once we've found the strongest point, we activate his own signature on this end and that should get us something.

 

Princess Jun: 'Something?'

 

Soryu: Well, this is running our fishing line along the slipstream and then dipping back in, so it's not going to be exact. What we usually end up with is a time/place where he was recently present and the lure can pull someone out of that time/place that had strong interaction with him. At least, a bio-entity. It may not be helpful, like a dog that bit him, or it may even be dangerous, like a creature he fought. So we should be ready.

 

Princess Jun: Oh...

 

Soryu: Don't worry, the three of us should be able to handle most things that might get pulled through. If not, we're in the Queen's Castle. There are enough Defenders 30 seconds away to put a quick- OH! We've hooked an affinity Silva!

 

Bio Hunter Silver: Confirmed. Progress with pull.

 

Soryu: Reeling it in! Let's see who or what we hooked!

  

Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.

 

Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.

Kryžių kalnas, or the Hill of Crosses, (Lithuanian: Kryžių kalnas) is a site of pilgrimage about 12 km north of the city of Šiauliai in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former hill fort after the 1831 Uprising in Poland, Lithuania, and other western regions of the Tsarist Empire. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by pilgrims. The exact number of crosses is unknown, but estimates put it at about 100,000 at present.

 

Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the Third Partition of Poland in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in their memory.

 

When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.

 

The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.

 

On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody’s jurisdiction; therefore people are free to build crosses as they see fit.

 

Occasionally, significant parts of the site burn down in accidental fires. The site attracts pilgrims from across Europe, but especially Lithuania and Poland.

 

This description incorporates text from the English Wikipedia.

Windsor (/ˈwɪnzər/) is a town and unparished area in the Royal Borough of Windsor and Maidenhead in Berkshire, England. It is widely known as the site of Windsor Castle, one of the official residences of the British Royal Family.

 

The town is situated 23 miles (37 km) west of Charing Cross, London. It is immediately south of the River Thames, which forms its boundary with Eton. The village of Old Windsor, just over 2 miles (3 km) to the south, predates what is now called Windsor by around 300 years; in the past Windsor was formally referred to as New Windsor to distinguish the two.

 

The early history of the site is unknown, although it was almost certainly settled some years before 1070 when William the Conquerorhad a timber motte and bailey castle constructed.[2] The focus of royal interest at that time was not the castle, however, but a small riverside settlement about 3 miles (5 km) downstream, possibly established from the 7th century.

 

Windsor, or Windlesora as it was called in the 11th century, is first mentioned in the Anglo-Saxon Chronicle. The name originates from old English Windles-ore, or 'winch by the riverside'. The settlement had used an earlier name, but this is unknown. From about the 8th century, high status people started to visit the site occasionally, and possibly this included royalty. From the 11th century the site's link with king Edward the Confessor is documented, but again, information about his use of the place is scant. After the Conquest of 1066 royal use of the site increased, probably because it offered good access to woodlands and opportunities for hunting – a sport which also practised military skills. By the late 12th century, and the relocation of the royal household to an enlarged castle in 1110, the site was renamed Old Windsor.

 

Windsor Castle is noted in the Domesday Bookunder the entry for Clewer, the neighbouring manor to Windsor. Although this might seem strange, it occurred because plans for the castle had changed since 1070, and more land had been acquired in Clewer on which to site a castle town. This plan was not actioned until the early 12th century. By 1110, meetings of the Great Council, which had previously taken place at Windlesora, were noted as taking place at the Castle – referred to as New Windsor, probably to indicate that it was a two ward castle/borough complex, similar to other early castle designs, such as Denbigh. Henry I – according to one chronicle – had rebuilt it, and this followed the Norman kings' actions at other royal sites, such as Westminster, where larger and more magnificent accommodation was thought necessary for the new dynasty. King Henry married his second wife at Windsor Castle in 1121, after the White Ship disaster. The settlement at Old Windsor largely transferred to New Windsor during the 12th century, although substantial planning and setting out of the new town (including the parish church, marketplace, bridge, hermitage and leper hospital) did not take place until c. 1170, under Henry II, following the civil war of Stephen's reign. At about the same time, the present upper ward of the castle was rebuilt in stone. Windsor Bridge is the earliest bridge on the Thames between Staines and Reading, built at a time when bridge building was rare; it was first documented in 1191, but had probably been built, according to the Pipe rolls, in 1173. It played an important part in the national road system, linking London with Reading and Winchester, but also, by diverting traffic into the new town, it underpinned the success of its fledgling economy.

 

The town of New Windsor, as an ancient demesne of the Crown, was a privileged settlement from the start, apparently having the rights of a 'free borough', for which other towns had to pay substantial fees to the king. It had a merchant guild (known by the 14th century as the Fraternity or brotherhood of the Holy Trinity) from the early 13th century and, under royal patronage, was made the chief town of the county in 1277, as part of its grant of royal borough status by Edward I's charter. Somewhat unusually, this charter gave no new rights or privileges to Windsor but probably codified the rights which it had enjoyed for many years. Windsor's position as chief town of Berkshire was short-lived, however, as people found it difficult to reach. Wallingford took over this position in the early 14th century. As a self-governing town Windsor enjoyed a number of freedoms unavailable to other towns, including the right to hold its own borough court, the right of membership (or 'freedom') and some financial independence. The town accounts of the 16th century survive in part, although most of the once substantial borough archive dating back to the 12th century was destroyed, probably in the late 17th century.

 

The early history of the site is unknown, although it was almost certainly settled some years before 1070 when William the Conquerorhad a timber motte and bailey castle constructed.[2] The focus of royal interest at that time was not the castle, however, but a small riverside settlement about 3 miles (5 km) downstream, possibly established from the 7th century.

 

Windsor, or Windlesora as it was called in the 11th century, is first mentioned in the Anglo-Saxon Chronicle. The name originates from old English Windles-ore, or 'winch by the riverside'. The settlement had used an earlier name, but this is unknown. From about the 8th century, high status people started to visit the site occasionally, and possibly this included royalty. From the 11th century the site's link with king Edward the Confessor is documented, but again, information about his use of the place is scant. After the Conquest of 1066 royal use of the site increased, probably because it offered good access to woodlands and opportunities for hunting – a sport which also practised military skills. By the late 12th century, and the relocation of the royal household to an enlarged castle in 1110, the site was renamed Old Windsor.

 

Windsor Castle is noted in the Domesday Bookunder the entry for Clewer, the neighbouring manor to Windsor. Although this might seem strange, it occurred because plans for the castle had changed since 1070, and more land had been acquired in Clewer on which to site a castle town. This plan was not actioned until the early 12th century. By 1110, meetings of the Great Council, which had previously taken place at Windlesora, were noted as taking place at the Castle – referred to as New Windsor, probably to indicate that it was a two ward castle/borough complex, similar to other early castle designs, such as Denbigh. Henry I – according to one chronicle – had rebuilt it, and this followed the Norman kings' actions at other royal sites, such as Westminster, where larger and more magnificent accommodation was thought necessary for the new dynasty. King Henry married his second wife at Windsor Castle in 1121, after the White Ship disaster. The settlement at Old Windsor largely transferred to New Windsor during the 12th century, although substantial planning and setting out of the new town (including the parish church, marketplace, bridge, hermitage and leper hospital) did not take place until c. 1170, under Henry II, following the civil war of Stephen's reign. At about the same time, the present upper ward of the castle was rebuilt in stone. Windsor Bridge is the earliest bridge on the Thames between Staines and Reading, built at a time when bridge building was rare; it was first documented in 1191, but had probably been built, according to the Pipe rolls, in 1173. It played an important part in the national road system, linking London with Reading and Winchester, but also, by diverting traffic into the new town, it underpinned the success of its fledgling economy.

 

The town of New Windsor, as an ancient demesne of the Crown, was a privileged settlement from the start, apparently having the rights of a 'free borough', for which other towns had to pay substantial fees to the king. It had a merchant guild (known by the 14th century as the Fraternity or brotherhood of the Holy Trinity) from the early 13th century and, under royal patronage, was made the chief town of the county in 1277, as part of its grant of royal borough status by Edward I's charter. Somewhat unusually, this charter gave no new rights or privileges to Windsor but probably codified the rights which it had enjoyed for many years. Windsor's position as chief town of Berkshire was short-lived, however, as people found it difficult to reach. Wallingford took over this position in the early 14th century. As a self-governing town Windsor enjoyed a number of freedoms unavailable to other towns, including the right to hold its own borough court, the right of membership (or 'freedom') and some financial independence. The town accounts of the 16th century survive in part, although most of the once substantial borough archive dating back to the 12th century was destroyed, probably in the late 17th century.

  

The Last Supper by Franz de Cleyn in the West Gallery of Windsor parish church of St John The Baptist.[3]

New Windsor was a nationally significant town in the Middle Ages, certainly one of the fifty wealthiest towns in the country by 1332. Its prosperity came from its close association with the royal household. The repeated investment in the castle brought London merchants (goldsmiths, vintners, spicers and mercers) to the town in the late 13th century and provided much employment for townsmen. The development of the castle under Edward III, between 1350–68, was the largest secular building project in England of the Middle Ages, and many Windsor people worked on this project, again bringing great wealth to the town. Although the Black Death in 1348 had reduced some towns' populations by up to 50%, in Windsor the building projects of Edward III brought money to the town, and possibly its population doubled: this was a 'boom' time for the local economy. People came to the town from every part of the country, and from continental Europe. The poet Geoffrey Chaucerheld the honorific post of 'Clerk of the Works' at Windsor Castle in 1391.

 

The development of the castle continued in the late 15th century with the rebuilding of St George's Chapel. With this Windsor became a major pilgrimage destination, particularly for Londoners. Pilgrims came to touch the royal shrine of the murdered Henry VI, the fragment of the True Cross and other important relics. Visits to the chapel were probably combined with a visit to the important nearby Marian shrine and college at Eton, founded by Henry VI in 1440, and dedicated to the Assumption; which is now better known as Eton College. Pilgrims came with substantial sums to spend. From perhaps two or three named inns in the late 15th century, some 30 can be identified a century later. The town again grew in wealth. For London pilgrims, Windsor was probably – but briefly – of greater importance than Canterbury and the shrine of the City's patron Saint Thomas Becket. With the closures of the Reformation, however, Windsor's pilgrim traffic died out. Henry VIII was buried in St George's Chapel in 1547, next to Jane Seymour, the mother of his only legitimate son, Edward (Edward VI). Henry, the founder of the Church of England, may have wanted to benefit from the stream of Catholic pilgrims coming to the town. His will gives that impression.

 

The town began to stagnate about ten years after the Reformation. The castle was considered old-fashioned and shrines to the dead were thought to be superstitious. The early modern period formed a stark contrast to the medieval history of the town. Most accounts of Windsor in the 16th and 17th centuries talk of its poverty, badly made streets and poor housing. Shakespeare's play The Merry Wives of Windsor is set in Windsor and contains many references to parts of the town and the surrounding countryside. Shakespeare must have walked the town's streets, near the castle and river, much as people still do. The play may have been written in the Garter Inn, opposite the Castle, but this was destroyed by fire in the late 17th century. The long-standing – and famous – courtesan of king Charles II, Nell Gwyn, was given a house on St Albans Street: Burford House (now part of the Royal Mews). Her residence in this house, as far as it is possible to tell, was brief. Only one of her letters addressed from Burford House survives: it was probably intended as a legacy for her illegitimate son, the Earl of Burford, later the Duke of St Albans.

 

Windsor was garrisoned by Colonel Venn during the English Civil War. Later it became the home of the New Model Army when Venn had left the castle in 1645. Despite its royal dependence, like many commercial centres, Windsor was a Parliamentarian town. Charles Iwas buried without ceremony in St George's Chapel after his execution at Whitehall in 1649. The present Guildhall, built in 1680–91, replaced an earlier market house that had been built on the same site around 1580, as well as the old guildhall, which faced the castle and had been built around 1350. The contraction in the number of old public buildings speaks of a town 'clearing the decks', ready for a renewed period of prosperity with Charles II's return to the Castle. But his successors did not use the place, and as the town was short of money, the planned new civic buildings did not appear. The town continued in poverty until the mid 19th century.

 

In 1652 the largest house in Windsor Great Park was built on land which Oliver Cromwell had appropriated from the Crown. Now known as Cumberland Lodge after the Duke of Cumberland's residence there in the mid 18th century, the house was variously known as Byfield House, New Lodge, Ranger's Lodge, Windsor Lodge and Great Lodge.

 

In 1778, there was a resumption of the royal presence, with George III at the Queen's Lodge and, from 1804, at the castle. This started a period of new development in Windsor, with the building of two army barracks. However the associated large numbers of soldiers led to a major prostitution problem by 1830, in a town where the number of streets had little changed since 1530. In the 18th c. the town traded with London selling the Windsor Chair which was actually made in Buckinghamshire.

 

A number of fine houses were built in this period, including Hadleigh House on Sheet Street, which was built in 1793 by the then Mayor of Windsor, William Thomas. In 1811 it was the home of John O'Reilly, the apothecary-surgeon to George III.

 

Windsor Castle was the westernmost sighting-point for the Anglo-French Survey (1784–1790), which measured the precise distance between the Royal Greenwich Observatory and the Paris Observatory by trigonometry. Windsor was used because of its relative proximity to the base-line of the survey at Hounslow Heath.

 

The substantial redevelopment of the castle in the subsequent decade and Queen Victoria's residence from 1840, as well as the coming of two railways in 1849, signalled the most dramatic changes in the town's history. These events catapulted the town from a sleepy medieval has-been to the centre of empire – many European crowned heads of state came to Windsor to visit the Queen throughout the rest of the 19th century. Unfortunately, excessive redevelopment and 'refurbishment' of Windsor's medieval fabric at this time resulted in widespread destruction of the old town, including the demolition of the old parish church of St John the Baptist in 1820. The original had been built around 1135.

 

Most of the current town's streets date from the mid to late 19th century.[5] However the main street, Peascod Street (pronunciation: /ˈpɛskɒd/) is very ancient, predating the castle by many years, and probably of Saxon origin. It formed part of the 10th-century parish structure in east Berkshire[citation needed] and is first referred to as Peascroftstret in c. 1170. The 1000-year-old royal Castle, although the largest and longest-occupied in Europe, is a recent development in comparison. "New Windsor" was officially renamed "Windsor" in 1974.

 

is accessible from Junction 6 of the M4 and from Slough via a 3 mile long dual carriageway. Bus services in the town are mostly provided by First Berkshire & The Thames Valley, although a park-and-rideservice and one local route are operated by Courtney Coaches.

 

Windsor has two railway stations. Windsor & Eton Central railway station has a shuttle service to Slough. Windsor & Eton Riverside station provides a service to London Waterloo. Both stations were time in the 19th century, as the two train companies which owned the lines both wanted to carry Queen Victoria to Windsor, with the first line opened gaining the privilege.[8] From 1883 to 1885, the London Underground's District line's westbound service ran as far as Windsor.

 

Windsor has frequent bus services to/from London Heathrow Airport, Victoria Coach Station in central London and Legoland Windsor Resort.

  

en.m.wikipedia.org/wiki/Windsor,_Berkshire

  

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Precise work with my glasses off, not only to get the thread through the needle, but to have and keep the focus on the needle and my eye behind it as well.

Manual focus appeared the best option here, and I measured the distance between lens and needle for each shot. Many shots were still out of focus but some succeeded.

 

ODC - Theme (13-10-2012): Eyes

Baroque interior of the Church of St. Quirinus, the former abbey church of Tegernsee Abbey, seen from ist portal, Tegernsee, Bavaria, Germany

 

Some background information:

 

Tegernsee Abbey is a former Benedictine monastery in the town of Tegernsee in Bavaria. Both the abbey and the town are named after Lake Tegernsee and are located on its southeastern bank. The monastery, officially known as St. Quirinus Abbey for its patron saint St. Quirinus, was founded in the 8th century by the princely brothers Oatkar and Adalbert from the family of the Huosi, one of the five old ruling clans of Bavaria.

 

The precise year of foundation of the monastic community at Tegernsee was 746 and the place of foundation was a spot near the little Church of Our Saviour that was already in existence. In 754, the abbey was consecrated and occupied. It was settled by monks from St. Gall and dedicated to Saint Quirinus, a Roman martyr. It is well established that the founders of the abbey obtained the relics of Quirinus from Pope Paul I and that these relics were brought from Rome to Tegernsee in the second half of the eighth century, where they were placed in the Church of Our Saviour. Subsequently, Tegernsee Abbey spread the message of Christianity as far as Tyrol and Lower Austria.

 

After the fall of Tassilo III, Duke of Bavaria, in 788, Tegernsee became a Carolingian Empire royal monastery during the Carolingian Renaissance. But the community was greatly weakened by Hungarian raids in the first half of the 10th century. Arnulf, then Duke of Bavaria, also had to face the Hungarian thread, and hence, had to strengthen his defence. He achieved this by confiscation of church lands and the secularization of numerous monastery estates. As a consequence, Tegernsee Abbey suffered a sustained decline, culminating in the fire of around 970.

 

However, under Emperor Otto II, the monstery was restored and re-established as an imperial abbey in 978. Monks from St. Maximin's Abbey in Trier moved to Lake Tegernsee and the abbey entered a new period of growth. In the 11th century, Tegernsee Abbey became a centre of literature, manuscript production and learning, and was also active in the resettlement of other Benedictine houses in Bavaria, including the newly founded Abbey of Saints Ulrich and Afra in Augsburg. A little later a glass works for stained-glass windows and a bell foundry were established at Tegernsee Abbey too.

 

Thie abbey‘s golden age lasted almost to the end of the 12th century. However, a period of decline followed. After the political and economic interests of the noble families of Berg, Andechs and Hohenstaufen had began to dominate Tegernsee Abbey as the result of political intrigue, it declined during the 13th and 14th centuries into little more than a private monastery dependent on a small number of noble families. And to make matters even worse, it burnt down in 1410.

 

However, the year 1426 marked a new beginning. With the support of the Pope, Tegernsee Abbey became a focus of the Reforms of Melk Abbey, which opened Benedictine houses hitherto restricted to the nobility to a wider range of social classes. This second flowering continued into the early modern period. From 1573, the monastery had its own printing press, which was allowed to print many books on theology, liturgy and the theory of music. The monastic community even survived the confusion of the Thirty Years' War, when the abbey was raided by Swedish soldiers.

 

In 1684, Tegernsee Abbey became also a prominent member of the Benedictine Bavarian Congregation. But in 1803, the secularisation in Bavaria brought Tegernsee Abbey to an end. The greater part of the site was bought by baron von Drechsel for his brewery, but he later sold a small part back to an unofficial monastic community, which remained until 1861. The main buildings of the monastery itself were acquired in 1817 by King Maximilian I Joseph of Bavaria. Shortly afterwards, they became a possession of the Dukes in Bavaria (a side branch of the ruling Wittelsbach family, the Kings of Bavaria).

 

The Dukes in Bavaira were attracted by the unusually beautiful location, and turned Tegernsee Abbey into their summer residence. Known since then as Schloss Tegernsee, it is still the property of that family. The present owner is Prince Max, Duke in Bavaria. The building is home to the Ducal Bavarian Brewery of Tegernsee, an affiliated restaurant, the Tegernsee Grammar School, and the twin-towered church of St. Quirinus right in the middle of the building. The brewery is owned by Duchess Maria Anna Henriette Gabrielle Julie in Bavaria, the youngest daughter of the duke.

 

The huge building complex, as it can be seen today, consists of a four-wing structure encompassing two inner courtyards. Basically, it dates from the Gothic period, but between 1684 and 1688, the monastic buildings and the church were refurbished in the Baroque style. However, parts of the crypt and the lower sections of the twin-towered facade may even date back to the rebuilding of the monastery around 980.

 

The Tegernsee is a so-called tongue-basin lake in the Bavarian Alps in southern Germany. The lake is the centre of a popular recreation area 50 kilometres (31 miles) south-east of Munich. Communities on the lake include the eponymous Tegernsee, as well as Bad Wiessee, Kreuth, Gmund, and Rottach-Egern.

 

The lake is some 6.5 kilometres (4.0 miles) in length, 1.4 kilometres (0.87 miles) across at its widest, and spans an area of 8.934 square kilometres (3.449 square miles). It reaches a maximum depth of 72.6 metres (238 feet), with an average depth of 36.3 metres (119 feet). Its normal water level is 725.5 metres (2,380 feet) above sea level. The lake flows into the River Mangfall, a tributary of the River Inn and thence the River Danube.

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

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Taken at Sanjeevaiah Park, in Hyderabad, south of India. (Please check the map for precise information)

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A few streets removed from Long Beach’s tourist strip stands an exceptionally well-composed late Victorian house—apparently uncelebrated, yet deserving the sort of careful notice usually reserved for an officially inventoried landmark. Its precise date is not yet documented, but the architecture strongly suggests about 1890–1905, with the balance of evidence pointing toward the later 1890s.

 

The house belongs broadly to the vernacular Queen Anne tradition, enriched by ornamental details derived from the Stick and Eastlake modes. It is not a flamboyant “high-style” Queen Anne: there is no turret, restless roofline or riot of contrasting materials. Its distinction lies instead in discipline. A long, two-story, side-gabled main block is interrupted by a large projecting front gable, producing just enough asymmetry to enliven an otherwise calm rectangular composition. The generous full-width porch gives the façade a strong horizontal base, while the steep front gable, tall windows and slender porch supports draw the eye upward. These competing horizontal and vertical impulses are held in unusually graceful equilibrium.

 

The principal gable is the architectural climax. Its broad field of diamond-pattern shingles rises above the second-story windows to an elaborate apex treatment: a central upright divides two spreading, fanlike panels whose scalloped lower edges create the effect of a partially opened shell or sunburst. This is not a structural bracket in the strictest sense but an ornamental gable screen—a piece of applied carpentry intended to animate the triangular void beneath the roof. It belongs to the late nineteenth-century world of pattern books, mill-produced trim and local carpenters who could combine standardized parts in highly individual ways. The result is decorative without becoming fussy: the ornament fills the apex neatly, reinforces the roof geometry and gives the house an immediately recognizable silhouette.

 

Below it, the paired second-story windows are tall and narrow, with plain surrounds and a modest projecting sill. Their vertical proportions continue on the ground floor, where the unusually elongated window openings lend the porch elevation an almost stately rhythm. The windows appear largely to retain the simple one-over-one sash configuration favored during the final decades of the nineteenth century, when larger panes of glass were becoming affordable and the more subdivided sash of earlier houses was falling from fashion.

 

The porch is nearly as important as the gable. It extends across the entire façade and wraps slightly around the ends, functioning both as outdoor living space and as the house’s principal architectural stage. The roof rests on slender square posts rather than turned columns. At each post, delicate diagonal braces form a repeated pattern of crosses, forks and small triangular openings. These are characteristic products of the Stick–Eastlake ornamental vocabulary: flat, sawn members arranged to suggest joinery and structure, though their chief purpose is visual. Their repeated cadence gives the porch something of the lightness of a wooden arcade. The balustrade below is intentionally quieter, composed of close-set vertical rails that allow the upper brackets to remain the dominant feature.

 

The house is also notable for what it avoids. Its ornament is concentrated at points of structural emphasis—the porch posts, cornice line and gable apex—rather than scattered indiscriminately over the walls. Broad areas of shingle siding are therefore allowed to read as texture and plane. The façade possesses variety, but not visual noise. Even the projecting gable is placed with care: offset from the center, it establishes the asymmetry expected of Queen Anne design while leaving the long porch and main roof sufficiently continuous to preserve an air of repose.

 

Its materials contribute substantially to its character. The weathered cedar shingles of the upper walls retain the subdued mottling produced by decades of salt air, rain and coastal vegetation. Painted lower walls and white trim distinguish the building’s structural and ornamental elements without obscuring its essentially wooden character. The hydrangeas and marguerites are not historically diagnostic, but they suit the architecture wonderfully, softening the porch lattice and reinforcing the impression of a long-established coastal garden.

 

The building should also be understood in relation to Long Beach’s emergence as a resort community. The settlement developed around H. H. Tinker’s hotel in the early 1880s and was already attracting summer visitors before the Ilwaco railroad arrived in 1888. The rail line then made the peninsula far more accessible to travelers arriving by steamer from Portland and Astoria, encouraging the construction of hotels, cottages and permanent houses during the prosperous decades around 1900. ([Revisiting Washington][1]) This house appears to belong to that formative period, when Long Beach was making the transition from scattered seaside settlement to established resort town.

 

Whether it began as a year-round residence, a boarding house or an unusually substantial summer home cannot be determined from the photograph alone. Its scale, multiple upstairs windows and extraordinarily broad porch would be compatible with any of those uses. The porch in particular belongs to a coastal culture in which the boundary between domestic interior and resort landscape was meant to remain permeable: it offered shelter from rain, shade in summer, a place to receive visitors and an elevated platform from which to observe street life.

 

From a preservation standpoint, the house appears to retain a high degree of architectural integrity. Its overall massing, roof form, porch, window proportions, shingle cladding and ornamental woodwork remain legible and mutually coherent. Some siding, sash, porch fabric or foundation screening may have been repaired or replaced over time, as would be expected in a coastal environment, but no conspicuous alteration has overwhelmed the historic design. The front elevation still conveys the workmanship, materials, feeling and domestic scale of late nineteenth-century Long Beach.

 

Its potential significance would most plausibly rest on architecture and local development rather than association with a famous person. It is an unusually accomplished example of a substantial vernacular Victorian residence, distinguished by its proportions, intact porch arcade and rare gable ornament. It may also illustrate the residential expansion that accompanied Long Beach’s emergence as a rail-accessible seaside resort. A formal evaluation would require the address, parcel history, tax records, Sanborn maps, historic photographs and examination of the interior and side elevations. Washington’s statewide inventory system contains many such survey records, but absence from an inventory would not imply absence of significance. ([Washington Archaeology][2])

 

What makes the house memorable is not merely the survival of ornamental fragments. It survives as a complete composition. The long roof, projecting gable, narrow windows, deep porch and repeated brackets still act together, giving the building a poise that is both picturesque and remarkably restrained. It is precisely the sort of unheralded place that gives a town historical depth: not a monument imposed upon the streetscape, but a beautiful ordinary building whose quality becomes apparent only when someone pauses, looks closely—and discovers it.

 

[1]: revisitwa.org/side_trip/long-beach/?utm_source=chatgpt.com "Revisiting Washington — Long Beach"

[2]: dahp.wa.gov/historic-registers/national-register-of-histo... "National Register of Historic Places | Washington State ..."

 

50mm macro inverse test

 

1 of the 15 official wallpapers for ubuntu 12.04 Precise Pangolin.

 

higher resolution:

bugs.launchpad.net/ubuntu/+source/ubuntu-wallpapers/+bug/...

No precise date on this one, Crosville Bristol RE TFM268K which has ECW C47F is seen with a little boy climbing or descending the mountainous steps at Victoria Coach Station.

The coach was new in July 1972 and was I think one of the first two Crosville coaches delivered in National livery, give the coaches behind it and next to it are in company livery I would guess this is late 1972 or 1973.

Image from a slide in my collection by an unknown photographer.

The San Francisco cable car system is the world's last manually operated cable car system and an icon of the city of San Francisco. The system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, which also includes the separate E Embarcadero and F Market & Wharves heritage streetcar lines, and the Muni Metro modern light rail system. Of the 23 cable car lines established between 1873 and 1890, only three remain (one of which combines parts of two earlier lines): two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street.

 

While the cable cars are used to a certain extent by commuters, the vast majority of the millions of passengers who use the system every year are tourists, and as a result, the wait to get on can often reach two hours or more. They are among the most significant tourist attractions in the city, along with Alcatraz Island, the Golden Gate Bridge, and Fisherman's Wharf.

 

San Francisco's cable cars are listed on the National Register of Historic Places and is one of only two street railways to be named a National Historic Landmark, along with the St. Charles Streetcar Line in New Orleans.

 

In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses. Hallidie solicited financial support in 1871 and 1872, and his primary backers were Henry L. Davis, Joseph Britton, and James Moffit.

 

The first successful cable-operated street running train was the Clay Street Hill Railroad, which had its inaugural run on August 2, 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer; both Hallidie and Eppelsheimer obtained several patents for their work on the Clay Street line. The line involved the use of grip cars, which carried the grip that engaged with the cable, towing trailer cars; the design was the first to use grips. The term "grip" became synonymous with the operator.

 

The line started regular service on September 1, 1873, and its success led it to become the template for other cable car transit systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.

 

Accounts differ as to the precise degree of Hallidie's involvement in the inception of the line, and to the exact date on which it first ran. According to the franchise granted by the city, operations were required to begin by August 1, 1873. A retrospective published in 1895 stated that a single car was run over the line at 4 am on the morning of August 1 with few witnesses to ensure the franchise would not expire.  Eppelsheimer would later bring a suit against Hallidie and the Clay Street Hill RR in June 1877 over patents, but dismissed it voluntarily the following March.

 

The next cable car line to open was the Sutter Street Railway, which converted from horse operation in January 1877. This line introduced the side grip, and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt.  This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.

 

In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street, and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.

 

In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and would grow to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.

 

In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line. The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.

 

In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.

 

In all, twenty-three lines were established between 1873 and 1890.

 

The San Francisco cable car system is the world's last manually operated cable car system and an icon of the city of San Francisco. The system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, which also includes the separate E Embarcadero and F Market & Wharves heritage streetcar lines, and the Muni Metro modern light rail system. Of the 23 cable car lines established between 1873 and 1890, only three remain (one of which combines parts of two earlier lines): two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street.

 

While the cable cars are used to a certain extent by commuters, the vast majority of the millions of passengers who use the system every year are tourists, and as a result, the wait to get on can often reach two hours or more. They are among the most significant tourist attractions in the city, along with Alcatraz Island, the Golden Gate Bridge, and Fisherman's Wharf.

 

San Francisco's cable cars are listed on the National Register of Historic Places and is one of only two street railways to be named a National Historic Landmark, along with the St. Charles Streetcar Line in New Orleans.

 

In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses. Hallidie solicited financial support in 1871 and 1872, and his primary backers were Henry L. Davis, Joseph Britton, and James Moffit.

 

The first successful cable-operated street running train was the Clay Street Hill Railroad, which had its inaugural run on August 2, 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer; both Hallidie and Eppelsheimer obtained several patents for their work on the Clay Street line. The line involved the use of grip cars, which carried the grip that engaged with the cable, towing trailer cars; the design was the first to use grips. The term "grip" became synonymous with the operator.

 

The line started regular service on September 1, 1873, and its success led it to become the template for other cable car transit systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.

 

Accounts differ as to the precise degree of Hallidie's involvement in the inception of the line, and to the exact date on which it first ran. According to the franchise granted by the city, operations were required to begin by August 1, 1873. A retrospective published in 1895 stated that a single car was run over the line at 4 am on the morning of August 1 with few witnesses to ensure the franchise would not expire.  Eppelsheimer would later bring a suit against Hallidie and the Clay Street Hill RR in June 1877 over patents, but dismissed it voluntarily the following March.

 

The next cable car line to open was the Sutter Street Railway, which converted from horse operation in January 1877. This line introduced the side grip, and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt. This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.

 

In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street, and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.

 

In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and would grow to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.

 

In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line. The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.

 

In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.

 

In all, twenty-three lines were established between 1873 and 1890.

 

The cable cars are pulled by a cable running below the street, held by a grip that extends from the car through a slit in the street surface, between the rails. Each cable is 1.25 inches (3.2 cm) in diameter, running at a constant speed of 9.5 miles per hour (15.3 km/h), and driven by a 510 horsepower (380 kW) electric motor located in the central power house (see below), via a set of self-adjusting sheaves. Each cable has six steel strands, with each strand containing 19 wires, wrapped around a sisal rope core (to allow easier gripping). The cable is coated with a synthetic lubricant to reduce wear and friction. Historically, pine tar was used to lubricate the cable. To start and stop the movement of the car, the grip operator (see below) closes and opens the grip around the cable (similar to the clutch of a conventional car). The grip's jaws exert a pressure of up to 30,000 pounds per square inch (210,000 kPa) on the cable. Due to wear and tear, a grip's dies have to be replaced after three days of usage.

 

There are four separate cables: one 16,000-foot (4,900 m) length and one 10,300-foot (3,100 m) length for the Hyde and Mason segments, a 9,300-foot (2,800 m) length for their common Powell section, and one 21,000-foot (6,400 m) length for the California Street line.

 

Apart from the cable itself (which limits the speeds of cars when going downhill), the cable cars use three separate braking systems:

 

Metal brake shoes on the wheels. The single-ended cars used on the Powell–Mason and Powell–Hyde lines have a foot pedal, controlled by the grip operator, that applies the brakes on the front wheels and a handle, operated by the conductor, that applies the brakes on the rear wheels. On the double-ended cars used on the California St. line, there are pedals near both grips, one controlled by the grip operator, the other by the conductor.

 

Wooden brake blocks pressed against the track when the gripman pulls a lever. The four blocks are made of Monterey Fir and can produce a smell of burning wood when in operation. They have to be replaced after just a few days.

An emergency brake consisting of a piece of steel, around 1.5 inches (40 mm) thick and 18 inches (460 mm) long, suspended beneath the car and pushed into the track slot when the gripman pulls a red lever. It wedges tightly into the slot and often has to be removed with a cutting torch.

 

Electrical system

Over the years, the cable cars have been retrofitted with several electrical components, including headlights, interior lighting, a GPS tracking system and cameras. However, unlike most modern trains, the cable cars have no method to generate power on board and instead must use large batteries that are recharged in the car barn. In 2018, the incandescent bulbs used for the headlights and interior lighting were replaced with LED bulbs which increased visibility for operators and had a lower drain on the batteries.

 

The current cable car network consists of three routes:

The Powell–Mason (Line 59 or PM) line, follows a common route with the Powell–Hyde line, running north and steeply uphill from a terminal at Powell and Market Streets, before crossing the California Street line at the crest of the hill. Once California Street has been crossed, cars coast downhill, off the cable, for three and a half blocks until the lines split as they turn left onto Jackson Street (as this is one-way, cable cars in the opposite direction use the parallel Washington Street). This line turns North, merges, and continues downhill along Mason Street, briefly half left along Columbus Avenue, and then down Taylor Street to a terminal at Taylor and Bay. This terminus is two blocks south of Fisherman's Wharf and is the closest to Pier 39. As with the Powell–Hyde line, there are manually-powered turntables at each end to reverse the cars. The Powell–Mason line has been in operation since 1888.

The Powell–Hyde (Line 60 or PH) line, follows a common route with the Powell–Mason line, running north and steeply uphill from a terminal at Powell and Market Streets, before crossing the California Street line at the crest of the hill. Once California Street has been crossed, cars coast downhill, off the cable, for three and a half blocks until the lines split as they turn left onto Jackson Street. As this section is one-way, cable cars in the opposite direction use the parallel Washington Street. The cars on this line continue uphill on Jackson/Washington to a crest at Hyde Street. Here the line turns North past the "crooked" Lombard Street, then runs steeply downhill (at 21%, the steepest grade in the cable car system) along Hyde Street, to the Hyde and Beach terminal, which is adjacent to the waterfront at the San Francisco Maritime Museum and Ghirardelli Square. As with the Powell–Mason line, there are manually-powered turntables at each end to reverse the cars. The line was spliced together in 1957 using portions of the O'Farrell, Jones & Hyde line and the Washington–Jackson line. Because this line offers iconic views of Alcatraz Island, passes Lombard Street and terminates near popular tourist destinations, it is the most popular with tourists and often has long waits to board.

The California Street (Line 61 or C) line runs east and west on California Street from a terminal at California and Market Streets, close to the famed Embarcadero to Van Ness Avenue. The California Street cable cars use double-ended cars with "grip" levers at either end of the longer cars which are operated in each direction without the cars being turned at the ends of the line, where the double tracks converge into a single "stub-end" track. The line once ran a much longer distance from Presidio Avenue to Market Street but service west of Van Ness Avenue was discontinued in 1954. Calls to restore the route to its original length are heard from time to time but nothing serious towards this end has been proposed. This route runs only on California Street, running at first uphill to the summit of Nob Hill, then more gently downhill to a terminus at Van Ness Avenue. This line is used to a greater extent by commuters, with the majority of passengers on weekdays being commuters.

There is also a set of non-revenue tracks from the California Street line along Hyde Street to join the Powell–Hyde line at Hyde and Washington. This connection exists to enable California Street cars to reach the car barn.

 

A small signal tower controls the crossing of the lines at the intersection of California Street and Powell Street. It has been rebuilt in 1907, 1937, 1967, and 2020–2021.

 

The system generally starts operating at 5:30 am each day and shuts down at 1:30 am.

 

The cable car system connects at both its terminals on Market Street with the F Market heritage streetcar line. The Taylor and Bay terminal, and the Hyde and Beach terminal, are both short walks from the F Market line. The system connects with other Muni lines and BART at the Powell & Market and California & Drumm terminals.

 

As of January 1, 2020, riding a cable car costs $8 for a single ride, except for seniors riding before 7 am or after 9 pm when the fare is $4. Cable car rides are included in monthly Muni passes, as well as 1-day, 3-day, 7-day passes, and the CityPASS program. Passes loaded on a Clipper card can be read by the conductor with a mobile device. Transfers or fare receipts are not accepted. In the 1960s, the fare for a single ride was 15 cents.

 

There are 27 cars in rotation when the system is operating. They come in two kinds:

Single-ended cars serve the Powell–Hyde and Powell–Mason lines. These cars have an open-sided front section, with outward-facing seats flanking the gripman and a collection of levers that actuate the grip and various brakes. The rear half of the car is enclosed with seats facing inward and entrances at each end, and the car has a small platform at the rear. These cars are 27 feet 6 inches (8.4 m) long and 8 feet (2.4 m) wide and weigh 15,500 pounds (7,000 kg). They have a passenger capacity of 60, 29 of them seated. These cars must be rotated to reverse direction at each end of the line, an operation performed on turntables. Most of these cars were built or rebuilt at Muni's Woods Carpentry Division.

Double-ended cars serve the California Street line. These cars are somewhat longer, having open-sided grip sections at both ends and an enclosed section in the middle. These cars are 30 feet 3 inches (9.2 m) long and 8 feet (2.4 m) wide and weigh 16,800 pounds (7,600 kg). They can hold 68 passengers, 34 of them seated. The California Street line lacks turning capabilities at each end, resulting in the necessity of the double-ended cars. Some of these cars are former O'Farrell, Jones, and Hyde Street cable cars, while some cars were built at Muni's Woods Carpentry Division.

There are 28 single-ended cars available for operation on the Powell lines and 12 double-ended cars on the California Street line.

 

Both types of car ride on a pair of four-wheel trucks, to fit the track's 3 ft 6 in (1,067 mm) narrow gauge. The term California Street car, as in a car running on the California Street line, should not be confused with the term California Car. The latter term applies to all the cable cars currently operating in San Francisco and is a historical term distinguishing this style of car from an earlier style where the open grip section and the enclosed section were separate four-wheel cars (known as the grip car and trailer).

 

The cable cars are occasionally replaced with new or restored cars, with the old cars being moved to storage for later restoration. There are two historic cable cars in storage in the cable car museum: car numbers 19 and 42, which were used on the Sacramento-Clay and O'Farrell, Jones and Hyde Street lines, respectively.

 

The cable-car barn is located between Washington and Jackson Streets just uphill of where Mason Street crosses them. Cars reverse into the barn off Jackson Street and run out into Washington Street, coasting downhill for both moves. To ensure that single-ended cars leave facing in the correct direction, the car barn contains a fourth turntable. Cars are moved around the car barn with the assistance of a rubber-tired tractor.

 

As of 2018, the cable-car barn was staffed with 17 mechanics, six custodians, three carpenters, two painters, two supervisors and one superintendent.

 

The car barn is situated directly west of the power house and the Cable Car Museum. The museum's entrance is at Washington and Mason. It contains several examples of old cable cars, together with smaller exhibits and a shop. Two galleries allow the visitor to overlook the main power house, and also to descend below the junction of Washington and Mason Streets and see the large cavern where the cables are routed out to the street via huge sheaves.

 

The car is driven by the grip, whose job requires strength, coordination, and balance. The grip must smoothly grip and release the cable, know the points at which the grip must be released to coast over intersecting lines or places where the cable does not follow the tracks, and maintain clearance from other traffic. The conductor collects fares, manages crowding, and controls the rear-wheel brakes on some hills.

 

On the second or third Thursday of each July, a cable car bell-ringing contest is held in Union Square between cable car crews, following a preliminary round held during the second to last or the last week of June. The preliminary round determines which contestants go on to the finals in Union Square, by a process of points awarded by a panel of judges

 

San Francisco officially the City and County of San Francisco, is a commercial, financial, and cultural center in Northern California. With a population of 808,437 residents as of 2022, San Francisco is the fourth most populous city in the U.S. state of California. The city covers a land area of 46.9 square miles (121 square kilometers) at the end of the San Francisco Peninsula, making it the second-most densely populated large U.S. city after New York City and the fifth-most densely populated U.S. county, behind only four New York City boroughs. Among the 92 U.S. cities proper with over 250,000 residents, San Francisco was ranked first by per capita income and sixth by aggregate income as of 2022. Colloquial nicknames for San Francisco include Frisco, San Fran, The City, and SF (although Frisco and San Fran are generally not used by locals).

 

Prior to European settlement, the modern city proper was inhabited by the Yelamu, who spoke a language now referred to as Ramaytush Ohlone. On June 29, 1776, settlers from New Spain established the Presidio of San Francisco at the Golden Gate, and the Mission San Francisco de Asís a few miles away, both named for Francis of Assisi. The California Gold Rush of 1849 brought rapid growth, transforming an unimportant hamlet into a busy port, making it the largest city on the West Coast at the time; between 1870 and 1900, approximately one quarter of California's population resided in the city proper. In 1856, San Francisco became a consolidated city-county. After three-quarters of the city was destroyed by the 1906 earthquake and fire, it was quickly rebuilt, hosting the Panama-Pacific International Exposition nine years later. In World War II, it was a major port of embarkation for naval service members shipping out to the Pacific Theater. In 1945, the United Nations Charter was signed in San Francisco, establishing the United Nations and in 1951, the Treaty of San Francisco re-established peaceful relations between Japan and the Allied Powers. After the war, the confluence of returning servicemen, significant immigration, liberalizing attitudes, the rise of the beatnik and hippie countercultures, the sexual revolution, the peace movement growing from opposition to United States involvement in the Vietnam War, and other factors led to the Summer of Love and the gay rights movement, cementing San Francisco as a center of liberal activism in the United States.

 

San Francisco and the surrounding San Francisco Bay Area are a global center of economic activity and the arts and sciences, spurred by leading universities, high-tech, healthcare, finance, insurance, real estate, and professional services sectors. As of 2020, the metropolitan area, with 6.7 million residents, ranked 5th by GDP ($874 billion) and 2nd by GDP per capita ($131,082) across the OECD countries, ahead of global cities like Paris, London, and Singapore. San Francisco anchors the 13th most populous metropolitan statistical area in the United States with 4.6 million residents, and the fourth-largest by aggregate income and economic output, with a GDP of $729 billion in 2022. The wider San Jose–San Francisco–Oakland Combined Statistical Area is the fifth-most populous, with 9.0 million residents, and the third-largest by economic output, with a GDP of $1.32 trillion in 2022. In the same year, San Francisco proper had a GDP of $252.2 billion, and a GDP per capita of $312,000. San Francisco was ranked fifth in the world and second in the United States on the Global Financial Centres Index as of September 2023. Despite an ongoing post-COVID-19 pandemic exodus of over 30 retail businesses from the northeastern quadrant of San Francisco, including the downtown core, the city is still home to numerous companies inside and outside of technology, including Salesforce, Uber, Airbnb, X Corp., Levi's, Gap, Dropbox, and Lyft.

 

In 2022, San Francisco had more than 1.7 million international visitors - the fifth-most visited city from abroad in the United States after New York City, Miami, Orlando, and Los Angeles - and approximately 20 million domestic visitors for a total of 21.9 million visitors. The city is known for its steep rolling hills and eclectic mix of architecture across varied neighborhoods, as well as its cool summers, fog, and landmarks, including the Golden Gate Bridge, cable cars, and Alcatraz, along with the Chinatown and Mission districts. The city is home to a number of educational and cultural institutions, such as the University of California, San Francisco, the University of San Francisco, San Francisco State University, the San Francisco Conservatory of Music, the de Young Museum, the San Francisco Museum of Modern Art, the San Francisco Symphony, the San Francisco Ballet, the San Francisco Opera, the SFJAZZ Center, and the California Academy of Sciences. Two major league sports teams, the San Francisco Giants and the Golden State Warriors, play their home games within San Francisco proper. San Francisco's main international airport offers flights to over 125 destinations while a light rail and bus network, in tandem with the BART and Caltrain systems, connects nearly every part of San Francisco with the wider region.

 

California is a state in the Western United States, located along the Pacific Coast. With nearly 39.2 million residents across a total area of approximately 163,696 square miles (423,970 km2), it is the most populous U.S. state and the 3rd largest by area. It is also the most populated subnational entity in North America and the 34th most populous in the world. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions respectively, with the former having more than 18.7 million residents and the latter having over 9.6 million. Sacramento is the state's capital, while Los Angeles is the most populous city in the state and the second most populous city in the country. San Francisco is the second most densely populated major city in the country. Los Angeles County is the country's most populous, while San Bernardino County is the largest county by area in the country. California borders Oregon to the north, Nevada and Arizona to the east, the Mexican state of Baja California to the south; and has a coastline along the Pacific Ocean to the west.

 

The economy of the state of California is the largest in the United States, with a $3.4 trillion gross state product (GSP) as of 2022. It is the largest sub-national economy in the world. If California were a sovereign nation, it would rank as the world's fifth-largest economy as of 2022, behind Germany and ahead of India, as well as the 37th most populous. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second- and third-largest urban economies ($1.0 trillion and $0.5 trillion respectively as of 2020). The San Francisco Bay Area Combined Statistical Area had the nation's highest gross domestic product per capita ($106,757) among large primary statistical areas in 2018, and is home to five of the world's ten largest companies by market capitalization and four of the world's ten richest people.

 

Prior to European colonization, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America and contained the highest Native American population density north of what is now Mexico. European exploration in the 16th and 17th centuries led to the colonization of California by the Spanish Empire. In 1804, it was included in Alta California province within the Viceroyalty of New Spain. The area became a part of Mexico in 1821, following its successful war for independence, but was ceded to the United States in 1848 after the Mexican–American War. The California Gold Rush started in 1848 and led to dramatic social and demographic changes, including large-scale immigration into California, a worldwide economic boom, and the California genocide of indigenous people. The western portion of Alta California was then organized and admitted as the 31st state on September 9, 1850, following the Compromise of 1850.

 

Notable contributions to popular culture, for example in entertainment and sports, have their origins in California. The state also has made noteworthy contributions in the fields of communication, information, innovation, environmentalism, economics, and politics. It is the home of Hollywood, the oldest and one of the largest film industries in the world, which has had a profound influence upon global entertainment. It is considered the origin of the hippie counterculture, beach and car culture, and the personal computer, among other innovations. The San Francisco Bay Area and the Greater Los Angeles Area are widely seen as the centers of the global technology and film industries, respectively. California's economy is very diverse: 58% of it is based on finance, government, real estate services, technology, and professional, scientific, and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.S. state. California's ports and harbors handle about a third of all U.S. imports, most originating in Pacific Rim international trade.

 

The state's extremely diverse geography ranges from the Pacific Coast and metropolitan areas in the west to the Sierra Nevada mountains in the east, and from the redwood and Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. California is well known for its warm Mediterranean climate and monsoon seasonal weather. The large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains.

 

Settled by successive waves of arrivals during at least the last 13,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population have ranged from 100,000 to 300,000. The indigenous peoples of California included more than 70 distinct ethnic groups, inhabiting environments from mountains and deserts to islands and redwood forests. These groups were also diverse in their political organization, with bands, tribes, villages, and on the resource-rich coasts, large chiefdoms, such as the Chumash, Pomo and Salinan. Trade, intermarriage and military alliances fostered social and economic relationships between many groups.

 

The first Europeans to explore the coast of California were the members of a Spanish maritime expedition led by Portuguese captain Juan Rodríguez Cabrillo in 1542. Cabrillo was commissioned by Antonio de Mendoza, the Viceroy of New Spain, to lead an expedition up the Pacific coast in search of trade opportunities; they entered San Diego Bay on September 28, 1542, and reached at least as far north as San Miguel Island. Privateer and explorer Francis Drake explored and claimed an undefined portion of the California coast in 1579, landing north of the future city of San Francisco. Sebastián Vizcaíno explored and mapped the coast of California in 1602 for New Spain, putting ashore in Monterey. Despite the on-the-ground explorations of California in the 16th century, Rodríguez's idea of California as an island persisted. Such depictions appeared on many European maps well into the 18th century.

 

The Portolá expedition of 1769-70 was a pivotal event in the Spanish colonization of California, resulting in the establishment of numerous missions, presidios, and pueblos. The military and civil contingent of the expedition was led by Gaspar de Portolá, who traveled over land from Sonora into California, while the religious component was headed by Junípero Serra, who came by sea from Baja California. In 1769, Portolá and Serra established Mission San Diego de Alcalá and the Presidio of San Diego, the first religious and military settlements founded by the Spanish in California. By the end of the expedition in 1770, they would establish the Presidio of Monterey and Mission San Carlos Borromeo de Carmelo on Monterey Bay.

 

After the Portolà expedition, Spanish missionaries led by Father-President Serra set out to establish 21 Spanish missions of California along El Camino Real ("The Royal Road") and along the Californian coast, 16 sites of which having been chosen during the Portolá expedition. Numerous major cities in California grew out of missions, including San Francisco (Mission San Francisco de Asís), San Diego (Mission San Diego de Alcalá), Ventura (Mission San Buenaventura), or Santa Barbara (Mission Santa Barbara), among others.

 

Juan Bautista de Anza led a similarly important expedition throughout California in 1775–76, which would extend deeper into the interior and north of California. The Anza expedition selected numerous sites for missions, presidios, and pueblos, which subsequently would be established by settlers. Gabriel Moraga, a member of the expedition, would also christen many of California's prominent rivers with their names in 1775–1776, such as the Sacramento River and the San Joaquin River. After the expedition, Gabriel's son, José Joaquín Moraga, would found the pueblo of San Jose in 1777, making it the first civilian-established city in California.

  

The Spanish founded Mission San Juan Capistrano in 1776, the third to be established of the Californian missions.

During this same period, sailors from the Russian Empire explored along the northern coast of California. In 1812, the Russian-American Company established a trading post and small fortification at Fort Ross on the North Coast. Fort Ross was primarily used to supply Russia's Alaskan colonies with food supplies. The settlement did not meet much success, failing to attract settlers or establish long term trade viability, and was abandoned by 1841.

 

During the War of Mexican Independence, Alta California was largely unaffected and uninvolved in the revolution, though many Californios supported independence from Spain, which many believed had neglected California and limited its development. Spain's trade monopoly on California had limited the trade prospects of Californians. Following Mexican independence, Californian ports were freely able to trade with foreign merchants. Governor Pablo Vicente de Solá presided over the transition from Spanish colonial rule to independent.

 

In 1821, the Mexican War of Independence gave the Mexican Empire (which included California) independence from Spain. For the next 25 years, Alta California remained a remote, sparsely populated, northwestern administrative district of the newly independent country of Mexico, which shortly after independence became a republic. The missions, which controlled most of the best land in the state, were secularized by 1834 and became the property of the Mexican government. The governor granted many square leagues of land to others with political influence. These huge ranchos or cattle ranches emerged as the dominant institutions of Mexican California. The ranchos developed under ownership by Californios (Hispanics native of California) who traded cowhides and tallow with Boston merchants. Beef did not become a commodity until the 1849 California Gold Rush.

 

From the 1820s, trappers and settlers from the United States and Canada began to arrive in Northern California. These new arrivals used the Siskiyou Trail, California Trail, Oregon Trail and Old Spanish Trail to cross the rugged mountains and harsh deserts in and surrounding California. The early government of the newly independent Mexico was highly unstable, and in a reflection of this, from 1831 onwards, California also experienced a series of armed disputes, both internal and with the central Mexican government. During this tumultuous political period Juan Bautista Alvarado was able to secure the governorship during 1836–1842. The military action which first brought Alvarado to power had momentarily declared California to be an independent state, and had been aided by Anglo-American residents of California, including Isaac Graham. In 1840, one hundred of those residents who did not have passports were arrested, leading to the Graham Affair, which was resolved in part with the intercession of Royal Navy officials.

 

One of the largest ranchers in California was John Marsh. After failing to obtain justice against squatters on his land from the Mexican courts, he determined that California should become part of the United States. Marsh conducted a letter-writing campaign espousing the California climate, the soil, and other reasons to settle there, as well as the best route to follow, which became known as "Marsh's route". His letters were read, reread, passed around, and printed in newspapers throughout the country, and started the first wagon trains rolling to California. He invited immigrants to stay on his ranch until they could get settled, and assisted in their obtaining passports.

 

After ushering in the period of organized emigration to California, Marsh became involved in a military battle between the much-hated Mexican general, Manuel Micheltorena and the California governor he had replaced, Juan Bautista Alvarado. The armies of each met at the Battle of Providencia near Los Angeles. Marsh had been forced against his will to join Micheltorena's army. Ignoring his superiors, during the battle, he signaled the other side for a parley. There were many settlers from the United States fighting on both sides. He convinced these men that they had no reason to be fighting each other. As a result of Marsh's actions, they abandoned the fight, Micheltorena was defeated, and California-born Pio Pico was returned to the governorship. This paved the way to California's ultimate acquisition by the United States.

 

In 1846, a group of American settlers in and around Sonoma rebelled against Mexican rule during the Bear Flag Revolt. Afterward, rebels raised the Bear Flag (featuring a bear, a star, a red stripe and the words "California Republic") at Sonoma. The Republic's only president was William B. Ide,[65] who played a pivotal role during the Bear Flag Revolt. This revolt by American settlers served as a prelude to the later American military invasion of California and was closely coordinated with nearby American military commanders.

 

The California Republic was short-lived; the same year marked the outbreak of the Mexican–American War (1846–48).

 

Commodore John D. Sloat of the United States Navy sailed into Monterey Bay in 1846 and began the U.S. military invasion of California, with Northern California capitulating in less than a month to the United States forces. In Southern California, Californios continued to resist American forces. Notable military engagements of the conquest include the Battle of San Pasqual and the Battle of Dominguez Rancho in Southern California, as well as the Battle of Olómpali and the Battle of Santa Clara in Northern California. After a series of defensive battles in the south, the Treaty of Cahuenga was signed by the Californios on January 13, 1847, securing a censure and establishing de facto American control in California.

 

Following the Treaty of Guadalupe Hidalgo (February 2, 1848) that ended the war, the westernmost portion of the annexed Mexican territory of Alta California soon became the American state of California, and the remainder of the old territory was then subdivided into the new American Territories of Arizona, Nevada, Colorado and Utah. The even more lightly populated and arid lower region of old Baja California remained as a part of Mexico. In 1846, the total settler population of the western part of the old Alta California had been estimated to be no more than 8,000, plus about 100,000 Native Americans, down from about 300,000 before Hispanic settlement in 1769.

 

In 1848, only one week before the official American annexation of the area, gold was discovered in California, this being an event which was to forever alter both the state's demographics and its finances. Soon afterward, a massive influx of immigration into the area resulted, as prospectors and miners arrived by the thousands. The population burgeoned with United States citizens, Europeans, Chinese and other immigrants during the great California Gold Rush. By the time of California's application for statehood in 1850, the settler population of California had multiplied to 100,000. By 1854, more than 300,000 settlers had come. Between 1847 and 1870, the population of San Francisco increased from 500 to 150,000.

 

The seat of government for California under Spanish and later Mexican rule had been located in Monterey from 1777 until 1845. Pio Pico, the last Mexican governor of Alta California, had briefly moved the capital to Los Angeles in 1845. The United States consulate had also been located in Monterey, under consul Thomas O. Larkin.

 

In 1849, a state Constitutional Convention was first held in Monterey. Among the first tasks of the convention was a decision on a location for the new state capital. The first full legislative sessions were held in San Jose (1850–1851). Subsequent locations included Vallejo (1852–1853), and nearby Benicia (1853–1854); these locations eventually proved to be inadequate as well. The capital has been located in Sacramento since 1854 with only a short break in 1862 when legislative sessions were held in San Francisco due to flooding in Sacramento. Once the state's Constitutional Convention had finalized its state constitution, it applied to the U.S. Congress for admission to statehood. On September 9, 1850, as part of the Compromise of 1850, California became a free state and September 9 a state holiday.

 

During the American Civil War (1861–1865), California sent gold shipments eastward to Washington in support of the Union. However, due to the existence of a large contingent of pro-South sympathizers within the state, the state was not able to muster any full military regiments to send eastwards to officially serve in the Union war effort. Still, several smaller military units within the Union army were unofficially associated with the state of California, such as the "California 100 Company", due to a majority of their members being from California.

 

At the time of California's admission into the Union, travel between California and the rest of the continental United States had been a time-consuming and dangerous feat. Nineteen years later, and seven years after it was greenlighted by President Lincoln, the First transcontinental railroad was completed in 1869. California was then reachable from the eastern States in a week's time.

 

Much of the state was extremely well suited to fruit cultivation and agriculture in general. Vast expanses of wheat, other cereal crops, vegetable crops, cotton, and nut and fruit trees were grown (including oranges in Southern California), and the foundation was laid for the state's prodigious agricultural production in the Central Valley and elsewhere.

 

In the nineteenth century, a large number of migrants from China traveled to the state as part of the Gold Rush or to seek work. Even though the Chinese proved indispensable in building the transcontinental railroad from California to Utah, perceived job competition with the Chinese led to anti-Chinese riots in the state, and eventually the US ended migration from China partially as a response to pressure from California with the 1882 Chinese Exclusion Act.

 

Under earlier Spanish and Mexican rule, California's original native population had precipitously declined, above all, from Eurasian diseases to which the indigenous people of California had not yet developed a natural immunity. Under its new American administration, California's harsh governmental policies towards its own indigenous people did not improve. As in other American states, many of the native inhabitants were soon forcibly removed from their lands by incoming American settlers such as miners, ranchers, and farmers. Although California had entered the American union as a free state, the "loitering or orphaned Indians" were de facto enslaved by their new Anglo-American masters under the 1853 Act for the Government and Protection of Indians. There were also massacres in which hundreds of indigenous people were killed.

 

Between 1850 and 1860, the California state government paid around 1.5 million dollars (some 250,000 of which was reimbursed by the federal government) to hire militias whose purpose was to protect settlers from the indigenous populations. In later decades, the native population was placed in reservations and rancherias, which were often small and isolated and without enough natural resources or funding from the government to sustain the populations living on them. As a result, the rise of California was a calamity for the native inhabitants. Several scholars and Native American activists, including Benjamin Madley and Ed Castillo, have described the actions of the California government as a genocide.

 

In the twentieth century, thousands of Japanese people migrated to the US and California specifically to attempt to purchase and own land in the state. However, the state in 1913 passed the Alien Land Act, excluding Asian immigrants from owning land. During World War II, Japanese Americans in California were interned in concentration camps such as at Tule Lake and Manzanar. In 2020, California officially apologized for this internment.

 

Migration to California accelerated during the early 20th century with the completion of major transcontinental highways like the Lincoln Highway and Route 66. In the period from 1900 to 1965, the population grew from fewer than one million to the greatest in the Union. In 1940, the Census Bureau reported California's population as 6.0% Hispanic, 2.4% Asian, and 89.5% non-Hispanic white.

 

To meet the population's needs, major engineering feats like the California and Los Angeles Aqueducts; the Oroville and Shasta Dams; and the Bay and Golden Gate Bridges were built across the state. The state government also adopted the California Master Plan for Higher Education in 1960 to develop a highly efficient system of public education.

 

Meanwhile, attracted to the mild Mediterranean climate, cheap land, and the state's wide variety of geography, filmmakers established the studio system in Hollywood in the 1920s. California manufactured 8.7 percent of total United States military armaments produced during World War II, ranking third (behind New York and Michigan) among the 48 states. California however easily ranked first in production of military ships during the war (transport, cargo, [merchant ships] such as Liberty ships, Victory ships, and warships) at drydock facilities in San Diego, Los Angeles, and the San Francisco Bay Area. After World War II, California's economy greatly expanded due to strong aerospace and defense industries, whose size decreased following the end of the Cold War. Stanford University and its Dean of Engineering Frederick Terman began encouraging faculty and graduates to stay in California instead of leaving the state, and develop a high-tech region in the area now known as Silicon Valley. As a result of these efforts, California is regarded as a world center of the entertainment and music industries, of technology, engineering, and the aerospace industry, and as the United States center of agricultural production. Just before the Dot Com Bust, California had the fifth-largest economy in the world among nations.

 

In the mid and late twentieth century, a number of race-related incidents occurred in the state. Tensions between police and African Americans, combined with unemployment and poverty in inner cities, led to violent riots, such as the 1965 Watts riots and 1992 Rodney King riots. California was also the hub of the Black Panther Party, a group known for arming African Americans to defend against racial injustice and for organizing free breakfast programs for schoolchildren. Additionally, Mexican, Filipino, and other migrant farm workers rallied in the state around Cesar Chavez for better pay in the 1960s and 1970s.

 

During the 20th century, two great disasters happened in California. The 1906 San Francisco earthquake and 1928 St. Francis Dam flood remain the deadliest in U.S. history.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze known as "smog" has been substantially abated after the passage of federal and state restrictions on automobile exhaust.

 

An energy crisis in 2001 led to rolling blackouts, soaring power rates, and the importation of electricity from neighboring states. Southern California Edison and Pacific Gas and Electric Company came under heavy criticism.

 

Housing prices in urban areas continued to increase; a modest home which in the 1960s cost $25,000 would cost half a million dollars or more in urban areas by 2005. More people commuted longer hours to afford a home in more rural areas while earning larger salaries in the urban areas. Speculators bought houses they never intended to live in, expecting to make a huge profit in a matter of months, then rolling it over by buying more properties. Mortgage companies were compliant, as everyone assumed the prices would keep rising. The bubble burst in 2007–8 as housing prices began to crash and the boom years ended. Hundreds of billions in property values vanished and foreclosures soared as many financial institutions and investors were badly hurt.

 

In the twenty-first century, droughts and frequent wildfires attributed to climate change have occurred in the state. From 2011 to 2017, a persistent drought was the worst in its recorded history. The 2018 wildfire season was the state's deadliest and most destructive, most notably Camp Fire.

 

Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze that is known as "smog" has been substantially abated thanks to federal and state restrictions on automobile exhaust.

 

One of the first confirmed COVID-19 cases in the United States that occurred in California was first of which was confirmed on January 26, 2020. Meaning, all of the early confirmed cases were persons who had recently travelled to China in Asia, as testing was restricted to this group. On this January 29, 2020, as disease containment protocols were still being developed, the U.S. Department of State evacuated 195 persons from Wuhan, China aboard a chartered flight to March Air Reserve Base in Riverside County, and in this process, it may have granted and conferred to escalated within the land and the US at cosmic. On February 5, 2020, the U.S. evacuated 345 more citizens from Hubei Province to two military bases in California, Travis Air Force Base in Solano County and Marine Corps Air Station Miramar, San Diego, where they were quarantined for 14 days. A state of emergency was largely declared in this state of the nation on March 4, 2020, and as of February 24, 2021, remains in effect. A mandatory statewide stay-at-home order was issued on March 19, 2020, due to increase, which was ended on January 25, 2021, allowing citizens to return to normal life. On April 6, 2021, the state announced plans to fully reopen the economy by June 15, 2021.

 

A very precise and literal title for a weird abstract.

Playing around with CD refraction, light, water and reflections.

Didn't get anything near what I though I wanted, got this instead.

 

view weird on black

A more precise sketch of what I have in mind for this shiptember.

 

The initial Ultaran design was too aggressive for the purpose of this ship (a massive freighter)

 

------------------------------------------

 

I still won't be able to start building until the 15th. So this design will have a bit more time to mature.

we gurls all have images in our minds of the type (or types) of female we want to emulate. I won't go into detail, but you know what I mean.

 

Here is mine, or at least one version :)

black and white quarters meeting at the center allows me to reduce the target size to zero. when the 2 black points touch, you're in focus.

 

should go over well with the BMW folks, too.

Provincial Yelets was once considered one of the most beautiful towns in Russia. It was adorned with two monasteries, three dozen Orthodox churches, a Polish Catholic church, a German church, and a Jewish synagogue. The precise rhythm of its domes and bell towers still defines the skyline of the old town.

 

The great Russian writer Ivan Bunin, in exile in a distant land, recalled "...the ringing, the roar of the bells from the bell tower of St. Michael the Archangel, towering above everything in such grandeur, such splendor, such as the Roman Church of St. Peter never dreamed of, and such enormity that the Pyramid of Cheops could never again impress me." The Church of St. Michael the Archangel stands next to the administration building in the center of Yelets, the city where the future Nobel laureate spent his high school years. He often spoke warmly of the city of his youth.

 

On Red Square stands the colossal Ascension Cathedral. It claims to be the second largest Orthodox church in Russia after St. Isaac's Cathedral in St. Petersburg. The cathedral was designed by the renowned architect Konstantin Andreevich Ton (1794-1881), the architect of the Cathedral of Christ the Savior and the Grand Kremlin Palace. Approving the design, Tsar Nicholas I ordered the architect to be granted royal favor for the cathedral's beauty. The interior decoration was worked on by the Itinerant artists and academicians of painting, Alexei Ivanovich Korzukhin (1835-1894) and Klavdy Vasilyevich Lebedev (1852-1916).

 

Above the cathedral's left iconostasis is a painting of the "Mother of God of Yelets." The Virgin Mary and her heavenly host block the path of Tamerlane's invasion in 1395.

 

To commemorate the 500th anniversary of Rus''s miraculous deliverance from the invasion, the Church of Our Lady of Yelets was founded in Yelets. Its tented roof still dominates the modern architecture of the southern part of the city. People call it "the red church," either for the color of its brick or for the beauty of its unusual shapes.

 

Yelets has seen so many people within its walls over its thousand-year history. Presumably founded in 986 as the center of an appanage principality, the city was first mentioned in the Nikon Chronicle for 1146:

 

“Prince Svyatoslav Olgovich went to Rezan and visited Mchensk, and Tula, and Dubok on the Don, and Yelets, and Pronsk, and came to Rezan on the Oka...”

 

Its location on the southeastern outskirts of the Russian lands, bordering the "wild field," determined the city's fate for several centuries: "it was... the protector of the Russian lands." Polovtsian raids, Tatar-Mongol invasions, and attacks by Crimean and Golden Horde hordes repeatedly brought the city to desolation, but it was rebuilt and rose again.

 

"The city itself also boasted of its antiquity, and had every right to do so: it truly was one of the most ancient cities lying among the great black earth fields of the Substeppe, on that fateful line beyond which once stretched "wild, unknown lands," and in the times of the principalities of Suzdal and Ryazan, it belonged to those most important strongholds of Rus' that, according to the chroniclers, were the first to breathe in the storm, dust, and cold from under the menacing Asian clouds that continually passed over it, the first to see the glow of the terrible night and day fires ignited by them, the first to let Moscow know of the impending disaster and the first to lay down their lives for it..." (I. A. Bunin).

 

From the mid-17th century, Yelets developed as a city of artisans and traders. Livestock trading, tanneries, trade in grain, flour, and semolina, and the famous Yelets lace made the city prosperous and brought it fame.

 

Yelets's historical heritage includes approximately two hundred architectural monuments. The city itself is a monument to Russian urban planning. Narrow, straight streets running north to south and east to west, combined with low, two- and three-story buildings that are spacious enough to accommodate a person, create a uniquely cozy atmosphere. In Yelets, you don't feel lost, as you might in a larger city. Perhaps this is why the constant flow of tourists eager to see the green Russian city...

 

A small town, wandering its cozy streets, and visiting the church. Perhaps it's also because the Yelets region is the birthplace of writers Ivan Bunin and Mikhail Prishvin, philosopher Vasily Rozanov, composer Tikhon Khrennikov, and artists Vasily Meshkov, Nikolai Ulyanov, and Nikolai Zhukov. Yelets attracts visitors with its lacemaking industry, museums, art gallery, picturesque landscapes, and fascinating natural sites. It also draws visitors with its centuries-long, dramatic history, closely linked to the fate of Russia.

 

Many of Yelets' churches have suffered a tragic fate. Not all survived the destruction and hard times. Birch trees grow on the exposed domes of the Church of the Archangel Michael, which so captivated Ivan Bunin's youthful imagination. The traces of abandonment and neglect on many of the remaining churches speak to the hearts of the people. With Russia's rebirth comes a renaissance of its small and medium-sized towns, and Yelets is at the top of that list.

 

Will we restore its former beauty?

 

V. Gorlov.

Made for SWFactions on Eurobricks.

www.eurobricks.com/forum/index.php?/forums/topic/180827-j...

 

Captured by pirates! While searching for the natives of Imynusoph, our trio are beset upon by the cavalier Colonel Corbett's callous rogues! The murderous pirates and their flamboyant leader drag our heroes to their camp, where intrigue abounds!

  

Clod blinked against the harsh light streaming in from above. His hands were shackled. It wasn’t the worst situation he’d been in, he thought. Then, to his surprise, his next thoughts were about his two companions. He hoped they were alright. It would be a million years before he’d admit it.

The sergeant called “Slyfoot” stood in the darkness a few feet away. He could feel the man watching him, disturbingly calm. Precise.

“Look at you,” he sneered. “A treasure hunter. Ha! I believed Klatoonians to be nothing but pirates and scum.”

It was a struggle to form words, but Clod couldn’t give up the opportunity for a zinger. “Look how the…tables have turned.”

He almost immediately regretted it. The droid administered a searing shock to his ribs that sent his limbs convulsing. His skin burned. He shouted, and for a moment, he panicked.

“Such wit. No more of that, I think,” he heard Slyfoot say. “You should put your words to better use, like securing a release for you and your companions. All you must do is tell me what it was you were searching for.”

“Fat chance—Augh!” Another shock. More horrible pain.

Slyfoot stepped into the light. He slowly shook his head.

“’Fat chance’, you say? On the contrary, Mr. Clod,” he said, and a smile crept onto his face. “I quite like my odds.”

      

“Tea or Caf, Professor?” offered Colonel Corbett, busying himself with a gleaming pot and an ion heater.

“O-Oh, tea, I suppose.”

The Colonel looked up at him, a pleasant expression on his face. “I see you appreciate my décor!”

Floon had been staring at some of the trophies scattered about; horns, hides, huge eggs, droid parts, scraps of clothing. Some from beasts, others from treasure hunters who’d come before.

“Why…yes! It’s very…eclectic. Er, thank you again for having me, Colonel.”

“Of course, of course! I must say, I’ve positively chuffed about you being here. An academy man! On Imynusoph! Chandrila, you say?”

“Er, yes. I had, er, tenure at the Chandrila Academy.”

“Ha! Chandrila! A professor from Chandrila makes my acquaintance here, of all places. Who would have thought it would happen? Certainly not me! I admit it! Please, make yourself comfortable, my questions are bound to be numerous.”

The Neimodian professor looked nervously around the tent. One of the pirates loitered at the door. Floon felt that he should do some great act of bravery, try to free Mr. Clod and Ms. Rigo, but he didn’t know where he would even start.

“Professor?”

The question shook Floon from his thoughts. “Oh, y-yes?”

Colonel Corbett smiled. “You don’t look very comfortable. Come, you’re in good company. I am a man of learning and intelligence myself.”

“Why, o-of course!” said Floon. Unable to muster a relaxed smile, he summoned a polite grimace.

The Colonel frowned. “Professor, I brought you here that we might engage in riveting conversation! Without conversation, I have no reason to bring you here rather than lock you up in our brig. Do you understand?”

Floon did, but he was not very good at staying calm when faced with threats. He knew all too well what the murderous pirates might do if the Colonel permitted. With a great amount of sweating and stuttering, he apologized. “I’m…m-most…s-sorry, Colonel. Most s-sorry. Let us…er…converse, s-shall we?”

“Very good, very good!” said the Colonel, settling in and looking at the professor expectantly. “Well then, let us get down to, as they say, brass tacks. I want to hear everything you know about the giant birds of Imynusoph! I expect I’ll be quite fascinated!”

“Er, yes…” mumbled Floon. “Quite.”

       

“Let go of me, you idiots!” Kitsa did her best to break her restraints through sheer will, but no dice. She settled for whacking one of her captors instead, sending him reeling with a broken nose. She couldn’t believe how lucky her aim was. And finally, something for her story!

“Let the Stud take care of her! I don’t want to get kicked again,” whined one of the pirates. The others parted, allowing the largest one, the one with the bandolier and the AT-AT driver helmet, to step towards her. He was enormous, at least 6’8”, and not what you’d call ‘lanky’. There was no chance she’d make a dent against this guy. He settled one giant hand on her shoulder, and he steered her away.

She muttered threats as they walked through the Imperial camp, shooting glances around to take in everything she was seeing. They had left the treeline onto an open savannah. The camp had clearly been an Imperial outpost, but now was all ramshackle and bolted together to keep out the wildlife. There was a junkyard of impounded vehicles that caught her attention. Most of them were scrap, but one airspeeder, red-and-white, looked intact. She took note of this for later.

She eyed the pirate. He was a muscular guy, that was for sure. Where was he taking her? A pit of gundarks, or an interrogation chamber?

Neither, it turned out. She was escorted to a quiet corner of the pirate camp, a breeze-blown tent with foliage breaking in overhead and enshrouding the space.

“You can stay here,” said the big pirate.

She scoffed. “What are you, good cop? And what’s this place, the torture waiting room?”

“It’s, well,” the pirate hesitated. “No, it’s just a tent. I had a wife when we came here. This used to be hers. Thought you’d like it more than a cage, but if I’m wrong…”

That was unexpected. She turned and sized him up suspiciously, but there wasn’t much to observe in the blank stare of the helmet’s facemask. “A wife, huh? What happened to her? Your pirate buddies shoot her?”

“You think they’d get past me? Nah, not in a million years,” he chuckled, but his tone turned somber. “No, one day she went out to get clean water, our purifier was broken, and one of the jungle beasts came out of the trees. She couldn’t get away fast enough. Her blaster misfired. That’s all it took.”

In a rare moment, Kitsa didn’t know what to say.

The pirate took a deep breath, then said, “So if you were thinking of running, I wouldn’t.”

“Sure,” she nodded, collecting herself. “Sorry about your wife. Thanks for the tent.”

“No problem,” said the pirate. He then stood there awkwardly for a moment, before asking, “So, uh, you, uh, some kind of reporter?”

Kitsa lit up. “I sure am, Galactic Gazette.”

The man swayed on his feet, coughing uncomfortably. “What’s, uh, what’s going on out there? In the galaxy? Rebels gone, yet? We heard we had another Death Star.”

Kitsa stared at the emotionless facemask for a moment. Of course, it made sense. When was the last time they would’ve heard any news?

Her story was really heating up.

She smiled and deflected the question. “What’s your name?”

“Deksen. They call me ‘the Stud’. What’s your name, uh, miss?”

“Kitsa Rigo,” she answered smartly. “What do you say about sitting for an interview with me, Deksen? In return, I’ll tell you whatever you want to know.”

The pirate said nothing for a moment. He looked over his shoulder to see if anyone was watching. “I guess that’d be alright. We don’t exactly get much press on Imynusoph. I suppose you can tell the galaxy about our bravery.”

Kitsa sat on the medical bed, her pen poised. “So, Deksen, what’s it been like for you, out here?”

The pirate set his gun to the side and took a deep breath.

“Well…” he began.

     

Another shock, another burn, another stab. Harnaby Clod struggled in the interrogation gurney, his mouth full of spit. He couldn’t take much more of this. He felt like his mind was slipping through his fingers, jolted free by every prod from the droid. Karfing droid. He’d smash that droid to bits if he ever got out of this.

Another stab of a needle. His vision swam. He’d get out of this, right? Could he?

“Tell me why you’re here. Tell me what you know,” Slyfoot said, walking around him. “I’d love to see you dead, believe me. Who will remember you if you’re gone? Some dog-faced lunatic on the edge of the galaxy, no one important. No accomplishments, no fealty, nothing of note. Another dead alien.”

“You…don’t…know…mersh.”

“Hm, perhaps. But tell me…am I wrong, Mr. Clod?”

The dark room blinked in and out of existence before Clod’s eyes. He felt his tongue go limp. His heart felt like it was drying up.

The sergeant watched him, smiling cruelly. “Alright, I’ll get it out of the Neimodian, then. Good bye, Mr.-“

“Waitsh, waitsh!” Clod gasped. “Ah’ll tell yoush…”

Slyfoot brightened. “Indeed, Mr. Clod? If you tell me, as I’ve said, this can all end.”

He couldn’t do this anymore. What was he thinking?

He wasn’t. Anything to stop this. Karf this place.

“Ah’ll…ah’ll…tell yoush anything…” he wheezed.

Slyfoot straightened his cap. “Very good, Mr. Clod. Go on then.” He leaned in, until his face dominated Clod’s view. Slyfoot tried to manage his own expectations, but he couldn’t suppress his excitement. He looked down at the drooling Klatoonian.

“Mr. Clod,” he said. “Is the treasure…real?”

       

“Wow!” muttered Kitsa, scribbling in her notebook.

“That’s just how it is out here. It’s made the other pirates what they are. It’s made me…” he shrugged. “Changed.”

“That’s really…tough! I’m so sorry you’ve had to suffer through this place.”

“Hm, I’ve been lucky…I think. But what about you, Ms. Rigo?” asked the pirate called Deksen.

“M-Me?”

He leaned in attentively. “How does a woman such as you find yourself in a place like this?”

Even with the facemask in the way, Rigo felt his gaze on her face. She frowned.

“Well, I work for the Gazette.”

He tilted his head. “Because you wish to tell stories?”

“Because I want to…” she paused before answering. “I want to make others see the truth.”

Deksen nodded slowly. He was impressed by the honesty of her answer. “Will you tell me more?”

In a strange moment, the both of them felt the softening in their spirits take its full course, and they entirely let down their guards. Kitsa avoided his gaze, but launched into a treatise on how it was she ended up here, the absurdity of the situation, and how she hoped she might get something out of it anyway because while she was here there was no one investigating the Ubrikkian corporation and something had to be done soon because those poor Duros in the factories had no one standing up for them, and if no one else was going to take Ubrikkian to task, she sure as shaft would.

Deksen listened quietly, occasionally asking questions or affirming how Kitsa felt. Eventually she had completed her story. She took a deep breath, which she had expended whilst going on about her passions.

Deksen folded his hands. “Your spirit…moves me.”

“Oh!” said Kitsa, not sure how to respond. She felt her cheeks burn, and said quietly, “Thanks for listening.”

“And thank you for talking.”

She laughed. “You’d be a much better editor than the one I’ve got. Getting him to listen is a full time job.”

A breeze blew through the tent, carrying the sounds of harsh laughter from where the other pirates were getting into the brew. Far off, Kitsa heard a howl of pain that made her skin crawl and her mind turn towards her lost companions.

After a moment of silence, she looked into Deksen’s facemask. It was a risk, could she trust an ex-stormtrooper-turned-pirate? Strangely, she felt that she could trust him more than almost anyone she’d met. This disturbed her in a profound way, but she didn’t have time to dwell on her emotions. She had to take action.

“Deksen, I need to get out of here.”

“Yes, you do.” His shoulders slumped as he prepared himself for the choice he was making. His life would never be the same after this. “And yes, before you ask; I will help you.”

Kitsa sighed with relief, but there was no time to waste. They had to get down to business. “Alright, here’s what I was thinking. Tell me if it makes sense…”

       

“Spiritual creatures, you say?”

Colonel Corbett stroked his moustache, listening to what Professor Floon had to say with a most attentive mind.

“Well, y-yes. Regarded as spiritual creatures by…” Floon kept himself from revealing the natives at only the last moment. “…by all who visit this planet, I’ve heard.”

It was all Floon could do to keep the existence of the native tribes a secret. Apparently these pirates had no clue they might still be around.

“Fascinating! And you say the wingspan…”

The words tumbled out of Floon like a brook. His trepidation could not dampen his excitement. “No one has seen it in millennia, but I do not lie when I say,” he leaned in, saying conspiratorially, “it is said to be three men across!”

Corbett rubbed his hands together and grinned. “Incredible! Simply incredible. Say, Professor, I know you count yourself among the squeamish, but do you suppose that shooting down a bird of spiritual importance grants a hunter more, how do you say, ‘bragging rights’?”

Floon raised an eyeridge and stared. “Are…are you…joking, sir?”

“I assure you, I am not!” said Corbett, jabbing the desk with his finger. “A hunter such as myself has precious little time for jokes, what with so much glory left unobtained. You’re the closest thing in the galaxy to an expert, Professor. Do you believe killing such a creature would grant me more glory?”

Floon watched the officer nervously. His eyes were eager, his face covered in sweat. The heat was dull and damp in the shade of the tent, the kind of environment Floon had been born into. Very much a comfort zone.

The professor summoned up all his courage, swelling up his chest in rather an alarming way. Corbett’s eyes widened.

“No!” squeaked Floon.

Corbett was puzzled. “…’No’?”

“No!” Floon stood his ground. “How can you talk of killing a creature such as this? For all your talk about appreciating great beasts, you end their magnificent lives with such…relish!” He licked his lipless mouth, his words sputtering and cracking as adrenaline shot through him. He’d never confronted anyone in his life. Certainly not anyone who was willing to kill him. “I don’t mind saying that it is…despicable! Yes, despicable!”

Colonel Corbett, who had initially been very surprised, now furrowed his brow. When he spoke, his tone was dark. “Professor…I’m not used to being talked to in such a-”

“Indeed, indeed!” squawked Floon, suddenly desperate to turn his situation around. “But nor are you used to talking to your intellectual equal, as you have said! This is true, yes?”

Corbett considered it. “Yes, it is true,” he admitted.

“Then please, hear my words, as another man of learning! These creatures are not for killing, they are for studying! For conserving! For…loving! Please, take my offer of friendship and understand I mean you no ill will. I only wish to see a force such as yourself used for…better things!”

Colonel Corbett looked bothered. He had never thought of it in such terms before. Professor Floon breathed heavily, waiting in silence, heart hammering, hoping for a reaction that spared his life.

Finally, the Colonel’s expression softened, and he began to speak. “Professor, I—“

“Colonel Corbett!” came a voice from the tent’s opening. Floon, uncharacteristically, cursed in his head. His heart sank.

“How dare you interrupt me? I said, very clearly I thought, that no one was to interrupt!”

The pirate at the opening was the huge, shirtless one, with the AT-AT driver’s helmet. “But it’s the others, sir, they’ve broken out!”

The moment had passed, Corbett’s mind was on other things. He grabbed his cap and marched towards the entrance. “Well then! Wait here with the Professor, we must hunt them down!”

Corbett marched toward the tent flap, where he was promptly whacked in the head with a blaster handle, and fell flat on his back. He lay there, hair mussed, tongue out, and unconscious.

“Oh my goodness!” cried Floon.

“Quiet, Professor! It’s just me, Kitsa. Ms. Rigo.”

Indeed it was. The reporter came ducking in, blaster in hand. The large pirate stood guard while she knelt down to rummage in Corbett’s holster.

“What-what is going on? Who is this abnormally large man at the door?” asked Floon, who’s voice dropped to an anxious whisper as he added, “Is he not one of the pirates?”

Kitsa pushed a strand of hair out of her face. “Huh? Oh, that’s Deksen,” she explained simply. “He’s gonna help us escape.”

The pirate named Deksen raised a hand in casual greeting.

“O-Oh, how do you do?” Floon replied weakly, and he tipped his hat on instinct. “You are…very big!”

“I get that a lot,” came Deksen’s reply, filtered through his helmet.

“He is, isn’t he?” Kitsa grinned.

“Y-Yes—hold on; escape, you said?” squeaked Floon, who’s brain was beginning to catch up at last.

“Yes, escape,” she repeated firmly, looking him in the eye. “But we have to go now, understand? Otherwise we’ll die?”

Floon withdrew a handkerchief and dabbed at his face. “O-Oh, my. This is all rather a lot. And so sudden…”

“Yes, it is. We still have to save Clod, against my better judgement.”

“S-Save…Clod, you say?” said Floon, wilting with every word, and very close to fainting.

Kitsa smiled wryly and patted him on the shoulder. “Come on, Professor,” she said, and she handed him the Colonel’s blaster before turning to leave. Deksen made to follow her.

Floon went after them, but before reaching the tent’s exit he spun around awkwardly to address his host.

“I’m…very sorry for all this,” he said to Corbett’s unconscious body. “It really w-was lovely meeting you.”

Floon felt it was polite for one to wait to be excused, but Corbett did not reply.

Thus, with a great deal of stumbling and nervous mumbling, the professor hurried to catch up with the others.

     

“And the natives,” said Slyfoot with relish. “You said you’ve met them before, is that true?”

“Yesh,” spat Clod. He eyed the interrogation droid floating a foot away, its red receptor blinking, prod extended towards him.

“Then you could lead us to them. You will lead me to them.”

“Didn’t you hear a word I said? They found me the first time. I don’t know how to find them now!”

Slyfoot waved a hand dismissively. “Well, no matter. They asked you to return, I’m sure they’ll show up to you soon.”

Clod wished he could wipe his mouth where he’d drooled after one of the many electroshocks. It was starting to chape. “…Thought you…were gonna let us go?” he groaned.

Slyfoot laughed. “Really? You did? I didn’t take you for a fool. No, Mr. Clod. You’ll stay in this luxury for many days to com--I said I wanted no interruptions!”

Light had flooded the room from the now-open door. He heard a blaster go off, and a red bolt smashed into the interrogation droid, knocking it to the ground.

“Pardon me!” said Professor Floon, turning the gun on Slyfoot. The pirate sergeant raised his hands in surrender. “I nearly forgot something on my way out!”

“P-professor?” slurred Clod, craning his neck to see. “I can’t believe it.”

“That’s right, it’s me! I’ve come to rescue you, Mr. Clod.”

Clod groaned with relief. He hadn’t expected this in a million years. “You gotta get me out of here, doc.”

“Indeed!” said the Professor, who prodded Slyfoot with his pistol until he gave up the key to the bindings.

“Nice entry."

Floon seemed pleased. “Thank you! I am honored by the compliment, especially from someone as…daring-do as yourself! I practiced on the way here.”

“It paid off. Now…” he stretched and groaned his weary, burnt muscles. Then he turned towards Slyfoot, who held to his dignity even while fear seeped in the cracks. Weakened though he was, the Klatoonian was dangerous. He proved this to Slyfoot by knocking him to the floor with a right hook.

“Jerk. Wish I had more time.”

“We really must go, Rigo is waiting! She found a way out!”

Clod looked at the Professor and raised an eyebrow. “You already saved her?”

“Saved her?” replied the professor, leading him into the daylight. “Why, it was her who saved me!”

“You’re kidding!”

“I am not kidding, Mr. Clod! I assure you, I am entirely serious!”

  

They caught up with Kitsa and Deksen at the camp’s boneyard, where ship and vehicle carcasses formed a monument to the pirates’ past conquests.

“He’s fine,” said Kitsa, in response to the alarmed look on Clod’s face. “His name is Deksen, he’s helping us.”

“Nice to meet you,” said Deksen, voice filtered through his helmet.

“Sure, sure. A pleasure,” muttered Clod. “Listen, I told that creepy imp about the natives.”

Kitsa and Floon looked at him with dismay.

“It wasn’t exactly by choice,” grumbled Clod, but he avoided their gaze. “I’m betting they didn’t torture either of you.”

They answered by way of silence.

“Of course not,” he grunted. “Who else here has a face like a Corellian hound?”

“Ahem...I cannot imagine what you went through in that little room, so I cannot blame you for anything you’ve done,” said Floon seriously. “Besides…I let slip quite a lot about the wildlife to the Colonel, and I was under no compulsion besides a foolish enthusiasm for my subject! Oh, how moronic of me. I’m far worse than you, Mr. Clod. Fear no condemnation from us.”

Clod looked at him with something approaching humility and gratitude.

“I didn’t tell anyone anything,” said Kitsa. “Except about myself.”

“Their knowledge simply means we must make greater haste to find the natives first. And with the skills and talents of us three, I find our chances encouraging!”

Kitsa gestured to their soon-to-be-stolen ride. “Especially with this thing.”

Clod hurried forward to look at what she’d found. Underneath a tarp sat a small, aged red-and-white craft. Barely enough space for two people. “What is this, an Incom? Tiny, isn’t it?”

“Who cares who built it?” she replied shortly. “It’s an Airspeeder. Deksen says it’ll still fly.”

Deksen shrugged. “We use it for scout missions.

“Wait," Clod frowned. "We can’t leave yet.”

Kitsa threw up her hands. “Why not?”

“Hat."

“Oh, for karf’s sake--I got your hat, here. Can’t believe you’d get us killed over your hat.”

“My hat! You’re alright, Rigo.”

 

Deksen cleared his throat. “You three should climb in, you don’t have a lot of time.”

They threw their things in the speeder. Clod clambered into the pilot’s seat and brushed some crumbs off the controls. He checked various switches and toggles with an air of familiarity. Floon crammed himself into the back.

Kitsa was last to get in. She turned and threw herself at Deksen, hugging him awkwardly. She didn’t hug many people. Were you supposed to do it so forcefully? Fortunately, Deksen didn't seem to mind. He folded her gently in his massive arms.

“Thank you. I wish you could come with us.”

His tone carried a smile she couldn’t see through his facemask.

“It was good to meet you. I’ll see you again.”

“And you’ll be okay? The other pirates won’t…”

He put a calming hand on her shoulder. “You think they could?”

“Miss Rigo!” called the professor from the speeder. “I’m quite nervous waiting in here! I wouldn’t say anything, except that my muttering has made Mr. Clod angry.”

The two shared a chuckle. Kitsa smiled sadly and let go of him. She clambered into the airspeeder with the others, where she discovered it was a much tighter fit than she’d expected. Once she’d negotiated space with Floon, she leaned against the window and gave Deksen a final wave.

The pirate waved back.

  

“Whoof. He’s ripped, huh?” she said wistfully.

“Ripped?” Floon squeaked. “I’d say his shirt is beyond ripped, madam! There’s hardly a shirt there at all!”

The speeder was humming to life, the way any vehicle does that’s taken some battering. A warm, clanky kind of hum.

“Alright,” said Clod from the front. “Off to find the natives?”

“Before the pirates do!” said Kitsa.

“Oh my! A race against pirates, for the good of knowledge and sentient life!” flushed Floon. “It’s all rather exciting, isn’t it?”

 

Sheep on the road to Port Ellen (The Lagavulin Distillery to be precise) on the isle of Islay.

Created in the 1930s and redeveloped in more recent years to include artist-designed ornamental gardens, events area, play area with splash pad, Café and toilets. Grassed areas and riverside walks for quiet relaxation, picnics and kite flying or more vigorous pursuits such as running and cycling.

 

Chester-le-Street is a market town in the County Durham district, in the ceremonial county of Durham, England. It is located around 6 miles (10 kilometres) north of Durham and is also close to Newcastle upon Tyne. The town holds markets on Tuesdays, Fridays and Saturdays. In 2011, it had a population of 24,227.

 

The town's history is ancient; records date to a Roman-built fort called Concangis. The Roman fort is the Chester (from the Latin castra) of the town's name; the Street refers to the paved Roman road that ran north–south through the town, now the route called Front Street. The parish church of St Mary and St Cuthbert is where the body of Anglo-Saxon St Cuthbert remained for 112 years before being transferred to Durham Cathedral and site of the first Gospels translation into English, Aldred writing the Old English gloss between the lines of the Lindisfarne Gospels there.

 

The Romans founded a fort named Concangis or Concagium, which was a Latinisation of the original Celtic name for the area, which also gave name to the waterway through the town, Cong Burn. The precise name is uncertain as it does not appear in Roman records, but Concangis is the name most cited today. Although a meaning "Place of the horse people" has been given, scholarly authorities consider the meaning of the name obscure.

 

Old English forms of the name include Cuneceastra and Conceastre, which takes its first two syllables from the Roman name, with the addition of the Old English word ceaster 'Roman fortification' The Universal etymological English dictionary of 1749 gives the town as Chester upon Street (and describes it as "a Village in the Bishoprick of Durham"). At some point this was shortened to the modern form.

 

There is evidence of Iron Age use of the River Wear near the town, but the history of Chester-le-Street starts with the Roman fort of Concangis. This was built alongside the Roman road Cade's Road (now Front Street) and close to the River Wear, around 100 A.D., and was occupied until the Romans left Britain in 410 A.D. At the time, the Wear was navigable to at least Concangis and may also have provided food for the garrisons stationed there.

 

After the Romans left, there is no record of who lived there (apart from some wounded soldiers from wars who had to live there), until 883 when a group of monks, driven out of Lindisfarne seven years earlier, stopped there to build a wooden shrine and church to St Cuthbert, whose body they had borne with them. While they were there, the town was the centre of Christianity for much of the north-east because it was the seat of the Bishop of Lindisfarne, making the church a cathedral. There the monks translated into English the Lindisfarne Gospels, which they had brought with them. They stayed for 112 years, leaving in 995 for the safer and more permanent home at Durham. The title has been revived as the Roman Catholic titular see of Cuncacestre.

 

The church was rebuilt in stone in 1054 and, despite the loss of its bishopric, seems to have retained a degree of wealth and influence. In 1080, most of the huts in the town were burned and many people killed in retaliation for the death of William Walcher, the first prince-bishop, at the hands of an English mob. After this devastation wrought by the Normans the region was left out of the Domesday Book of 1086; there was little left to record and the region was by then being run from Durham by the prince-bishops, so held little interest for London.

 

Cade's Road did not fall out of use but was hidden beneath later roads which became the Great North Road, the main route from London and the south to Newcastle and Edinburgh. The town's location on the road played a significant role in its development, as well as its name, as inns sprang up to cater for the travelling trade: both riders and horses needed to rest on journeys usually taking days to complete. This trade reached a peak in the early 19th century as more and more people and new mail services were carried by stagecoach, before falling off with the coming of the railways. The town was bypassed when the A167 was routed around the town and this was later supplanted by the faster A1(M).

 

The coal industry also left its mark on the town. From the late 17th century onwards, coal was dug in increasing quantities in the region. Mining was centred around the rivers, for transportation by sea to other parts of the country, and Chester-le-Street was at the centre of the coal being dug and shipped away down the Wear, so a centre of coal related communication and commerce. At the same time, the growth of the mines and the influx of miners supported local businesses, not just the many inns but new shops and services, themselves bringing in more people to work in them. These people would later work in new industries established in the town to take advantage of its good communications and access to raw materials.

 

One of the most tragic episodes in the town's history and that of the coal industry in NE England occurred during a miners' strike during the winter of 1811/12. Collieries owned by the Dean and Chapter of Durham Cathedral were brought to a standstill by the strike, causing much hardship amongst the people of the town. The strike was broken on New Year's Day, 1 January 1812, when the Bishop of Durham, Shute Barrington, sent a detachment of troops from Durham Castle to force a return to work. It is thought that this uncharacteristic act by Barrington was due to pressure from the national government in Westminster who were concerned that the strike was affecting industrial output of essential armaments for the Napoleonic Wars.

 

On the evening of 5 October 1936, the Jarrow Marchers stopped at the town centre after their first day's walk. The church hall was used to house them before they continued onward the following day.

 

From 1894 until 2009, local government districts were governed from the town. From 1894 to 1974, it had a rural district, which covered the town and outlying villages. In 1909, the inner rural district formed an urban district, which covered the town as it was at that time.

 

By 1974, the town expanded out of the urban district, during that year's reforms the urban and rural districts, as well as other areas formed a non-metropolitan district. It was abolished in 2009 reforms when the non-metropolitan county became a unitary authority.

 

The town has a mild climate and gets well below average rainfall relative to the UK. It does though experience occasional floods. To the east of the town lies the Riverside cricket ground and Riverside Park. They were built on the flood plains of the River Wear, and are often flooded when the river bursts its banks. The town centre is subject to occasional flash flooding, usually after very heavy rain over the town and surrounding areas, if the rain falls too quickly for it to be drained away by Cong Burn. The flooding occurs at the bottom of Front Street where the Cong Burn passes under the street, after it was enclosed in concrete in 1932.

 

Chester-le-Street's landmarks

A brick-red, elliptically curved arch, twice as wide as it is high, over an open area with a brick-red surface

Front of a three-storey building, six windows across, with a large-framed wood door at ground level and a painted sign with the words "THE QUEENS HEAD"

Square castle with square tower

A large railway viaduct made from red bricks, topped by railings and electric pylons

The general Post Office, the marketplace with the former Civic Heart sculpture (now demolished), the Queens Head Hotel on Front Street, Lumley Castle and Chester Burn viaduct

John Leland described Chester-le-Street in the 1530s as "Chiefly one main street of very mean building in height.", a sentiment echoed by Daniel Defoe.

 

The viaduct to the northwest of the town centre was completed in 1868 for the North Eastern Railway, to enable trains to travel at high speed on a more direct route between Newcastle and Durham. It is over 230m long with 11 arches, now spanning a road and supermarket car-park, and is a Grade II listed structure.

 

Lumley Castle was built in 1389. It is on the eastern bank of the River Wear and overlooks the town and the Riverside Park.

 

The Queens Head Hotel is located in the central area of the Front Street. It was built over 250 years ago when Front Street formed part of the main route from Edinburgh and Newcastle to London and the south of England. A Grade II listed building, it is set back from the street and is still one of the largest buildings in the town centre.

 

Chester-le-Street Post Office at 137 Front Street is in Art Deco style and replaced a smaller building located on the corner of Relton Terrace and Ivanhoe Terrace. It opened in 1936 and is unusual in that it is one of a handful[30] of post offices that display the royal cypher from the brief reign of Edward VIII.

 

Main article: St Mary and St Cuthbert, Chester-le-Street

St Mary and St Cuthbert church possesses a rare surviving anchorage, one of the best-preserved in the country. It was built for an anchorite, an extreme form of hermit. His or her walled-up cell had only a slit to observe the altar and an opening for food, while outside was an open grave for when the occupant died. It was occupied by six anchorites from 1383 to c. 1538, and is now a museum known as the Anker's House. The north aisle is occupied by a line of Lumley family effigies, only five genuine, assembled circa 1590. Some have been chopped off to fit and resemble a casualty station at Agincourt, according to Sir Simon Jenkins in his England's Thousand Best Churches. This and Lumley Castle are Chester-le-Street's only Grade I listed buildings.

 

The Bethel United Reformed church on Low Chare

The small United Reformed Church on Low Chare, just off the main Front Street, was built in 1814 as the Bethel Congregational Chapel and remodelled in 1860. It is still in use and is a Grade II listed building.

 

The Riverside Ground, known for sponsorship reasons as the Seat Unique Riverside, is home to Durham County Cricket Club which became a first class county in 1992. Since 1999, the ground has hosted many international fixtures, usually involving the England cricket team. The ground was also host to two fixtures at the 1999 Cricket World Cup, and three fixtures at the 2019 Cricket World Cup. The town also has its own cricket club, Chester-le-Street Cricket Club based at the Ropery Lane ground. They are the current Champions of the North East Premier League, won the national ECB 45 over tournament in 2009 and reached the quarter-final of the national 20/20 club championship in 2009.

 

Chester-le-Street Amateur Rowing Club is based on the River Wear near the Riverside cricket ground and has been there for over 100 years. During the summer months the club operate mainly on the river, but in the winter move to indoor sessions during the evenings and use the river at weekends.

 

The club has over 160 members of which 90 are junior members, with numbers increasing annually. The club are well thought of by British Rowing as a lead club for junior development with many juniors now competing at GB level, and some competing for GB at international events.

 

Medieval football was once played in the town. The game was played annually on Shrove Tuesday between the "Upstreeters" and "Downstreeters". Play started at 1 pm and finished at 6 pm. To start the game, the ball was thrown from a window in the centre of the town and in one game more than 400 players took part. The centre of the street was the dividing line and the winner was the side where the ball was (Up or Down) at 6 pm. It was played from the Middle Ages until 1932, when it was outlawed by the police and people trying to carry on the tradition were arrested. Chester-le-Street United F.C. were founded in 2020 and compete in the Northern Football League Division Two. In the 2022/23 season they finished above their local rivals Chester-le-Street Town F.C. who were founded in 1972 and compete in the Northern Football League Division Two and based just outside Chester-le-street in Chester Moor.

 

Chester-le-Street railway station is a stop on the East Coast Main Line of the National Rail network between Newcastle and Durham; it opened in 1868. The station is served by two train operating companies:

 

TransPennine Express provides services between Liverpool Lime Street, Manchester Piccadilly, Leeds, York, Durham and Newcastle;

Northern Trains runs a limited service in early mornings and evenings; destinations include Newcastle, Carlisle and Darlington.

The station is managed by Northern Trains.

 

The town is mentioned in the 1963 song "Slow Train" by Flanders and Swann:

 

No churns, no porter, no cat on a seat,

At Chorlton-cum-Hardy or Chester-le-Street.

 

Chester-le-Street's bus services are operated primarily by Go North East and Arriva North East; routes connect the town with Newcastle, Durham, Middlesbrough and Seaham.

 

The town is the original home of The Northern General Transport Company, which has since grown into Go North East; it operated from the Picktree Lane Depot until 2023 when it was demolished. It also pioneered the use of Minilink bus services in the North East in 1985.

 

Front Street first carried the A1 road, between London and Edinburgh, through the town. A bypass was built in the 1950s, which still exists today as the A167. The bypass road itself was partly bypassed by, and partly incorporated in, the A1(M) motorway in the 1970s.

 

The northern end of Front Street was once the start of the A6127, which is the road that would continue through Birtley, Gateshead and eventually over the Tyne Bridge; it become the A6127(M) central motorway in Newcastle upon Tyne. However, when the Gateshead-Newcastle Western Bypass of the A1(M) was opened, many roads in this area were renumbered; they followed the convention that roads originating between single digit A roads take their first digit from the single digit A road in an anticlockwise direction from their point of origin. Newcastle Road, which was formerly designated A1, is now unclassified. The A6127 was renamed the A167. Car traffic is now banned from the northern part of Front Street and it is restricted to buses, cyclists and delivery vehicles.

 

Education

Primary schools

Cestria Primary School

Bullion Lane Primary School

Woodlea Primary School

Lumley Junior and Infant School

Newker Primary School

Red Rose Primary School

Chester-le-Street CE Primary School

St Cuthbert's RCVA Primary School

Secondary schools

Park View School

Hermitage Academy

 

Notable people

Michael Barron, footballer

Aidan Chambers, children's author, Carnegie Medal and Hans Christian Andersen Award winner

William Browell Charlton, trade union leader, Durham County Colliery Enginemen's Association, National Federation of Colliery Enginemen and Boiler Firemen

Ellie Crisell, journalist and television presenter

Ronnie Dodd, footballer

Danny Graham, footballer

Andrew Hayden-Smith, actor and presenter

Grant Leadbitter, footballer

Sheila Mackie, artist

Jock Purdon, folk singer and poet

Adam Reach, footballer

Bryan Robson, former England football captain, and his brothers Justin and Gary, also footballers

Gavin Sutherland, conductor and pianist

Colin Todd, football manager and former England international player

Olga and Betty Turnbull, child entertainers of the 1930s who performed for royalty

Kevin "Geordie" Walker, guitarist of post-punk group Killing Joke

Peter Ward, footballer

Bruce Welch of pop group The Shadows

 

It is twinned with:

Germany Kamp-Lintfort in Germany.

 

County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.

 

The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.

 

The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.

 

What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.

 

Remains of Prehistoric Durham include a number of Neolithic earthworks.

 

The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.

 

Brigantia, the land of the Brigantes, is said to have included what is now County Durham.

 

There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.

 

Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.

 

Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.

 

In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.

 

Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.

 

In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.

 

Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).

 

The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.

 

Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.

 

Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.

 

Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.

 

Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.

 

Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".

 

Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.

 

The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.

 

The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.

 

Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.

 

Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.

 

The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":

 

From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.

 

A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.

 

There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.

 

Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.

 

During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.

 

In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.

 

The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.

 

Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.

 

In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).

 

In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.

 

As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.

 

On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.

 

In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.

 

In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.

 

Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.

 

A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.

 

One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.

 

The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.

 

The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.

 

RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.

 

David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.

 

Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.

 

County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.

 

King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.

 

Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]

 

The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.

 

The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.

 

However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.

 

Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.

 

According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."

 

The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.

 

'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.

I have what is probably going to be a lengthy response to an e-mail I recently received but before I get into that, a bit about this image. This was taken with an Holga of mine, a 120S to be precise. I am fortunate enough to have gotten one of these before Holgas became mainstreamed and were subsequently "improved" to be attractive to a mass audience. It used to be that no two Holgas were quite alike. Most would leak light, but often each in its own unique way. They would routinely spool the film loose, causing further light leaks. They would flare. They were much softer around the edges. They did not come with a square mask, just the rectangular one, so your frame edges were not terribly even or straight. Alas, now they rarely leak light without modification, foam has been added to make the film spool tighter. They include a square mask so that each negative is a neat square. I have a newer Holga and I still love that camera, but pulling my old 120S out and shooting it again reminded me just how much I appreciated the quirky and unpredictable nature of this camera.

 

My 120S took up the habit of scratching my film. Quite heavily at that. It was one of the reasons I eventually put it down and switched to my newer 120FN. But I decided to finally see if I could fix the scratching. I am willing to let a lot of the Holga's quirks go, but scratching is one that I do have trouble coping with. So I lined the interior edges of the frame mask with black electrical tape thinking that would do the trick as there are not too many places the film contacts the camera, that being about the only.

 

It didn't work. I am still not quite sure why. Chalk it up to the Holga being a Holga. What is more, somewhere along the shooting, my tape came unstuck and stuck out into my negative, creating those black edges you see along the borders of the image.

 

When I scanned this image in, one of the first things I did was crop it out and make my edges clean. As soon as I did so though, this image lost something. I don't know what, but those black edges lend this photo some extra little element. So I reversed the crop and kept it. I still do not quite understand why, other than that slight feeling that the image is more with them than without.

 

Now onto the e-mail. I get this e-mail quite a bit, and I try to answer it the best that I can. The basic request is generally for any helpful advice I have for photographers just getting started, who are not sure how to get better, and are generally discouraged by looking at all the great photography out there and thinking they will never get there.

 

I have answered this question more times that I can remember, in e-mails, over the counter at Blue Moon Camera, in high school and college classrooms, out in the field, etc. Each time that I answer it, my answer tends to evolve a little, so here is the latest evolution:

 

Be patient. Of all the traits a photographer should endeavor to possess, patience is the most important. Getting better at photography is like getting better at anything else; it takes time, practice and patience.

 

Forget talent. Talent, or the lack of it, is often used as an excuse for good and poor photography. Dedication, passion, and persistence trump talent every day of the week. I would take one passionate photographer for a dozen talented photographers any time.

 

Every photographer, no matter how good they are now, at one time had to start at the beginning. We all did. None of us started out making exceptional images. We all started out stumbling and feeling our way around, in varying degrees of confusion. All those mistakes you are embarrassed about making? Chances are I have made every one of them at least ten times over.

 

Make mistakes. And don't be afraid to. You learn more from your mistakes I think than your successes. Everything you do with a camera, should be teaching you how to do it better, regardless of the immediate results you get that day. Experiment, fail, learn, experiment some more.

 

The more you put in, the more you will get out. If you are going out one weekend a month to take photos, you will get better, but at a much slower rate. If you are going out everyday you will get better much more quickly. Now, not all of us have the opportunity to work with photography everyday. Some of us can only manage a weekend a month. That is fine, just try not to get too discouraged when you do not think you are growing as a photographer. It will happen, it may just take a bit longer.

 

Carry your camera everywhere. Never leave home without a camera. Ever. The best way to guarantee you will see a photo you really want to take is to not have a camera with you. It does not do much good sitting at home. And when I say everywhere, I mean everywhere, no matter how mundane the trip seems to be.

 

Shoot for yourself. Peer response is certainly important and can teach you a lot about your own photography, and you should definitely share your pictures with others every chance you get, but ultimately take photos for yourself, in your own way. You are your most important critic. If you are not happy with the images you are taking, it does not matter how popular they are. And don't make apologies for your photography. Some people will love it. Some will not. Some will think it completely pointless. That is fine, as long as you like it.

 

Shoot film. A lot of photographers getting into photography these days are "growing up" on strictly digital diets. Digital can do a lot, but it is a far from everything. Pick up a film camera to complement your digital camera. Film teaches different habits and styles from digital. It is like trying to build a house using only a screwdiver and not a hammer. It can be done, but you are missing out on a lot of other ways to create images. And what film has to teach, can very readily apply to digital photography too.

 

Shoot digital. If you are only into film photography, pick up a cheap digital camera. The quickness and readily available nature of the feedback they can give you can be a valuable learning tool. If you are limiting yourself to just film, you are missing a huge portion of the photographic spectrum.

 

Expose yourself to lots of other photography. Flickr is a good start, but it is a small pond in a much larger landscape. Hit up your local library and check out as many books as you can carry and go through them. Go to openings at museums and galleries. Attend artist lectures. Go to a workshop or two or attend a class at a local community college, not just for the instruction but the exposure to other photographers. Arrange photo outings with peers. The more photography you are exposed to, the wider the range of perspectives you will learn to see the world with.

 

A photographer is a photographer, no matter where they are. There are always pictures to be taken, everywhere. It is a photographer's task to see them. A good photographer realizes this, even if they cannot always see the pictures to be taken, they still try to.

 

Learn the rules to break them. There are a ton of rules in photography and they can be an excellent framework around which to improve your skills. Learn them thoroughly and how to use them. But, again, be careful for that very framework that has helped build you up can eventually become a cage that restricts you. Those that hold too tightly to the rules tend to see their creativity suffer.

 

Don't get too hung up on not knowing the technicals. Technical knowledge will come quickly, especially with practice. At first things like Depth of Field, aperture, resolution, aspect ratio, color temperature, exposure, shadows, highlights, zone V, reciprocity failure, visible spectrum, focal length, shutter speed can all seem confusing. Start slowly, and start simply, and put the these technical terms into practice as you learn them. But don't worry too much about knowing them because you will learn them quickly. I remember when I first picked up a camera I had no concept of what in the hell an aperture was. I just knew I had to rotate that ring on the lens until my meter needle pointed to the middle. That was how I began. Now years later this is all reflexive knowledge. You will get there too, probably within a few months. So don't stress out too much right now if you don't understand some of these technical terms. Find somebody helpful to explain them, get a good book, or go out and experiment. Or do all three.

 

Shoot manually. My boss often jokes that "Automatic means bad". He has a point. Turn all your auto functions on your camera to manual, especially focus and exposure. Taking photos this way will be more cumbersome and you will make more mistakes. But you will learn at a much quicker rate, and eventually you will understand how to use these features better than the automatic modes of your camera can. You are smarter than your camera, so try not to let the automatic features become a crutch, they will impair how quickly you understand what each shutter speed does, what each aperture does, how to learn to focus, etc. Keep as much control over your photography as possible.

 

Make scrapbooks. Routinely take your favorite photos and put them together into small scrapbooks. It is like keeping a visual journal of your progress. I did this for the first few years of photography and I noticed two big influences this had on my opinions of my own photography. First, when I got discouraged I could get out my latest albums and flip through them and see a collection of what were then my favorite photos, and I could see the cream of the crop. I could see how in fact I actually was making great images that I really liked. These scrapbooks helped remind me that I really was making progress. Second, I could go back to my earliest scrapbooks and see just how "awful" those photos that I had once thought were my best really were. I generally got a good chuckle out of this remembering how proud I was of those collections and how many people I showed them to, and then I would go back and flip through them and see, in contrast, just how much better I had become, but more importantly it kept me humble because it reminded me that there are times where we think our photos are much better than they may be, because we are so personally invested in them. This humble reminder of my beginnings was probably the biggest influence of these albums. So do not throw away or replace your old albums if you do this. If you use Flickr for this purpose, don't delete your old photos. They have a lot to teach you when you come back a few years later with a more experienced eye.

 

Have fun. For today, the last and most important piece of advice I have to offer. If you enjoy what you do, the rest of this will come quite naturally. This ties in with what I said about being passionate about your photography. Just go out and have fun and love what you do. In comparison very little else is nearly as important.

 

Now stop reading this, get your camera and go out and make some pictures, wherever you are.

St Helier's Church, known as the Town Church, is one of the 12 parish churches of Jersey.

 

Helier was a Belgian saint who lived as a hermit on an islet in St Aubin's Bay, about three quarters of a mile off the south coast of Jersey. In AD555 he was killed by pirates, beheaded by their leader who feared his men would be converted by Helier's preaching. In consequence Helier soon came to be venerated by the Islanders, and eventually was adopted as the Patron Saint of both Jersey and its capitat.

 

Land reclamation means that the church, which was once on the shoreline, is now some way inland. There are iron rings in the boundary wall, which some historians suggest were used to moor boats, but the tide would only have reached here on the highest of spring tides and it is much more likely that the rings were used to tie cattle brought to market in town. The original marketplace was about 60 metres away next to a large rock which was surrounded by the sea at high spring tides.

 

It is believed that a chapel was erected on the site of the present building very shortly after Helier's death, but the present church was begun in the 11th century. The earliest record is in a document regarding the payment of tithes signed by William the Conqueror, which is assumed to pre-date the Norman Conquest of 1066. All that is visible of the 11th century structure are the remains of window arches on either side of the choir. The building was reconsecrated in 1341 for unknown reasons.

 

The church building was extended to roughly its present size by the end of the 12th century, but most of that building is also lost. The sections of wall flanking the east window, part of a pier on the north east side of the crossing, the west face of the north door and the adjoining section to the west, and a small section of wall opposite are all that remain of the building period of roughly 1175 to 1200. The porch attached to the north door and the greater part of the nave and crossing were built in the second quarter of the 15th century.

 

The date of the chancel is impossible to determine, since the original walls have been obliterated by the north chapel on the one side and the south chapel on the other. Most of the north transept dates to the second quarter of the 13th century. The present south transept, vestry, and the westwards extension to the nave are largely Victorian. A major renovation and re-ordering of the church began in 2007, and will take several years.

 

A chapel, La Chapelle de la Madeleine, existed in the north west corner of the churchyard until the Reformation. Formerly the Rectory and church offices were on the north side of the churchyard. These were replaced in 1969 by a new Church House building, a large concrete edifice incorporating offices, a church hall, kitchens and a choir vestry, together with a flat. The Rectory was moved to a large, purpose built Georgian house in the early 19th century.

 

This is the Historic Environment Record for the church:

 

The church is of fundamental importance to the heritage of Jersey being among the oldest and most significant historic buildings in the Island. One of the 12 medieval parish churches in Jersey.

 

11-12th century in origin with later alterations, enlargements and restorations from the 13-21st century. The dedication may date from the 6th century when St Helier established his hermitage and was likely given land opposite to found a church. The earliest known recorded reference to St Helier's Church is in 1090. The church has been central to the life of the St Helier parish community for hundreds of years and provides important insights into medieval and later society such as religious activity, artistic endeavour, technical achievement, the health of the local economy and the well-being of the population.

 

The church is in the vanguard of the Island's greatest architectural achievements. It has a long and complex structural history with visible fabric of several different dates, reflecting the periods of rebuild and modification, its development intertwined with the ecclesiastical, political and social advancements and upheavals through the centuries. Current knowledge identifies the oldest part of the standing structure as the 12th century nave and chancel. It is believed that the north transept dates to the 13th century, as does the north chapel.

 

Considerable additions were made in the 15th century, almost doubling the church in size, with the crossing and tower rebuilt circa 1440, the nave and south aisle, and the south chapel added in the late 15th century.

 

The building underwent substantial restoration in the 1860s and 2000s. The church has a range of interesting memorials, fixtures and fittings and is a major feature in the townscape. Its immediate setting includes a churchyard enclosed by walls and gates, erected in 1845 to designs by Jean Le Capelain, containing a rich variety of tombstones and monuments - many of historic or artistic interest. Shown on the Richmond Map of 1795.

 

Rectors

13th Century

Nicolas Du Pont 1294

Robert de Carteret 1295

14th Century

Johan Le Sauvage 1309

Pierre d’Artis 1392

Roger Walden 1371-1385 (Later Archbishop of Canterbury)

15th Century

Rogier Herbert 1432

Johan Bunouet 1482-1502

16th Century

Andre de la Hougue 1502-1536

Jean Nicolle 1538-1540

Charles Mabson 1541-1553 (First Protestant Rector)

Louis Gibaut 1553-1559

Guillaume Morice 1562

Thomas Johanne 1567

Jean de Monanges 1570-1577

Guillaume Bonhomme 1577-1583

Pierre Henry dit Dancy 1583-1586

Mathieu de la Faye 1591

Jean de Bihan 1593

Claude Parent 1595

Thomas Oliver 1596-1638

17th Century

Pierre d’Assigny 1638-1643

Pierre Faultrat 1646-1651

Josué Bonhomme 1654-1657

Francois Le Couteur 1657-1660

Jean Dumaresq 1660-1686

Joseph Pythios 1687-1696

Jean Dumaresq 1696-1705

18th Century

Francois Le Couteur 1706-1716

Francois Le Couteur 1717-1734

Pierre Daniel Tapin 1735-1761

Jean Dupré 1761-1784

Edouarde Dupré 1784-1823

19th Century

Corbet Hue 1823-1837

Francis Jeune 1838-1844

James Hemery 1844-1849

Philip Filleul 1850-1875

William Corbet Le Breton 1875-1888

George Orange Balleine 1888-1906

20th Century

Samuel Falle 1906-1937

Mathew Le Marinel 1938-1959

Alan Stanley Giles 1959-1971

Thomas Ashworth Goss 1971-1984

Basil Arthur O’Ferrall 1985-1993

John Nicholas Seaford 1993-2005

21stCentury

Robert Key 2005 -

 

Long years ago, over a thousand years, the coastline of St Helier did not follow its exact contour of today. That portion of the town south of the cemetery wall, bordering Bond Street, was then submerged at high tide, forming the head of a little creek, with outlet somewhere about the meeting of Pier Road with Mulcaster Street. It then followed, approximately, the line of Bond Street, formerly known as "La rue de la Madelaine". From there, a sandy waste stretched far away westward to Mont Cochon.

 

The creek can be traced in a 1700 model of St Helier in the museum of La Société Jersiaise. Rings in the wall of the churchyard were found, where boats in old times had been fastened.

 

Near this creek, to the north-west of the present parish church, a chantry chapel stood, known as the "Chapelle de la Madelaine ", built of sea pebbles. Its precise position was a little to the westward of the new choir vestry. In the deed passed before the Royal Court on January 10, 1695, whereby Charles Dumaresq and James Corbet ceded in perpetuity the chapel to the parish authorities of St Helier, to be used as a poorhouse, it is described as bordering the cemetery on the south and the rectory on the east. It is evident from this document that the chapel had passed into private hands, probably sold at the Reformation by the Royal Commissioners. The chapel still existed late in the 18th century, but was allowed to fall into ruin.

 

It is probable that the chapel, one of many scattered through the island, was contemporary with the Fisherman's Chapel of St Brelade's Bay. St Helier, at the time we are referring to, was merely a collection of a few houses or huts, in fact a small fishing village; yet, the position acquired importance from its proximity to the scene of the labours and martyrdom of its patron saint, and later by the foundation of an important monastic establishment within the precincts of Elizabeth Castle itself.

 

It is possible, and even probable, that the present church originated from a second chantry chapel, dating back to about the 11th century, though there is no positive evidence of this. If so, in the ordinary course of evolution, this chapel became the chancel of the church. From extant records it would appear that during the Roman Catholic epoch, the Abbot of St Sauveur-le-Vicomte was recognised as patron, and nominated to the cure. It is, however, to be noted that, on several occasions, allusion is made to the King having presented, in time of war, candidates of his own choice to the living.

 

This period, (the 12th century) would be synchronous with the first of several crude changes which the church has undergone. Once more we cannot help expressing regret that during the many restorations our Jersey parish churches have "suffered", the canons of good taste and architectural design seem so frequently to have been ignored; the more unpardonable since in every case these buildings were planned in accordance with convention, thus offering free scope for better treatment.

 

The period we have now arrived at (12th century) was that of the first enlargement. It may be reasonably assumed that the primitive development (from the simple chantry) consisted in the prolongation of the chapel westward, the whole being then divided into a sanctuary, sIightly raised, for the priesthood, and a nave, or body, used by the congregation.

 

In the centre of this village arose a church, partly built of pebbles. Houses clustered around, in contrast to the somewhat isolated position held by most of the sister churches.

 

St Helier thus assimilated to the continental type, where churches are usually found near, and often in actual contact with the dwellings of the civil community. In England, on the other hand, our great cathedrals, almost invariably, stand in an open space, the “Close", round which the clergy live. Hence the deduction, (a wrong one nowadays at least) that English clergy form a class apart, and are less intimately associated with those to whom they minister, than is the case abroad.

 

Hard beaten earth as usual made a flooring. On this, the occasion of the first enlargement, a mortuary chapel was thrown out northward of the chancel; also a transept, and, as if to remind those who should follow later, not to forget the form of the "Latin Cross" when making further change, a corresponding addition to the south, "La Chapelle de la Vierge" was at the same time added.

 

The date of the mortuary chapel would appear to be about 1160. The exterior is conspicuous, owing to the roof being constructed with a different pitch from that of the main structure; also by the light, thin buttresses of Norman type. Inside, the broken remains of two Norman and two transition (Romanesque) arches, are still preserved; also two niches for the reception of ancient tombs.

 

Jersey churches are nothing if not unconventional, and as the sequel shows, St Helier was not to prove an exception.

 

During the early half of the 15th century, further and most important alterations were undertaken. These probably gave rise to the "Dedicace" date of consecration, 1341.

 

The chancel walls were raised. The increased elevation can even now be traced in the chancel gable, through contrast in the work of the two periods. A south chancel aisle was added. A handsome crenellated tower, with cross vaulting beneath, standing on massive piers, was erected, and lastly, heavy barrel roofs replaced those previously existing, of wood or thatch.

 

Stronger support became essential for such ponderous additions. This was supplied by means of buttresses within, and heavy circular pillars on octangular pediments carrying transition arches to form an arcading, and take the inward thrust; the outer buttresses being at the same time strengthened. Caen stone and Chausey granite now superseded pebbles, brought from the sea.

 

Towards the end of the same century, (the 15th) further important changes were again made. Of these, the chief consisted in the addition of a southern nave aisle, involving more cumbrous arcading, and tending to render the interior somewhat dark and gloomy. Flamboyant tracery appeared in the upper portions of the eastern windows.

 

Thus, a nave consisting of five bays was completed, and the church rested from structural change for many years.

 

Things pursued their normal course, until two centuries later, arose a storm of radical and revolutionary attack, a storm that, pro tem destroyed the monarchy of England, only to collapse itself under the burden of its own iniquity. It culminated in an era of bigotry and desecration. The experience of her sister churches, was that of St Helier, intensified perhaps, owing to her metropolitan status.

 

During the following century, an historic event took place, under the very shadow of St Helier's Church. In 1781, the French, led by the so-called Baron de Rullecourt, attempted by a "coup de main" the capture of the Island. They failed, defeated by the gallant Peirson who, in the hour of victory, lost his life. Many prisoners were taken, who were interned, for safety, in the parish church, a handy place pending incarceration.

 

Reinforcements from the west arrived after the fight was over. True to their instincts the St Ouennais desired no half measures. "Let us bum them church and all", they said, and this they would undoubtedly have done, unless tradition errs, had not a force of regulars prevented them.

 

The next and last structural enlargement, or rather "restoration of St Helier's Church, took place in 1864. During the preceding revolutionary innings its leaders had busied themselves with the interior, purging it of aught that savoured of the Romish religion. A craze for galleries obsessed them. No fewer than seven, for the general public, and several belonging to private families, were placed in different parts.

 

One of the first named, known as the Common Gallery, at the west end, served as the roof of a town arsenal, for the parish guns. Another was devoted to the use of "fumeurs". The lofty Three Decker pulpit, of course, appeared, pride of the Puritan. It held a position confronted by a special pew for the Lieut-Governor. The travelling communion table also was there, used as occasion arose for parish elections, or even public auctions. Such were the marks of the roundhead regime.

 

Under the name of church reform, aught else went by the board. Stoups and piscinas, fonts and ornaments of every kind, were swept away. Governor Paulett, by virtue of a Royal Commission, seized the church plate and sold it; also the bells, and sold them. Such also was the situation during a certain period, happily short.

 

Intemperance of every kind must find a nemesis. Reaction was not long delayed, Early in the 18th century an organ ("box of whistles") appeared, tucked away in one of the many galleries. Then, huge chandeliers, in brass, lighted by many candles, whilst tracery again adorned the window, so that, once more, St Helier's came to assume its pristine garb.

 

In 1864 the work of restoration was taken seriously in hand. Some interesting reproductions, illustrating the church during this transition period, and presenting views from the northwest and southwest speak for themselves. Some of the neighbouring buildings can still be recognised.

 

A committee was entrusted with the task of securing stained glass windows. How well they did their work is recorded below, including names of many noted Jerseymen as donors.

 

The cost of restoration amounted to some £4,000, The nave was lengthened, a south transept added, A vestry and porch was opened on the north side, where the two Norman and transition arches, belonging to the mortuary chapel previously mentioned, were discovered, and removed to another position.

 

For these was substituted yet further heavy arcading, to match that in the remainder of the church, although it would seem rather late for trying to introduce uniformity within a building whose principal feature, one might almost say charm, lay in the opposite direction.

 

As to the interior, all the old galleries were taken out, whilst a new one was placed at the west end of the nave, and a second in the south transept, Stalls in thc chancel were appropriated to the choir, near the organ, on the north.

 

Church furniture of modem type was introduced, and many gifts from various well-wishers helped to renovate and beautify the church, A handsome lectern in brass was the contribution of Francis Bertram.

 

Members of the congregation presented a painting representing The Last Supper, to form a reredos, and specially as a tribute to the Rev P A Le Feuvre, Vice-Dean of Jersey, who died whilst in the act of ministering at the altar, on Easter Day 1889. A brass plate, in the chancel, further commemorates this tragic event.

 

Under one date or another may be seen recorded on these ancient walls nearly every Jersey name of note, the earliest, that of Maximilian Norreys, marked by a plain grey slab, with armorial bearings, and going back to 1591; one of the latest is that of Lieut-Colonel P Le Gallais, killed in the Boer War of 1901-2.

 

There, too, are other names familiar to Jerseymen as household word. Bandinel, La Cloche, d'Auvergne, de Carteret, Anquetil, Durell, a list too numerous for mention here. Tablets to several Lieut-Governors augment this roll, amongst them one to Major-General Archibald Campbell, who died during his term of office and found a last resting place within the church.

 

But, in this Roll of Honour none holds a more distinguished place than that of Francis Peirson. He lies beneath the tower. A simple monument (some think too simple), placed in he chancel by the States of Jersey, is thus inscribed:

 

"To the memory of Major Francis Peirson, who, when this Island was invaded by the French, fell bravely fighting at the head of British and Island troops. He died in the flower of youth and in the moment of victory the 6th day of January 1781, aged 24. The States of the Island in grateful testimony of their deliverance, caused this monument to be erected at the public expense".

His story needs no recital, nor his brave memory any costly monument. The French Commander, Rullecourt, was buried in the churchyard near the north transept door.

 

And still we might go on, but those who would recall to mind the Island's history by names of men who made it, cannot do better than spend a quiet hour within those sacred walls that speak.

 

St Helier's church plate is not remarkable, all being post-Reformation. Amongst its donors appear the names of Jean and Abraham Herault; a chalice, presented by the former, taking the pride of place for antiquity (1639). Philip Le Geyt, Francis Le Couteur, Mauger, Ste Croix, and Lempriere are other names associated with the collection.

 

But, doubtless the greatest general interest will centre round the pieces forming a service sent for the use of Charles, then Prince of Wales, later King Charles II, for use during his brief stay at Elizabeth Castle.

 

For a long time this service lay unheeded, certainly uncared for, somewhere within the castle walls. Its whereabouts, in some way, came to light, and then the British Government authorities took steps to have it properly looked after. Since the withdrawal of soldiers from the castle, it has been placed under the special guardianship of the Dean of Jersey, for use of the garrison at certain services, held in the parish church, once more created Garrison Church of Jersey.

 

The service consists of three pieces, flagon, chalice, and paten. All bear the London hallmark. The front of the flagon bears a coat of arms supposed to be those of Lord Capel. The chalice bears the arm, and the paten (1621-22) the crest of Sir Thomas Jermyn, Governor of Jersey from 1631 to 1644.

 

Two memorable occasions may be mentioned when this plate must have been used, each associated with the Royal refugee. On 26 April 1646, Charles, then Prince of Wales, attended the parish church in state, supported by the loyalists of Jersey. Later, in 1649, after his father's execution, the Prince, now King, was again present at a requiem service.

 

The scene is quaintly described as follows:

 

"On this occasion the young Prince, only 16 years of age, occupied a chair fronting the pulpit; a table was placed conveniently, so that his highness might rest his elbows on it".

The Duke of York, his brother, accompanied him; the Jersey Militia guarded his route from castle to church, and many devoted adherents followed in his train. He wore the Order of the Garter, and was loyally hailed as King, Jersey the first to acclaim him.

 

A Roll of over 50 Rectors attests the antiquity of the Christian faith, as held by the National Church in Jersey. From 1294, up to the present time, no break occurs. The earliest on record is Nicolas Dupont, 1294.

 

No fewer than seven Deans have served as Rectors of St Helier, the last but not least distinguished being the Very Reverend Samuel Faile.

 

We now conclude this brief memorial of St Helier's Parish Church; at times seat of the Deans, scene of many stirring episodes, pro-cathedral, and in some sense a local Valhalla. It cannot be denied, that, taken as a whole, the building with its lofty crenelated tower, is dignified, though unsymmetrical. A critic of the interior might perchance exclaim in Goethe's dying words, "Encore de la lumiere".

 

In fact, there seems to have been a clerestory at one time. Perhaps, in the not far distant future, the powers that be may yet again draw light from heaven.

 

History will testify to the present era as one of religious and social activity, of "rapprochement" among the Island churches, of material improvement as regards the fabric and its surroundings and, let us hope, of further generous gifts to adorn the interior, and perfect the services. It will be from no lack of interest or energy on the part of the present holder of the benefice should such not prove to be the case.

 

The following is the list of windows in the church, together with their subjects, and names of the donors:

 

Chancel, east window, the gift of the Hemery family. The upper portion represents "The Lord enthroned", while the lower portions represent "The angel announcing the resurrection", and "The risen Lord appearing to Mary Magdalene”. This window is the work of one of the most eminent artists of the period, and was exhibited at the great exhibition of 1862, as an example of British Ecclesiastical art.

Chancel aisle, east window, given by the restoration committee. Four lights, representing "The Adoration of the Magi", "Christ in the Temple", "The Marriage Feast in Cana", and "Christ bearing His Cross".

Chancel aisle (first window), the gift of Jurat E C Malet de Carteret, the subject being "Christ healing the sick".

Chancel aisle (second window), given by the Le Breton family; the subjecL of the three panels being “Christ appearing to St Thomas", "St Paul preaching at Athens", and "The woman of Samaria".

South aisle (first window) presented by the late Jurat J G Falle, the subjects represented being "The healing of the woman", " Christ, the Consoler", and " St Peter walking on the sea".

South aisle (second window), given by the late Mr N Le Quesne, "Christ blessing the children ".

South aisle (third window) presented by the son of the late Mr Abraham de Gruchy, "The baptism of our Lord".

South aisle (west window), presented by he Westaway family, "The Ascension".

Nave (west window), presented by the late MR George Bertram, "The Crucifixion".

Nave (north window), the gift of tbe late Mr Jean de Gruchy, " The raising of Lazarus ".

North transept, given by the late Mr Philip Le Rossignol, "Christ walking on the Sea".

South transept, given by the Parish of St Helier, "The sacrifice of Isaac", "The framing of the law", and "The brazen serpent".

Mortuary Chapel, raised by subscription among tbe widows of tho congregation, " Christ, the Good Shepherd".

Vestry, presented by he late Mrs John Le Masurier, "The Annunciation".

№ 18 is higly precise hunting rifle, combining advantages of american underbarrel magazine tube and elegancy of classic european bolt. With its excellent accuracy and .300 WHH caliber, this rifle is ideal for hunting large animals such as deers, bears, reindeers or wild boars.

 

Westinghouse also offers optional optics mounts, sling mounts of various sizes and 3 barrel lenghts (the one on picture is medium length).

  

So, yeah, for my 2nd Westinghouse weapon, I remade my first one. It´s been some time since I wanted to recreate combo underbarrel tube and classic bolt.

 

Now after I have this rifle, I can move onto another thing I wanted to recreate...... hunting rifle with underbarrel single shot shotgun barrel (if it causes chaos, you will see when I am finished).

 

Credits:

Westinghouse, Westinghouse logo and Westinghouse style goes to Xenol.

Engravings go to Worlock.

 

As ussualy, this weapon is fictional but is based on real weapons.

The Antonov An-30 is a derivative of the An-24, fitted with an entirely new fuselage forward of frame 11. The fuselage nose is extensively glazed, reminiscent of the Boeing B-29. Housed within the new nose section are the navigator and precise navigational equipment, including an optical sight for ensuring accuracy of aerial photography. To enable accurate and repeatable survey flights, standard equipment for the An-30 included computer flight path control technology. This additional equipment replaced the radar on the An-24. The positioning of the new navigational equipment required the flightdeck to be raised by 41 cm in comparison to the An-24, giving the aircraft its other main feature, a hump containing the cockpit.

 

The radio operator and flight engineer sat in the first cabin aft of and below the flightdeck. The mission equipment was located further aft, in a cabin featuring five camera windows in the floor. Each camera window could be closed with covers to protect the glass panels. The covers were located in special fairings protruding from the fuselage underside. In the normal aerial photography role, four or five cameras were carried aboard. Three cameras were mounted vertically, intended for mapping purposes. The remaining two cameras were pointed at an angle of 28° on each side of the aircraft, for oblique photography. The same fuselage compartment contained workstations for two camera operators and a crew rest area.

 

The aircraft's cameras could be used between 2,000 and 7,000 m (6,500 and 23,000 ft) and the scale of the resultant photographs was between 1:200,000 and 1:15,000,000. The aircraft was supplied with four or five cameras.

 

The An-30 was powered by two Ivchenko AI-24VT turboprops with a takeoff rating of 2,820 ehp.

 

n addition to its principal use as a survey aircraft, it has also been used by Bulgaria, Czech Republic, Romania, Russia and Ukraine to carry out surveillance under the Open Skies Treaty.

 

The An-30 has also been used as a weather control aircraft as the An-30M. Some have been fitted with frozen tanks of carbon dioxide to be ejected into the sky to form artificial rain clouds. These An-30s have also been put to use to avoid crop-damaging hailstorms and also to maintain good weather for, as examples, new airplane maiden flights, important parades like the 1st of May and the 850th anniversary of Moscow in September 1997.

 

Between 1971 and 1980 a total of 115 aircraft were built and 23 were sold abroad to Afghanistan, Bulgaria, China, Cuba, Czechoslovakia, Mongolia and Vietnam.

 

An-30s completely mapped Afghanistan in 1982, with one shot down by a MANPADS during an aerial photography flight in the Kabul area south of the Panjshir Valley on 11 March 1985. Cuban An-30s saw active service in Angola in 1987.

 

On 22 April 2014, a Ukrainian An-30 was hit by pro-Russian separatists' small-arms fire while on a surveillance mission over the town of Sloviansk in eastern Ukraine. The plane landed safely with minor damage. On 6 June 2014, a Ukrainian An-30B was shot down near the city of Slavyansk in eastern Ukraine, reportedly by a MANPADS fired by local separatists.

Une photo n'est pas toujours capable de montrer aussi précisément les détails que ce que nos yeux voient, encore moins de faire vivre les sensations percues dans un endroit ou á un moment donné, comme la chaleur, l'ambiance, la lumière, les odeurs etc. Les émotions ressenties rendent magiques ces instants, il est probable que personne ne puisse les apprécier á notre manière. Les photos qui nous font vibrer suite á ce vécu ne recoivent parfois pas l'attention que l'on croirait, ce n'est pas grave, elle font partie de notre jardin secret...

 

No siempre puede una foto mostrar precisamente los detalles que nuestros ojos ven, aún menos hacer vivir las sensaciones percibidas en un lugar o en un momento dado, como el calor, el ambiente, la luz, las fragancias, etc. Las emociones experimentadas hacen que estén mágicos estos instantes, es probable que nadie pueda apreciarlas a nuestra manera. A veces las fotos que nos hacen vibrar por lo vivido no reciben la atención que se pensaría, no esta grave, hacen parte de nuestro jardín secreto...

A precise single line token exchange keeps the lasting magic of the Chuckle Brothers alive.

 

Locally based 37263 pulls into Highley station with a service from Kidderminster, on the final day of the Severn Valley Railway's '65 years of class 37' Autumn diesel gala 2025.