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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
The Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor, replacing the propeller-driven North American F-82 Twin Mustang in this role. The system was designed to overtake the F-80 in terms of performance, but more so to intercept the new high-level Soviet bombers capable of nuclear attacks on America and her Allies - in particular, the new Tupelov Tu-4. The F-94 was furthermore the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.
The initial production model, the F-94A, entered operational service in May 1950. Its armament consisted of four 0.50 in (12.7 mm) M3 Browning machine guns mounted in the fuselage with the muzzles exiting under the radome for the APG-33 radar, a derivative from the AN/APG-3, which directed the Convair B-36's tail guns and had a range of up to 20 miles (32 km). Two 165 US Gallon (1,204 litre) drop tanks, as carried by the F-80 and T-33, were carried on the wingtips. Alternatively, these could be replaced by a pair of 1,000 lb (454 kg) bombs under the wings, giving the aircraft a secondary fighter bomber capability. 109 were produced.
The subsequent F-94B, which entered service in January 1951, was outwardly virtually identical to the F-94A. Its Allison J33 turbojet had a number of modifications made, though, which made it a very reliable engine. The pilot was provided with a roomier cockpit and the canopy received a bow frame in the center between the two crew members. A new Instrument Landing System (ILS) was fitted, too, which made operations at night and/or in bad weather much safer. However, this new variant’s punch with just four machine guns remained weak, and, to improve the load of fire, wing-mounted pods with two additional pairs of 0.5” machine guns were introduced – but these hardly improved the interceptor’s effectiveness. 356 of the F-94B were nevertheless built.
The following F-94C was extensively modified and initially designated F-97, but it was ultimately decided just to treat it as a new version of the F-94. USAF interest was lukewarm since aircraft technology had already developed at a fast pace – supersonic performance had already become standard. Lockheed funded development themselves, converting two F-94B airframes to YF-94C prototypes for evaluation with a completely new, much thinner wing, a swept tail surface and a more powerful Pratt & Whitney J48. This was a license-built version of the afterburning Rolls-Royce Tay, which produced a dry thrust of 6,350 pounds-force (28.2 kN) and approximately 8,750 pounds-force (38.9 kN) with afterburning. Instead of machine guns, the proposed new variant was exclusively armed with unguided air-to-air missiles.
Tests were positive and eventually the F-94C was adopted for USAF service, since it was the best interim solution for an all-weather fighter at that time. It still had to rely on Ground Control Interception Radar (GCI) sites to vector the interceptor to intruding aircraft, though.
The F-94C's introduction and the availability of the more effective Northrop F-89C/D Scorpion and the North American F-86D Sabre interceptors led to a quick relegation of the earlier F-94 variants from mid-1954 onwards to second line units and to Air National Guards. By 1955 most of them had already been phased out of USAF service, and some of these relatively young surplus machines were subsequently exported or handed over to friendly nations, too. When sent to the ANG, the F-94As were modified by Lockheed to F-94B standards and then returned to the ANG as B models. They primarily replaced outdated F-80C Shooting Stars and F-51D/H Mustangs.
At that time the USAF was looking for a tactical reconnaissance aircraft, a more effective successor for the RF-80A which had shown its worth and weaknesses during the Korea War. For instance, the plane could not fly at low altitude long enough to perform suitable visual reconnaissance, and its camera equipment was still based on WWII standards. Lockheed saw the opportunity to fill this operational gap with conversions of existing F-94A/B airframes, which had, in most cases, only had clocked few flying hours, primarily at high altitudes where Soviet bombers were expected to lurk, and still a lot of airframe life to offer. This led to another private venture, the RF-94B, auspiciously christened “Stargazer”.
The RF-94B was based on the F-94B interceptor with its J33 engine and the original unswept tail. The F-94B’s wings were retained but received a different leading-edge profile to better cope with operations at low altitude. The interceptor’s nose with the radome and the machine guns underneath was replaced by a new all-metal nose cone, which was more than 3 feet longer than the former radar nose, with windows for several sets of cameras; the wedge-shaped nose cone quickly earned the aircraft the unofficial nickname “Crocodile”.
One camera was looking ahead into flight direction and could be mounted at different angled downward (but not moved during flight), followed by two oblique cameras, looking to the left and the right, and a vertical camera as well as a long-range camera focussed on the horizon, which was behind a round window at port side. An additional, spacious compartment in front of the landing gear well held an innovative Tri-Metrogen horizon-to-horizon view system that consisted of three synchronized cameras. Coupled with a computerized control system based on light, speed, and altitude, it adjusted camera settings to produce pictures with greater delineation.
All cameras could be triggered individually by pilot or a dedicated observer/camera systems operator in the 2nd seat. Talking into a wire recorder, the crew could describe ground movements that might not have appeared in still pictures. A vertical view finder with a periscopic presentation on the cockpit panel was added for the pilot to enhance visual reconnaissance and target identification directly under the aircraft. Using magnesium flares carried under its wings in flash-ejector cartridges, the RF-94B was furthermore able to fly night missions.
The RF-94B was supposed to operate unarmed, but it could still carry a pair of 1.000 lb bombs under its wings or, thanks to added plumbings, an extra pair of drop tanks for ferry flights. The F-94A/B’s machine gun pods as well as the F-94C’s unguided missile launchers could be mounted to the wings, too, making it a viable attack aircraft in a secondary role.
The USAF was highly interested in this update proposal for the outdated interceptors (almost 500 F-94A/Bs had been built) and ordered 100 RF-94B conversions with an option for 100 more – just when a severe (and superior) competitor entered the stage after a lot of development troubles: Republic’s RF-84F Thunderflash reconnaissance version. The first YRF-84F had already been completed in February 1952 and it had an overall slightly better performance than the RF-94B. However, it offered more internal space for reconnaissance systems and was able to carry up to fifteen cameras with the support of many automatized systems, so that it was a single seater. Being largely identical to the F-84F and sharing its technical and logistical infrastructures, the USAF decided on short notice to change its procurement decision and rather adopt the more modern and promising Thunderflash as its standard tactical reconnaissance aircraft. The RF-94B conversion order was reduced to the initial 100 aircraft, and to avoid operational complexity these aircraft were exclusively delivered to Air National Guardss that had experience with the F-94A/B to replace their obsolete RF-80As.
Gradual replacement lasted until 1958, and while the RF-94B’s performance was overall better than the RF-80A’s, it was still disappointing and not the expected tactical intelligence gathering leap forward. The airframe did not cope well with constant low-level operations, and the aircraft’s marginal speed and handling did not ensure its survivability. However, unlike the RF-84F, which suffered from frequent engine problems, the Stargazers’ J33 made them highly reliable platforms – even though the complex Tri-Metrogen device turned out to be capricious, so that it was soon replaced with up to three standard cameras.
For better handling and less drag esp. at low altitude, the F-94B’s large Fletcher type wingtip tanks were frequently replaced with smaller ones with about half capacity. It also became common practice to operate the RF-94Bs with only a crew of one, and from 1960 on the RF-94B was, thanks to its second seat, more and more used as a trainer before pilots mounted more potent reconnaissance aircraft like the RF-101 Voodoo, which eventually replaced the RF-94B in ANG service. The last RF-94B was phased out in 1968, and, unlike the RF-84F, it was not operated by any foreign air force.
General characteristics:
Crew: 2 (but frequently operated by a single pilot)
Length: 43 ft 4 3/4 in (13.25 m)
Wingspan (with tip tanks): 40 ft 9 1/2 in (12.45 m)
Height: 12 ft. 2 (3.73 m)
Wing area: 234' 8" sq ft (29.11 m²)
Empty weight: 10,064 lb (4,570 kg)
Loaded weight: 15,330 lb (6,960 kg)
Max. takeoff weight: 24,184 lb (10,970 kg)
Powerplant:
1× Allison J33-A-33 turbojet, rated at 4,600 lbf (20.4 kN) continuous thrust,
5,400 lbf (24 kN) with water injection and 6,000 lbf (26.6 kN) thrust with afterburner
Performance:
Maximum speed: 630 mph (1,014 km/h) at height and in level flight
Range: 930 mi (813 nmi, 1,500 km) in combat configuration with two drop tanks
Ferry range: 1,457 mi (1,275 nmi, 2,345 km)
Service ceiling: 42,750 ft (14,000 m)
Rate of climb: 6,858 ft/min (34.9 m/s)
Wing loading: 57.4 lb/ft² (384 kg/m²)
Thrust/weight: 0.48
Armament:
No internal guns; 2x 165 US Gallon (1,204 liter) drop tanks on the wing tips and…
2x underwing hardpoints for two additional 165 US Gallon (1,204 liter) ferry tanks
or bombs of up to 1.000 lb (454 kg) caliber each, plus…
2x optional (rarely fitted) pods on the wings’ leading edges with either a pair of 0.5" (12.7 mm)
machine guns or twelve 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets each
The kit and its assembly:
This project was originally earmarked as a submission for the 2021 “Reconnaissance & Surveillance” group build at whatifmodellers.com, in the form of a Heller F-94B with a new nose section. The inspiration behind this build was the real-world EF-94C (s/n 50-963): a solitary conversion with a bulbous camera nose. However, the EF-94C was not a reconnaissance aircraft but rather a chase plane/camera ship for the Air Research and Development Command, hence its unusual designation with the suffix “E”, standing for “Exempt” instead of the more appropriate “R” for a dedicated recce aircraft. There also was another EF-94C, but this was a totally different kind of aircraft: an ejection seat testbed.
I had a surplus Heller F-94B kit in The Stash™ and it was built almost completely OOB and did – except for some sinkholes and standard PSR work – not pose any problem. In fact, the old Heller Starfire model is IMHO a pretty good representation of the aircraft. O.K., its age might show, but almost anything you could ask for at 1:72 scale is there, including a decent, detailed cockpit.
The biggest change was the new camera nose, and it was scratched from an unlikely donor part: it consists of a Matchbox B-17G tail gunner station, slimmed down by the gunner station glazing's width at the seam in the middle, and this "sandwich" was furthermore turned upside down. Getting the transitional sections right took lots of PSR, though, and I added some styrene profiles to integrate the new nose into the rest of the hull. It was unintentional, but the new nose profile reminds a lot of a RF-101 recce Voodoo, and there's, with the straight wings, a very F-89ish look to the aircraft now? There's also something F2H-2ish about the outlines?
The large original wing tip tanks were cut off and replaced with smaller alternatives from a Hasegawa A-37. Because it was easy to realize on this kit I lowered the flaps, together with open ventral air brakes. The cockpit was taken OOB, I just modified the work station on the rear seat and replaced the rubber sight protector for the WSO with two screens for a camera operator. Finally, the one-piece cockpit glazing was cut into two parts to present the model with an open canopy.
Painting and markings:
This was a tough decision: either an NMF finish (the natural first choice), an overall light grey anti-corrosive coat of paint, both with relatively colorful unit markings, or camouflage. The USAF’s earlier RF-80As carried a unique scheme in olive drab/neutral grey with a medium waterline, but that would look rather vintage on the F-94. I decided that some tactical camouflage would make most sense on this kind of aircraft and eventually settled for the USAF’s SEA scheme with reduced tactical markings, which – after some field tests and improvisations in Vietnam – became standardized and was officially introduced to USAF aircraft around 1965 as well as to ANG units.
Even though I had already built a camouflaged F-94 some time ago (a Hellenic aircraft in worn SEA colors), I settled for this route. The basic colors (FS 30219, 34227, 34279 and 36622) all came from Humbrol (118, 117, 116 and 28, respectively), and for the pattern I adapted the paint scheme of the USAF’s probably only T-33 in SEA colors: a trainer based on Iceland during the Seventies and available as a markings option in one of the Special Hobby 1:32 T-33 kits. The low waterline received a wavy shape, inspired by an early ANG RF-101 in SEA camouflage I came across in a book. The new SEA scheme was apparently applied with a lot of enthusiasm and properness when it was brand new, but this quickly vaned. As an extra, the wing tip tanks received black anti-glare sections on their inner faces and a black anti-glare panel was added in front of the windscreen - a decal from a T-33 aftermarket sheet. Beyond a black ink wash the model received some subtle panel post-shading, but rather to emphasize surface details than for serious weathering.
The cockpit became very dark grey (Revell 06) while the landing gear wells were kept in zinc chromate green primer (Humbrol 80, Grass Green), with bright red (Humbrol 60, Matt Red) cover interiors and struts and wheels in aluminum (Humbrol 56). The interior of the flaps and the ventral air brakes became red, too.
The decals/markings came from a Special Hobby 1:72 F-86H; there’s a dedicated ANG boxing of the kit that comes with an optional camouflaged aircraft of the NY ANG, the least unit to operate the “Sabre Hog” during the Seventies. Since this 138th TFS formerly operated the F-94A/B, it was a perfect option for the RF-94B! I just used a different Bu. No. code on the fin, taken from a PrintScale A/T-37 set, and most stencils were perocured from the scrap box.
After a final light treatment with graphite around the afterburner for a more metallic shine of the iron metallic (Revell 97) underneath, the kit was sealed with a coat of matt acrylic varnish (Italeri).
A camouflaged F-94 is an unusual sight, but it works very well. The new/longer nose considerably changes the aircraft's profile, and even though the change is massive, the "Crocodile" looks surprisingly plausible, if not believable! And, despite the long nose, the aircraft looks pretty sleek, especially in the air.
Sudeley Castle is located in the Cotswolds near Winchcombe, Gloucestershire, England. The present structure was built in the 15th century and may have been on the site of a 12th-century castle. The castle has a notable garden, which is designed and maintained to a very high standard. The chapel, St. Mary's Sudeley, is the burial place of Queen Catherine Parr (1512–1548), the sixth wife of King Henry VIII, and contains her marble tomb. Unusually for a castle chapel, St Mary's of Sudeley is part of the local parish of the Church of England. Sudeley is also one of the few castles left in England that is still a residence. As a result, the castle is only open to visitors on specific dates, and private family quarters are closed to the public. It is a Grade I listed building,[1] and recognised as an internationally important structure.
History
The Queen's Gardens at Sudeley Castle
A castle may have been built on the site during the reign of King Stephen (1135–1154).[3] In 1442, Ralph Boteler, who was created Baron Sudeley by King Henry VI of England, inherited Sudeley Castle and built the current castle on its present site, using what he had earned fighting in the Hundred Years' War. He built quarters for servants and men at arms on the double courtyard that was surrounded by a moat. He also added state and family apartments on the second courtyard. The Chapel, which would become St. Mary's, and the tithe barn were also built under Boteler. Unfortunately, Boteler failed to gain royal permission to crenellate the castle, and had to seek King Henry VI's pardon.[4]
Due to his support for the Lancastrian cause, King Edward IV of England confiscated the castle from Boteler in 1469, and gave it to his brother, Richard Plantagenet, Duke of Gloucester, who later became King Richard III of England. Richard used the castle as a base for the Battle of Tewkesbury. He later exchanged this property for Richmond Castle, making Sudeley property of the crown. Ownership of the castle returned to Richard when he became king in 1483. During his reign, the Banqueting Hall, with oriel windows, and the adjoining state rooms, now in ruins, were built in place of the eastern range of Boteler’s inner court as part of a royal suite.
After King Richard's death at the Battle of Bosworth, Sudeley passed to the new king, Henry VII of England, who then gave it to his uncle, Jasper Tudor, Duke of Bedford. By the time King Henry VIII of England succeeded to the throne, the castle was the property of the Crown again. In 1535, King Henry VIII and his second wife, Queen Anne Boleyn, visited the castle, which had been empty and unattended for some time.
When King Henry VIII died, the castle became the property of his son, King Edward VI of England, who gave it to his uncle, Thomas Seymour, whom he made Baron of Sudeley. In early Spring 1547, Lord Seymour married King Edward's stepmother, the Dowager Queen Catherine Parr. At the announcement of her pregnancy in late 1547, Seymour began to renovate the castle for Catherine's use, but only one room that he built remains today. Lord Seymour and Catherine decided that she should move to Sudeley for the final months of her pregnancy. At about six months, Catherine was accompanied by Lady Jane Grey and a large retinue of ladies to attend on her, as well as over one hundred gentlemen of the household and Yeomen of the guard. Catherine's sister Anne, Countess of Pembroke, also came and attended upon her as her chief lady and groom of the stool. Catherine gave birth to her daughter, Lady Mary Seymour, on 30 August 1548, only to die on 5 September of that year. She was buried in the Chapel. Her grave was later discovered in 1782, after the castle and the chapel had been left in ruins by the English Civil War. She was later reinterred by the Rector of Sudeley in 1817, and an elaborate tomb was erected in her honour.
In 1549, Lord Seymour's ambitions led him to be arrested and beheaded; after which, Sudeley Castle became the property of Catherine's brother, William Parr, 1st Marquess of Northampton. After Parr's involvement with the plot to put Lady Jane Grey on the throne, he was stripped of his property and title by Queen Mary I of England. Parr would regain his titles later on under Queen Elizabeth I of England, but the Castle remained property of the Crown.
In 1554, Queen Mary I gave Sudeley Castle to John Brydges, 1st Baron Chandos, and it remained his property throughout her reign and the reign of Queen Elizabeth I as well. It was at Sudeley that Queen Elizabeth was entertained three times. Also, a spectacular three-day feast was held there to celebrate the anniversary of the defeat of the Spanish Armada in 1592. He is buried in the chapel, as well, as was Giles Brugge, 6th Baron Chandos.
n 1877, the then owner described the castle thus:
Few residences can boast a greater antiquity, or have witnessed more striking changes. A mansum, or manor-house, before the Conquest, a baronial castle in the time of Stephen, then alternately going to decay, or rising into additional magnificence, with stately towers to overlook the vale — again suffering from neglect, and once more right royally restored and beautified to receive the widowed Queen as Seymour s Bride, with all her lordly retinue.][5]
Current ownership
The current owners are Elizabeth, Lady Ashcombe, widow of Henry Cubitt, 4th Baron Ashcombe, and her two children: Henry Dent-Brocklehurst and Mollie Dent-Brocklehurst. After the death of Lady Ashcombe's husband Mark Dent-Brocklehurst in 1972, she owns 50 percent of the equity, while her children each own 25 percent.
Mark inherited Sudeley in 1949 after the death of his father. His mother decided to stay at the castle though until 1969. It was at this time that Mark and his American-born wife, Elizabeth, decided to open up the castle to the public.[6] It took two years to convert the home into a tourist attraction, but Mark died in 1972, leaving a large amount of both debts and death duties. Lady Ashcombe married Baron Ashcombe, and the couple made major renovations.[7] Lady Ashcombe and her children have since taken over the management of the castle as a visitor attraction.[8]
BBC Four featured an investigation into the castle on 27 June 2007 titled Crisis At The Castle.[9] This detailed the turmoil associated with managing the castle within three sets of owners and their families.[10] Closing the castle to the general public on some weekdays meant that visitors were disheartened when embarking on their day trips, and resulted in a dramatic fall in visitor numbers in the three years leading up to the creation of the programme.
The castle is sometimes used for high-profile events, such as the 2007 wedding of English actress Elizabeth Hurley to Indian textile heir Arun Nayar, which took place in the private chapel.
Twikipedia
For my friend Janko's birthday I made artifacts and a text window from the game Heroes of Might and Magic III. This is what the set looks like.
El Ministerio de Relaciones Exteriores y la empresa EY (antes Ernst & Young) presentaron en la sede de la Cancillería la segunda edición de la “Guía de Negocios e Inversión en el Perú 2014 / 2015”, que se consolida como una herramienta de promoción para atraer más y mejores inversiones a nuestro país.
La segunda edición de la Guía de Negocios e Inversión en el Perú, editada en español e inglés, constituye una ayuda para el inversionista extranjero y nacional porque reúne información actualizada sobre los principales aspectos tributarios, legales, laborales y de constitución de empresas en nuestro país; así como datos generales sobre cómo invertir y hacer negocios, un directorio completo de las embajadas y consulados del Perú en el exterior, y contactos de interés para el inversionista. Sigue leyendo la nota en nuestra Web: bit.ly/OSapMC
Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013
Photos by Kyle Rober
The Ritual: The Xperience 2014:
www.facebook.com/events/415497831904495/
Links:
The Ritual 2013:
www.facebook.com/events/431476333570283
Logic Vision Collective:
www.logicvisioncollective.com/
www.facebook.com/groups/logicvisionrecs
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"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))
jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...
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The DIGITAL ALCHEMISTS are proud to present:
THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.
Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.
We believe in the healing potential of intentional gatherings.
We have dedicated our lives for facilitating these opportunities for a collective evolution.
Our mission : to create the perfect transformation into Peace, Unity and Global Respect...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 days Open-Air Festival
International Music acts
International Deco concept
More info coming soon...
Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Logic Vision Collective est fier de vous présenter :
La Réunion des Tribus 2013
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.
Nous croyons aux guérisons et au potentiel des intentions.
Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.
Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 Jours de Festival en Plein-Air
Artistes internationaux
Concept Déco international
Bientôt d'autres nouvelles...
O Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
International Artists:
✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia
✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance
✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance
✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub
✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance
✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance
✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia
✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance
✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance
✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic
✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic
✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending
✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog
✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive
✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic
✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy
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Local Heros
Live-Acts:
✔ 1,618 live! (Montreal) ::: Progressive Psytrance
✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive
✔ AURA live! (Aura Music - Montreal) ::: Psydub
✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism
✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal
✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque
✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal
✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark
✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi
✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance
✔ UBER live! (Indy - Montreal) ::: Progressive
✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance
✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque
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DJsets
✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog
✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub
✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance
✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog
✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu
✔ BENDALA (Space Gathering - Montreal)
✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves
✔ DIRTY HARRY (St Jerome) ::: Zenonesque
✔ EFFLUX (Montreal) ::: DMTechno
✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance
✔ FIELD EQUATION (Montreal) ::: Chillstep
✔ G-PI (Techno Agricole - Montreal) ::: Psyprog
✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive
✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan
✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance
✔ KISS of VENUS (New York) ::: Psychedelic Techno
✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub
✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance
✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance
✔ MYTHROPHAN (Toronto) ::: Progressive
✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass
✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance
✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance
✔ NIKOCH (Montreal) ::: Native Tribal Trance
✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive
✔ NISMO (Cyberloft - Montreal) ::: Progressive
✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub
✔ OGICHIDA (Organic Family - Toronto) ::: Forest
✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech
✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance
✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance
✔ PSYBERTH (Openmind Festival - Can) ::: Psybass
✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance
✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive
✔ RON JON (Logic Vision - Ottawa) ::: Psytrance
✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub
✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog
✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy
✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass
✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance
✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy
✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS
✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance
✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog
✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive
::::::::
Deco Artists:
✔ WIZART VISIONS (USA) ::: Decoration
WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.
www.facebook.com/pages/WizArt-Visions/444814318878170
✔ ORGANIC FAMILY (CAN) ::: DECO
✔ CESAR AR (CAN) ::: Visionnary ARt
✔ MYRKO (CAN) ::: Visionnary ARt
:::::::::::::::::::::::::::::::::::::::::::::::
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
SERVICES
----------------------------------------
- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant
- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai
- Plage et baignade sur le site / Beach and swimming on the site
- Toilettes / WC
- Camping gratuit / Free camping
- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.
REGLEMENT / REGULATION
---------------------------------------------
- Respectez l’environnement / Respect the environment
- Aucun objet en verre sur le site / No glass on the site
- Les feux sont interdits / Fires are forbidden
- Baignade interdite la nuit / No swimming at night
- Aucun animal domestique sur le site / Pets are not allowed on the site
- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.
MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...
THANK YOU FOR RESPECTING THOSE RULES ! ...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
The INDIAN MARKET !
The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.
Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs
please email us at: theritual.festival@gmail.com
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
。ॐ。*。ॐ。
ॐ。＼｜／。ॐ
--- PEACE ---
ॐ。／｜＼。ॐ
。ॐ。*。ॐ
With open minds and adventurous souls, there will always be sounds to move to and beats to feel.
We hope you are as excited as we are !
Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.
Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !
Info Contact : theritual.festival@gmail.com
COLLABORATORS & SPONSORS
Digital-Audio-Records-Kompany
Cybeloft
Kamino records
Tantruum recs
MAIA Brazil records
Osom records
Glitchy Tonic records
Organic FamilyThe DIgital ALchemists
:::::::::::::::::::::::::::::::::::::::::::::::::
Timetables
Galactic Portal:
Vendredi / Friday
18:00 XONICA ::: OPENING Ceremony
19:00 Krikkitt djset :: Psychedelic
20:30 Pyrotrich djset ::: Forest Psychedelic Trance
22:00 Mohinia djset ::: Psychedelic
23:30 Shango & Nainita ::: Forest Psy
Samedi / Saturday
01:00 CAUSAI (Vancouver) ::: Psytrance
02:30 PREGAKORE (Portugal) ::: Psychedelic
04:00 VENSKER Djset! (USA) ::: Psychedelic
05:30 AXIS MUNDI live! (USA) ::: Psychedelic
07:00 Virtual Light djset ::: Morning Psy
08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky
10:00 SPACEY KOALA live :::Funky Psytrance
11:00 MISSKEY djset! (UK) ::: Progressive Trance
12:30 ATHERIA live ! (Toronto) ::: Psytrance
01:30 Dr Strangefunk live! ::: Zenonesque
02:30 Zentrix live!::: Zenonesque
03:30 Ygriega ::: Progressive Trance
05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive
06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque
07:30 FRACTAL PHONO (USA) ::: Zenonesque
09:00 LUNECELL live! (USA) ::: Psychedelic
10:30 Otkun (Montreal) ::: Psychedelic Moon
Dimanche / Sunday
00:00 KASHYYYK live! (MEXICO) ::: Hitech
03:00 INSECTOR live! (HUNGARY) ::: Hitech
06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic
08:30 BRANDON ADAMS (USA) :: Full Power
10:00 MANIPULATION live (USA) ::: Morning
11:30 HARDKOR NATE djset (USA) ::: Psytrance
13:00 ASCENTION liveset (USA) ::: Psytrance
14:00 A.C. LYON live! (USA) ::: Psychedelic
15:30 Dugong live! ::: Dark Tribal Minimalism
17:00 Florian live! ::: Dark Minimal
18:00 Der Denker ::: Dark Minimal
20:00 Anima vs Nt Shanti ::: Psygressive
21:30 Akshobhya ::: Psychedelic
23:00 Plan B ::: Psychedelic
Lundi / Monday
00:30 DEFTSPANK live (Venezuela) ::: Psychedelic
01:30 Ogichida vs Banjankari::: Forest Psytrance
03:00 PSYKOVSKY live ! (Russia)::: Psychedelic
07:30 DOG OF TEARS live! (USA) ::: Psychedelic
09:30 NAAZ ::: Psychedelic
11:00 CODE-AMA ::: Psychedelic
12:30 RONJON ::: Psychedelic
14:00 OTEZUKA ::: Psyprog
16:00 The DIGITAL ALCHEMISTS ::: CLOSING
Dream Catcher Portal
Friday / Vendredi:
08:00 Zaga (Toronto) ::: Dark Minimal
10:00 MAJESTER (British COlumbia) ::
Saturday / Samedi:
00:00 Elvira ::: Hitech
01:30 Koaluna ::: forestpsy
03:00 Play Different live! (Toronto) ::: Psytrance
04:30 Synthetik ::: psytrance
06:00 MACHINE ELF (Toronto) ::: Psy trance
08:00 MYTHROPHAN (Toronto) ::: Progressive Trance
10:00 TRANCISCO (Toronto) ::: Progressive Psytrance
12:00 Glitch (Quebec) :: Progressive
01:30 Red ELectric Earth ::: Progresive
03:00 G-Pi ::: Minimal
04:30 Uber live! ::: Progressive
06:00 Nismo & Franky-Owl::: Progressive
07:30 Alakazoo ::: Psyprog
09:00 SARA DOPSTAR (Toronto) ::: Progressive
11:00 1,618 live! :: Psytech
Sunday / Dimanche
00:30 ZENKAI ::: Psytrance
02h30 SPOONANI vs ZENTRIX ::: Progressive
04:00 FLICKER LIGHT (Brazil) ::: Progressive
05:30 Efflux ::: Minimal
07:00 Dirty Harry ::: Zenonesque
08:30 Joel Mac Duff ::: Progressive
10:30 AURA live! (Portugal) ::: Psybient
12:00 KHALIL ::: Gypsy PsyDub
02:00 KATNIP (British Columbia) ::: Psybreaks
03:30 NIKOLI (Ottawa) ::: Temple Step
05:00 SOURSWEET live!::: IDM
07:00 LUNECELL djset! ::: Temple Step
09:00 OBSIDIAN (Ottawa) ::: Temple Step
Monday / Lundi
00:00 SPOONANI (Quebec) ::: DnB
01:30 Pranapapa ::: Progressive Dub
03:00 Psyberth djset :: Progressive Dub
04:30 KISSofVenus (USA) ::: Minimalism
06:00 RED ELECTRICH ::: Zenonesque
07:30 Transurfer ::: Progressive
09:00 Sabi Non STop ::: Psydub
10:30 Bendala ::: Psybass
12:00 MAYA EFF ::: PsyBass
END OF THE VORTEX _/\_ AHO
Fiquei até com tremedeira a hora que abri a sacola do templo sagrado....
Ai q delicia de amigo... ele ainda disse q se eu não gostasse da alguma coisa, na próxima viagem, faria melhor...ui ui ui.... ainda tô aqui babando!!!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Supermarine Type 250 was a fighter design that responded to the British Air Ministry specification F.5/34 for a new single-seat fighter that was primarily intended to intercept incoming bombers. Five companies responded with proposals, Bristol with the Type 146, Martin-Baker with the M.B.2, Vickers with the Type 279 Venom, Gloster F.5/34 and Supermarine with the Type 250.
The first design of the Type 250 still retained fabric covering on the fuselage and the outer wings. The engine was to be the liquid-cooled Rolls-Royce Kestrel with 520 hp, which drove a wooden fixed-pitch two-blade propeller and featured a ventral radiator and a separate oil cooler under the inner starboard side gull wing, a characteristic feature that helped reduce the length of the fixed, spatted landing gear. The wings already had an elliptic shape that became the trademark of the later Type 300, the legendary Spitfire. The cockpit was semi-enclosed, with open sides and a short spine behind it. Despite the conservative layout, much detail work was invested into structural lightness, a compact and streamlined airframe. Armament consisted of four 0.303" machine guns, a synchronized pair in the fuselage flanks, firing through the propeller disc, and another, unsynchronized pair in the wings just outboard of the gull wing's kink.
By 1935, however, the design had evolved and changed in many details. For instance, the Type 250 had acquired a number of improved features such as a metal stressed-skin fuselage (only the rudders were still covered with fabric), a more powerful (630 hp) version of the Kestrel and an upgraded armament, which had the wing-mounted machine guns replaced with new 20mm Hispano cannon.
The rationale behind the latter decision was the tactical insight, that modern fighters would only have few opportunities to open fire on incoming bombers due to the ever-raising speed of modern aircraft. In consequence, the potential weight of fire had to be increased to ensure an effective hit upon the first opportunity. Since the Type 250's thin and complex wings did not offer enough room for more machine guns, the weapon's caliber was simply raised and the 20 mm cannons and their drum magazines hidden under streamlined fairings, their barrels protruding from the wing’s leading edge. The improvement was considerable: with its original weapons, the Type 250 had a weight of fire of ~1.8 kg/sec. with an effective firing range of 1,500 yd (1,400 m), while the heavier guns raised this to ~4 kg/sec. with a maximum firing range of up to 7,000 yd (6,500 m). The only drawback was the relatively small supply of rounds: only 60 could be carried per weapon.
The first prototype made its maiden flight in April 1936. Compared to its contemporaries, test pilots found the Type 250 prototypes had a shorter take off run, offered better initial climb and were more responsive and manoeuvrable due to ailerons that did not become excessively heavy at high speed. Handling was considered very good and the all-round cockpit visibility was far better than other designs (which had fully closed cockpits, though). In a shallow dive, the Type 250 was capable of exceeding 310 mph (500 km/h), while top speed at level flight was 280 mph (450 km/h).
Supermarine's Type 250 debuted officially at the 1936 Hendon Air Show under its official name "Skylark", and serial production for the Royal Air Force, which had ordered 100 aircraft, started. However, this order was already cancelled in 1937 when it had become obvious that types like the Hawker Hurricane, as well as Supermarine's own new Spitfire, both monoplanes with retractable landing gear and a fully closed cockpit, easily outperformed the "Skylark" in almost any tactical aspect, and had much more development potential. In consequence, production stopped prematurely after only 65 airframes, which were delivered only to RAF 25 and 43 Squadron, where they replaced Hawker Fury biplanes. However, they were soon retired from these front line units, and plans to upgrade the aircraft with fully closed canopies and three-blade metal propellers with variable pitch to a Mk. II standard were never carried out. The RAF “Skylarks” were relegated to the advanced trainer role or used as instructional airframes until 1943. Additionally, a number of the retired RAF “Skylark” Mk. Is were also sold to Ireland (six in 1937) and Iraq (ten in 1938), where they served until the late Forties.
General characteristics:
Crew: one pilot
Length: 29 ft 11 in (9.12 m)
Wingspan: 36 ft 10 in (11.23 m)
Height: 11 ft 5 in (3.86 m)
Wing area: 242.1 ft2 (22.48 m²)
Airfoil: NACA 2213 (root)
NACA 2209.4 (tip)
Empty weight: 4,190 lb (1,900 kg)
Loaded weight: 5,400 lb (2,449 kg)
Max. takeoff weight: 5,600 lb (2,542 kg)
Powerplant:
1× Rolls-Royce Kestrel XV supercharged V12 engine, 685 hp (511 kW) at 2,240 rpm for
take-off and 631 hp (471 kW) at 2,900 rpm at 14,400 ft (4,400 m)
Performance:
Maximum speed: 244 knots (280 mph, 451 km/h) at 16,000 ft (4,875 m)
Rate of climb: 2,300 ft/min[121] (11.7 m/s)
Climb to 10,000 ft (3,050 m): 4.75 min
Service ceiling: 32,500 ft (9,910 m)
Wing loading: 17.3 lb/ft² (84 kg/m²)
Power/mass: 0.163 hp/lb (0.269 kW/kg)
Armament:
2× synchronized 0.303-in Vickers machine guns in fuselage sides with 300 RPG
2× 0.787-in (20mm) Hispano Mk. I cannons with 60 RPG in the wings
Provision for 20 lb (9.1 kg) bomb carriers under the outer wings
The kit and its assembly:
This model was inspired by a drawing, created by Paul Mason in 2013 but re-posted by a modeler at FlickR who was about to build something along its lines, and the ensuing discussion about this fictional aircraft, which appeared like a lean predecessor or the fictional missing link between the Supermarine 224 monoplane with spats and the highly successful, modern Spitfire.
I had already built a similar aircraft a while ago, a retrograded Messerschmitt Bf 109 with spats and an open cockpit (as a fictional Bf 94), but found the idea of a British counterpart very attractive. Even more so because of the particularly elegant lines of this so-called “Type 250”.
At its core, this heavily modified model is a Hasegawa Spitfire Mk. I, chosen because of the kit’s simplicity, good fit and very delicate surface details. Many changes were made, though, partly inspired by the drawing, but also following my own instincts. The biggest changes concern the engine and the wings.
I found the Merlin from the drawing to be too modern for this aircraft, so I transplanted an earlier Kestrel engine from a Matchbox Hawker Fury biplane, together with its ventral radiator that replaced the Spitfire’s cooling system under the wings, together with the older two blade wooden propeller.
The wings were also heavily modified: landing gear wells and radiator openings were filled/closed with 2C putty. Then the wings were cut/bent and re-arranged so that they ended up in an F4U-esque, but very attractive inverted gull wing shape. Not an easy task, though, more PSR involved, but it worked well and looks very natural. Under the wings’ kinks, shortened spats from an Avia B.35 (old KP kit) were added and holes for the new/bigger guns (hollow steel needles) were drilled. As a bonus, the bulges from the original landing gear could now be used as fairings for the early Hispano 60 rounds drum magazines.
The cockpit area was modified, too, into an open configuration. The original Spitfire windscreen was retained (cut away from the OOB single-piece canopy), as well as the entry door, which was cut open for later display. The door itself was replaced with a thinner a piece of 0.5mm styrene sheet. The Spitfire’s spine was completely cut down and re-sculpted with 2C putty. I wanted a low back (similar to the late versions with a bubble canopy), only a short headrest fairing was added behind the pilot’s seat, which received recesses on its flanks for a better field of view for the pilot backwards.
A final change/addition are the machine guns in the flanks that appeared on the Paul Mason drawing. A placement on top of the engine might have been a more logical position and easier to realize with the Hawker Fury’s nose section, but I stuck to the drawing. The fairings were carved from styrene profiles and blended under the kestrel’s exhaust stubs, where the Spitfire fuselage and the Fury engine meet.
Painting and markings:
The original benchmark drawing for this build showed an RAF machine with standard Dark Green/Dark Earth camouflage and somewhat inconclusive markings, but I wanted a different livery, anyway, since there are already some RAF model in the standard guise in my collection. Searching for pre-WWII alternatives and also potential operators outside of Great Britain I stumbled across the Irish Gloster Gladiators that were delivered in 1938: these machine eventually received an RAF-style paint scheme when the war broke out, but before that, they carried for a short period of time (a year maybe) a very attractive scheme in green and silver, with bright national insignia. I am not certain whether this scheme was intended to be just decorative or a serious camouflage, but that’s what I eventually used on the Irish Skylark. Turned out to be a very good decision!
The Irish Gladiators’ original green carried on fuselage and fin is called “Titanine TE348”. BS5064 “Bredon Green” is supposed to be a modern tone that comes close, but there’s no direct model paint equivalent for both. According to Max Decals, who offer some sheets for Irish military vehicles, a potential option is Revell’s 360 (Fern Green, RAL 6025), and this is what I went for. The fuselage was mostly painted in this bright tone, and the green was also used on the landing gear’s spats.
The wings were painted in Matt Aluminum Metallizer from Humbrol, while Revell 99 and Polished Aluminum Metallizer was used around the engine for a brighter look (the Irish Gladiators had highly polished cowlings). The interior was painted in RAF Cockpit Green (Humbrol 78). The propeller blades received a wooden look with the help of Humbrol 63 (Sand) worked into a semi-dry base of Humbrol 62 (Leather) with a relatively hard, flat brush. The metal fairings on the blades’ leading edges are decal strips in silver.
The kit received a light black ink wash as well as some post shading treatment and fake panel lines with a soft pencil – more to emphasize details than for weathering, since the aircraft would be quite new and well kept. Some soot stains were added around the exhaust stubs and the gun nozzles, too.
During the pre-WWII era, Irish aircraft did not carry any roundels yet. Instead, they were marked with stripes with colors from the Irish flag on their wings and on the vertical rudder. These were created with generic decal sheet material (green, white and orange), IMHO a more convenient solution than trying to paint everything. The only other marking is the tactical code, which comes from an Xtradecal sheet for Bristol Blenheim – finding numbers in a suitable font, size and in black and white was not easy!
Finally, the kit was sealed with a sheen coat of acrylic varnish, a mix of matt and semi-gloss Italeri varnish.
I am very pleased with the outcome of this build. Not only is the resulting aircraft very elegant, I am also happy that I opted for the early, bright green Irish livery that almost makes it look like an air racer? My hardware interpretation of the Type 250 drawing also reminds a lot of the contemporary Dewoitine 501/510 monoplane, doesn’t it?
Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.
Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.
The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").
HISTORY
Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.
According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.
According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.
In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.
In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.
One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."
In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:
"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."
Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.
ARCHITECTURE
SITE AND PLAN
Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.
STYLE
Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.
FEATURES
OUTER ENCLOSURE
The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.
CENTRAL STRUCTURE
The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.
Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.
North and south of the cloister are libraries.
Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.
Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.
DECORATION
Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".
From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.
CONSTRUCTION TECHNIQUES
The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.
Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.
ANGKOR WAT TODAY
The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.
WIKIPEDIA
About
They shall grow not old, as we that are left grow old;
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
Lest we Forget.
ANZAC morning, Sandgate, 2009.
Anzac Day marks the anniversary of the first major military action fought by Australian and New Zealand forces during the First World War. The acronym ANZAC stands for Australian and New Zealand Army Corps, whose soldiers were known as Anzacs. Anzac Day remains one of the most important national occasions of both Australia and New Zealand. This is a rare instance of two sovereign countries not only sharing the same remembrance day, but making reference to both countries in its name.
- Canon 50D.
- ISO 100, f4, 1/60, 70mm.
- Canon 70-200 f/4 L lens.
Processing
- Off camera.
- Aged preset in Lightroom 2.2.
About Present arms
Present arms is a two part command used by many militaries in the world as a sign of respect
Porta absorvente e porta moedas, do jeito que gosto, poá e aplicação de joaninhas, como é bom fazer aniversário!!
Adorei Zilma!
Há um tempo atrás, a Lu Gastal fez uma brincadeira no seu blog chamada "Love Bottons". Os visitantes tinham que adivinhar o nome das pessoas que estavam usando seus bottons. Para quem conseguisse advinhar 8 das 11 pessoas fotografadas, o premio era um kit com os lindos bottons.
Pois bem, visitando o blog como de costume, vi a brincadeira e de cara identifiquei algumas pessoas, outras reconheci a roupa de outras fotos, blogs, flickrs etc...pronto! Acabei acertando e ganhei as belezuras! rsrs
Então, numa tarde dessas, recebi um envelope com o prêmio e um cartão carinhoso da Lu! Nem preciso dizer que os bottons já estão em uso e fazem o maior sucesso por aqui!
Pra quem ainda não conhece o blog da Lu Gastal, vale super a pena a visita! Tenho certeza que vc vai amar! Além das novidades em tecidos e acessórios o blog tem a coluna “Alinhavos e Gestão” e o “Clube do Pano” que são tudo de bom!
Muito obrigada Lu! Espero um dia conhecer sua loja e com sorte conhecê-la pessoalmente!
Bj♥ gde queridona!
;o)
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Victorian Kitchens
Pastry Room
It's a tradition each year that Santa hides the last present and clues must be followed to find it. Every year it gets harder and more clues.
An officer of the Specialist Search Unit of Greater Manchester Police’s Tactical Aid Unit conducts a security search of one of the harder to reach areas of the Manchester Central Convention Centre prior to a major political conference.
The unit, which is equipped with a wide range of specialist equipment, can provide officers to plan and conduct searches and other tasks in hazardous environments. These may range from areas considered dangerous due to height such as radio masts, crags, tall buildings or close to any unprotected edge. They can also advise on access into confined areas, whether a flooded cellar, silo, pit, culvert or other location that would present significant danger to other officers.
Officers of the unit also coordinate searches of major crime scenes and large scale searches for missing persons amongst a wide range of other duties.
For information about the work of Greater Manchester Police please visit our website.
28 Septiembre 2022 . Secretaría de Cultura . "Presentes 40 años de la visibilidad LGBT en Guadalajara", una Noche de Museos en el Ex Convento del Carmen
21/10/2014 Presentazione Rolando Maran e primo allenamento con il ChievoVerona
Sport Hotel Veronello, Calmasino di Bardolino (VR)
Le foto sono di Renzo Udali
Presented for your viewing pleasure are my personal versions of vintage posters. All have coordinating borders added so they can be quickly framed without a matt. All have been digitally enhanced and in some cases altered to fit the 8x10 format (e.g., text at the top or bottom may have been cropped out to give full focus on the beautiful image). I've also re-colored the backgrounds on a few, to give multiple choices for décor and color preferences. These images are part of a digital collection purchased from a dealer in Europe with permission to use for printed items, so I’ve watermarked them for online display.
Equator Club Philadelphia Martin Luther King Tribute Second Annual Cultural Extravaganza Fashion Show Presented by Essence E&E Productions Lingerie Model Sleep Wear Négligée Jan 16 1994
Three payphones in the Times Square subway station, to which I added tags reading "Past", Present", and "Future".
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|--25-nov-2017#2-dec-2017 ECQ Présentations des élèves|Students' show
|--18 mars 2017 Épreuves synthèse - Finissants 2017
|--26 nov, 30 nov , 3 déc 2016 ECQ Présentations des élèves|Students' show
|--28-nov-2015 ECQ Présentations des élèves|Students' show
|--29-nov-2014 ECQ Présentations des élèves|Students' show
|--27-nov-2013 ECQ Présentations des élèves|Students' show
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2017 - "Scrap"-"Mats et Cordages"
2016 - "Les déferlantes" - "Cabaret de Noël"
2015 - "Les pierres vivantes" - "Cabaret de Noël"
2014 - "Le bal des mariés" et "HOP"
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| Plus d'images de Cirque... | More images on Circus...
_DSC2764_4_6_1280
The Consulate General of Germany in Istanbul,
Romanian Cultural Institute in Istanbul Dimitrie Cantemir and SanatOdası/KunstRaum/ArtRoom present:
A Dance Performance by Natalia Murariu
İÇ DÜNYALARIN ŞİİRSELLİĞİ
Balerin ve koreograf Natalia Murariu bedensel dille iç dünya ve ruh hallerini anlatıyor. Doğal kronolojinin ötesine giden insan yaşam döngüsünün bir yansımasıdır izleyeceğimiz bu dans performansı. Sadece düşünce ve projeksiyon değil, daha çok yaşanmış yoğun anların anılarıdır.
POESIE INNERER WELTEN
Die Tänzerin und Choreographin Natalia Murariu erzählt in ihrem körperlichen
Ausdruck von inneren Welten und Seelenzuständen. Es ist eine Reflektion des menschlichen Lebenszyklus, welche sich über natürliche Chronologie hinwegsetzt.
Es sind nicht nur Gedanken und Projektionen, vielmehr Erinnerungen an intensive Augenblicke im Leben.
Ich lebe mein Leben in wachsenden Ringen,
die sich über die Dinge ziehn.
Ich werde den letzten vielleicht nicht vollbringen,
aber versuchen will ich ihn.
Hayatımı genişleyen halkalar içinde yaşıyorum ben.
Nesneler üzerinde açılan halkaların
Sonuncusunu başarmak belki gelmez elimden;
Yine de başarmaya çalışacağım.
I live my life in growing rings
That reach across this World of things
Perhaps I’ll never complete the last,
but that’s what I mean to try.
Rainer Maria Rilke
***
Sponsored by www.villadatatil.com
Natalia Murariu hakkında:
Balerin Natalia Murariu Moskova'da doğdu. Bükreş'te 1973 yılında Bale Akademisi’nden mezun olduktan sonra Bükreş Devlet Operası, opera topluluğuna alındı ve operaya kısa sürede solist olarak kabul edildi.
1985 yılından beri Köln’ de yaşayan Natalia Murariu Koreograf ve yönetmen olarak tiyatro ve performans alanında çalışmalarını sürdürmektedir.
Haydar Zorlu`nun uzun yıllar üzerinde çalışmış olduğu Goethe’nin Faust eseri, uzun denemelerden sonra ancak Natalia Murariu’nun yönetmen olarak uyguladığı sahne teknikleri sayesinde yepyeni bir yorumla gerçekleşebildi. www.faust-istanbul.com
Über die Künstlerin Natalia Murariu
Die Ballerina Natalia Murariu wurde in Moskau geboren. Nach dem Abschluss der Ballettakademie 1973 in Bukarest wurde sie ins Opernensemble der Bukarester Staatsoper aufgenommen, wo sie schon nach kurzer Zeit als Solistin auftrat. Gleichzeitig beschäftigte sie sich immer wieder mit neuen Formen des modernen- und Ausdrucktanzes und wurde Mitglied zweier neu gegründeter Modern Dance Gruppen. Anerkennung und Erfolg kamen auch aus dem Ausland, während des Kunstfestivals „Frühling 1978“ in Paris.
1979 gewann Natalia Murariu zusammen mit einer Gruppe des Ensembles der Bukarester Staatsoper den 1. Preis auf nationaler Ebene für junge Choreographen und den 1. Preis für tänzerische Darbietung. In der Fachzeitschrift „Ba۸et“ feierte man sie als beste Nachwuchschoreographin. Im gleichen Jahr ging sie auf eine Tournee mit der Staatsoper Bukarest durch mehrere Städte der DDR. Als höchste Ehrung lobte die sowjetische Fachzeitschrift „Бarem“ sie als neue Hoffnung der Tanzwelt.
Seit 1985 Aufenthalt in Deutschland. Hier fing sie an, ihr Können und ihre Begeisterung auch dem Nachwuchs zu vermitteln. Seit 1994 lebt Natalia Murariu in Köln. An der Musikschule Ahrweiler unterrichtete sie über viele Jahre Klassisches Ballett, Jazz Tanz und Tanztheater. Seit 2004 widmet sich die Künstlerin der Freien Tanzszene in Köln und gründete 2005 die Tanzgruppe „Espace Danse Cologne“. In ihrer Liebe für die Musik von Bach, Händel und Pergolesi (nur ein Bruchteil ihrer Lieblingskomponisten), die ihre Kreativität beflügeln, kommen noch viele selbst „gedichtete Gedanken“ hinzu, die den Zuschauer in die „Gedankenwelt einer Tänzerin“ einführen sollen. So hieß auch ihr Vortragsabend im November 2005 im Kölner Kunstsalon, mit dem ihre Aufnahme in die GEDOK KÖLN bestätigt wurde.
Natalia Murariu hat das Faust-Solo mit Haydar Zorlu inszeniert, welches im März 2009 seine Premiere im Kaisersaal des Deutschen Generalkonsulats in Istanbul hatte. Durch das Zusammentreffen mit der Regisseurin Natalia Murariu fand Haydar Zorlu die Ausdrucksformen, um den Faust in einer völlig neuen Inszenierung auf die Bühne zu bringen, wobei es Murariu gelungen ist, die rasanten Rollenwechsel mit wenigen Mittel zu unterstreichen. Das Ergebnis: Goethes Faust, ganz großes Theater im Taschenformat. www.faust-solo.de
POEZIA LUMII INTERIOARE
Dansatoarea si coregrafa Natalia Murariu exprimă, prin limbajul trupului, stări sufletesti si aspecte ale lumii lăuntrice. Este o oglindire a ciclului vietii umane care merge dincolo de cronologia naturală. Nu sunt doar gânduri si poiectii, ci mai degrabă amintiri ale unor momente trăite cu intensitate. Dramaturgia emotionantă a acestui eveniment artistic este redată de subtilitatea ironiei si de absurdul existential inevitabil.
Balerina Natalia Murariu (n.Traistaru) s-a nascut la Moscova.
- 1973 absolventa a Liceului de Coregrafie Buc.
-Dupa absolvire membra a ansamlului de balet al Operei Romine Buc.
-La scurt timp devine solista in repertoriul clasic si inscenarile contemporane
ale Operei Romine.
-In paralel activitate artistica in grupurile de expresie moderna/contemporana
conduse de Adina Cezar,Sergiu Anghel si Miriam Raducanu-(Spectacole "NOCTURN 9 1/2")de la teatrul Tandarica si de "POESIE si DANS"la Teatrul National Buc.
- 1978-Paris,Centre Pompidou(Festivalul Primaverii),turneu cu ansamblul Operei
Romine Buc.sub conducerea lui Mihai Brediceanu
- 1979-Berlin,Erfurt,Weimar,deasemenea turneu.
- 1979-Consacrarea ca solista si asistenta coregrafica in spectacolul Operei Romine "Izvoare si Radacini"(Premiul national pt.interpretare) sub conducerea lui Ion Tugearu
- 1984-In revista sovietica"BALET"este numita ca o noua speranta a lumii dansului.
- 2009-Docenta pt. tehnica dansului modern la Universitatea de Teatru,Film si
Coregrafie Buc.(clasa Pr.Pr.Dr.Sergiu Anghel
Recebi este mimos de uma amiga que adoro.
E o nome dela é Luiza Spingola(Lu)
Amiga Deus te abençoe cada dia mais.
Vc é muito ESPECIAL.
When last we visited our old locale we bought a "his and hers" pair of bicycles from our old neighbours. That was in October. The winter intervened and, apart from a couple of try-outs on the paths near our house, I haven't used mine until today. As I type I'm still aching and my legs are wobbly when I go up and down the stairs. And my sit-upon, well...
Is this what's known as a "mountain bike"? As long as the wheels go round when I pedal it's all the same to me. On the frame (and again on the saddle) it says "Exodus", in letters resembling those used by "urban artists" when they spray their grafitti designs on railway rolling-stock. I'm not sure why. On the rear forks it says "Havoc" ...again for no very clear reason.
The area where I now live is heavily wooded, and the woods are publicised as a kind of playground for cyclists. This would be alright if the woods were worth cycling in, but really they're not woods at all, bearing much the same relationship to real forest that a potato field does to an alpine meadow, or a salmon hatchery to a mountain torrent. They are just commercial timber production units. I always wonder when some boffin will come up with the idea of selectively breeding the trees so that they grow with square trunks that can be efficiently sawn into planks of uniform size, without wastage. The trees, all of alien coniferous species producing a dense canopy, march across these sandy heaths in straight lines, only a few feet apart. Nothing grows on the lightless forest floor. Even in the rides and clearings there is nothing more interesting than gorse or heather. But of course, I consume paper and need furniture like everyone else, and want them readily available at a reasonable price. Life is full of contradictions.
Here the Bentos steed is parked next to an information board ...close relative of the "interpretive" boards we see dotted about in "managed" countryside wherever, as Areas of Outstanding Natural Beauty, or Special Scientific Interest, nature has become part of the bureaucratic system and leisure a function of the welfare state. So it was off on the "blue" route for me. Luckily there was a sort of cut-off half way around, allowing you to return to your starting point by a short cut.
All outstanding issues between Bangladesh and India are expected to be resolved before the upcoming visit of Indian Prime Minister Dr Manmohan Singh to Bangladesh, reports BSS.
This optimism was expressed when visiting Indian Foreign Minister S M Krishna called on Prime Minister Sheikh Hasina and discussed various matters of common interests with her, at her office in Dhaka on Thursday.
They discussed various issues of bilateral interest, said Mr. Abul Kalam Azad, Press Secretary to the prime minister, while briefing the newsmen after the meeting.
Appreciating the dynamic and prudent leadership of Prime Minister Sheikh Hasina, the Indian Foreign Minister said the existing bilateral relations between the two friendly countries will be a role model for other co0untries in Asia.
The issue of providing transit facilities to Nepal and Bhutan also came up for discussion in the meeting.
Sheikh Hasina said her government was working relentlessly for improving the lot of the common people in Bangladesh.
Describing poverty as the main impediment to development in the South Asian region, she said continuity of democracy is needed for eradicating poverty from South Asia.
Prime Minister Sheikh Hasina emphasised the need for working together for alleviating poverty in the region for the benefit of the peoples of the two countries. He referred to various programmes undertaken by her government to ameliorate the condition of the people.
The conference on austism, scheduled to be held in Dhaka on July 25 and 26, was also discussed in the meeting. President of Indian Congress Party Sonia Gandhi is expected to inaugurate the conference.
Foreign Minister Dr Dipu Moni, Advisers to the Prime Minister Dr Gowher Rizvi and Dr Mashiur Rahman, Bangladesh High Commissioner to New Delhi Mr. Tareque A Karim, Indian High Commissioner in Dhaka Mr. Rajeet Mitter, Principal Secretary to the Prime Minister Mr. M A Karim, Foreign Secretary Mr. Mijarul Quayes and PM's Press Secretary Mr. Abul Kalam Azad, among others, were present on the occasion.
UNB adds: Bangladesh and India on Thursday expressed optimism about signing interim deals on water sharing of the common rivers, Teesta and Feni, and on border demarcation during Indian Prime Minister Manmohan Singh's visit to Dhaka on September 6-7.
The details of the accords, however, are still to be worked out.
At a joint press conference after the official talks between the two Foreign Ministers, Bangladesh Foreign Minister Dipu Moni and Indian External Affairs Minister SM Krishna came up with the identical views on resolving the outstanding issues.
Replying to a question, Dipu Moni said the waters of the common rivers will be shared on the basis of equity and fairness and the demarcation of 6.5 km border and transfer of enclaves and lands in 'adverse possession' will be made under "a package" deal, in the spirit of 1974 Mujib-Indira Land Boundary Agreement.
About the use of Chittagong and Mongla ports, she said it would be done under a framework of agreement, encompassing India, Nepal and Bhutan.
"It is a part of transit issue. We're trying to come up with a framework under which a number of protocols will be signed and that work is going on," Dipu Moni said.
She said the Joint River Commission has nearly finalised the issue about the sharing of the Teesta and Feni river waters and "we will be able to sign something during the visit."
About the killing of Bangladeshi civilians by Indian BSF at the border, Dipu Moni said Dhaka's concern was conveyed to her Indian counterpart during the official meeting and India reassured Bangladesh that the killing at the border would be brought down to a zero level through a joint border management.
Both the Foreign Ministers reiterated that no insurgent, extremist or terrorist group would be allowed to use the soil of their respective countries to carry out activities inimical to each other's interest.
On the border issue, both the Foreign Ministers said the Joint Border Working Group has been working on it and they will be able to conclude their work before Manmohan's visit.
In reply to a question about cooperation in the energy sector, Indian Foreign Minister Mr. S. M. Krishna said India will supply 250 MW of electricity to Bangladesh by the end of 2112 or early 2013 at a preferential tariff at which the Indian power sector giant, NTPC supplies electricity to other Indian states.
Both India and Bangladesh will set up a 1300 MW coal-based power plant in Bagerhat and the feasibility study on the plan has been completed, he noted.
Regarding bilateral trade, Mr. Krishna said Bangladesh's export to India has increased by 56 per cent in the first 10 months of fiscal 2010-11 and "we would very much like to see further growth of the export to India by Bangladesh."
Under the duty-free quota, India, he added, has increased the volume of Bangladesh's export of readymade garment (RMG) products to 10 million pieces from 8.0 million pieces.
Asked if the Indian government still holds Manmohan's recent remarks that 25 per cent population of Bangladesh are Jamaat-e-Islami and they are, many times, in the clutches of Pakistan's Inter-Service Intelligence (ISI), Krishna said the matter was also discussed during his meeting with Prime Minister Sheikh Hasina.
He avoided a direct reply to the question and said it is Manmohan's consistent stand to consider Bangladesh as a close friend and the relations between Bangladesh and India are a role model for other countries in the region.
Asked if Manmohan made the remarks due to lack of any trust on Bangladesh, Krishna said there is 'no trust deficit' between Bangladesh and India. "India has total trust and confidence on Bangladesh", he strongly reiterated.
Replying to another question, the Indian External Affairs Minister said he is going back to New Delhi with a memory of the emergence of a resurgent Bangladesh.
BSS further adds: Bangladesh and India Thursday signed two agreements on investment protection and promotion and the operating procedure for the movement of the Bhutanese vehicles to Bangladesh through the Indian territory.
Visiting Indian external affairs minister SM Krishna and his Bangladesh counterpart Dipu Moni witnessed the signing of the deals before the media at the Sonargaon Hotel.
The Agreement on Promotion and Protection of Investments is aimed at creating favourable conditions for fostering and encouraging investment.
Officials familiar with the process said the deal envisaged that 'national treatment' and 'the most favoured nation treatment' would be accorded by either country to investments by investors of the other country.
They said the agreement also states that investments of either country will not be nationalised or expropriated except for public purpose, in accordance with law and against fair and equitable compensation.
It also provides for repatriation of capital investment, non-operating profits, loan repayments, royalty payments and service fees without delay and on a non-discriminatory basis.
The two countries signed the Agreement on Promotion and Protection of Investments on February 9, 2009 while it was ratified Thursday as Indian High Commissioner in Dhaka Mr. Rajeet Mitter and Bangladesh's envoy to New Delhi Ahmed Mr. Tariq Karim signed the protocol.
The deal which would be effective from July 7, 2011 will be valid for ten years and thereafter it would be deemed to have been automatically extended unless either government gives a written notice to the other of its intention to terminate it.
The second agreement, titled Standard Operating Procedure for movement of the Bhutanese vehicles between Indian Land Customs Stations (LCS) and Bangladesh LCS, was signed Thursday, in line with a decision reached between Dhaka and New Delhi during Prime Minister Sheikh Hasina's visit to India in January 2010.
The two sides at that time agreed that trucks for movement from Bhutan and Nepal would be allowed to enter 200 meters inside the Bangladesh border under arrangements to be mutually agreed upon, and put in place in both the countries.
The Standard Operating Procedure (SOP), aimed at facilitating movement of trucks from Nepal, was concluded in October 2010 during the visit of the Bangladesh commerce minister to New Delhi.
An identical SOP to facilitate movement of trucks from Bhutan that was signed on July 7, 2011, will promote bilateral trade between Bhutan and Bangladesh.
Members of Bangladesh National Board of Revenue (NBR) Mr. M Shah Alam Khan and Joint Secretary of the Indian External Affairs Ministry Mr. Harshabardhan Sinla signed the deal on behalf of their respective side.
Reuters adds: India will sell 500 megawatts of electricity to Bangladesh and half of it will be available by the end of 2012 or early 2013, Indian Foreign Minister S.M. Krishna said in Dhaka on Thursday.
He told reporters at a news conference that India also agreed to install a coal-based thermal power plant with 1,300 megawatts (MW) of electricity in Bangladesh's southern Khulna area.
"The connectivity work between the two countries for Bangladesh importing the electricity is going on smoothly while the feasibility study for setting up the coal-based power plant has just been completed," Krishna said.
The Indian minister, who arrived Dhaka on Wednesday on a three-day visit, met Prime Minister Sheikh Hasina and other senior ministers including the finance minister.
He will also meet President Zillur Rahman and opposition leader Begum Khaleda Zia .
Bangladesh aims to nearly triple power generation to 15,357 megawatts (MW) by the end of 2015 as it scrambles to improve living conditions for its people and to become a middle income country by 2021, Bangladesh Foreign Minister Dipu Moni told at the same news conference.
The plan includes import of 1,000 MW of power from India, Nepal and Bhutan.
Besides, the south Asian country expects to generate 2,000 MW of electricity from a nuclear power plant, construction of which will begin next year.
"The details of the thermal power plant project fired by coal are under process and things are moving fast," Mohammad Mijarul Quaes Bangladesh's foreign secretary, told the news agency.
The Fainancial Express 08/07/2011