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21 Main Street East, densification of downtown, new customers for merchants, new automobiles for traffic management, and the first of other construction projects to come. Is change progress?
The Great Western Steam Up was held on the grounds of the Nevada State Railroad Museum from July 1 – July 4, 2022, in celebration of the 150th anniversary of the Virginia & Truckee Railroad. Nine operating steam locomotives were featured with many more on display. The event was billed as the largest reunion of existing V&T locomotives in over 75 years.
Daily events included rides behind visiting narrow and standard-gauge steam locomotives, a daily pageant of steam locomotives, historical vehicle and equipment displays, local food trucks, live entertainment, and “lost art” demonstrations.
This image is from the third day of the event, July 3.
The featured locomotives were:
Glenbrook, narrow gauge 2-6-0 (Baldwin 1875) built for the Carson & Tahoe Lumber & Fluming Company and used at Glenbrook, Nevada, along with an identical twin, Tahoe (see NCNG 5, below). It last ran in the 1920s and was acquired by the Nevada County Narrow Gauge for parts. In the 1940s it was placed on exhibit at the Nevada State Museum in Carson City and beginning in 1981 was restored to service (completed in 2015). It has been returned to its 1875 appearance.
No. 1, Joe. Douglass, narrow gauge 0-4-2T (H. K. Porter 1882) built for the Dayton, Sutro & Carson Valley Railroad. It operated at a mine in Dayton, Nevada, and later helped build Lake Arrowhead dam in California. It was cosmetically restored to its present appearance in 1994 and is displayed at the Nevada State Railroad Museum. It is a wood burner, but not operational.
No. 1, narrow gauge 0-4-0T (Porter 1889) built for the Sacramento Brick Company. It was later acquired by Hal Wilmunder and operated on his private Antelope & Western Railroad near Roseville, California. The engine is now owned and cared for by the Wilmunder family, and can usually be seen at the NCNG Museum in Nevada City, Calif.
No. 1, standard gauge 2-truck Heisler (Heisler Locomotive Works 1916), built for Bluestone Mining & Smelting. It originally worked on a 2.5 mile line near Mason, Nevada, before being acquired by a quarry in California. This oil-fired locomotive is owned by Chris Baldo and sees frequent use at Roots of Motive Power in Willits, California.
No. 1, Lyon, standard gauge 2-6-0 (Gentry/Strasburg/Kloke) which is a partially completed replica of the first locomotive built for the Virginia & Truckee. The original was manufactured by the Union Iron Works of San Francisco in 1869. The full-scale working replica was donated to the Nevada State Railroad Museum by Stan Gentry, builder, and is being completed by the museum shop staff. It will burn wood as did the original.
No. 3, standard gauge 0-4-0T (Porter 1909) built for the Santa Cruz Portland Cement Company. Upon retirement it was used as a billboard for a chicken restaurant in Stockton, California. It was restored to service by Stathi Pappas beginning in 2006 and is currently located at the Placerville & Sacramento Valley Railroad in Folsom, California. Nicknamed “Chiggen,” it is oil-fired.
No. 4, Eureka, narrow gauge 4-4-0 (Baldwin 1875), built for the Eureka & Palisade Railroad. Retired in 1938, it was later featured in several Hollywood movies. This classic wood-fired locomotive was restored by Dan Markoff in the 1980s and is usually kept at his home in North Las Vegas, Nevada.
No. 5, Tahoe, narrow gauge 2-6-0 (Baldwin 1875) built for the Carson & Tahoe Lumber & Fluming Company and used in logging service. It was later sold to the Nevada County Narrow Gauge of Grass Valley, Calif., and was retired in 1942. It then appeared in numerous movies and TV shows for owner Universal Pictures. No. 5 is now part of the NCNG Museum in Nevada City, Calif., and was restored to service in May 2022. This oil-fired locomotive has been restored to its 1940s appearance.
No. 8, standard gauge 4-4-0 (Cooke Locomotive & Machine Works 1888) built for the Denver, Texas & Fort Worth Railroad, and later operated on the Dardanelle & Russellville in Arkansas. It was used in 1976 on the V&T tourist railroad at Virginia City. Oil fired, it last steamed in the early 2000s.
No. 11, Reno, standard gauge 4-4-0 (Baldwin 1872) built for the Virginia & Truckee. The most renown of all V&T’s Americans, the Reno was retired in 1937 and sold to a movie studio. It spent over fifty years at Old Tucson Studios in Arizona before being acquired by the V&T tourist railroad of Virginia City, Nevada, in 2021. It is currently under restoration. Oil fired.
No. 12, Genoa, standard gauge 4-4-0 (Baldwin 1873) built for the Virginia & Truckee. It was a back-up locomotive to the Reno and was retired in 1908. For the past 40 years it’s been on indoor static display at the California State Railroad Museum in Sacramento. It last ran in 1979 and was never converted from burning wood to burning oil, like most V&T 4-4-0s were.
No. 18, narrow gauge 4-6-0 (Baldwin 1911), built for the Nevada-California-Oregon and last used by the Southern Pacific. Restored by Carson & Colorado Inc. in 2017 after being on display in an Independence, Calif., park since 1954. It is normally kept at the Eastern California Museum in Independence. Oil fired.
No. 18, Dayton, standard gauge 4-4-0 (Central Pacific Sacramento Shops 1873) built for the Virginia & Truckee. Ran on the V&T for nearly seven decades before being acquired by a movie studio. It was cosmetically restored for display in 1982 by the Nevada State Railroad Museum. Oil fired.
No. 21, J. W. Bowker, standard gauge 2-4-0 (Baldwin 1875) built for the Virginia & Truckee. Bowker served as a switch engine in Virginia City. It was later purchased by the Sierra Nevada Wood & Lumber Company. Wood-fueled but not currently operational, it has been exhibited at the California State Railroad since 1976. An oil burner, it is not currently operational.
No. 22, Inyo, standard gauge 4-4-0 (Baldwin 1875), built for the Virginia & Truckee Railroad. It served in passenger service and was nicknamed “Brass Betsy.” It was later sold to Paramount Pictures and appeared McLintock, Union Pacific, and The Great Locomotive Chase. Restored to operation in 1983 and currently housed at the Nevada State Railroad Museum. Wood fired.
No. 25, standard gauge 4-6-0 (Baldwin 1905) built for the Virginia & Truckee to handle both freight and passenger trains. It was the first new steam locomotive purchased by the V&T and replaced older 4-4-0s on the passenger run between Reno and Carson City. Oil fired, it was restored to operation in 1980 and sees frequent service at the Nevada State Railroad Museum.
This shows the gaps in the wall where they had to cut into it but hopefully this will all fill in by next year, if not Plan B maybe window frames (antique) or pictures of the bride and groom (engagement style) something will work for this area - we also moved the rocks all around to create an even better planter area for all the snapdragons to be planted (our daughters favorite flower) :D
A bit of progress since the last picture, where I'd just removed the wing. Since then I've cleaned up the inner wing, grinding back any surface rust and treating. Then applied a couple of coats of Hammerite to vulnerable areas. A couple of localised patches will be required at the top of the inner wing unfortunately, but it could have been a lot worse I guess.
Door removed in this pic, although I've now fitted the spare door with a good bit of help from a fellow minded enthusiast who will no doubt be reading this (thanks for braving the cold!).
Next steps are a bit more rust prodding on the other side, fit the replacement wing and go & get some paint quotes.
This is me on a typical work day. I remember being a kid and spending days on end without a shirt on, much to my mother's frustration. Until the age of 12 or 13 I would actually bring a pair of blue jeans to church so I could run out to the car and change out of dress pants immediately. For a couple years I wore a clip-on tie to church, for easy removal.
Now I'm comfortable in my dry-cleaned shirt, nice slacks, and dress shoes. Thankfully my specialty doesn't encourage tie wearing.
So, I sit back and wonder sometimes, did I betray that little guy who steadfastly didn't want to grow up? Is this progress? Would I rather be one of those "cool" people who get to go to work in comfortable pants and geek-themed, humorous T-shirts? Would it be so bad to have a half dozen tattoos and some piercings?
Honestly, I don't know. This is me. It works for now, and I'm happy. Still, it doesn't mean I don't wonder sometimes.
A good bit of progres on the Audi yesterday. Various prep jobs completed and new wing now in place.
The panel gaps aren't bad, but could do with some fine tuning. I'll ask the pros to sort that though, the wing will need to come off again anyway as it needs a couple of patches welding where the leading edge of the wing sits.
Finally got some progress done today :) blonde girl is for Kat (working on your second one now!) zombie girl for Jess / Sookie. Needs to dry and add snap closure and it's done :D
The super-imposed image is the first attempt I made at photographing M31 (the Andromeda Galaxy). This was done about 2 years ago with a home built 'barn door' mount which was hand-guided (hadn't put a motor on it yet at that time). It's a stack of 3 images of differing lengths, 30s, 45s, and 90s (I had read somewhere that people often combined exposures of differing lengths to keep from blowing out highlights) taken with a 17-85mm zoom lens at 85mm, f/8, 1600 ISO. There was no dark-frame subtraction and if you look closely you can see rows of 3 hot pixels in various parts of the image. It's also very out of focus.
I remember how thrilled I was that I was able to image anything at all that looked vaguely like a galaxy and that it "stacked" in the software. Yeehaw, I was on my way!
The main image was taken a few nights ago (roughly 2 years later). It's the result of 90 minutes worth of stacked 30s subexposures. These were done on an equatorial mount [the RA axis is 'motorized'] with a 180mm f/2.8 lens at f/4, 1600 ISO.
Both were done with the same [unmodified] dSLR body (a Canon 20D).
So, if you're just starting out, keep at it. As with most things in life, practice helps with improvement. If you're an old pro (I'm not there yet - may never get there either!), I hope this brings back some fond memories of what it was like when you started.
Clear skies!
Nice to see more of these 7000 series SD90 rebuilds showing up in eastern Canada. Progress Rail did a great job on them.
Title: Dress in Progress
Year: 2015
Medium: Textiles and Digital Photography
Size: Dimensions Variable
Description:
I chose to create this dress to bring my love of fashion and photography together. The images on the right side are the original photographs for photos I later printed as polaroids. The specific photos I chose represent striking colors and textures that inspired me to create a dress from them.
Imperfect hexagon shape in watercolor with text overtop that reads, 'A little progress each day adds up to big results.'
Airline: Philippine Airlines
Aircraft: Airbus A330-343
Registration: RP-C8780
Engines: Rolls Royce Trent 772B-60 x 2
Location: Manila (MNL/RPLL)
Thomas Crawford
Marble
1863
East entrance, Senate wing
U.S. Capitol
The sculptural pediment over the Senate entrance on the U.S. Capitol's east front is called Progress of Civilization. The center figure is America, who stands with an eagle at her side and the sun at her back. On the right, a woodsman, hunter, Indian chief, Indian mother and child, and Indian grave represent the early days of America. On the left the diversity of human endeavor is suggested by the soldier, the merchant, the two youths, the schoolmaster and child, and the mechanic. Completing this side of the tympanum are sheaves of wheat, symbolic of fertility, and an anchor, symbolic of hope; these elements are in contrast with the grave at the opposite end of the tympanum.
The figures were designed by American sculptor Thomas Crawford in Rome, Italy, in 1854. They were carved at the Capitol in 1855-1859 from Lee, Massachusetts, marble and erected in 1863.
The entire pediment is 80 feet long, its height at the center is approximately 12 feet, and the length of the sculpture is approximately 60 feet.
The sculptor, Thomas Crawford (1814-1857), also created the Statue of Freedom atop the dome, the designs of bronze Senate and House doors, and the figures of Justice and History above the Senate bronze doors.
Full details: www.aoc.gov/explore-capitol-campus/art/progress-civilization-pediment
-----
This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Reference: 20210803_214752_SG
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cutting down all the trees by our office to make the sidewalks more pedestrian friendly. Oh the humanity
Yesterday i have basted - today i started quilting my sind quilt - Finally :)
... following all those chevrons is .... slowly progress :)
blogged: www.monaw.blogspot.com
St Machar's Cathedral (or, more formally, the Cathedral Church of St Machar) is a Church of Scotland church in Aberdeen, Scotland. It is located to the north of the city centre, in the former burgh of Old Aberdeen. Technically, St Machar's is no longer a cathedral but rather a high kirk, as it has not been the seat of a bishopsince 1690.
St Machar is said to have been a companion of St Columba on his journey to Iona. A fourteenth-century legend tells how God (or St Columba) told Machar to establish a church where a river bends into the shape of a bishop's crosier before flowing into the sea.
The River Don bends in this way just below where the Cathedral now stands. According to legend, St Machar founded a site of worship in Old Aberdeen in about 580. Machar's church was superseded by a Norman cathedral in 1131, shortly after David I transferred the See from Mortlach to Aberdeen.
Almost nothing of that original cathedral survives; a lozenge-decorated base for a capital supporting one of the architraves can be seen in the Charter Room in the present church.
After the execution of William Wallace in 1305, his body was cut up and sent to different corners of the country to warn other dissenters. His left quarter ended up in Aberdeen and is buried in the walls of the cathedral.
At the end of the thirteenth century Bishop Henry Cheyne decided to extend the church, but the work was interrupted by the Scottish Wars of Independence. Cheyne's progress included piers for an extended choir at the transept crossing. These pillars, with decorated capitals of red sandstone, are still visible at the east end of the present church.
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
The Cathedral is a fine example of a fortified kirk, with twin towers built in the fashion of fourteenth-century tower houses. Their walls have the strength to hold spiral staircases to the upper floors and battlements. The spires which presently crown the
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
Bishops Gavin Dunbar and Alexander Galloway built the western towers and installed the heraldic ceiling, featuring 48 coats of arms in three rows of sixteen. Among those shown are:
* Pope Leo X's coat of arms in the centre, followed in order of importance by those of the Scottish archbishops and bishops.
* the Prior of St Andrews, representing other Church orders.
* King's College, the westernmost shield.
* Henry VIII of England, James V of Scotland and multiple instances for the Holy Roman Emperor Charles V, who was also King of Spain, Aragon, Navarre and Sicily at the time the ceiling was created.
* St Margaret of Scotland, possibly as a stand-in for Margaret Tudor, James V's mother, whose own arms would have been the marshalled arms of England and Scotland.
* the arms of Aberdeen and of the families Gordon, Lindsay, Hay and Keith.
The ceiling is set off by a frieze which starts at the north-west corner of the nave and lists the bishops of the see from Nechtan in 1131 to William Gordon at the Reformation in 1560. This is followed by the Scottish monarchs from Máel Coluim II to Mary, Queen of Scots.
Notable figures buried in the cathedral cemetery include the author J.J. Bell, Robert Brough, Gavin Dunbar, Robert Laws, a missionary to Malawi and William Ogilvie of Pittensear—the ‘rebel professor’.
There has been considerable investment in recent years in restoration work and the improvement of the display of historic artefacts at the Cathedral.
The battlements of the western towers, incomplete for several centuries, have been renewed to their original height and design, greatly improving the appearance of the exterior. Meanwhile, within the building, a number of important stone monuments have been displayed to advantage.
These include a possibly 7th-8th century cross-slab from Seaton (the only surviving evidence from Aberdeen of Christianity at such an early date); a rare 12th century sanctuary cross-head; and several well-preserved late medieval effigies of Cathedral clergy, valuable for their detailed representation of contemporary dress.
A notable modern addition to the Cathedral's artistic treasures is a carved wooden triptych commemorating John Barbour, archdeacon of Aberdeen (d. 1395), author of The Brus.