This is another poster of ''beautiful PAKISTAN'' series. Purpose of my this series is showing to World the positive elements of Pakistan. There are enough people around us to spread the negativity about Pakistan, we as a photographer and as a patriotic Pakistani, this is our responsibility to show the world that we have plenty of landscapes, carpeted roads, biggest range of top mountains, water falls and lots more which can attract them.

  

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If you have any queries feel free to write on askus@studio-r.biz

Yes, I've been jumping all over the place as far as subjects lately. I have a hard time going outside to take photos in our area during the summer in the sweltering heat when all we see in one color of green, green grass, green trees, green fields, all the same color. So, I drift though my bazillions of photos looking for things of interest.

 

This image contains several of my interests, iron, rivets, rust, decay, abandoned things, and railroad related. The ancient railroad tank cars were long ago re-purposed for use at an asphalt plant that is now abandoned.

Planing design is the art and science of selecting and arranging plants into a composition that serves one or more functional purposes.

 

WALNEY LIGHTHOUSE WAS BUILT IN 1790, AND POSITIONED AT HAWS POINT ON THE ISLAND. ITS PURPOSE WAS TO IMPROVE THE NAVIGATION OF THE RIVER LUNE AND ACT AS A GUIDE FOR CARGO SHIPS FROM THE WEST INDIES BOUND FOR THE GLASSON DOCKS. THE LIGHTHOUSE WAS NOT BUILT TO BENEFIT BARROW, AS IT WAS ONLY A SMALL FISHING COMMUNITY AT THIS TIME.

THE LIGHTHOUSE WAS BUILT OF STONE QUARRIED FROM OVERTON IN LANCASHIRE AND TRANSPORTED TO THE SITE BY SHIP. THE OCTAGONAL TOWER IS 70 FEET HIGH AND RESTS ON A CIRCULAR FOUNDATION 20 FEET 6 INCHES IN DIAMETER. THERE ARE 91 STEPS UP TO THE TOP OF THE LIGHTHOUSE. THE ORIGINAL LIGHT WAS AN ARGENT BURNER, A TYPE OF PARAFFIN LAMP.

IN 1909 AN ACETYLENE GASLIGHT SYSTEM WAS INSTALLED WHICH FLASHED AT ONE MINUTE INTERVALS. IN 1953 THIS WAS REPLACED WITH AN ELECTRIC LIGHT WHICH FLASHES AT 15 SECOND INTERVALS. THE NEW LIGHT IS 30 TIMES MORE POWERFUL (450,000 CANDLE POWER) AND HAS A RANGE OF 18 MILES COMPARED TO 13 MILES OF ITS GAS PREDECESSOR. THE ELECTRIC LIGHT WAS FIRST POWERED BY ITS OWN GENERATOR, NOT BEING CONNECTED TO THE NATIONAL GRID UNTIL 1969. THIS GUIDING LIGHT CAN EVEN BE SEEN FROM BLACKPOOL.

ATTACHED TO THE LIGHTHOUSE ARE TWO HOUSES IN WHICH THE KEEPER AND STAFF LIVE. THESE HOUSES WERE ORIGINALLY ONE HOUSE, WHICH WAS BUILT FOR THE FIRST FULL-TIME KEEPER. THE HOUSE WAS DIVIDED INTO TWO IN THE LATE 19TH CENTURY. AT THIS TIME THE LIGHTHOUSE’S ONLY WATER SOURCE CAME FROM THE RAIN AND THE ONLY LIGHTING CAME FROM CANDLES.

DURING THE SECOND WORLD WAR, THE HOUSE WAS USED AS AN OFFICERS' MESS WHEN 170 SOLDIERS WERE ENCAMPED AT THE LIGHTHOUSE AS PART OF THE COASTAL DEFENCE NETWORK. IN 1946 14 PRISONERS OF WAR WERE MOVED INTO THE CAMP. THEY DID ODD JOBS AROUND THE LIGHTHOUSE IN RETURN FOR CIGARETTES AND FOOD. THE REMAINS OF THE BARRACKS ARE STILL VISIBLE.

TODAY THE LIGHTHOUSE IS RUN BY THE PORT OF LANCASTER COMMISSIONERS AND CONTAINS A RADIO BEACON FOR TRINITY HOUSE, FORMING A MAJOR LINK IN THE BRITISH COASTGUARD SYSTEM. ALTHOUGH THE LIGHTHOUSE IS NO LONGER OPEN TO THE PUBLIC, IT CAN BE VIEWED FROM THE OUTSIDE.

 

NORTH PURPOSE

Supply Vessel

IMO: 9439462

MMSI: 257491000

Call Sign: LNHS

Flag: Norway [NO]

AIS Vessel Type: Cargo

Gross Tonnage: 3639

Deadweight: 4800 t

Length Overall x Breadth Extreme: 86.8m × 19.04m

Year Built: 2010

 

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The ten purpose built fishing lodges at Mill Beach on the River Blackwater Estuary near Heybridge Basin in the County of Essex (UK).

 

The River Blackwater Estuary area is a beautiful part of the world just ten miles or so from my home.

 

www.flickr.com/photos/stuart166axe/tags/millbeach/

 

www.flickr.com/photos/stuart166axe/tags/fishinglodges/

 

My Maldon, Dengie and the River Blackwater Estuary album flic.kr/s/aHsk7cnJ7a

 

Photograph taken by and copyright of my regular photostream contributor David and is posted here with very kind permission.

View large: click B l a c k M a g i c

 

Taken for 52 Weeks of PIx, challenge: something hanging.

 

I went for a walk around my lunch hour, looking for something hanging-- founds lots of things. Came upon this cute bird bath. Slightly underexposed it on purpose, so that I did not blow out all the bright in the sky. Then brought the exposure up, the shadows up, the highlights up a pinch, then more increasing the exposure. But once I uploaded to Flickr it was too bright, so I darkened it just a bit for Flickr.

 

I liked how the live oak branches of the tree frame the birdbath. Live oaks are lovely trees-- and the sky was so bright with fluffly clouds.

 

Taken 3/10/10, Uploaded 3/11/10, #2053, slight enhancement and crop, slight TDetail adjustments, orginal in first comment below

 

If you wish, view "my own favorites" of my photostream, or view all of my Photostream, sorted by Interestingness: fiveprime.org/flickr_hvmnd.cgi?search_domain=User&tex...

The Multi Purpose Offshore Vessel LARISSA is pictured on the Corporation Quay, in the Port of Sunderland, on February 14th 2018. I'd previously seen this vessel during April 2012, at Hebburn on the River Tyne, when it was the REEF LARISSA and sported a yellow and white colour scheme: www.flickr.com/photos/emdjt42/6910860740.

Ship Type: Multi purpose offshore vessel

Year Built: 2010

Length x Breadth: 73 m X 16 m

Gross Tonnage: 2177, DeadWeight: 3250 t

Speed recorded (Max / Average): 6.3 / 6.1 knots

Flag: Hongkong [HK]

Call Sign: VRIU6

IMO: 9444364, MMSI: 477095400

 

Innishannon Steam & Vintage Rally 2022.

 

1906 Ransomes Sims & Jefferies General Purpose Engine Works No. 18277 at Dunkereen, Innishannon, Cork 5th June 2022.

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

 

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

 

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

 

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Best Large.

youtu.be/J6eelzWYRYY

via WordPress sideboardbuffet.net/origami-r3-01-general-purpose-3-shelf...

In Cairns botanic gardens

Achieving Daily Thinking Balance

 

How am I?

Who am I?

Where am I?

What is my purpose ..(?)

 

fun fact:

for body balance, Incorporate both types of exercise into a fitness routine: 'aerobic exercise' is when the cardiovascular system is used to increase endurance and 'anaerobic exercise' is less repetition with more strength usage that will increase muscle mass.

 

flickr today

 

Seen at Hardy St, Worksop, 27 July 1987, preparing to work the 33 to Nottingham. That would be a nice journey on this Dual Purpose coach seated Olympian with classic Eastern Coach Works bodywork.

It wears a 'special' version of NBC 'Venetian Blind style' livery with large fleetnames and looks particulary smart, although by this time East Midland had been privatised and this was not a National Bus Company livery. The decals to the front are 'Frontrunner' markings either side of the destination.

 

C330HWJ was a Dual Puprose Leyland Olympian new in August 1995 to East Midland as Number 330.

 

It later went on to gain Stagecoach White with stripes livery after East Midland was taken over by that company - but, by then, it looked like any other Olympian.

 

Fate of the vehicle unknown.

Best Large-

 

Every season has its own glory (James Watkins)

 

Every season has its own glory,

Every purpose has its own time,

Every moment has its own story,

Every story has its own line.

 

I have walked deep into cities,

Shining brightly never to fail,

Listened to heart cries,

Lost in the morning,

Standing on corners

Stagnant and stale.

 

Where is the hope

That brought forth the laughter?

Where is the song?

The music unveiled?

Why are the choices so

Wasted and bitter?

Gathered in hatred,

Broken and pale.

 

I have seen (new) stars on the mountains,

Fed on the movement of heaven and earth-

Fired up frameworks

Of perfect perspective,

Fueled by the turning of terrible truth.

 

Come now and sing of mists in the forest,

Sensual sonnets of songs in the dirt-

Come and behold the delicate balance

Of seasons and reasons and rhythms

And birth.

 

There are the voices lost in confusion,

Crushed in the thriving, deepening swale-

Calloused and cold the circling convenience,

Crippled commotion emotions prevail.

 

Beacons of quiet in last true performance,

Heralded nature in singular cause-

Perfect and pure

Though wasted and slandered.

Washed by confessional

Smoldering awe.

 

Severed connections, squandered projections-

Revered reflections, stammering tongues-

Coined by controlling contriving convections,

In different directions now written in stone.

 

Now is the time to look to the heavens,

Now is the moment to take up the cause,

Now is the voice of blazing amazement,

Borne on the winds of the gathering storm.

 

Listen to stream, listen to forest,

Listen to flower, and staggering fawn-

Listen to voices rolling like thunder,

Drink of the waters

And dance with the dawn.

 

Wrapped in the garments of natural beauty,

Facing the force of burgeoning call-

Strong in the seasons of life and creation,

Firm on foundations that never will fall.

 

James Watkins 09-01-08

 

The RSV is an excellent multi purpose light support vehicle best suited for reconnaissance and light infantry support. With a GAU-8 rotary cannon as its only attack/defense weapon.

Top speed; 74.2 mph

Max fording; 5' 9''

Armor; Classified

  

God bless and thanks for viewing! Have a great day!

Image was purchased on ebay. I hold no claim to image

and posted it for historical reference purposes.

 

Framingham center Ma. Lowell branch southbound home semaphore signal.

Stiles mechanical dwarf mounted on a mast.

This image has floated around from other sources but getting detail was difficult due to copy protection, so now this image is large file so enjoy.

 

Now the image is clean and large for detail viewing

and more clearly shows a back spectacle , less roundel .

This signal may have had life at another location as the back spectacle is centered to the home signals mast.

 

The mast mount: Stiles made mast mounts for his dwarf mechanical semaphores whether this is a Stiles manufactured

type or New Haven shop made bracket is not determined.

 

However my hunch is this bracket is NHRR made.

notice "J" hooks are used to secure the base of the dwarf to the bracket.

"J" hooks are used for mounting pipe carriers, for the pipeline that operated mechanical signals , locks , and points.

 

Notice the weight, does it not look like the weight has been altered to accommodate the jaw for the balance bar.

 

If the idea for tower operators to see the back spectacle would be very difficult as the angle plus tangent in the track or direct line of sight to the leadout's back window in the tower. would be impossible. so this signal must be recycled from ground use to a high dwarf application .

also to point out Aug 15 1924 is the second tower location

on route 9 Worcester road. north side of street.

 

Looking at this image, the in service March 1891 tower would be thirty feet left of image, same side of this home signal.

The 1891 tower was raised when the 1924 tower was in service.

 

incidental... nice spackle job on the dwarf, looks like it was a perfect perch for some bird or a little sloppy in painting the signal silver.

 

Added info 2/13/22

added history from the last time i visited here.

 

I would say being on this property

from 1973 to 1980 other interests such as girls took most of my time and i can remember 1981 -82 was virtually railroad interest free other for some weird warm but heavy snow events which right after the snows had ended the sun would show and become warm and i remember visiting north yard for a few pics then that was it.

 

1984 while in school i had enlisted in the Marines and graduated a bit early to make the trip to Parris Island .

 

when i returned home i discovered my place was no longer and the attraction of the place the charm held nothing for future visits everything except one track was all that was left it was all gone.

 

flickr and new found friends .

With interest in photography and having a laptop to access the net, I joined flickr in 2008 and with finding a way to document a little of my railroad collectables, one of which a signal i would find the manufacturer made by Thomas George Stiles (the above image).

I would be contacted by a person who had the same interests

and his friend as well. Brian Duarte very knowledgeable in early New Haven railroad history notably signals and it apparent the Stiles dwarf mechanical has many attractors .

 

Brian would be instrumental with his contacts including Kevin Kholes .

At this time adding another name to the story Brian Maihar .

and his help in acquiring another mechanical dwarf to complete a spectacle i had my father gave me while the stand

not being fully authentic the modern cast parts removed and made more with authentic parts to finish the signal this was about the time another name enters the story .

Phillip Paradis .

Phillip was a person well known to many in the collectors fields

He was also instrumental in saving scores of railroad artifacts from not only the old New Haven but Boston and Albany lines as well.

From what I was told by a close friend Robert Grubinskas

Philip saved lots of Framingham's early railroad signals and apparatus, it was said the mechanical dwarfs located at Framingham center Philip acquired also manual gate stands of the F&J type also Concord st manual gates stands .

I did ask whether the Home signals and 12 lever S&F machine

was collected sadly these were not saved the gate apparatus

went to the RMNE and dwarf semaphores was in Philip's collection.

Philip passed away and Philip's personal collection went to auction.

It was voiced by numerous collectors that Brian Maihar

cleaned that auction out and many of the artifacts of Framingham would end up in Ohio.

 

Added 12/26/22

Brian Maiher of Carroll, Ohio passed January 5, 2019

The tradition of collector's steamrolling one another continues

Many of Philip's collection held by Brian with his passing those artifacts had well dispersed prior to any official dispensation of Brians auction.

O-364 model board exist by a private collector out west also included four mechanical T.GEO.STILES the dwarf in this image, plus a high dwarf Stiles with longer balance lever that traversed the pipelines and two low dwarfs by Stiles those signals are unaccounted for but certainly held

by private collectors .

And now months later I thought I'd add it again to the linky party in Beyond Layers Day 52 - Finding Fences. I love this fence and it doesn't live too far from me.

 

I was going through my archives and found this half finished piece ... so figured it was perfect to finish for Beyond Layers after I played with it some more.

I knew this image captured at our friend George's farm would come in handy someday. He has quite the collection and I found this concept so unique and fun. My favouite part ... 'the bird poop', it wouldn't be the same without it!

 

"The mind once stretched by a new idea never returns to it's original dimensions."

~~ Ralph Waldo Emerson

 

Kim Klassen - Organic, Look Up

Many layers ... will recipe later.

 

Polar bear looking at us looking at him. Svalbard

The Bowes Museum was purpose-built as a public art gallery for John Bowes and his wife Joséphine Chevalier, Countess of Montalbo, who both died before it opened in 1892. Bowes was the illegitimate son of John Bowes, the 10th Earl of Strathmore and Kinghorne.

It was designed with the collaboration of two architects, the French architect Jules Pellechet (fr) and John Edward Watson of Newcastle. The building, in a grand French style within landscaped gardens, an early account described it as "... some 500 feet in length by 50 feet high, and is designed in the French style of the First Empire. Its contents are priceless, consisting of unique Napoleon relics, splendid picture galleries, a collection of old china, not to be matched anywhere else in the world, jewels of incredible beauty and value; and, indeed, a wonderful and rare collection of art objects of every kind."

Among those with less favourable opinions was Nikolaus Pevsner, who considered it to be "... big, bold and incongruous, looking exactly like the town hall of a major provincial town in France. In scale it is just as gloriously inappropriate for the town to which it belongs (and to which it gives some international fame) as in style".

The building was begun in 1869 and was reputed to have cost £100,000 (£10,080,000 as of 2012). Bowes and his wife left an endowment of £125,000 and a total of 800 paintings. Their collection of European fine and decorative arts amounted to 15,000 pieces.

 

A major redevelopment of the Bowes Museum began in 2005. To date, improvements have been made to visitor facilities (shop, cafe and toilets); galleries (new Fashion & Textile gallery, Silver gallery and English Interiors gallery); and study/learning facilities. The three art galleries, on the second floor of the museum, were also updated.

The museum hosts an internationally significant programme of exhibitions, recently featuring works by Monet, Raphael, Turner, Sisley, Gallé, William Morris, and Toulouse-Lautrec.[Wikipedia]

Handmade card with Japanese origami paper doll.

 

Materials: Card stock with border print; kimono (yuzen washi); obi (Indonesian gift paper); viscose cord on obi; epoxy sticker; hair decor (nail sticker and yuzen washi strip).

 

Card dimensions: 17.4 cm x 11.8 cm

Doll height: 8.9 cm

Pair of King Penguins at Edinburgh Zoo

port autonome de Rouen .

Multi Purpose Offshore Vessel Navire de soutien offshore

pavillon : Norvège

IMO : 9664902

MMSI : 258789000

Indicatif d'appel C6BR9

longueur : 145,60 m

largeur : 31,00 m

tirant d'eau : 9,00 m

jauge brute : 19 760

port en lourd : 15 000 t

huit moteurs 4 temps - 6 cylindres Wartsila 6L32

quatre moteurs électriques de propulsion entraînant deux hélices à pas variable) -

Vitesse : 17,5 nds

Sept propulseurs transversaux (quatre propulseurs d'étrave dont deux en tunnel de 2 500 kW chacun et deux directionnels rétractables de 2 000 kW / trois propulseurs arrière de 2 500 kW) -

Grues 1 x 400 t / 1 x 100 t -

Construction : 2015

chantier : Kleven Verft , Ulsteinvik , Norvège

Propr./Gérant/Opérat. Eidesvik Offshore Norvège

 

Black Series - Luke Skywalker

+++ 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 Sondergerät SG104 "Münchhausen" was a German airborne recoillless 355.6 mm (14-inch) caliber gun, intended to engage even the roughest enemy battleships, primarily those of the Royal Navy. The design of this unusual and massive weapon began in 1939. The rationale behind it was that a battleship’s most vulnerable part was the deck – a flat surface, with relatively thin armor (as typical hits were expected on the flanks) and ideally with vital targets underneath, so that a single, good hit would cripple of even destroy a ship. The purpose of such a high angle of attack was likely to allow the projectile to penetrate the target ship's deck, where the ship's armor, if there was any, would have been much thinner than the armor on its sidesHowever, hitting the deck properly with another ship’s main gun was not easy, since it could only be affected through indirect hits and the typical angle of the attack from aballistic shot would not necessarily be ideal for deep penetration, esp. at long range.

The solution to this problem: ensure that the heavy projectile would hit its target directly from above, ideally at a very steep angle. To achieve this, the gun with battleship caliber was “relocated” from a carrier ship or a coastal battery onto an aircraft – specifically to a type that was capable of dive-bombing, a feature that almost any German bomber model of the time offered.

 

Firing such a heavy weapon caused a lot fo problems, which were severe even if the gun was mounted on a ship or on land. To compensate for such a large-caliber gun’s recoil and to make firing a 14 in shell (which alone weighed around almost 700 kg/1.550 lb, plus the charge) from a relatively light airframe feasible, the respective gun had to be as light as possible and avoid any recoil, which would easily tear an aircraft – even a bomber – apart upon firing. Therefore, the Gerät 104 was designed as a recoilless cannon. Its firing system involved venting the same amount of the weapon's propellant gas for its round to the rear of the launch tube (which was open at both ends), in the same fashion as a rocket launcher. This created a forward directed momentum which was nearly equal to the rearward momentum (recoil) imparted to the system by accelerating the projectile itself. The balance thus created did not leave much net momentum to be imparted to the weapon's mounting or the carrying airframe in the form of felt recoil. A further share of the recoil induced by the moving round itself could be compensated by a muzzle brake which re-directed a part of the firing gases backwards. Since recoil had been mostly negated, a heavy and complex recoil damping mechanism was not necessary – even though the weapon itself was huge and heavy.

 

Work on the "Münchhausen" device (a secret project handle after a fictional German nobleman created by the German writer Rudolf Erich Raspe in the late 18th century who reputedly had ridden on a cannonball between enemy frontlines), was done by Rheinmetall-Borsig and lasted until 1941. The first test of a prototype weapon was conducted on 9th of September 1940 in Unterlüss with a satisfactory result, even though the weapon was only mounted onto an open rack and not integrated into an airframe yet. At that time, potential carriers were the Ju 88, the Dornier Do 217 and the new Junkers Ju 288. Even though the system’s efficacy was doubted, the prospect of delivering a single, fatal blow to an important , armored arget superseded any doubts at the RLM, and the project was greenlit in early 1942 for the next stage: the integration of the Sondergerät 104 into an existing airframe. The Ju 88 and its successor, the Ju 188, turned out to be too light and lacked carrying capacity for the complete, loaded weapon, and the favored Ju 288 was never produced, so that only the Dornier Do 217 or the bigger He 177 remained as a suitable carriers. The Do 217 was eventually chosen because it had the biggest payload and the airframe was proven and readily available.

 

After calculations had verified that the designed 14 in rifle would have effectively no recoil, preliminary tests with dumm airframes were carried out. After ground trials with a Do 217 E day bomber to check recoil and blast effects on the airframe, the development and production of a limited Nullserie (pre-production series) of the dedicated Do 217 F variant for field tests and eventual operational use against British sea and land targets was ordered in April 1942.

 

The resulting Do 217 F-0 was based on the late “E” bomber variant and powered by a pair of BMW 801 radial engines. It was, however, heavily modified for its unique weapon and the highly specialized mission profile: upon arriving at the zone of operation at high altitude, the aircraft would initiate a dive with an angle of attack between 50° and 80° from the horizontal, firing the SG 104 at an altitude between 6,000 and 2,000 meters. The flight time of the projectile could range from 16.0 seconds for a shot from an altitude of 6,000 meters at a 50° angle to just 4.4 seconds for a shot from 2.000 meters at an almost vertical 80° angle. Muzzle velocity of the SG 104 was only 300 m/s, but, prior to impact, the effective velocity of the projectile was projected to range between 449 and 468 m/s (1,616 to 1,674 km/h). Together with the round's weight of roughly 700 kg (1.550 lb) and a hardened tip, this would still ensure a high penetration potential.

 

The operational Sondergerät 104 had an empty mass of 2.780 kg (6,123 lb) and its complete 14 inch double cartridge weighed around 1.600 kg (3,525 lb). The loaded mass of the weapon was 4,237 kg, stretching the limits of the Do 217’s load capacity to the maximum, so that some armor and less vital pieces of equipment were deleted. Crew and defensive armament were reduced to a minimum.

Even though there had been plans to integrate the wepaon into the airframe (on the Ju 288), the Gerät 104 was on the Do 217 F-0 mounted externally and occupied the whole space under the aircraft, precluding any use of the bomb bay. The latter was occupied by the Gerät 104’s complex mount, which extended to the outside under a streamlined fairing and held the weapon at a distance from the airframe. Between the mount’s struts inside of the fuselage, an additional fuel tank for balance reasons was added, too.

The gun’s center, where the heavy round was carried, was positioned under the aircraft’s center of gravity, so that the gun barrel markedly protruded from under the aircraft’s nose. To make enough space, the Do 217 Es bomb aimer’s ventral gondola and his rearward-facing defensive position under the cockpit were omitted and faired over. The nose section was also totally different: the original extensive glazing (the so-called “Kampfkopf”) was replaced by a smaller, conventional canopy, similar to the later Do 217 J and N night fighter versions, together with a solid nose - the original glass panels would have easily shattered upon firing the gun, esp. in a steep high-speed dive. A "Lotfernrohr" bomb aiming device was still installed in a streamlined and protected fairing, though, so that the navigator could guide the pilot during the approach to the target and during the attack run.

To stabilize the heavy aircraft during its attack and to time- and safely pull out of the dive, a massive mechanical dive brake was mounted at the extended tail tip, which unfolded with four "petals". A charecteristic stabilizing dorsal strake was added between the twin fins, too.

 

The ventral area behind the gun’s rear-facing muzzle received additional metal plating and blast guiding vanes, after trials in late 1940 had revealed that firing the SG 104 could easily damage the Do 217’s tail structure, esp. all of the tail surfaces’ rudders and the fins’ lower ends in particular. Due to all this extra weight, the Do 217 F-0’s defensive armament consisted only of a single 13 mm MG 131 machine gun in a manually operated dorsal position behind the cockpit cabin, which offered space for a crew of three. A fixed 15 mm MG 151 autocannon was mounted in the nose, too, a weapon with a long barrel for extended range and accuracy. It was not an offensive weapon, though, rather intended as an aiming aid for the SG 104 because it was loaded with tracer bullets: during the final phase of the attack dive, the pilot kept firing the MG 151, and the bullet trail showed if he was on target to fire the SG 104 when the right altitude/range had been reached.

 

The first Do 217 F-0 was flown and tested in late 1943, and after some detail changes the type was cleared for a limited production run of ten aircraft in January 1944. The first operational machine was delivered to a dedicated testing commando, the Erprobungskommando 104 “Münchhausen”, also known as “Sonderkommando Münchhausen” or simply “E-Staffel 104”. The unit was based at Bordeaux/Merignac and directly attached to the KG 40's as a staff flight. At that time, KG 40 operated Do 217 and He 177 bombers and frequently flew reconnaissance and anti-shipping missions over the Atlantic west of France, up to the British west and southern coast, equipped with experimental Henschel Hs 293 glide bombs.

 

Initial flights confirmed that the Do 217 airframe was burdened with the SG 104 to its limits, the already rather sluggish aircraft (the Do 217 had generally a high wing loading and was not easy to fly) lost anything that was left of what could be called agility. It needed an experienced pilot to handle it safely, esp. during start and landing. It is no wonder that two Do 217 F-0s suffered ground accidents during the first two weeks of operations, but the machines could be repaired, resume the test program and carry out attack missions.

However, during one of the first test shots with the weapon, one Do 217 F-0 lost its complete tail section though the gun blast, and the aircraft crashed into the Bay of Biscay, killing the complete crew.

 

On 4th or April 1944 the first "hot" attack against an enemy ship was executed in the Celtic Sea off of Brest, against a convoy of 20 ships homeward bound from Gibraltar. The attack was not successful, though, the shot missing its target, and the German bomber was attacked and heavily damaged by British Bristol Beaufighters that had been deployed to protect the ships. The Do 217F-0 eventually crashed and sank into the Atlantic before it could reach land again.

 

A couple of days later, on 10th of April, the first attempt to attack and destroy a land target was undertaken: two Do 217 F-0s took off to attack Bouldnor Battery, an armored British artillery position located on the Isle of Wight. One machine had to abort the attack due to oil leakages, the second Do 217 F-0 eventually reached its target and made a shallow attack run, but heavy fog obscured the location and the otherwise successful shot missed the fortification. Upon return to its home base the aircraft was intercepted by RAF fighters over the Channel and heavily damaged, even though German fighters deployed from France came to the rescue, fought the British attackers off and escorted the limping Do 217 F-0 back to its home base.

 

These events revealed that the overall SG 104 concept was generally feasible, but also showed that the Do 217 F-0 was very vulnerable without air superiority or a suitable escort, so that new tactics had to be developed. One consequence was that further Do 217 F-0 deployments were now supported by V/KG 40, the Luftwaffe's only long range maritime fighter unit. These escorts consisted of Junkers Ju 88C-6s, which were capable of keeping up with the Do 217 F-0 and fend of intercepting RAF Coastal Command’s Beaufighters and later also Mosquitos.

 

In the meantime, tests with the SG 104 progressed and several modifications were tested on different EKdo 104's Do 217 F-0s. One major upgrade was a further strengthening of the tail section, which added another 200 kg (440 lb) to the aircraft's dry weight. Furthermore, at least three aircraft were outfitted with additional dive brakes under the outer wings, so that the dive could be better controlled and intercepted. these aircraft, however, lost their plumbed underwing hardpoints, but these were only ever used for drop tanks during transfer flights - a loaded SG 104 precluded any other ordnance. On two other aircraft the SG 104 was modified to test different muzzle brakes and deflectors for the rear-facing opening, so that the gun blast was more effectively guided away from the airframe to prevent instability and structural damage. For instance, one machine was equipped with a bifurcated blast deflector that directed the rearward gasses partly sideways, away from the fuselage.

 

These tests did not last long, though. During the Allied Normandy landings in June 1944 E-Staffel 104 was hastily thrown into action and made several poorly-prepared attack runs against Allied support ships. The biggest success was a full hit and the resulting sinking of the Norwegian destroyer HNoMS Svenner (G03) by "1A+BA" at dawn on 6th of June, off Sword, one of the Allied landing zones. Other targets were engaged, too, but only with little effect. This involvement, however, led to the loss of three Do 217 F-0s within just two days and four more heavily damaged aircraft – leaving only two of EKdo 104's Do 217 F-0s operational.

 

With the Allied invasion of France and a worsening war condition, the SG 104 program was stopped in August 1944 and the idea of an airborne anti-ship gun axed in favor of more flexible guided weapons like the Hs 293 missile and the Fritz-X glide bomb. Plans for a further developed weapon with a three-round drum magazine were immediately stopped, also because there was no carrier aircraft in sight that could carry and deploy this complex 6.5 tons weapon. However, work on the SG 104 and the experience gained from EKdo 104's field tests were not in vain. The knowledge gathered from the Münchhausen program was directly used for the design of a wide range of other, smaller recoilless aircraft weapons, including the magnetically-triggered SG 113 "Förstersonde" anti-tank weapon or the lightweight SG 118 "Rohrblock" unguided air-to-air missile battery for the Heinkel He 162 "Volksjäger".

  

General characteristics:

Crew: 3 (pilot, navigator, radio operator/gunner)

Length: 20,73 m (67 ft 11 in) overall

18,93 m (62 ft 3/4 in) hull only

Wingspan: 19 m (62 ft 4 in)

Height: 4.97 m (16 ft 4 in)

Wing area: 57 m² (610 sq ft)

Empty weight: 9,065 kg (19,985 lb)

Empty equipped weight:10,950 kg (24,140 lb)

Max takeoff weight: 16,700 kg (36,817 lb)

Fuel capacity: 2,960 l (780 US gal; 650 imp gal) in fuselage tank and four wing tanks

 

Powerplant:

2× BMW 801D-2 14-cylinder air-cooled radial piston engines, delivering

1,300 kW (1,700 hp) each for take-off and 1,070 kW (1,440 hp) at 5,700 m (18,700 ft),

driving 3-bladed VDM constant-speed propellers

 

Performance:

Maximum speed: 475 km/h (295 mph, 256 kn) at sea level

560 km/h (350 mph; 300 kn) at 5,700 m (18,700 ft)

Cruise speed: 400 km/h (250 mph, 220 kn) with loaded Gerät 104 at optimum altitude

Range: 2,180 km (1,350 mi, 1,180 nmi) with maximum internal fuel

Ferry range: 2,500 km (1,600 mi, 1,300 nmi); unarmed, with auxiliary fuel tanks

Service ceiling: 7,370 m (24,180 ft) with loaded Gerät 104,

9,500 m (31,200 ft) after firing

Rate of climb: 3.5 m/s (690 ft/min)

Time to altitude: 1,000 m (3,300 ft) in 4 minutes 10 seconds

2,000 m (6,600 ft) in 8 minutes 20 seconds

6,100 m (20,000 ft) in 24 minutes 40 seconds

 

Armament:

1x 355.6 mm (14-inch) Sondergerät 104 recoilless gun with a single round in ventral position

1x 15 mm (0.787 in) MG 151 machine cannon with 200 rounds, fixed in the nose

1x 13 mm (0.512 in) MG 131 machine gun with 500 rounds, movable in dorsal position

Two underwing hardpoints for a 900 l drop tank each, but only used during unarmed ferry flights

  

The kit and its assembly:

This was another submission to the "Gunships" group build at whatifmodellers.com in late 2021, and inspiration struck when I realized that I had two Italeri Do 217 in The Stash - a bomber and a night fighter - that could be combined into a suitable (fictional) carrier for a Sondergerät 104. This mighty weapon actually existed and even reached the hardware/test stage - but it was never integrated into an airframe and tested in flight. But that's what this model is supposed to depict.

 

On the Do 217, the Sg 104 would have been carried externally under the fuselage, even though there had been plans to integrate this recoilless rifle into airframes, esp. into the Ju 288. Since the latter never made it into production, the Do 217 would have been the most logical alternative, also because it had the highest payload of all German bombers during WWII and probably the only aircraft capable of carrying and deploying the Münchhausen device, as the SG 104 was also known.

 

The fictional Do 217 F-0 is a kitbashing, using a Do 217 N fuselage, combined with the wings from a Do 217 K bomber, plus some modifications. What initially sounded like a simple plan soon turned into a improvisation mess: it took some time to realize that I had already donated the Do 217 K's BMW 801 engines to another project, an upgraded He 115... I did not want to use the nightfighter's more powerful DB 603s, and I was lucky to have an Italeri Ju 188 kit at hand which comes with optional BMW 801s and Jumo 211s. Transplanting these engines onto the Do 217's wings took some tailoring of the adapter plates, but was feasible. However, the BMW 801s from the Ju 188 kit have a flaw: they lack the engine's characteristic cooling fans... Another lucky find: I found two such parts in the scrap box, even though from different kits - one left over from another Italeri Do 217 K, the other one from what I assume is/was an Italeri 1:72 Fw 190 A/F. To make matters worse, one propeller from the Ju 188 kit was missing, so that I had to find a(nother) replacement. :-/

I eventually used something that looked like an 1:72 F6F Hellcat propeller, but I an not certain about this because I have never built this model...? With some trimming on the blades' trailing edges and other mods, the donor's overall look could be adapted to the Ju 188 benchmark. Both propellers were mounted on metal axis' so that they could also carry the cooling fans. Lots of work, but the result looks quite good.

 

The Do 217 N's hull lost the lower rear gunner position and its ventral gondola, which was faired over with a piece of styrene sheet. The pilot was taken OOB, the gunner in the rear position was replaced by a more blob-like crew member from the scrap box. The plan to add a navigator in the seat to the lower right of the pilot did not work out due to space shortage, but this figure would probably have been invisble, anyway.

All gun openings in the nose were filled and PSRed away, and a fairing for a bomb aiming device and a single gun (the barrel is a hollow steel needle) were added.

 

The SG 104 was scratched. Starting point was a white metal replacement barrel for an 1:35 ISU-152 SPG with a brass muzzle brake. However, after dry-fitting the barrel under the hull the barrel turned out to be much too wide, so that only the muzzal brake survived and the rest of the weapon was created from a buddy refueling pod (from an Italeri 1:72 Luftwaffe Tornado, because of its two conical ends) and protective plastic caps from medical canulas. To attach this creation to the hull I abused a conformal belly tank from a Matchbox Gloster Meteor night fighter and tailored it into a streamlined fairing. While this quite a Frankenstein creation, the overall dimensions match the real SG 104 prototype and its look well.

 

Other cosmetic modifications include a pair of underwing dive brakes, translanted from an Italeri 1:72 Ju 88 A-4 kit, an extended (scratched) tail "stinger" which resembles the real dive brake arrangement that was installed on some Do 217 E bombers, and I added blast deflector vanes and a dorsal stabilizer fin.

In order to provide the aircraft with enough ground clearance, the tail wheel was slightly extended. Thanks to the long tail stinger, this is not blatantly obvious.

  

Painting and markings:

This was not an easy choice, but as a kind of prototype I decided that the paint scheme should be rather conservative. However, German aircraft operating over the Atlantic tended to carry rather pale schemes, so that the standard pattern of RLM 70/71/65 (Dunkelgrün, Schwarzgrün and Hellblau) with a low waterline - typical for experimental types - would hardly be appropriate.

I eventually found a compromise on a He 177 bomber (coded 6N+BN) from 1944 that was operated by KG 100: this particular aircraft had a lightened upper camouflage - still a standard splinter scheme but consisting of RLM 71 and 02 (Dunkelgrün and Grau; I used Modelmaster 2081 and Humbrol 240), a combination that had been used on German fighters during the Battle of Britain when the standard colors turned out to be too dark for operations over the Channel. The aircraft also carried standard RLM 65 (or maybe the new RLM76) underneath (Humbrol 65) and on the fin, but with a very high and slightly wavy waterline. As a rather unusual feature, no typical camouflage mottles were carried on the flanks or the fin, giving the aircraft a very bleak and simple look.

 

Despite my fears that this might look rather boring I adapted this scheme for the Do 217 F-0, and once basic painting was completed I was rather pleased by the aircraft's look! As an aircraft operated at the Western front, no additional markings like fuselage bands were carried.

To set the SG 104 apart from the airframe, I painted the weapon's visible parts in RLM 66 (Schwarzgrau, Humbrol 67), because this tone was frequently used for machinery (including the interior surfaces of aircraft towards 1945).

RLM 02 was also used for the interior surfaces and the landing gear, even though I used a slightly different, lighter shade in form of Revell 45 (Helloliv).

 

A light black ink washing was applied and post-shading to emphasize panel lines. Most markings/decals came from a Begemot 1:72 He 11 sheet, including the unusual green tactical code - it belongs to a staff unit, a suitable marking for such an experimental aircraft. The green (Humbrol 2) was carried over to the tips of the propeller spinners. The unit's code "1A" is fictional, AFAIK this combination had never been used by the Luftwaffe.

The small unit badge was alucky find: it actually depicts the fictional Baron von Münchhausen riding on a cannonball, and it comes from an Academy 1:72 Me 163 kit and its respective sheet. The mission markings underneath, depicting two anti-ship missions plus a successful sinking, came from a TL Modellbau 1:72 scale sheet with generic German WWII victory markings.

 

After some soot stains around the engine exhaust and weapon muzzles had been added with graphite, the model was sealed with matt acrylic varnish and final details like position lights and wire antennae (from heated black plastic sprue material) were added.

  

Well, what started as a combination of two kits of the same kind with a simple huge pipe underneath turned out to be more demanding than expected. The (incomplete) replacement engines were quite a challenge, and body work on the hull (tail stinger, fairing for the SG 104 as well as the weapon itself) turned out to be more complex and extensive than initially thought of. The result looks quite convincing, also supported by the rather simple paint scheme which IMHO just "looks right" and very convincing. And the whole thing is probably the most direct representation of the inspiring "Gunship" theme!

 

A Sense of Purpose: Fighting For Our Lives Movie Trailer - Actor John Joseph Quinlan as US Army Captain Jake Nixon. A Jillian Bullock Film Coming to Theaters 2017. www.indiegogo.com/projects/a-sense-of-purpose-fighting-fo...

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Southdown connections at Midhurst Bus Stand on 20 April 1971: Dual purpose Leyland Leopard/Northern Counties 458 (NUF458G) waits to depart at 1632 on route 60 to Bognor Regis, while 686 (286AUF) and 195 (KUF195F) call in while working from Petersfield to Brighton and vice versa. Together with A&D route 19, these services provided a four-way interchange every hour.

From the Wikipedia page on the Elgin Marbles:

 

[[[

The Elgin Marbles, known also as the Parthenon Marbles, are a collection of classical Greek marble sculptures, inscriptions and architectural members that originally were part of the Parthenon and other buildings on the Acropolis of Athens.[1][2] Thomas Bruce, 7th Earl of Elgin, the British ambassador to the Ottoman Empire from 1799–1803, had obtained a controversial permission from the Ottoman authorities to remove pieces from the Acropolis.

 

There is controversy as to whether the removed pieces were purchased from the ruling government of the time or not. [3] From 1801 to 1812 Elgin's agents removed about half of the surviving sculptures of the Parthenon, as well as architectural members and sculpture from the Propylaea and Erechtheum.[4] The Marbles were transported by sea to Britain. In Britain, the acquisition of the collection was supported by some,[5] while many critics compared Elgin's actions to vandalism[6] or looting.[7][8][9][10][11]

 

Following a public debate in Parliament and subsequent exoneration of Elgin's actions, the marbles were purchased by the British Government in 1816 and placed on display in the British Museum, where they stand now on view in the purpose-built Duveen Gallery. The legality of the removal has been questioned and the debate continues as to whether the Marbles should remain in the British Museum or be returned to Athens.

 

Contents

 

• 1 Acquisition

• 2 Description

• 3 Legality of the removal from Athens

• 4 Contemporary reaction

• 5 Damage

•• 5.1 Use as a Christian church

•• 5.2 Morosini •

•• 5.3 War of Independence

•• 5.4 Elgin

•• 5.5 British Museum

•• 5.6 Athens

• 6 Ownership debate

•• 6.1 Rationale for returning to Athens

•• 6.2 Rationale for retaining in London

• 7 Public perception of the issue

•• 7.1 Neologisms

••• 7.1.1 Opinion polls

••• 7.1.2 Popular support for restitution

• 8 Other displaced Parthenon art

• 9 Further reading

• 10 See also

• 11 References

• 12 External links

•• 12.1 Pros and cons of restitution

 

Acquisition

 

In December of 1798, Thomas Bruce, 7th Earl of Elgin, was appointed as "Ambassador Extraordinary and Minister Plenipotentiary of His Britannic Majesty to the Sublime Porte of Selim III, Sultan of Turkey". Prior to his departure to take up the post he had approached at least three officials of the British government to inquire if they would be interested in employing artists to take casts and drawings of the sculptured portions of the Parthenon. According to Lord Elgin, "the answer of the Government... was entirely negative."[5]

 

Lord Elgin decided to carry out the work at his own expense and employed artists to take casts and drawings under the supervision of the Neapolitan court painter Giovani Lusieri.[5] However, while conducting surveys, he found that Parthenon statuary that had been documented in a 17th century survey was now missing, and so he investigated. According to a Turkish local, marble sculptures that fell were burned to obtain lime for building.[5] Although the original intention was only to document the sculptures, in 1801 Lord Elgin began to remove material from the Parthenon and its surrounding structures[12] under the supervision of Lusieri.

 

The excavation and removal was completed in 1812 at a personal cost of £74,240 (about $4 million in today's currency).[13] Elgin intended the marbles for display in the British Museum, selling them to the British government for less than the cost of bringing them to Britain and declining higher offers from other potential buyers, including Napoleon.[12]

 

Description

 

Main articles: Parthenon Frieze and Metopes of the Parthenon

 

The Elgin Marbles include some 17 figures from the statuary from the east and west pediments, 15 (of an original 92) of the metope panels depicting battles between the Lapiths and the Centaurs, as well as 247 feet (of an original 524 feet) of the Parthenon Frieze which decorated the horizontal course set above the interior architrave of the temple. As such, they represent more than half of what now remains of the surviving sculptural decoration of the Parthenon. Elgin's acquisitions also included objects from other buildings on the Athenian Acropolis: a Caryatid from Erechtheum; four slabs from the frieze of the Temple of Athena Nike; and a number of other architectural fragments of the Parthenon, Propylaia, Erechtheum, the Temple of Athena Nike and the Treasury of Atreus.

 

Legality of the removal from Athens

 

As the Acropolis was still an Ottoman military fort, Elgin required permission to enter the site, including the Parthenon and the surrounding buildings. He allegedly obtained from the Sultan a firman to allow his artists access to the site. The original document is now lost, but what is said to be a translated Italian copy made at the time still survives.[14] Vassilis Demetriades, Professor of Turkish Studies at the University of Crete, has argued that "any expert in Ottoman diplomatic language can easily ascertain that the original of the document which has survived was not a firman",[15] and its authenticity has been challenged.[16]

 

The document was recorded in an appendix of an 1816 parliamentary committee report. The committee had convened to examine a request by Elgin asking the British government to purchase the marbles. The report claimed that the document[17] in the appendix was an accurate translation in English of an Ottoman firman dated in July 1801. In Elgin's view it amounted to an Ottoman authorization to remove the marbles. The committee was told that the original document was given to Ottoman officials in Athens in 1801, but researchers have so far failed to locate any traces of it despite the fact that the Ottoman archives still hold an outstanding number of similar documents dating from the same period.[16] Moreover the parliamentary record shows that the Italian copy of the firman was not presented to the committee by Elgin himself but by one of his associates, the clergyman Rev. Philip Hunt. Hunt, who at the time resided in Bedford, was the last witness to appear before the committee and claimed that he had in his possession an Italian translation of the Ottoman original. He went on to explain that he had not brought the document, because, upon leaving Bedford, he was not aware that he was to testify as a witness. The English document in the parliamentary report was filed by Hunt, but the committee was not presented with the Italian translation purportedly in his possession. William St. Clair, a contemporary biographer of Lord Elgin, claimed to possess Hunt's Italian document and "vouches for the accuracy of the English translation". In addition, the committee report states on page 69 "(Signed with a signet.) Seged Abdullah Kaimacan". But the document presented to the committee was "an English translation of this purported translation into Italian of the original firman",[18] and had neither signet nor signature on it, a fact corroborated by St. Clair.[16] The lines pertaining to the removal of the marbles allowed Elgin and his team to fix scaffolding, make drawings, make mouldings in chalk or gypsum, measure the remains of the ruined buildings and excavate the foundations which may have become covered in the [ghiaja]; and "...that when they wish to take away [qualche] pieces of stone with old inscriptions or figures thereon, that no opposition be made thereto". The interpretation of these lines has been questioned even by non-restitutionalists,[19] particularly the word qualche, which in modern language is translated as some. According to non-restitutionalists, further evidence that the removal of the sculptures by Elgin was approved by the Ottoman authorities is shown by a second firman which was required for the shipping of the marbles from the Piraeus.[20]

 

Despite the controversial firman, many have questioned the legality of Elgin's actions. A study by Professor David Rudenstine of the Benjamin N. Cardozo School of Law concluded that the premise that Elgin obtained legal title to the marbles, which he then transferred to the British government, "is certainly not established and may well be false".[21] Rudenstine's argumentation is partly based on a translation discrepancy he noticed between the surviving Italian document and the English text submitted by Hunt to the parliamentary committee. The text from the committee report reads "We therefore have written this Letter to you, and expedited it by Mr. Philip Hunt, an English Gentleman, Secretary of the aforesaid Ambassador" but according to the St. Clair Italian document the actual wording is "We therefore have written this letter to you and expedited it by N.N.". In Rudenstine's, view this substitution of "Mr. Philip Hunt" with the initials "N.N." can hardly be a simple mistake. He further argues that the document was presented after the committee's insistence that some form of Ottoman written authorization for the removal of the marbles was provided, a fact known to Hunt by the time he testified. Thus, according to Rudenstine, "Hunt put himself in a position in which he could simultaneously vouch for the authenticity of the document and explain why he alone had a copy of it fifteen years after he surrendered the original to Ottoman officials in Athens". On two earlier occasions, Elgin stated that the Ottomans gave him written permissions more than once, but that he had "retained none of them." Hunt testified on March 13, and one of the questions asked was "Did you ever see any of the written permissions which were granted to [Lord Elgin] for removing the Marbles from the Temple of Minerva?" to which Hunt answered "yes", adding that he possessed an Italian translation of the original firman. Nonetheless, he did not explain why he had retained the translation for 15 years, whereas Elgin, who had testified two weeks earlier, knew nothing about the existence of any such document.[16]

 

In contrast, Professor John Merryman, Sweitzer Professor of Law and also Professor of Art at Stanford University, putting aside the discrepancy presented by Rudenstine, argues that since the Ottomans had controlled Athens since 1460, their claims to the artifacts were legal and recognizable. The Ottoman sultan was grateful to the British for repelling Napoleonic expansion, and the Parthenon marbles had no sentimental value to him.[12] Further, that written permission exists in the form of the firman, which is the most formal kind of permission available from that government, and that Elgin had further permission to export the marbles, legalizes his (and therefore the British Museum's) claim to the Marbles.[20][citation needed] He does note, though, that the clause concerning the extent of Ottoman authorization to remove the marbles "is at best ambiguous", adding that the document "provides slender authority for the massive removals from the Parthenon... The reference to 'taking away any pieces of stone' seems incidental, intended to apply to objects found while excavating. That was certainly the interpretation privately placed on the firman by several of the Elgin party, including Lady Elgin. Publicly, however, a different attitude was taken, and the work of dismantling the sculptures on the Parthenon and packing them for shipment to England began in earnest. In the process, Elgin's party damaged the structure, leaving the Parthenon not only denuded of its sculptures but further ruined by the process of removal. It is certainly arguable that Elgin exceeded the authority granted in the firman in both respects".[19]

 

Contemporary reaction

 

When the marbles were shipped to England, they were "an instant success among many"[5] who admired the sculptures and supported their arrival, but both the sculptures and Elgin also received criticism from detractors. Lord Elgin began negotiations for the sale of the collection to the British Museum in 1811, but negotiations failed despite the support of British artists[5] after the government showed little interest. Many Britons opposed the statues because they were in bad condition and therefore did not display the "ideal beauty" found in other sculpture collections.[5] The following years marked an increased interest in classical Greece, and in June 1816, after parliamentary hearings, the House of Commons offered £35,000 in exchange for the sculptures. Even at the time the acquisition inspired much debate, although it was supported by "many persuasive calls" for the purchase.[5]

 

Lord Byron didn't care for the sculptures, calling them "misshapen monuments".[22] He strongly objected to their removal from Greece, denouncing Elgin as a vandal.[6] His view of the removal of the Marbles from Athens is also reflected in his poem "Childe Harold's Pilgrimage":[23]

  

Dull is the eye that will not weep to see

Thy walls defaced, thy mouldering shrines removed

By British hands, which it had best behoved

To guard those relics ne'er to be restored.

Curst be the hour when from their isle they roved,

And once again thy hapless bosom gored,

And snatch'd thy shrinking gods to northern climes abhorred!

  

Byron was not the only one to protest against the removal at the time:

  

"The Honourable Lord has taken advantage of the most unjustifiable means and has committed the most flagrant pillages. It was, it seems, fatal that a representative of our country loot those objects that the Turks and other barbarians had considered sacred," said Sir John Newport.[13]

  

A parliamentary committee investigating the situation concluded that the monuments were best given "asylum" under a "free government" such as the British one.[5] In 1810, Elgin published a defence of his actions which silenced most of his detractors,[4] although the subject remained controversial.[citation needed] John Keats was one of those who saw them privately exhibited in London, hence his two sonnets about the marbles. Notable supporters of Elgin included the painter Benjamin Robert Haydon.[5]

 

A public debate in Parliament followed Elgin's publication, and Elgin's actions were again exonerated. Parliament purchased the marbles for the nation in 1816 by a vote of 82-30 for £35,000.[6] They were deposited in the British Museum, where they were displayed in the Elgin Saloon (constructed in 1832), until the Duveen Gallery was completed in 1939. Crowds packed the British Museum to view the sculptures, setting attendance records for the museum.[5] William Wordsworth viewed the marbles at the museum and commented favorably on their aesthetics.[24]

 

Damage

 

Some of the Marbles were damaged prior to Lord Elgin's obtaining them.

 

Use as a Christian church

 

After the conversion of the Greek people to Christianity the Parthenon was eventually converted from a temple of the Virgin (Parthenos) Athena to a holy temple (hieros naos) of the Virgin Mary.[25] The church of the Parthenon and Athens in general was considered the fourth most important pilgrimage in the Eastern Roman Empire, after Constantinople, Ephesos and Thessalonica.[26] The temple's use as a Christian church constitutes the single longest period of its history (ca. 500–1450 AD) and its importance as a church and Christian pilgrimage was greater than that it enjoyed in Ancient Greece.[27] During this period, frescoes and inscriptions were added to the marble walls and columns as it was a custom of the era's pilgrim to mark their visit.[25] Altogether some 220 funerary inscriptions survive for the years 600-1200, though many more were probably lost due to structural damage to the building and erosion of the surface.[25] Similar inscriptions were found in the Propylaia as well as on the church of St. George in the Keramykos, which in antiquity was a temple of Hephaistos and is today called the Theseion.[28] From 1205 to 1456 Athens was ruled by Western Crusaders and the church was converted into a Latin cathedral, although the stream of pilgrims continued.[29]

 

Morosini

 

Another example of prior damage is that sustained during wars. It is during these periods that the Parthenon and its artwork have sustained by far the most extensive damage. In particular, an explosion ignited by Venetian gun and cannon fire bombardment in 1687, whilst the Parthenon was used as a munitions store during the Ottoman rule, destroyed or damaged many pieces of Parthenon art including some of those later taken by Lord Elgin.[30] In particular this explosion sent the marble roof, most of the cella walls, 14 columns from the north and south peristyles and carved metopes and frieze blocks flying and crashing to the ground and thus destroyed much of the artwork.Further damage was made to the art of the Parthenon by the Venetian general Francesco Morosini when he subsequently looted the site of its larger sculptures. His tackle was faulty and snapped, dropping an over life-sized Poseidon and the horses of Athena's chariot from the west pediment to the rock of the Acropolis forty feet below.[31]

 

War of Independence

 

The Erechtheum was used as a munitions store by the Ottomans during the Greek War of Independence[32] (1821–1833) which ended the 350-year Ottoman rule of Athens.

 

The Acropolis was besieged twice during the Greek War of Independence, once by the Greek and once by the Ottoman forces. During the siege the Greeks were aware of the dilemma and chose to offer the besieged Ottoman forces, who were attempting to melt the lead in the columns to cast bullets, bullets of their own if they would leave the Parthenon undamaged.[33]

 

Elgin

 

Elgin consulted with sculptor Antonio Canova in 1803 about how best to restore the marbles. Canova was considered by some to be the world's best sculptural restorer of the time; Elgin wrote that Canova declined to work on the marbles for fear of damaging them further.[5]

 

To facilitate transport by Elgin, the column capital of the Parthenon and many metopes and slabs were either hacked off the main structure or sawn and sliced into smaller sections causing irreparable damage to the Parthenon itself to which these Marbles were connected.[34] One shipload of marbles on board the British brig Mentor was caught in a storm off Cape Matapan and sank near Kythera, but was salvaged at the Earl's personal expense;[35] it took two years to bring them to the surface.

 

British Museum

 

The artifacts held in London suffered from 19th century pollution—which persisted until the mid-20th century[37] — and they have been irrevocably damaged[38] by previous cleaning methods employed by British Museum staff.

 

As early as 1838, scientist Michael Faraday was asked to provide a solution to the problem of the deteriorating surface of the marbles. The outcome is described in the following excerpt from the letter he sent to Henry Milman, a commissioner for the National Gallery.[39][40]

  

The marbles generally were very dirty ... from a deposit of dust and soot. ... I found the body of the marble beneath the surface white. ... The application of water, applied by a sponge or soft cloth, removed the coarsest dirt. ... The use of fine, gritty powder, with the water and rubbing, though it more quickly removed the upper dirt, left much imbedded in the cellular surface of the marble. I then applied alkalis, both carbonated and caustic; these quickened the loosening of the surface dirt ... but they fell far short of restoring the marble surface to its proper hue and state of cleanliness. I finally used dilute nitric acid, and even this failed. ... The examination has made me despair of the possibility of presenting the marbles in the British Museum in that state of purity and whiteness which they originally possessed.

  

A further effort to clean the marbles ensued in 1858. Richard Westmacott, who was appointed superintendent of the "moving and cleaning the sculptures" in 1857, in a letter approved by the British Museum Standing Committee on 13 March 1858 concluded[41]

  

'I think it my duty to say that some of the works are much damaged by ignorant or careless moulding — with oil and lard — and by restorations in wax, and wax and resin. These mistakes have caused discolouration. I shall endeavour to remedy this without, however, having recourse to any composition that can injure the surface of the marble

  

Yet another effort to clean the marbles occurred in the years 1937–38. This time the incentive was provided by the construction of a new Gallery to house the collection. The Pentelic marble, from which the sculptures are made, naturally acquires a tan colour similar to honey when exposed to air; this colouring is often known as the marble's "patina"[42] but Lord Duveen, who financed the whole undertaking, acting under the misconception that the marbles were originally white[43] probably arranged for the team of masons working in the project to remove discoloration from some of the sculptures. The tools used were seven scrapers, one chisel and a piece of carborundum stone. They are now deposited in the British Museum's Department of Preservation.[43][44] The cleaning process scraped away some of the detailed tone of many carvings.[45] According to Harold Plenderleith, the surface removed in some places may have been as much as one-tenth of an inch (2.5 mm).[43]

 

The British Museum has responded to these allegations with the statement that "mistakes were made at that time."[38] On another occasion it was said that "the damage had been exaggerated for political reasons" and that "the Greeks were guilty of excessive cleaning of the marbles before they were brought to Britain."[44] During the international symposium on the cleaning of the marbles, organised by the British Museum, Dr Ian Jenkins, deputy keeper of Greek and Roman antiquities, remarked that "The British Museum is not infallible, it is not the Pope. Its history has been a series of good intentions marred by the occasional cock-up, and the 1930s cleaning was such a cock-up". Nonetheless, he pointed out that the prime cause for the damage inflicted upon the marbles was the 2000 year long weathering on the Acropolis[46]

 

Dorothy King, in a newspaper article, claimed that techniques similar to the ones used in 1937-1938 were applied by Greeks as well in more recent decades than the British, and maintained that Italians still find them acceptable.[12] Attention has been drawn by the British Museum to a purportedly similar cleaning of the temple of Hephaistos in the Athenian Agora carried out by the conservation team of the American School of Classical Studies at Athens[47] with steel chisels and brass wire in 1953.[35] According to the Greek ministry of Culture, the cleaning was carefully limited to surface salt crusts.[46] The 1953 American report concluded that the techniques applied were aimed at removing the black deposit formed by rain-water and "brought out the high technical quality of the carving" revealing at the same time "a few surviving particles of colour".[47]

 

According to documents released by the British Museum under the Freedom of Information Act, a series of minor accidents, thefts and acts of vandalism by visitors have inflicted further damage to the sculptures.[48] This includes an incident in 1961 when two schoolboys knocked off a part of a centaur's leg. In June 1981, a west pediment figure was slightly chipped by a falling glass skylight, and in 1966 four shallow lines were scratched on the back of one of the figures by vandals. During a similar mishap in 1970, letters were scratched on to the upper right thigh of another figure. Four years later, the dowel hole in a centaur's hoof was damaged by thieves trying to extract pieces of lead.[48]

 

Athens

 

While the levels of nitrogen oxide, nitrogen dioxide, and particulate matter pollution in Athens are average compared to other European cites,[49] air pollution and acid rain have caused damage to marble and stonework at the Parthenon.[50] The last remaining slabs from the western section of the Parthenon frieze were removed from the monument in 1993 for fear of further damage.[51] They have now been transported to the New Acropolis Museum.[50]

 

Until cleaning of the remaining marbles was completed in 2005,[52] black crusts and coatings were present on the marble surface.[53] The laser technique applied on the 14 slabs that Elgin did not remove revealed a surprising array of original details such as the original chisel marks and the veins on the horses' bellies. Similar features in the British Museum collection have been scraped and scrubbed with chisels to make the marbles look white.[54] Between January 20 and the end of March 2008, 4200 items (sculptures, inscriptions small terracotta objects), including some 80 artifacts dismantled from the monuments in recent years, were removed from the old museum on the Acropolis to the new Parthenon Museum.[55][56] Natural disasters have also affected the Parthenon. In 1981, an earthquake caused damage to the east facade.[57]

 

Since 1975, Greece has been restoring the Acropolis. This restoration has included replacing the thousands of rusting iron clamps and supports that had previously been used, with non-corrosive titanium rods;[58] removing surviving artwork from the building into storage and subsequently into a new museum built specifically for the display of the Parthenon art; and replacing the artwork with high-quality replicas. This process has come under fire from some groups as some buildings have been completely dismantled, including the dismantling of the Temple of Athena Nike and for the unsightly nature of the site due to the necessary cranes and scaffolding.[58] But the hope is to restore the site to some of its former glory, which may take another 20 years and 70 million euros, though the prospect of the Acropolis being "able to withstand the most extreme weather conditions — earthquakes" is "little consolation to the tourists visiting the Acropolis" according to The Guardian.[58] Directors of the British Museum have not ruled out temporarily loaning the marbles to the new museum, but state that it would be under the condition of Greece acknowledging British ownership.[13]

 

Ownership debate

 

Rationale for returning to Athens

 

Defenders of the request for the Marble's return claim that the marbles should be returned to Athens on moral and artistic grounds. The arguments include:

 

• The main stated aim of the Greek campaign is to reunite the Parthenon sculptures around the world in order to restore "organic elements" which "at present remain without cohesion, homogeneity and historicity of the monument to which they belong" and allow visitors to better appreciate them as a whole;[59][60]

• Presenting all the extant Parthenon Marbles in their original historical and cultural environment would permit their "fuller understanding and interpretation";[60]

• Precedents have been set with the return of fragments of the monument by Sweden,[61] the University of Heidelberg, Germany,[62] the Getty Museum in Los Angeles.[62] and the Vatican[63];

• That the marbles may have been obtained illegally and hence should be returned to their rightful owner;[64]

• Returning the Elgin Marbles would not set a precedent for other restitution claims because of the distinctively "universal value" of the Parthenon.[65]

• Safekeeping of the marbles would be ensured at the New Acropolis Museum, situated to the south of the Acropolis hill. It was built to hold the Parthenon sculpture in natural sunlight that characterises the Athenian climate, arranged in the same way as they would have been on the Parthenon. The museum's facilities have been equipped with state-of-the-art technology for the protection and preservation of exhibits [66]

 

Rationale for retaining in London

 

A range of different arguments have been presented by scholars[13], political-leaders and British Museum spokespersons over the years in defence of retention of the Elgin Marbles within the British Museum. The main points include:

 

• the maintenance of a single worldwide-oriented cultural collection, all viewable in one location, thereby serving as a world heritage centre. The British Museum is a creative and living achievement of the Enlightenment, while the Parthenon, on the other hand, is a ruin that can never now be restored.[48]

• the assertion that fulfilling all restitution claims would empty most of the world's great museums – this has also caused concerns among other European and American museums, with one potential target being the famous bust of Nefertiti in Berlin's Altes Museum;[13] in addition, portions of Parthenon marbles are kept by many other European museums, so the Greeks would then establish a precedent to claim these other artworks;[12]

• scholars agree that the marbles were saved from what would have been severe damage from pollution and other factors, which could have perhaps destroyed the marbles,[12] if they had been located in Athens the past few hundred years;[13]

• experts agree that Greece could mount no court case because Elgin was granted permission by what was then Greece's ruling government and a legal principle of limitation would apply, i.e. the ability to pursue claims expires after a period of time prescribed by law;[13]

• More than half the original marbles are lost and therefore the return of the Elgin Marbles could never complete the collection in Greece. In addition, many of the marbles are too fragile to travel from London to Athens;[13]

• display in the British museum puts the sculptures in a European artistic context, alongside the work of art which both influenced and was influenced by Greek sculpture. This allows parallels to be drawn with the art of other cultures;[67]

• the notion that the Parthenon sculptures are an item of global rather than solely Greek significance strengthens the argument that they should remain in a museum which is both free to visit, and located in Europe's most visited and largest city. The government of Greece intends to charge visitors of the New Acropolis Museum, where they can view the marbles (as of 2010 the price is five Euros),

• a legal position that the museum is banned by charter from returning any part of its collection.[68]

 

The latter was tested in the British High Court in May 2005 in relation to Nazi-looted Old Master artworks held at the museum; it was ruled that these could not be returned.[69] The judge, Sir Andrew Morritt, ruled that the British Museum Act – which protects the collections for posterity – cannot be overridden by a "moral obligation" to return works known to have been plundered. It has been argued, however, that connections between the legal ruling and the Elgin Marbles were more tenuous than implied by the Attorney General.[70] However, despite the British Museum's charter preventing the repatriation of items within its collection, a 2005 bill concerning the repatriation of ancestral remains allowed for the return of Aboriginal human remains to Tasmania after a 20-year battle with Australia.[71]

 

Another argument for maintaining their location within the UK has been made by J. H. Merryman, Sweitzer Professor of Law at Stanford University and co-operating professor in the Stanford Art Department. He argued that if the Parthenon were actually being restored, there would be a moral argument for returning the Marbles to the temple whence they came, and thus restoring its integrity. The Guardian has written that many repatrionists imply that the marbles would be displayed in their original position on the Parthenon.[12] However, the Greek plan is to transfer them from a museum in London to one in Athens. The sculptures which Elgin spared have been taken down and put in the New Acropolis Museum. "Is it more spiritually satisfying to see the Marbles in an Athenian museum gallery than one in London?"[50] Other voices, this time in the House of Lords, have raised more acute concerns about the fate of the Elgin Marbles if they were to be returned to Greece. In an exchange on 19 May 1997, Lord Wyatt, stated:

  

My Lords, is the Minister aware that it would be dangerous to return the marbles to Athens because they were under attack by Turkish and Greek fire in the Parthenon when they were rescued and the volatile Greeks might easily start hurling bombs around again?[72]

  

Public perception of the issue

 

Neologisms

 

The practice of plundering artifacts from their original setting is sometimes referred to as 'elginism',[73][74][75][76] while the claim, sometimes used by looters and collectors, that they are trying to rescue the artifacts they recover has become known as the "Elgin Excuse".[77]

 

Opinion polls

 

Despite the British Museum's position on its ownership of the marbles, in 1998, a poll carried out by Ipsos MORI asking "If there were a referendum on whether or not the Elgin Marbles should be returned to Greece, how would you vote?" returned these values from the general adult population:[78]

 

• 40% in favour of returning the marbles to Greece

• 15% in favour of keeping them at the British Museum

• 18% would not vote

• 27% had no opinion

 

A more recent opinion poll in 2002 (again carried out by MORI) showed similar results, with 40% in favour of returning the marbles to Greece, 16% in favour of keeping them within Britain and the remainder either having no opinion or would not vote.[79] When asked how they would vote if a number of conditions were met (including, but not limited to, a long-term loan where by the British maintained ownership and joint control over maintenance) the number responding in favour of return increased to 56% and those in favour of keeping them dropped to 7%.

 

Both MORI poll results have been characterised by proponents of the return of the Marbles to Greece as representing a groundswell of public opinion supporting return, since the proportion explicitly supporting return to Greece significantly exceeds the number who are explicitly in favour of keeping the Marbles at the British Museum.[78][80]

 

Popular support for restitution

 

An internet campaign site [81], in part sponsored by Metaxa aims to consolidate support for the return of the Elgin Marbles to the New Acropolis Museum in Athens.

 

Other displaced Parthenon art

 

The remainder of the surviving sculptures that are not in museums or storerooms in Athens are held in museums in various locations across Europe. The British Museum also holds additional fragments from the Parthenon sculptures acquired from various collections that have no connection with Lord Elgin.

 

The collection held in the British Museum includes the following material from the Acropolis:

 

• Parthenon: 247 ft (75 m) of the original 524 ft (160 m) of frieze

•• 15 of the 92 metopes

•• 17 pedimental figures; various pieces of architecture

• Erechtheion: a Caryatid, a column and other architectural members

• Propylaia: Architectural members

• Temple of Athena Nike: 4 slabs of the frieze and architectural members

 

Further reading

 

• Mary Beard, The Parthenon (Profile Books, 2004) ISBN 978-1-86197-301-6

• Marc Fehlmann, "Casts and Connoisseurs. The Early Reception of the Elgin Marbles" (Apollo, June 2007, pp. 44–51)[82]

• Jeanette Greenfield 'The Return of Cultural Treasures'(Cambridge University Press 2007)

• Christopher Hitchens, Imperial Spoils: The Curious Case of the Elgin Marbles (with essays by Robert Browning and Graham Binns) (Verso, March 1998)

• Ian Jenkins, The Parthenon Frieze (British Museum Press, 2002)

• Dorothy King, The Elgin Marbles (Hutchinson, January 2006)

• François Queyrel, Le Parthénon, Un monument dans l'Histoire (Bartillat, 2008) ISBN 978-2-84100-435-5.

• William St Clair, Lord Elgin and the Marbles (Oxford University Press, 1998)

 

See also

 

• Acropolis Museum

• Greece – United Kingdom relations

 

References

 

• ^ "What are the 'Elgin Marbles'?". britishmuseum.org. http://www.britishmuseum.org/explore/highlights/article_index/w/what_are_the_elgin_marbles.aspx. Retrieved 2009-05-12. 

• ^ "Elgin Marbles — Greek sculpture". Encyclopædia Britannica. http://www.britannica.com/eb/topic-184554/Elgin-Marbles. Retrieved 2009-05-12. 

• ^ www.athensguide.com/elginmarbles. http://www.athensguide.com/elginmarbles. 

• ^ a b Encycolopedia Britannica, Elgin Marbles, 2008, O.Ed.

• ^ a b c d e f g h i j k l Casey, Christopher (October 30, 2008). ""Grecian Grandeurs and the Rude Wasting of Old Time": Britain, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations. Volume III, Number 1. http://ww2.jhu.edu/foundations/?p=8. Retrieved 2009-06-25. 

• ^ a b c Encyclopedia Britannica, The Acropolis, p.6/20, 2008, O.Ed.

• ^ Linda Theodorou; Facaros, Dana (2003). Greece (Cadogan Country Guides). Cadogan Guides. p. 55. ISBN 1-86011-898-4. 

• ^ Dyson, Stephen L. (2004). Eugenie Sellers Strong: portrait of an archaeologist. London: Duckworth. ISBN 0-7156-3219-1. 

• ^ Mark Ellingham, Tim Salmon, Marc Dubin, Natania Jansz, John Fisher, Greece: The Rough Guide,Rough Guides, 1992,ISBN 1-85828-020-6, p.39

• ^ Chester Charlton McCown, The Ladder of Progress in Palestine: A Story of Archaeologic

Multi Purpose Sniper System .50

Loosely based off the AX-50

 

Please tell me what you think!

What is an Aboriginal quarry?

 

Aboriginal quarries are places where Aboriginal people took stone from rocky outcrops to make chipped or ground stone tools for many different purposes.

 

Not all types of stone were suitable for making tools, so an outcrop of good stone that could be easily quarried was a valuable resource.

 

Aboriginal people quarried different types of stone, each with its own special value and use. Stone tools were made from greenstone, silcrete, quartz, quartzite, basalt and chert. Pigments were made from quarried ochre, and grinding tools were made from sandstone.

 

Some quarries are small, consisting of just a single protruding boulder. Other quarries incorporate many outcrops and areas of broken stone that cover thousands of square metres.

 

What to do if you find an Aboriginal quarry...

 

do not disturb the place or remove any material

check whether the place has the typical characteristics of an Aboriginal quarry

if it does, record its location and write a brief description of its condition

note whether it is under threat of disturbance

please help to preserve Aboriginal cultural places by reporting their presence to First Peoples - State Relations.

 

Where are quarries found?

 

Aboriginal quarries are generally found on slopes where erosion has exposed the stone, for example, the slopes above creeks and rivers, on the sides of old volcanoes and on ridges.

 

How did Aboriginal people quarry stone?

Aboriginal people used at least two methods of stone quarrying. One method was to strike the surface of the outcrop at an angle with a hammerstone. Manageable pieces of stone broke off with minimum effort. This method scarred the rock face and left scattered broken fragments around the outcrop. The hammerstone was sometimes left at the quarry site.

 

The other method involved digging around and under outcrops to find buried stone. The purpose was to find manageable chunks of stone that were unweathered. Such digging created pits and trenches.

 

The early stages of stone tool making often occurred at the quarry. Tool manufacture added to the debris produced by quarrying. Aboriginal people used hammerstones, anvils and grinding stones, which were often left at the quarry because they were heavy. Sometimes, unfinished tools such as ‘axe blanks’ were also left behind.

 

What else looks like Aboriginal quarrying?

 

Natural weathering can create outcrops that appear similar to Aboriginal quarries. Uneven fractures and splintering on the outcrop face can resemble flaking scars. Weathering also produces large quantities of angular pieces of stone that look like stone tools. First Peoples - State Relations can provide an expert assessment of your discovery.

 

Why are Aboriginal quarries important?

 

Aboriginal quarries tell us a lot about Aboriginal stone tools, such as the types of stone used, how stone was obtained, and how the tools were made.

 

Aboriginal quarries also provide a rare glimpse into the fabric of past Aboriginal society. Quarried stone was often traded. Stone axes from one of the most important quarries in Victoria, at Mount William near Lancefield, have been found right across south east Australia.

 

Knowing where stone was quarried, we can learn more about the networks that existed between different groups of Aboriginal people. Most importantly, quarries are an important link for Aboriginal people today with their culture and their past.

 

Are Aboriginal quarries under threat?

 

Human activities such as mining, road building, damming, clearing and construction can disturb or destroy Aboriginal quarries. Natural processes such as weathering and erosion can also cause the gradual breakdown of stone outcrops.

 

First Peoples - State Relations records the location, dimensions and condition of Aboriginal quarries. The aim is to have a permanent record of this important part of the heritage of all Australians.

 

Management works around Aboriginal quarries, such as stock and erosion control, help preserve the sites for future generations.

 

Are Aboriginal quarries protected?

 

All Aboriginal cultural places in Victoria are protected by law. Aboriginal artefacts are also protected.

 

It is illegal to disturb or destroy an Aboriginal place. Artefacts should not be removed from the site.

 

Source: First Peoples Relations, Victorian Government: Fact sheet: Aboriginal quarries (www.firstpeoplesrelations.vic.gov.au/fact-sheet-aborigina...)

Historic Navy Pier is a prime leisure and tourist destination in the Midwestern US, welcoming nearly nine million visitors annually. Navy Pier has enjoyed a remarkable evolution. Originally designed for shipping and recreational purposes, the facility has evolved into a premiere entertainment center while also offering exposition facilities. Over the years, Navy Pier has faced numerous challenges and changes as it moves towards its 100th anniversary in 2016.

 

In 1909, Daniel Burnham created the "Master Plan of Chicago" which originally envisioned five piers. Eventually, only one 1.5 mile (2.4 km.) long recreational pier with freight and passenger ship docking facilities was commissioned to be built near the mouth of the Chicago River. By 1914 construction began on Municipal Pier and was completed in 1916.

 

World War I interrupted the commercial plans as the Pier was occupied by soldiers, Red Cross, Home Defense and barracks for recruits. In the 1920’s, after the War, the Pier was a focus of recreational and cultural activity. In one 15-day event, almost a million visitors frequented the Pier. A streetcar line, theatre, restaurants, a hospital and a radio station served the Pier while freight and passenger traffic continued to grow. The pier was renamed Navy Pier as a tribute to Navy personnel who served there during WW I. By the end of the 1920’s freight and passenger traffic declined due to the increased use of trucks and the personal automobile as well as the Stock Market crash and Great Depression.

 

During the 1930’s, the Pier housed several New Deal agencies. While freight and passenger traffic continued to decline, cultural and recreational activity continued on the Pier.

 

In 1942, as part of the US response to WW 2, the Pier served as a training centre for pilots, machinists, metal smiths and diesel engine technicians. By the time, the Navy ceased operations in 1946, over 60,000 servicemen from the US, UK, Canada, Brazil and Peru were trained at Navy Pier.

 

The University of Illinois assumed the Navy facilities, transforming it into a two-year undergraduate campus until 1965. The main mess hall became an enormous library. During the 1950’s, Navy Pier was one of the major convention/trade show venues in Chicago. By 1965, Navy Pier saw a renewal in freight and passenger traffic and cultural/recreational activity.

 

However, the University of Illinois moved to another location and by the early 1970’s, Navy Pier fell into disuse and languished for more than a decade. Despite being designated by City Hall as a Chicago landmark and a renovation to its Grand Ballroom, it did not provide sustaining activities.

 

In 1989, the Illinois General Assembly created the Metropolitan Pier and Exposition Authority to manage McCormick Place (a major exposition center) and Navy Pier. By the mid 1990’s, a $150 million redevelopment project improved every aspect of the Pier to provide year-round entertainment including a theatre, shops, restaurants, attractions and exhibition facilities.

 

By 2000, Navy Pier had added a Shakespearean theatre, a Tall-Ships festival and a Museum of Stained Glass.

 

Since the Millennium, plans have become even more ambitious. The Pier is now a major venue for movie openings, movie shoots, Tall Ship events, art galleries, open-air art exhibits and The Children’s Museum.

 

A new governance structure has been adopted with a not-for-profit corporation established to maintain Navy Pier as a historic public landmark and oversee its redevelopment. Millions in additional funding are being designated to continue the ongoing development, “greening” and expansion of Navy Pier.

 

From: navypier.com/about-us/

  

Younus AlGohar discusses how the choice each individual made in the Primordial Times determines their purpose of life.

 

Main points:

Between man and God, either there is a very strong bond or there is nothing. Either you are completely dedicated to God, or you are not. To understand complete dedication to God, one has to have paramount knowledge of spirituality. Spirituality is an essential element of life.

 

Death is inevitable. What should worry us is whether or not we achieved what we were meant to in this world. We need to know what our purpose is.

 

The three major monotheistic religions talk about life prior to this world and life hereafter. Death in this world does not mean death of you.

 

In the Primordial Times, you made a choice between luxuries of the world, luxuries of paradise and God's nearness and love. Your purpose in this world is attain that choice.

 

If you have all the luxuries of the world but your heart is not content, it means you did not choose the luxuries of the world in the Primordial Times. If you are a dedicated practitioner of a religion but lack inner peace, it means the luxuries of paradise are not your fate.

 

Lord Ra Riaz's teachings are diagnostic knowledge which will restore the health of your heart. If you try to adopt spirituality, in a few days, you will find out who you are.

+++ DISCLAIMER +++

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

  

Some background:

I.M.A.M. (Industrie Meccaniche e Aeronautiche Meridionali) was an Italian aircraft manufacturer based in Naples. Originally, the company was part of the Officine Ferroviarie Meridionali ("Southern Railway Works"), which began to manufacture aircraft in 1923. From 1925 Fokker aircraft were built under license and I.M.A.M. also manufactured aircraft for Fiat.

The aircrafts’ abbreviation “Ro” before the number means Romeo. This abbreviation had been used by all types since 1925 and was derived from the surname of the company’s owner, Nicola Romeo, who was also the owner of a Milanese automobile and aircraft engine manufacturer (effectively, the designation lived on in the car manufacturer Alfa Romeo).

 

In 1934, Società Anonima Industrie Aeronautiche Romeo, which was founded for this purpose, took over this part of the now insolvent railway supplier and it immediately started with the construction of own aircraft. In 1936, Breda took over the Romeo works and finally formed the Società Anonima Industry Meccaniche e Aeronautiche Meridionali.

 

I.M.A.M. aircraft were not particularly successful, though, the few notable constructions were the reconnaissance aircraft Ro.37, the Ro.43 seaplane and the Ro.70 fighter, which were all only produced in limited numbers, though. The Ro.70 was designed in response to a late 1939 tender for a fighter built around the Daimler-Benz DB 601, built in license as the Alfa Romeo RA.1000 R.C.41-I Monsone liquid-cooled V-12 engine, rated at 1,175 PS (864 kW). The all-metal, semi-monocoque fuselage was basically oval in cross-section, changing to a tapered, semi-triangular oval behind the cockpit canopy, with a maximum depth of 1.35 m (4 ft 5 in). Overall, the aircraft's outlines reminded a lot of the german Bf 109E, but the Ro.70 had overall bigger dimensions.

 

An unusual feature of the Ro.70 was that the engine bearers were constructed as an integral part of the forward fuselage, with the cowling side panels being fixed. For servicing or replacement, only the top and bottom cowling panels could be removed. A tapered, rectangular supercharger air intake was located on the port-side cowling. Behind the engine bulkhead were the ammunition boxes feeding a pair of synchronized 12.7 mm Breda-SAFAT machine guns which were set in a "staggered" configuration (the port weapon slightly further forward than that to starboard) in a bay just above and behind the engine. The breeches partly projected into the cockpit, above the instrument panel. The ammunition capacity was limited, having only around 250 rounds for each weapon. A single 20mm MG 151/20 cannon of German production was mounted between the cylinder banks, firing though the propeller hub.

 

A self-sealing fuel tank with a capacity of 165 L (44 US gal) was located behind the pilot's seat. The windshield was armored and there was a 13 mm (.51 in) armor plate behind the pilot. The radiator and oil cooler for the liquid-cooled engine were in a ventral location below the fuselage and wing trailing edge, covered by a rectangular section fairing with a large, adjustable exit flap.

 

The evenly-tapered wings had an aspect ratio of 7.2 with a gross area of 20 m² (215.28 ft²) and featured three spars; a Warren truss main spar and two auxiliary spars. The rear spar carried the split flaps and long, narrow-chord ailerons, while the front spar incorporated the undercarriage pivot points. The undercarriage track, which retracted inwards, was relatively wide at 4 m (13 ft 1.5 in). Each wing had a partially self-sealing 190 L (50 US gal) fuel tank behind the main spar, just outboard of the fuselage. A single weapon (initially 7.7 mm Breda-SAFAT machine guns with 500 RPG) was able to be carried in a weapons bay located behind the main spar.

The first prototype first flew in December 1941 at I.M.A.M. factory airfield near Naples. Although test pilots were enthusiastic about its self-sealing fuel tanks, upgraded armament, and good dive performance, the wing loading of 146.3 kg/m² (30 lb/ft²) at an all-up weight of 2,950 kg (6,500 lb) was viewed with skepticism by many of the senior officers and pilots of the Regia Aeronautica, who still believed in the light, highly maneuverable, lightly armed fighter.

Besides, by the time it first flew, one year after the Macchi C.202's first flight and three years after the first Bf 109E, the engine was already underpowered compared to the new 1,120 kW (1,500 hp) inline or 1,491 kW (2,000 hp) radial engines being developed (and already nearing the mass-production stage) to power the next generation of combat aircraft such as the Republic P-47 Thunderbolt.

 

But due to the waging war the Ro.70 was put into production using imported DB 601Aa engines, while Alfa Romeo set up license production of the respective powerplant. Due to initial delays in engine production and quality issues, production rates and numbers of effectively operational aircraft were low. Consequently, by late 1942, Macchi Folgores outnumbered the Ro.70 and all other fighter aircraft in the Regia Aeronautica and became the Italian standard fighter.

 

The Ro.70’s first deployment was during the Battle of Bir Hakeim (26 May 1942 – 11 June 1942), in which a dozen of the new fighters performed successfully against Desert Air Force fighters, using "dive and zoom" tactics, similar to those of the German Luftwaffe, scoring two air victories. At the end of the year, the growing strength of the Allied forces was overwhelming and after the defeat in the skies over Malta as well as El-Alamein the last operational Axis units lost their air superiority in the Mediterranean.

 

The Ro.70s continued fighting while retreating to Tunisia and then in the defense of Sicily, Sardinia and Italy against an increasingly stronger Allied opponent. Eventually, after roundabout 180 aircraft had been delivered to the Regia Aeronautica, the I.M.A.M. factory was captured by Allied troops in September 1943, with the facilities and many airframes intact. From this stock, a further 30 aircraft in various states of assembly were made airworthy and immediately allocated to the Italian Co-Belligerent Air Force (Aeronautica Co-Belligerante, ACI), also known as Air Force of the South (Aeronautica del Sud). 15 more machines were built from spares and surplus parts until February 1944, two of these machines were sent to the United States for flight evaluation.

 

The ACI's Ro.70s never operated over Italian territory, its objectives being always in the Balkans (Yugoslavia or Albania). This was a general order to avoid any possible encounter between Italian-manned aircraft fighting on opposite sides, since the National Republican Air Force (Aeronautica Nazionale Repubblicana, or ANR) was ostensibly part of the forces of the Benito Mussolini's Fascist state in northern Italy and fighting on the Axis’ side. During the entire history of ACI, though, no encounter, let alone combat, was ever reported between ACI and ANR aircraft.

 

Clashes with Italian aircraft still occurred, though, e. g. over Croatia in 1944, where about 20–22 C.202s were used by Croatia as interceptors of Allied bombers by the Air Force of the Independent State of Croatia (Zrakoplovstvo Nezavisne Države Hrvatske/ZNDH). Ro.70s of the 51° Stormo Caccia, based in Lecce, claimed a total of three victories against the Croatian forces over the Adriatic Sea and near Mostar.

  

General characteristics:

Crew: One

Length: 8.94 m (29 ft 4 in)

Wingspan: 12.00 m (39 ft 4 in)

Height: 3.70 m (12 ft 2 in)

Wing area: 20.00 m² (215.28 ft²)

Airfoil: NACA 2R 16 wing root, NACA 24009 tip

Internal fuel capacity: 550 l (121 Imp gal)

Empty weight: 2,630 kg (5,800 lb)

Loaded weight: 3,470 kg (7,650 lb)

 

Powerplant:

1× Alfa Romeo RA.1000 R.C.41-I Monsone liquid-cooled supercharged inverted V-12 engine,

rated at 1,175 PS (864 kW) at 2,500 rpm for takeoff

 

Performance:

Maximum speed: 580 km/h (360 mph) at 5,000 m (16,405 ft)

Range: 580 km (360 mi)

Service ceiling: 11,600 m (38,100 ft)

Rate of climb: 15.2 m/s (2,983 ft/min)

Wing loading: 173.5 kg/m² (35.5 lb/ft²)

Power/mass: 0.25 kW/kg (0.15 hp/lb)

Time to altitude: 7.0 min to 5,000 m (16,405 ft)

 

Armament:

1× 20 mm MG 151/20 cannon, 200 rounds, firing though the propeller hub

2× 12.7 mm (0.50”) Breda-SAFAT machine guns with 250 RPG above the engine

2× 7.7 mm (0.303”) Breda-SAFAT machine guns with 500 RPG in the outer wings*;

*these were later often replaced by another pair of 12.7 mm (0.50”) Breda-SAFAT machine guns

with 300 RPG or two 20mm (0.787”) machine cannon with 150 RPG.

2× underwing hardpoints for 2x 200 l (44 Imp gal) drop tanks or bombs of up to 250 kg (550 lb) caliber

  

The kit and its assembly:

This Italian whif is both a simple and a complicated affair, because it is a travestied Kawasaki Ki-61 that fits into a small historic slot.

 

The Hasegawa kit was mostly built OOB, it is simple and easy to build - except for the sprue attachment points which extend on many parts onto the surfaces that are glued together. What did the Hasegawa engineers think, if they thought at all about it? O.K., it's just a matter of cleaning the parts, but that's an avoidable flaw!?

 

Only three small modifications were made:

- The wing tips were clipped into a square shape

- The stabilizers were replaced in order to match the wings' new outline

- I gave the kit a different spinner (from a Matchbox He 111, plus a central gun port)

 

The OOB drop tanks were left away, and I lowered the flaps since this was easy to realize. I also added short gun barrels to the wings, and the tail wheel became retractable through a pair of small covers.

  

Painting and markings:

This was supposed to become one of the machines that were found by Allied forces at the I.M.A.M. plant. Originally, it was built and painted according to German standards, but, as operational war bounty, its former markings were painted over, it received US markings and was quickly handed over to the co-belligerent air force. Hence, inspired by Allied aircraft like former USAAF P-39s that were operated by the ACI, the Italian roundels were simply and quickly painted over the US "Stars and Bars" markings.

 

Consequently, I gave the Ro.70 a conservative German splinter scheme in RLM 74/75/76 with some RLM 02 mottles added to the flanks and a black propeller spinner with a white spiral.

The cockpit interior was painted in "Verde anticorrosione", which is a unique Italian tone and a relatively bright and intense green, I used Modelmaster's RLM83, which comes IMHO close. The landing gear interior was painted in aluminium (Humbrol 56)

As Allied ID markings for the Mediterranean TO I added yellow bands on the wings and around the fuselage (created with yellow decal sheet, except for the nose ring, which was painted with Humbrol 69). Inspired by Allied aircraft like former USAAF P-39s that were operated by the ACI, the Italian roundels received additional bars. These had the star simple painted over by the Italian roundel, sometimes the bar was overpainted, too, and I adapted this weird detail. The place where a former Regia Aeronautica tactical code or national marking had been placed was overpainted with US olive drab (Neutral Grey under the wings), and the new code letter placed on top of that. Since the aircraft would have been pressed quickly into service, I did not give it any other extra markings beyond the code letter.

 

Finally, some soot stains around the gun nozzles and the exhausts were created with graphite and the wings' leading edges treated with dry-brushed light grey, before the kit was sealed with matt acrylic varnish (Italeri).

  

A relatively simple what-if model, but an exotic an effective one: a Japanese aircraft in a German livery, outfitted with US "Stars & Bars" eventually in Italian hands! The paint finish turned out nicely, as well as the mottled fuselage flanks (always a challenge, esp. w/o an airbrush).

 

Date Taken: May 12, 2023

 

Basic Details:

Operator: Lungsod Silangan Transport Service & Multi-Purpose Cooperative

Fleet Number: 007

Classification: Air-Conditioned City Operation Bus (Modern PUV Class 2)

Seating Configuration: Side Facing Bench-Type Seats

Seating Capacity: 19 Passengers

Standing Capacity: 10 Passengers (LTFRB Maximum Imposed Limit)

Remarks: Compliant to the Philippine National Standard (PNS) 2126:2017 - ICS 42.040.01: Public Utility Vehicles Class 2 and Class 3 - Dimensions

 

Body:

Coachbuilder: Hino Motors Philippines, Corp.

Body Model: Hino Modern PUV Cabless Gen. 2 Class 2

 

Chassis:

Chassis Model: Hino 414I Long Wheelbase

VIN / WMI Code: MJECA44HOM

Layout: Front-Longitudinally-Mounted Engine Rear-Wheel Drive

Suspension: Leaf Springs Suspension

 

Engine:

Engine Model: Hino N04C-VC

Cylinder Displacement: 4.0 Liters

Cylinder Configuration: Straight-4

Engine Aspiration: Turbo-Intercooler

Max. Power Output: 136 hp @ 2,500 rpm

Peak Torque Output: 390 N.m @ 1,400 rpm

Emission Standard: Euro 4

 

Transmission:

Type: Manual Transmission

Gears: 5-Speed Forward, 1-Speed Reverse

 

* Some parts of the specifications may be subjected for verification and may be changed without prior notice...

 

View on Sub-Reddit r/bus

 

Our Official Facebook Fan Page: Philippine Bus Enthusiasts Society (PhilBES)

The Space Shuttle program, operated by NASA from 1981 to 2011, was a groundbreaking human spaceflight program that utilized various components, including the Space Shuttle Orbiter, the Space Shuttle External Tank (ET), and the Solid Rocket Boosters (SRBs). In this response, we will focus on the Space Shuttle External Tank and Booster Rockets, discussing their design, purpose, and key aspects. Please note that the following information is based on the program up until 2000, as specified in your request.

 

Space Shuttle External Tank (ET):

The Space Shuttle External Tank played a crucial role in the Space Shuttle launch system. It was the largest component of the Space Shuttle stack and provided the primary propellant for the Orbiter's main engines. Here are some key points about the External Tank:

 

Design and Structure:

 

The External Tank had a cylindrical shape and consisted of three major components: the forward liquid oxygen (LOX) tank, the aft liquid hydrogen (LH2) tank, and a connecting intertank structure.

The LOX tank, located at the forward end, contained approximately 1.4 million liters (380,000 gallons) of liquid oxygen.

The LH2 tank, positioned at the aft end, held around 1.9 million liters (526,000 gallons) of liquid hydrogen.

The intertank structure connected the LOX and LH2 tanks and housed various components, including avionics, electrical wiring, and feedlines.

The tanks were constructed using lightweight materials, such as aluminum alloys, to reduce the overall weight of the External Tank.

Function:

 

The primary function of the External Tank was to supply propellant to the Space Shuttle's three main engines.

The LOX and LH2 stored in the External Tank were funneled through feedlines and supplied to the Orbiter's engines at an optimal mix ratio for combustion.

As the propellant was consumed, the tank's structure progressively lightened, reducing its mass and enabling more efficient ascent to orbit.

Unlike the Solid Rocket Boosters, the External Tank was not reusable and was jettisoned after its propellant was depleted.

Thermal Protection:

 

The External Tank experienced extreme temperature variations during launch and reentry, requiring robust thermal protection measures.

The LOX tank was covered with sprayed-on foam insulation to prevent excessive heat absorption from the environment and maintain the propellant's low temperature.

The LH2 tank, due to its extremely low temperature, did not require extensive insulation but instead relied on a combination of passive and active cooling techniques.

Solid Rocket Boosters (SRBs):

The Space Shuttle Solid Rocket Boosters were two large, reusable rocket motors attached to the sides of the External Tank. Here's some information about the SRBs:

 

Design and Structure:

 

Each Solid Rocket Booster was approximately 45 meters (149 feet) long and 3.7 meters (12.2 feet) in diameter.

The boosters were composed of several cylindrical segments, including the forward skirt, motor segments, aft skirt, and nozzle.

The motor segments contained solid propellant, which provided the necessary thrust during the Shuttle's initial ascent phase.

The nozzles at the aft end directed the exhaust gases generated by the propellant combustion.

Function:

 

The Solid Rocket Boosters were responsible for providing the majority of the thrust required for the Space Shuttle to break free from Earth's gravity.

They ignited prior to liftoff and remained active for approximately two minutes, during which they consumed their solid propellant.

The boosters worked in conjunction with the Orbiter's main engines to propel the entire Space Shuttle stack off the launch pad and into space.

Following burnout, the SRBs were jettisoned and subsequently recovered from the ocean, refurbished, and prepared for future missions.

Parachute Recovery:

 

After separation, the SRBs were equipped with parachutes to facilitate their controlled descent and landing in the ocean.

A combination of drogue chutes and main parachutes slowed the descent and ensured a gentle impact with the water.

Recovery ships positioned in the retrieval area would retrieve the boosters, tow them back to land, and prepare them for refurbishment and reuse.

Reusability and Refurbishment:

 

The Solid Rocket Boosters were designed to be reusable, offering cost savings for the Space Shuttle program.

After recovery, the boosters underwent an extensive refurbishment process, including disassembly, cleaning, inspection, replacement of worn or damaged components, and propellant reload.

This refurbishment process allowed each SRB to be flown multiple times, reducing overall launch costs.

In summary, the Space Shuttle External Tank and Solid Rocket Boosters were integral components of the Space Shuttle system. The External Tank provided the necessary propellants for the Orbiter's main engines, while the Solid Rocket Boosters generated the majority of the thrust during the initial ascent phase. The External Tank was not reusable and was jettisoned after use, while the SRBs were recovered, refurbished, and reused for subsequent missions. These components worked together to propel the Space Shuttle into orbit, advancing human space exploration and scientific endeavors.

 

The John F. Kennedy Space Center (KSC, originally known as the NASA Launch Operations Center), located on Merritt Island, Florida, is one of the National Aeronautics and Space Administration's (NASA) ten field centers. Since December 1968, KSC has been NASA's primary launch center of American spaceflight, research, and technology. Launch operations for the Apollo, Skylab and Space Shuttle programs were carried out from Kennedy Space Center Launch Complex 39 and managed by KSC. Located on the east coast of Florida, KSC is adjacent to Cape Canaveral Space Force Station (CCSFS). The management of the two entities work very closely together, share resources and operate facilities on each other's property.

 

Though the first Apollo flights and all Project Mercury and Project Gemini flights took off from the then-Cape Canaveral Air Force Station, the launches were managed by KSC and its previous organization, the Launch Operations Directorate. Starting with the fourth Gemini mission, the NASA launch control center in Florida (Mercury Control Center, later the Launch Control Center) began handing off control of the vehicle to the Mission Control Center in Houston, shortly after liftoff; in prior missions it held control throughout the entire mission.

 

Additionally, the center manages launch of robotic and commercial crew missions and researches food production and in-situ resource utilization for off-Earth exploration. Since 2010, the center has worked to become a multi-user spaceport through industry partnerships, even adding a new launch pad (LC-39C) in 2015.

 

There are about 700 facilities and buildings grouped throughout the center's 144,000 acres (580 km2). Among the unique facilities at KSC are the 525-foot (160 m) tall Vehicle Assembly Building for stacking NASA's largest rockets, the Launch Control Center, which conducts space launches at KSC, the Operations and Checkout Building, which houses the astronauts dormitories and suit-up area, a Space Station factory, and a 3-mile (4.8 km) long Shuttle Landing Facility. There is also a Visitor Complex on site that is open to the public.

 

Since 1949, the military had been performing launch operations at what would become Cape Canaveral Space Force Station. In December 1959, the Department of Defense transferred 5,000 personnel and the Missile Firing Laboratory to NASA to become the Launch Operations Directorate under NASA's Marshall Space Flight Center.

 

President John F. Kennedy's 1961 goal of a crewed lunar landing by 1970 required an expansion of launch operations. On July 1, 1962, the Launch Operations Directorate was separated from MSFC to become the Launch Operations Center (LOC). Also, Cape Canaveral was inadequate to host the new launch facility design required for the mammoth 363-foot (111 m) tall, 7,500,000-pound-force (33,000 kN) thrust Saturn V rocket, which would be assembled vertically in a large hangar and transported on a mobile platform to one of several launch pads. Therefore, the decision was made to build a new LOC site located adjacent to Cape Canaveral on Merritt Island.

 

NASA began land acquisition in 1962, buying title to 131 square miles (340 km2) and negotiating with the state of Florida for an additional 87 square miles (230 km2). The major buildings in KSC's Industrial Area were designed by architect Charles Luckman. Construction began in November 1962, and Kennedy visited the site twice in 1962, and again just a week before his assassination on November 22, 1963.

 

On November 29, 1963, the facility was named by President Lyndon B. Johnson under Executive Order 11129. Johnson's order joined both the civilian LOC and the military Cape Canaveral station ("the facilities of Station No. 1 of the Atlantic Missile Range") under the designation "John F. Kennedy Space Center", spawning some confusion joining the two in the public mind. NASA Administrator James E. Webb clarified this by issuing a directive stating the Kennedy Space Center name applied only to the LOC, while the Air Force issued a general order renaming the military launch site Cape Kennedy Air Force Station.

 

Located on Merritt Island, Florida, the center is north-northwest of Cape Canaveral on the Atlantic Ocean, midway between Miami and Jacksonville on Florida's Space Coast, due east of Orlando. It is 34 miles (55 km) long and roughly six miles (9.7 km) wide, covering 219 square miles (570 km2). KSC is a major central Florida tourist destination and is approximately one hour's drive from the Orlando area. The Kennedy Space Center Visitor Complex offers public tours of the center and Cape Canaveral Space Force Station.

 

From 1967 through 1973, there were 13 Saturn V launches, including the ten remaining Apollo missions after Apollo 7. The first of two uncrewed flights, Apollo 4 (Apollo-Saturn 501) on November 9, 1967, was also the first rocket launch from KSC. The Saturn V's first crewed launch on December 21, 1968, was Apollo 8's lunar orbiting mission. The next two missions tested the Lunar Module: Apollo 9 (Earth orbit) and Apollo 10 (lunar orbit). Apollo 11, launched from Pad A on July 16, 1969, made the first Moon landing on July 20. The Apollo 11 launch included crewmembers Neil Armstrong, Michael Collins, and Buzz Aldrin, and attracted a record-breaking 650 million television viewers. Apollo 12 followed four months later. From 1970 to 1972, the Apollo program concluded at KSC with the launches of missions 13 through 17.

 

On May 14, 1973, the last Saturn V launch put the Skylab space station in orbit from Pad 39A. By this time, the Cape Kennedy pads 34 and 37 used for the Saturn IB were decommissioned, so Pad 39B was modified to accommodate the Saturn IB, and used to launch three crewed missions to Skylab that year, as well as the final Apollo spacecraft for the Apollo–Soyuz Test Project in 1975.

 

As the Space Shuttle was being designed, NASA received proposals for building alternative launch-and-landing sites at locations other than KSC, which demanded study. KSC had important advantages, including its existing facilities; location on the Intracoastal Waterway; and its southern latitude, which gives a velocity advantage to missions launched in easterly near-equatorial orbits. Disadvantages included: its inability to safely launch military missions into polar orbit, since spent boosters would be likely to fall on the Carolinas or Cuba; corrosion from the salt air; and frequent cloudy or stormy weather. Although building a new site at White Sands Missile Range in New Mexico was seriously considered, NASA announced its decision in April 1972 to use KSC for the shuttle. Since the Shuttle could not be landed automatically or by remote control, the launch of Columbia on April 12, 1981 for its first orbital mission STS-1, was NASA's first crewed launch of a vehicle that had not been tested in prior uncrewed launches.

 

In 1976, the VAB's south parking area was the site of Third Century America, a science and technology display commemorating the U.S. Bicentennial. Concurrent with this event, the U.S. flag was painted on the south side of the VAB. During the late 1970s, LC-39 was reconfigured to support the Space Shuttle. Two Orbiter Processing Facilities were built near the VAB as hangars with a third added in the 1980s.

 

KSC's 2.9-mile (4.7 km) Shuttle Landing Facility (SLF) was the orbiters' primary end-of-mission landing site, although the first KSC landing did not take place until the tenth flight, when Challenger completed STS-41-B on February 11, 1984; the primary landing site until then was Edwards Air Force Base in California, subsequently used as a backup landing site. The SLF also provided a return-to-launch-site (RTLS) abort option, which was not utilized. The SLF is among the longest runways in the world.

 

On October 28, 2009, the Ares I-X launch from Pad 39B was the first uncrewed launch from KSC since the Skylab workshop in 1973.

 

Beginning in 1958, NASA and military worked side by side on robotic mission launches (previously referred to as unmanned), cooperating as they broke ground in the field. In the early 1960s, NASA had as many as two robotic mission launches a month. The frequent number of flights allowed for quick evolution of the vehicles, as engineers gathered data, learned from anomalies and implemented upgrades. In 1963, with the intent of KSC ELV work focusing on the ground support equipment and facilities, a separate Atlas/Centaur organization was formed under NASA's Lewis Center (now Glenn Research Center (GRC)), taking that responsibility from the Launch Operations Center (aka KSC).

 

Though almost all robotics missions launched from the Cape Canaveral Space Force Station (CCSFS), KSC "oversaw the final assembly and testing of rockets as they arrived at the Cape." In 1965, KSC's Unmanned Launch Operations directorate became responsible for all NASA uncrewed launch operations, including those at Vandenberg Space Force Base. From the 1950s to 1978, KSC chose the rocket and payload processing facilities for all robotic missions launching in the U.S., overseeing their near launch processing and checkout. In addition to government missions, KSC performed this service for commercial and foreign missions also, though non-U.S. government entities provided reimbursement. NASA also funded Cape Canaveral Space Force Station launch pad maintenance and launch vehicle improvements.

 

All this changed with the Commercial Space Launch Act of 1984, after which NASA only coordinated its own and National Oceanic and Atmospheric Administration (NOAA) ELV launches. Companies were able to "operate their own launch vehicles" and utilize NASA's launch facilities. Payload processing handled by private firms also started to occur outside of KSC. Reagan's 1988 space policy furthered the movement of this work from KSC to commercial companies. That same year, launch complexes on Cape Canaveral Air Force Force Station started transferring from NASA to Air Force Space Command management.

 

In the 1990s, though KSC was not performing the hands-on ELV work, engineers still maintained an understanding of ELVs and had contracts allowing them insight into the vehicles so they could provide knowledgeable oversight. KSC also worked on ELV research and analysis and the contractors were able to utilize KSC personnel as a resource for technical issues. KSC, with the payload and launch vehicle industries, developed advances in automation of the ELV launch and ground operations to enable competitiveness of U.S. rockets against the global market.

 

In 1998, the Launch Services Program (LSP) formed at KSC, pulling together programs (and personnel) that already existed at KSC, GRC, Goddard Space Flight Center, and more to manage the launch of NASA and NOAA robotic missions. Cape Canaveral Space Force Station and VAFB are the primary launch sites for LSP missions, though other sites are occasionally used. LSP payloads such as the Mars Science Laboratory have been processed at KSC before being transferred to a launch pad on Cape Canaveral Space Force Station.

 

On 16 November 2022, at 06:47:44 UTC the Space Launch System (SLS) was launched from Complex 39B as part of the Artemis 1 mission.

 

As the International Space Station modules design began in the early 1990s, KSC began to work with other NASA centers and international partners to prepare for processing before launch onboard the Space Shuttles. KSC utilized its hands-on experience processing the 22 Spacelab missions in the Operations and Checkout Building to gather expectations of ISS processing. These experiences were incorporated into the design of the Space Station Processing Facility (SSPF), which began construction in 1991. The Space Station Directorate formed in 1996. KSC personnel were embedded at station module factories for insight into their processes.

 

From 1997 to 2007, KSC planned and performed on the ground integration tests and checkouts of station modules: three Multi-Element Integration Testing (MEIT) sessions and the Integration Systems Test (IST). Numerous issues were found and corrected that would have been difficult to nearly impossible to do on-orbit.

 

Today KSC continues to process ISS payloads from across the world before launch along with developing its experiments for on orbit. The proposed Lunar Gateway would be manufactured and processed at the Space Station Processing Facility.

 

The following are current programs and initiatives at Kennedy Space Center:

Commercial Crew Program

Exploration Ground Systems Program

NASA is currently designing the next heavy launch vehicle known as the Space Launch System (SLS) for continuation of human spaceflight.

On December 5, 2014, NASA launched the first uncrewed flight test of the Orion Multi-Purpose Crew Vehicle (MPCV), currently under development to facilitate human exploration of the Moon and Mars.

Launch Services Program

Educational Launch of Nanosatellites (ELaNa)

Research and Technology

Artemis program

Lunar Gateway

International Space Station Payloads

Camp KSC: educational camps for schoolchildren in spring and summer, with a focus on space, aviation and robotics.

 

The KSC Industrial Area, where many of the center's support facilities are located, is 5 miles (8 km) south of LC-39. It includes the Headquarters Building, the Operations and Checkout Building and the Central Instrumentation Facility. The astronaut crew quarters are in the O&C; before it was completed, the astronaut crew quarters were located in Hangar S at the Cape Canaveral Missile Test Annex (now Cape Canaveral Space Force Station). Located at KSC was the Merritt Island Spaceflight Tracking and Data Network station (MILA), a key radio communications and spacecraft tracking complex.

 

Facilities at the Kennedy Space Center are directly related to its mission to launch and recover missions. Facilities are available to prepare and maintain spacecraft and payloads for flight. The Headquarters (HQ) Building houses offices for the Center Director, library, film and photo archives, a print shop and security. When the KSC Library first opened, it was part of the Army Ballistic Missile Agency. However, in 1965, the library moved into three separate sections in the newly opened NASA headquarters before eventually becoming a single unit in 1970. The library contains over four million items related to the history and the work at Kennedy. As one of ten NASA center libraries in the country, their collection focuses on engineering, science, and technology. The archives contain planning documents, film reels, and original photographs covering the history of KSC. The library is not open to the public but is available for KSC, Space Force, and Navy employees who work on site. Many of the media items from the collection are digitized and available through NASA's KSC Media Gallery Archived December 6, 2020, at the Wayback Machine or through their more up-to-date Flickr gallery.

 

A new Headquarters Building was completed in 2019 as part of the Central Campus consolidation. Groundbreaking began in 2014.

 

The center operated its own 17-mile (27 km) short-line railroad. This operation was discontinued in 2015, with the sale of its final two locomotives. A third had already been donated to a museum. The line was costing $1.3 million annually to maintain.

 

The Neil Armstrong Operations and Checkout Building (O&C) (previously known as the Manned Spacecraft Operations Building) is a historic site on the U.S. National Register of Historic Places dating back to the 1960s and was used to receive, process, and integrate payloads for the Gemini and Apollo programs, the Skylab program in the 1970s, and for initial segments of the International Space Station through the 1990s. The Apollo and Space Shuttle astronauts would board the astronaut transfer van to launch complex 39 from the O&C building.

The three-story, 457,000-square-foot (42,500 m2) Space Station Processing Facility (SSPF) consists of two enormous processing bays, an airlock, operational control rooms, laboratories, logistics areas and office space for support of non-hazardous Space Station and Shuttle payloads to ISO 14644-1 class 5 standards. Opened in 1994, it is the largest factory building in the KSC industrial area.

The Vertical Processing Facility (VPF) features a 71-by-38-foot (22 by 12 m) door where payloads that are processed in the vertical position are brought in and manipulated with two overhead cranes and a hoist capable of lifting up to 35 short tons (32 t).

The Hypergolic Maintenance and Checkout Area (HMCA) comprises three buildings that are isolated from the rest of the industrial area because of the hazardous materials handled there. Hypergolic-fueled modules that made up the Space Shuttle Orbiter's reaction control system, orbital maneuvering system and auxiliary power units were stored and serviced in the HMCF.

The Multi-Payload Processing Facility is a 19,647 square feet (1,825.3 m2) building used for Orion spacecraft and payload processing.

The Payload Hazardous Servicing Facility (PHSF) contains a 70-by-110-foot (21 by 34 m) service bay, with a 100,000-pound (45,000 kg), 85-foot (26 m) hook height. It also contains a 58-by-80-foot (18 by 24 m) payload airlock. Its temperature is maintained at 70 °F (21 °C).[55]

The Blue Origin rocket manufacturing facility is located immediately south of the KSC visitor complex. Completed in 2019, it serves as the company's factory for the manufacture of New Glenn orbital rockets.

 

Launch Complex 39 (LC-39) was originally built for the Saturn V, the largest and most powerful operational launch vehicle until the Space Launch System, for the Apollo crewed Moon landing program. Since the end of the Apollo program in 1972, LC-39 has been used to launch every NASA human space flight, including Skylab (1973), the Apollo–Soyuz Test Project (1975), and the Space Shuttle program (1981–2011).

 

Since December 1968, all launch operations have been conducted from launch pads A and B at LC-39. Both pads are on the ocean, 3 miles (4.8 km) east of the VAB. From 1969 to 1972, LC-39 was the "Moonport" for all six Apollo crewed Moon landing missions using the Saturn V, and was used from 1981 to 2011 for all Space Shuttle launches.

 

Human missions to the Moon required the large three-stage Saturn V rocket, which was 363 feet (111 meters) tall and 33 feet (10 meters) in diameter. At KSC, Launch Complex 39 was built on Merritt Island to accommodate the new rocket. Construction of the $800 million project began in November 1962. LC-39 pads A and B were completed by October 1965 (planned Pads C, D and E were canceled), the VAB was completed in June 1965, and the infrastructure by late 1966.

 

The complex includes: the Vehicle Assembly Building (VAB), a 130,000,000 cubic feet (3,700,000 m3) hangar capable of holding four Saturn Vs. The VAB was the largest structure in the world by volume when completed in 1965.

a transporter capable of carrying 5,440 tons along a crawlerway to either of two launch pads;

a 446-foot (136 m) mobile service structure, with three Mobile Launcher Platforms, each containing a fixed launch umbilical tower;

the Launch Control Center; and

a news media facility.

 

Launch Complex 48 (LC-48) is a multi-user launch site under construction for small launchers and spacecraft. It will be located between Launch Complex 39A and Space Launch Complex 41, with LC-39A to the north and SLC-41 to the south. LC-48 will be constructed as a "clean pad" to support multiple launch systems with differing propellant needs. While initially only planned to have a single pad, the complex is capable of being expanded to two at a later date.

 

As a part of promoting commercial space industry growth in the area and the overall center as a multi-user spaceport, KSC leases some of its properties. Here are some major examples:

 

Exploration Park to multiple users (partnership with Space Florida)

Shuttle Landing Facility to Space Florida (who contracts use to private companies)

Orbiter Processing Facility (OPF)-3 to Boeing (for CST-100 Starliner)

Launch Complex 39A, Launch Control Center Firing Room 4 and land for SpaceX's Roberts Road facility (Hanger X) to SpaceX

O&C High Bay to Lockheed Martin (for Orion processing)

Land for FPL's Space Coast Next Generation Solar Energy Center to Florida Power and Light (FPL)

Hypergolic Maintenance Facility (HMF) to United Paradyne Corporation (UPC)

 

The Kennedy Space Center Visitor Complex, operated by Delaware North since 1995, has a variety of exhibits, artifacts, displays and attractions on the history and future of human and robotic spaceflight. Bus tours of KSC originate from here. The complex also includes the separate Apollo/Saturn V Center, north of the VAB and the United States Astronaut Hall of Fame, six miles west near Titusville. There were 1.5 million visitors in 2009. It had some 700 employees.

 

It was announced on May 29, 2015, that the Astronaut Hall of Fame exhibit would be moved from its current location to another location within the Visitor Complex to make room for an upcoming high-tech attraction entitled "Heroes and Legends". The attraction, designed by Orlando-based design firm Falcon's Treehouse, opened November 11, 2016.

 

In March 2016, the visitor center unveiled the new location of the iconic countdown clock at the complex's entrance; previously, the clock was located with a flagpole at the press site. The clock was originally built and installed in 1969 and listed with the flagpole in the National Register of Historic Places in January 2000. In 2019, NASA celebrated the 50th anniversary of the Apollo program, and the launch of Apollo 10 on May 18. In summer of 2019, Lunar Module 9 (LM-9) was relocated to the Apollo/Saturn V Center as part of an initiative to rededicate the center and celebrate the 50th anniversary of the Apollo Program.

 

Historic locations

NASA lists the following Historic Districts at KSC; each district has multiple associated facilities:

 

Launch Complex 39: Pad A Historic District

Launch Complex 39: Pad B Historic District

Shuttle Landing Facility (SLF) Area Historic District

Orbiter Processing Historic District

Solid Rocket Booster (SRB) Disassembly and Refurbishment Complex Historic District

NASA KSC Railroad System Historic District

NASA-owned Cape Canaveral Space Force Station Industrial Area Historic District

There are 24 historic properties outside of these historic districts, including the Space Shuttle Atlantis, Vehicle Assembly Building, Crawlerway, and Operations and Checkout Building.[71] KSC has one National Historic Landmark, 78 National Register of Historic Places (NRHP) listed or eligible sites, and 100 Archaeological Sites.

 

Further information: John F. Kennedy Space Center MPS

Other facilities

The Rotation, Processing and Surge Facility (RPSF) is responsible for the preparation of solid rocket booster segments for transportation to the Vehicle Assembly Building (VAB). The RPSF was built in 1984 to perform SRB operations that had previously been conducted in high bays 2 and 4 of the VAB at the beginning of the Space Shuttle program. It was used until the Space Shuttle's retirement, and will be used in the future by the Space Launch System[75] (SLS) and OmegA rockets.

Oh the MGB, the last great British Sports car?

 

A motor that refused to die even though British Leyland simply couldn't stop messing around with it. The MGB is an example of a car that went from one of the most loved and lovable cars in British motoring, to what many describe as an empty husk broken and bent for legislation purposes. But the MGB would have its way in the end!

 

The story behind the MGB begins in 1962, when the car was designed to incorporate an innovative, modern style utilizing a monocoque structure instead of the traditional body-on-frame construction used on both the MGA and MG T-types and the MGB's rival, the Triumph TR series. However components such as brakes and suspension were developments of the earlier 1955 MGA with the B-Series engine having its origins in 1947. The lightweight design reduced manufacturing costs while adding to overall vehicle strength. Wind-up windows were standard, and a comfortable driver's compartment offered plenty of legroom. A parcel shelf was fitted behind the seats.

 

The car was powered by a BMC B-Series engine, producing 95hp and giving the car a 0-60 of 11 seconds, perhaps not the briskest acceleration, but of course this car was more a comfy little cruiser, ambling about the countryside in sedate fashion admiring the views. The MGB was also one of the first cars to feature controlled crumple zones designed to protect the driver and passenger in a 30 mph impact with an immovable barrier (200 ton).

 

The roadster was the first of the MGB range to be produced. The body was a pure two-seater but a small rear seat was a rare option at one point. By making better use of space the MGB was able to offer more passenger and luggage accommodation than the earlier MGA while 3 inches shorter overall. The suspension was also softer, giving a smoother ride, and the larger engine gave a slightly higher top speed. The four-speed gearbox was an uprated version of the one used in the MGA with an optional (electrically activated) overdrive transmission. Wheel diameter dropped from 15 to 14 inches.

 

Upon its launch the MGB was given almost unanimous acclaim, largely due to its advanced and innovative design combined with its beautifully and sleek styling. Previous sports cars of the same calibre had always been levied with a reputation for their ropey nature, with a majority of previous models being simply remodelled versions of the MG's and Triumphs that dated back to the end of and in some cases even before World War II. But the MG was different, and if I'm honest, a large part of its appeal is due to its small, low body, and it's poky round headlights that make it look rather cute. It's the kind of car you could give a name, preferably a girl's one. Either way, the MGB sold in hundreds, disappearing off to all corners of the globe, touring the South of France, storming across the deserts of Southern California on Route 66, or dodging its way through the bustling Indian traffic, these things were adored.

 

However, the only version available was a soft-top roadster, which didn't appeal to everyone, so in 1965 MG took the B to Italy, and the great styling firm known as Pininfarina, and asked them to pop a roof on their windy little sports car. What resulted was a roof fixture that blended its way perfectly into the rest of the body, a smooth greenhouse cabin that was spacious but still maintained the styling that enthusiasts had come to know so well, going on to be dubbed "The poor man's Aston Martin."

 

Although acceleration of the GT was slightly slower than that of the roadster, due to its increased weight, top speed improved by 5 mph to 105 mph due to better aerodynamics.

 

However, tweaks were starting to be made to the MGB formula to try and give it a wider ranging market. Intended to replace the Austin Healey Sprite, the MG MGC was launched in 1967 as a reworked version of the classic MGB, but featuring a 2.9L BMC C-Series engine to up the power.

 

The problem was that the revised design of the car to incorporate the engine was nothing short of lazy. Instead of redesigning the whole car, MG chose to simply create a huge bulbous lump in the bonnet. The heavier engine also required modifications to the suspension which spoiled the handling. As well as that, the engines were quite poorly built, and later tuning by enthusiasts has proven that the car has the ability to run with 30% more power by carrying out simple modifications to head, exhaust and cam release.

 

However, the MGC did find some love, in the Royal Family of all places, as in 1967, HRH Prince Charles took delivery of an MGC GT (SGY 766F), which he passed down to Prince William 30 years later. At least one car had a happy ending!

 

But soon problems came roaring over the horizon like the four horsemen of the apocalypse. A whirlwind of legislation, corporate incompetence and plain old lazy design came right out of nowhere and would soon engulf and attempt to destroy the MGB, but not before stripping the poor thing of its dignity and its good name.

 

The first disaster to befall this plucky little car, British Leyland, which was formed in 1968 by merging all of Britain's major automotive firms including Rover, BMC (Austin/Morris) and Triumph (which was part of the Leyland Group). To save on costs the lavish chrome grille of the earlier models and spoked wheels were the first to go, but the B could survive without them.

 

Next up, fitting the car with a Rover V8 that had been developed from a series of Buick Pickup Truck engines. Although this could have been a good thing, this wasn't British Leyland's idea, but in fact belong to professional engine tuner Ken Costello, who, although had been commissioned by British Leyland to create a prototype, had already created a series of MGB's with V8's placed under the hood. British Leyland half-inched this idea and started fitting their own V8's, but went about it all wrong. The powerful 180bhp engine used by Costello for his conversions was replaced for production by MG with a more modestly tuned version producing only 137bhp. Although the car's 193lb-ft of torque meant it could reach 0-60 in 7.7 seconds and go on to a reasonable 125mph top speed, it was a thirsty beast, with only 20mpg. A bit of a territorial hazard admittedly, but it's not a good idea to develop such a gas guzzling car when it was about to smack headlong into the Oil Crisis of 1973. Barely anyone went out and bought it, and the money simply disappeared down the nearest drain.

 

But so far, the car's lovable external dimensions had yet to be compromised, but we haven't got to the legislation yet, one of those many apocalyptic horsemen I was mentioning earlier. Throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders.

 

Indeed America can be owed with introducing many safety features and pieces of legislation we take for granted in modern motoring, but the British manufacturers almost seemed to go out of their way to redesign the cars completely and 100% wrong. In 1974 the glistening chrome was replaced by a gigantic bulbous rubber bumper that protruded from the front of the car like someone's bottom lip!

 

Other signs of their poor design included the removal of leather seats for something much more mundane, the use of dials and switches from other products such as Austin Allegros and Maxis, as well as door handles that came straight from the Morris Marina.

 

Internally, British Leyland had botched it with their laziness, choosing not to redesign the car like everyone else so that the headlights were at the required height, but instead placing solid blocks under the suspension to raise the lights to the desired level, but at the same time making the car look like it was going permanently downhill as well as making the handling so light it would slide constantly at speed. The engines were tuned down for emission regulations which made them woefully underpowered and thus they, to use a contemporary phrase, 'couldn't pull the skin off a Rice Pudding!'

 

Numbers dropped, but British Leyland went to that old trick in the book by using product placement to get by, putting one of their new MGB's in the New Avengers to be driven by Joanna Lumley's character Purdey. As far as I recall though, low slung sports cars aren't the best things to drive if you're in a miniskirt, because getting in and out of them can be quite revealing!

 

But this wasn't enough to save the MGB's deteriorating sales, in America cars would languish in stockyards and storage warehouses for months on end waiting to be sold, but to no avail. For this, the MG division was making losses of up to £400,000 per week, a clear sign that the ailing MGB had to go the way of all good cars, out of production. On October 21st, 1980, the last MGB rolled off the production line after 18 years, no pomp, no circumstance, just quietly slipping away into history.

 

After this, the MG brand was lost from its own original cars such as the Midget and the MGB that dated back to the 60's, instead being placed on tuned and slightly modified versions of British Leyland's family cars, including the MG Montego, the MG Maestro and, to the everlasting horror of MG purists although I personally don't think it's that bad, the MG Metro. The factory in Abingdon-on-Thames, where the MGB had been built, closed its gates immediately afterwards as part of the company's rationalisation, striking a blow to the economy of the region and the esteem of those who had been proud to build cars with those two simple letters, MG.

 

But all was not lost for the MGB, as soon afterwards the cars became fashionably retro, especially in the 1980's and 90's, when 60's examples were bought up largely by foreign markets due to their quintessentially British nature and their synonymous relationship with our country and way of life. Japan especially was a hotspot for old MG products, with Midgets and MGB's being shipped out there by the dozen. So popular were these that Rover Group, the descendants of British Leyland, went on to create a limited edition retelling of the MGB in the form of the MG RV8, constructed in 1993 with 2,000 examples built, the first original MG car to be built since the original MGB ended production in 1980.

 

Here in the UK, the MG craze kicked off with enthusiasts taking scrapyard shells and run down models and turning them into their own little put-together projects. The MGB has now become one of the most popular little retro sports cars of the modern era, and despite all its faults, even the rubber-bumper British Leyland models make some fantastic kit cars if you want good, wholesome sport fun on a budget!

I've been filming and taking pictures of a lot of the flowers around my house lately. You can watch my recent lilac video here: Lilacs

 

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The sanctuary windows were made locally in Adelaide By Thompson & Harvey and were donated by parents connected with the college: Sacred Heart being the gift of Mrs Fred Tennant, Our Blessed Lady that of Mr Taylor, and St Joseph, Mr P Flannagan. Ref: Stained Glass Australia.

 

Other chapel stained glass windows were designed by Franz Xaver Zettler of Munich, Germany.

 

Sacred Heart College Memorial Chapel

The Marist Brothers were favoured with beautiful, though rather warm weather, for the double ceremony which took place at the Sacred Heart College, Glenelg, on Sunday afternoon last, when his Grace the Archbishop blessed and opened the extensions to the College recently erected, and laid the foundation stone of the fine new chapel which is to be erected as a memorial of the jubilee of the Marist Brothers in Australia and of the students of the College who were killed in the late European war.

 

A crowd of some thousand persons, including many visitors from the city and suburbs, assembled in the grounds to witness the ceremony.

 

The Archbishop first blessed the extensions at the rear of the College, assisted by Rev Frs Gatzemeyer and Considine.

He then blessed the ground on which the memorial chapel is being erected on the eastern side of the College, and blessed and laid the foundation stone. For this purpose he was presented by Bro Joseph with a silver trowel, suitably inscribed, the gift of the architects (Messrs Garlick and Jackman).

 

Fifty years ago four Marist Brothers arrived in Sydney to take up the work at St Patrick's School in that city. They began with 117 scholars. Since then they had extended their operations from New Norcia, in the West, to Sydney, in the East, throughout the Commonwealth, in the Dominion of New Zealand, and the islands of the Pacific, and had nearly 300 brothers engaged in scholastic work, and something like 9000 scholars.

In order to signalise this jubilee a committee was formed. They were anxious to mark the occasion by some permanent memorial. The Marist Brothers had never made an appeal to the public for help during their 50 years' existence in Australia, and he thought that was a record for any of the Orders in Australia. The committee also desired to erect a memorial to the ex-students of the College who had fallen in the war, and it had been decided that the two objects could best be combined in the erection of a college chapel.

 

Bro. Joseph said it was his pleasant duty to introduce his Grace the Archbishop, who had kindly come down to perform the ceremony.

 

The one concern of the appeal committee was the erection of the chapel, which would cost between £9000 and £10,000, and which they all knew would be an architectural ornament, not only to the college, but to the district. The committee was not merely an ornamental body. It had done a large amount of work in the 12 months since its formation with his Grace's consent, and deserved their best thanks. It had £3300 in hand, of which the members had contributed £1200, over a third, out of their own pockets. They had shown themselves willing to back their enthusiasm with their cash.

 

In addition to being a memorial of the jubilee, the building would serve another purpose, rather by coincidence than by set design. His Grace would remember that he was present five years ago, when Sir Henry Galway unveiled a roll of honour to over 300 of their students who had enlisted. Some 70 or 80 went to the front afterwards, bringing the total up to nearly 400. Between 60 and 70 of these had made the supreme sacrifice. It was thought fitting to commemorate them by a jubilee and memorial chapel.

 

The visitors then inspected the building and extensions, and afternoon tea was served.

 

The style adopted for the new chapel is that known as the Romanesque, and the materials to be used, bluestone with cement dressings, will harmonize with the architectural treatment of the existing buildings. The foundations are of specially designed reinforced cement concrete. The walls will be built of Tapley's Hill bluestone, with cement quoins and dressings to all door and window openings. The trustees have obtained a lease of a quarry at Tapley's Hill, and only specially selected stone will be used.

All the window frames will be of steel, with subdued colour-stained glass leaded lights of simple design. The joinery will be of blackwood, specially chosen for beauty of grain, and polished. The whole of the walls internally will be finished in cement and brown sand, thus giving a permanent buff shade effect, and they will be jointed to represent stone. The ceiling will be panelled in wood and stained to harmonize with the cement-finish of the walls.

 

The roof is to be covered with Roman-pattern terra cotta tiles. The width of the chapel will be 28 feet, and the length 66 feet, with aisles on each side six feet wide. The sanctuary at the eastern end will be 18 feet wide and 21 feet long, semicircular and lighted by three stained glass windows placed above the altar.

 

The entrance porch will be 14 feet by 10 feet, with white Angaston marble steps leading from the carriage drive. At each side of the entrance porch will be a tower 12 feet square carried up to a height of 60 feet, the upper portion of which will be octagonal and surmounted with a copper dome and cross.

Provision will be made over the entrance porch for an organ chamber, and curved and panelled wooden gallery for the organ-passage ways leading from the sanctuary.

 

The whole of the floors will be of reinforced cement concrete, covered with wood parquetry flooring of specially selected blackwood and oak. Messrs Garlick and Jackman are the architects, and Messrs Dwyer and Warner the contractors.

[Ref: Southern Cross Friday 29-9-1922]

 

The blessing and opening of the magnificent Romanesque Memorial Chapel recently erected in the grounds of the Sacred Heart College, Glenelg, will take place on Sunday, March 30, at 3.15 pm. The ceremony will be performed by his Grace the Archbishop. The public are cordially invited to attend, especially the parents and friends of Marist Bros' old boys who fell in the war, of whom the chapel is a memorial. It also commemorates the centenary of the Marist Brothers in France in 1817 and the golden jubilee of their establishment in Australia in 1922.

 

The chapel, which was built at a cost of £11,000, is an imposing structure of Tapley Hill bluestone. In the porch two beautiful statues of Youth will serve as lights. The chapel has seating accommodation for 350 persons.

[Ref: Southern Cross Friday 14-3-1924]

 

//What a disaster

 

William Saunderson-Meyer says the floods just another blow to a province that was already on its knees

 

KwaZulu-Natal has declared a provincial state of disaster to try to cope with the devastating floods of the past week.

 

This is normally a temporary mechanism of which the primary purpose is to facilitate speedy national government assistance to hard-pressed provincial and local authorities. It also triggers the release of emergency funds from the National Treasury.

 

But in KZN’s case, they might as well make it permanent. This is a province that has been on its knees for some time and it ain’t getting up any time soon.

 

After all, KZN hasn’t even staunched the bloodied nose it suffered nine months ago. That’s when one wing of the African National Congress government — the Radical Economic Transformation followers of former president Jacob Zuma — tried to bury the other — the so-called reformists led by President Cyril Ramaphosa.

 

KZN hasn’t even properly tallied the body blows it suffered then. The official estimates for the insurrection were 45,000 businesses affected, R50bn in economic damage, 129,000 jobs lost, and 354 killed.

 

These estimates are probably on the low side. For example, the number of people who were killed in the mayhem doesn’t include the many whose bodies were simply never found and counted.

 

And the true economic cost is incalculable. There’s been substantially increased emigration of minorities, cancelled investment, and the loss of international confidence in KZN as a safe tourist destination. In at least a dozen small, country towns, all the business infrastructure was destroyed, paradoxically by the very people who worked and shopped in those buildings.

 

Now the floods. The death toll is over 300 and still rising. Some 6,000 homes have been destroyed and road, water sewage and electrical infrastructure uprooted. As I write this, roaming mobs are opportunistically plundering container depots, stranded trucks, abandoned homes and vulnerable businesses, reportedly unhindered — as was the case during last year’s riots — by the police and army.

 

Naturally, no disaster is complete without a scapegoat. Ramaphosa, as is his style, was quick off the mark to finger the culprit — climate change.

 

“This disaster is part of climate change. It is telling us that climate change is serious, it is here,” Ramaphosa told reporters while inspecting a devastated Durban. “We no longer can postpone what we need to do, and the measures we need to take to deal with climate change.”

 

What balderdash. Whatever role climate change may or may not have played in the larger scheme of things, it’s nonsense to pin on it responsibility for the plight of KZN. That lies with the ANC government.

 

First, this was not an unforeseeable bolt from the heavens. The forecasters warned months back that this was likely to be an exceptionally wet summer because of the La Niña weather pattern that occurs every few years.

 

There are also historical precedents for extreme weather in KZN, which a prudent administration would have taken note of.

 

In 1984, Tropical Storm Domoina wreaked havoc in a swathe from Mozambique, through Swaziland to KZN. Although the current downpour is worse, the scale is nevertheless in the same ballpark.

 

This latest storm — as yet unnamed — dumped 450mm of rain on Durban in 48 hours. Domoina let loose 615mm in 24 hours on Swaziland and northern KZN.

 

But the true difference between those events, 38 years apart, lies in the lack of preparedness on the part of today’s authorities. In 1984 the SA Air Force deployed 25 helicopters to airlift people to safety. In the 2000 Mozambique floods, 17 SAAF helicopters rescued more than 14,000 people.

 

This time, according to a News24 report, the SA Police Service and the SAAF, combined, have been unable to put a single chopper in the air. The erosion of South Africa’s military means that of the SAAF’s 39 Oryx helicopters, only 17 are serviceable.

 

Durban-based 15 Squadron has not a single helicopter available for search and rescue — they are reportedly primarily used as VIP transport — but two SAAF choppers supposedly have been despatched from Gqeberha to help. The SAPS airwing has only one serviceable helicopter but “the pilot on duty has been booked off sick”.

 

Second, throughout the province, local government is also in a state of disaster and unable to do its job. The scale of the KZN impairment can be measured in the flood destruction of homes.

 

Some 4,000 shanties have been destroyed, many because officialdom was too lax to forbid building on the floodplain and against precariously unstable hillsides. Another 2,000 of the homes swept away were so-called RDP houses, shoddily built during the kickback-and-steal bonanza of the government’s Reconstruction and Development Programme of the late 1990s.

 

In Durban, the eThekwini metro is bloated and inert. It carries a rates and services debt of R17bn, of which R1bn is owed by the national government.

 

Durban is also infamously corrupt. Former mayor Zandile Gumede — along with 21 co-accused — is facing fraud, corruption and money-laundering charges in connection with a R320m municipal tender.

 

Yet at the weekend, even as the rain was bucketing down, she won the ANC’s regional leadership contest hands-down, despite the party’s supposed “step-aside when accused” rule.

 

The ANC-aligned Ahmed Kathrada Foundation has no illusions about the party it supports. It issued a statement calling on the government to ensure that unlike the plundering of Covid-19 emergency relief funds, the KZN disaster funds were not stolen or misused.

 

Fat chance. The ANC has already announced that its parliamentary constituency offices in KZN would become “hubs for humanitarian support” and appealed for the donation of relief supplies. Watch the trousering by the ANC’s public representatives of anything that the public is dumb enough to leave with them.

 

It’s in KZN where the ANC’s brazen indifference to the law and antipathy towards the Constitution is at its most obvious and most destructive.

 

On Monday, Zuma's corruption trial once again failed to take off in the Pietermaritzburg High Court when he successfully blocked the process with another round of delaying legal actions. His lawyers also had some carefully threatening words for the judiciary in a separate Supreme Court of Appeal action.

 

They urged SCA President Mandisa Maya to reconsider the dismissal of his latest corruption prosecution challenges. They warned that last year’s deadly July unrest was “in part, traceable to a perceived erroneous and unjust judicial outcome” that put Zuma briefly in prison for contempt of court.

 

“When such conceived mistakes are committed, the citizens (wrongly) feel entitled to resort to self-help…”

 

Floods, fires and locusts are devastating but at least happen relatively rarely. The ANC, alas, is a seemingly unending plague.

 

www.politicsweb.co.za/opinion/kzn-what-a-disaster

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Sad to admit I found this in the front yard landscaping of a double-wide on a back country road in my county.

 

[Scan of an old photograph]

 

.. to address the difficulty/confusion of my online postings here and elsewhere. Just the most major works, chronologically ordered with CV and three brief texts also at chronological points.