Kitchen II

Temporary pedestrian detour during Cambie utility relocation (looking south on Cambie). (May 26, 2022)

Along Market Street.

Vikas packers and movers noida is a reliable and trusted company for packing, transportation, relocation services at best price. Our team is in professional expert in mover’s service and we provide our services to many clients like BHEL, GAIL, HCL and more. We are best award winner in moving and packing services.

Kitchen

Relocated

Title: Washington Park: Rehabilitation and Relocation

Creator: Boston Redevelopment Authority

Date: 1965 October 14

Source: Boston Redevelopment Authority photographs, Collection #4010.001

File name: 4010_001_A274_002

Rights: In Copyright - Non commercial use permitted

Citation: Boston Redevelopment Authority photographs, Collection #4010.001, City of Boston Archives, Boston

Sannomiya, Kobe, Japan

via Instagram ift.tt/22sfUAC

Construction crews working for WSDOT relocate a noise wall in the Talbot Hill neighborhood in Renton during July 2017 as part of the I-405/SR 167 Interchange Direct Connector project.

Mussel relocation in the Portage River at the Elmore Bridge. Districts 1,3, and 10 participating

photo by Nick Buchanan, ODOT.

Cardboard, also referred to as corrugated cardboard, is a recyclable material that i recycled by small and large scale businesses to save money on waste disposal costs. Cardboard recycling is the reprocessing and reuse of thick sheets or stiff multilayered papers that have been used, discarded or regarded as waste. Cardboard boxes are usually heavy-duty or thick-sheets of paper known for their durability and hardness. Examples of cardboard include packaging boxes, egg cartoons, shoe boxes, and cereal boxes.

Recycling is good for us as it not only saves our environment from deterioration by reducing pollution but also conserves valuable resources and creates jobs. Cardboard recycling is done as a way of keeping the environment clean and green. The steps below provide an explanation of the cardboard recycling system.

Step-by-Step Process of Cardboard Recycling

1. Collection

Collection is the first step of recycling cardboard. Recyclers and businesses collect the waste cardboard at designated cardboard collection points. Majority of the collection points include trash bins, stores, scrap yards, and commercial outlets that generate cardboard waste. After collection, they are then measured and hauled to recycling facilities, mostly paper mills.

At this point, there are certain types of cardboard that are accepted while some are not depending on how they were used or manufactured. For instance, cardboard that are waxed and coated or used for food packaging are not accepted in most cases as they undergo different specialized recycling process.

2. Sorting

Once the corrugated boxes arrive at the recycling facility, they are sorted according to the materials they are made of. In most cases, they are classified into corrugated cardboard and boxboard. Boxboards are the ones that are thin such as those used for cardboard drink containers or cereals boxes while corrugated cardboard boxes are bigger and stiffer commonly used for packaging transport goods. Sorting is important since paper mills manufacture different grades of materials based on the materials being recovered.

3. Shredding and Pulping

After sorting is done, the next step is shredding then pulping follows. Shredding is done to break down the cardboard paper fibers into minute pieces. Once the material is finely shredded into pieces, it is mixed with water and chemicals to breakdown the paper fibers that turn it into a slurry substance.

This process is what is termed as pulping. The pulped material is then blended with new pulp, generally from wood chips that ultimately help the resulting substance to solidify and become firmer.

4. Filtering, conterminal removal and De-Inking

The pulpy material is then taken through a comprehensive filtering process to get rid of all the foreign materials present as well as impurities such as strings, tape or glue. The pulp further goes into a chamber where contaminants like plastics and metals staples are removed through a centrifuge-like process. Plastics float on top while the heavy metal staples fall to the bottom after which they are eliminated.

The next process, de-inking, involves putting the pulp in a floatation device made up of chemicals that takes away any form of dyes or ink via a series of filtering and screening. This step is also called the cleaning process as it cleans the pulp thoroughly to ensure it is ready for the final processing stage.

5. Finishing for reuse

At this stage, the cleaned pulp is blended with new production materials after which, it is put to dry on a flat conveyor belt and heated cylindrical surfaces. As the pulp dries, it is passed through an automated machine that press out excess water and facilitates the formation of a long rolls of solid sheet from the fibers called linerboards and mediums. The linerboards are glued together, layer by layer to make a new piece of cardboard.

In other cases, the medium is used as the corrugated sheet which is taken through two huge metal rolls with teeth to give it the ridges. Linerboards are then glued to the medium as the thin outer covering. Alternatively, the linerboards and mediums are ferried to boxboard manufacturers where the manufacturing process is completed by use of machines that shape and create crease along pattern folds to make the boxes used for packaging or transporting products.

Image Courtesy: FaceMePLS (www.flickr.com/photos/faceme/1517562228), Licensed under the Creative Commons Attribution 2.0 Generic | Flickr

A 12-meter antenna being relocated at the Chajnantor Plateau

Memorial to commemorate the loss of SS Admella, created by Karen Genoff, originally unveiled 1992 in St Vincent St East, relocated to Timpson Street 2009. The ship’s wheel and compass pieces represent the lost ship, the coordinates & rocks indicate the wreck site.

The Admella launched 17 Sep 1857 on the River Clyde, Scotland, arrived Port Adelaide Jan 1858 to trade between Adelaide and Melbourne. Loaded with copper and carrying over 100 passengers, she sailed from Port Adelaide 4 Aug 1859 and was wrecked on a reef near Carpenter Rocks 6 Aug 1859. Two sailors managed to get ashore, walk 25 km to Cape Northumberland lighthouse and raise the alarm. The nearest telegraph was at Mount Gambier. Stormy seas prevented rescue for several days. Business in the city halted as people waited for news. The “Corio” was sent from Port Adelaide, a lifeboat from Portland, Victoria, and the Admella’s lifeboat was found ashore, repaired & also used but it was 6 days before the weather eased to rescue the 22 survivors. The wreck and contents were sold by auction the following month. A relief fund was set up to assist, firstly, the rescuers, and secondly, the widows & orphans of those drowned.

“The Admella, a steamer built on the Clyde for the Adelaide and Melbourne trade may be expected shortly. She left for this port on the 4th November, and is commanded by Captain McEwen (late of the White Swan), who has been chiefly instrumental in her construction for this trade.” [Adelaide Times 16 Jan 1858]

“The saloon . . . pannelling [sic] is of plate glass, on which are delineated oil paintings of scenes in Scotland and Melbourne Forty passengers may be accommodated in the saloon, and the steerage passenger-room is calculated for 120 passengers. . . the capacity of the coal bunkers is such that seven days' coals may be conveniently stowed in them. . . She has two life-boats.” [Adelaide Times 18 Mar 1858]

“The Pleasure Excursion by the Admella. Hundreds availed themselves of the opportunity presented by this vessel on Friday, of steaming along the coast to Aldinga Bay. A most agreeable excursion it was. The vessel returned in time for passengers to avail themselves of a conveyance to town by the last train, and all expressed themselves highly gratified with the trip, and the admirable arrangement which had been made by the agents of the vessel to secure the comfort and accommodation of all on board.” [Adelaide Times 3 Apr 1858]

“The screw steamer Admella. . . although built to carry a fair cargo, yet her entering and delivering lines are so fine as to ensure speed as well-as to present symmetrical proportions. Her hull, sitting gracefully on the water, is very long and low: and forward the bow is terminated by a skilfully carved female figure, crowned with a wreath of wheat, the ears of which form a tiara to represent the cereal productions of the colonies. . . .A library of modem literature, consisting of 100 volumes, is placed for the use of passengers. . . in compliment to the colonies the first syllables of Adelaide and Melbourne were chosen, but Admel not sounding to euphoniously as Admella, the latter name was bestowed on the vessel. Her dimensions are — 183 feet on keel, 193 feet over all; extreme breadth, 21 feet, by 14 feet depth of hold. The speed she attained on her first trial trip was 17 knots.” [Adelaide Observer 3 Apr 1858]

“The steamship Admella accomplished her last run to Melbourne in the short period of 42 hours. It is most remarkable that her last three trips should have occupied the same time.” [Advertiser 16 Jul 1858]

“We were erroneously informed that the Admella had ceased to make a practice of calling at Glenelg. The owners of the vessel state that Captain McEwan had particular reasons for not calling last trip, but that she will continue to do so hereafter, unless adverse circumstances intervene.” [Advertiser 23 Jul 1859]

“Arrived. . . Monday, August 1 — The steamer Admella, 478 tons, McEwen, master, from Melbourne, Warrnambool, and Portland.” [Register 1 Aug 1859]

“Cleared Out. Thursday. August 4 — The steamer Admella, 478 tons, H. McEwen, master, for Portland, Port Fairy, and Melbourne. Passengers.[named]. . . Cargo of the Admella, for Portland and Melbourne. . . flour. . . lead. . . eggs. . . copper. . . horses. . . vine cuttings.” [Register 5 Aug 1859]

“Three very fine draught entire horses, bred in the colony, and valued at £1,400, were on Thursday shipped on board the steamer Admella, for Melbourne, by Mr. James Magarey. By the same vessel Mr. Filgate's Barber, Mr. Fisher's Shamrock, and Jupiter also leave the colony.” [Register 5 Aug 1859]

“The utmost consternation and distress was occasioned in Adelaide on Monday afternoon by the arrival of telegrams from Mount Gambier announcing the total wreck of the steamer Admella and the apprehended loss of nearly all hands. Our first telegram stated that the keeper of the Lighthouse at Cape Northumberland had forwarded intelligence to Mount Gambier of the wreck. . . The information had been communicated by two of the crew of the Admella, who arrived at the Lighthouse at 7 o'clock on Monday morning, and reported that the wreck had taken place at 5 o'clock on the morning of Saturday, and that they feared they were the only survivors. Eleven persons, including the captain, were, however, according to their report, clinging to the wreck when they left it.” [Register 9 Aug 1859]

“Tuesday afternoon. . . This morning, the people on shore were most anxiously signalling the Admella, but no signals for some time were exchanged. At length they were responded to by some one on the wreck, who ascended the mast and exhibited a white flag. It therefore appears that there were some alive up to 10 o'clock.” [Advertiser 10 Aug 1859]

“telegram. . . We have found the Admella's lifeboat about four miles off. We have been ever since daylight dragging her off. It is fearful work — she is so heavy and the sand so deep. We have her now a short half mile from the shore, and we intend to launch her. She is not much injured, and we are now repairing her. It is doubtful whether we shall be able to make the attempt to-day, but at daylight to-morrow.” [Register 11 Aug 1859]

“the telegrams received shortly after 1 o’clock threw a great damp on the public mind, and created a feeling of greater discouragement than anything yet received. For the rest .of the day large numbers of .persons continued-to assemble about the Exchange up to this time (about half-past 4) when a brief telegram announced that all had been saved that could be saved ; that the messenger who brought up this intelligence had been knocked up, but that further particulars would be sent as soon as possible. Very little business has been thought of.” [Register 12 Aug 1859]

“Messrs. Green &, Wadham request us to state that in consequence of the melancholy circumstances attending the wreck of the Admella, their usual Monthly Sale by Auction of Landed Properties, as advertised to take place this day, will be postponed until Friday next.” [Register 12 Aug 1859]

“Glorious News! Twenty-Two Saved. . . Nineteen gone on to Portland in the Lady Bird. Three on shore. The nineteen were rescued by the lifeboat of the Ladybird, and the three by the Port lifeboat in charge of Germain [sic]. These were taken off the wreck at 8 o'clock this morning. Conveyances are being sent for those on shore. The majority must have perished but for the Portland lifeboat. The attempt by Germain with the Port boat was a splendid one. His boat was capsized in the surf on its return. . . News from Portland states that the Lady Bird is in sight there. Conveyances and everything in readiness. Sufferers all much exhausted.” [Register 15 Aug 1859]

“the Admella was stranded within thirty- five miles of the telegraph station at Mount Gambier; and, consequently, from Monday, when the first intelligence of the wreck reached town, to Saturday night, when the news of the rescue of the few survivors arrived, the streets were crowded with persons anxiously awaiting the frequent messages. . . from the comparative smallness of this community it becomes the literal fact that almost every inhabitant of the colony had an acquaintance — perhaps we may say a friend — on board the Admella, whose fate they were watching, in alternate hope and dread, throughout the whole of last week.” [Register 18 Aug 1859]

“a list of 103 persons, some of whose names are as yet unknown, of whom no less than seventy-nine went down in the ship, or perished from the privations to which they were subsequently exposed. Among the names unknown is that of one of the sailors who first escaped from the wreck, and gave the information which led to the efforts made to rescue those remaining on board.” [Register 20 Aug 1859]

“They discovered two horses, of Mr. Magarey's, and Mr. Filgate's, Barber, grazing on the coast, and Shamrock lying dead.” [Adelaide Observer 27 Aug 1859]

“Wreck and Cargo of the Admella. . . instructions from Captain McEwen, to sell by auction, at their Mart, on Monday, September 5, at 12 o'clock. . . The Hull of the Admella as it lies, said to be on a reef 25 miles N.W. of Cape Northumberland, with Machinery, Spars, Rigging, &c. . . 4,052 Ingots and 426 Cakes Copper stamped ‘Kapunda’, and 226 Cakes Copper marked with a red cross. . . 201 Pigs of Lead, where it may be at time of sale. . . All the remainder of the cargo not washed on shore up to the time of sale, excepting 23 Bales Wool marked J T B.” [Advertiser 27 Aug 1859 advert]

“Admella Shipwreck Reward and Relief Fund. . . this meeting deeply deplores the loss of those who have perished in the late shipwreck of the Admella, and sympathizes with their relative and friends. . . desires to express its admiration of the heroic exertions made by the Captains and Crews of the Ladybird, Corio, Ant, and the Lifeboats, and of those who co-operated from tho beach in attempting, at the risk of their lives, the rescue of the survivors. . . to collect Subscriptions throughout the colony to reward, in the first instance, the heroic men by whose exertions the 22 survivors were rescued ; and, secondly, to assist the widows and orphans and others who, by this severe calamity, are deprived of their natural means of support.” [Weekly Chronicle 27 Aug 1859 advert]

“The following particulars of Mails Lost in the Wreck of the Admella are published for general information. . . Auckland. . . Californis. . . Valparaiso. . . Sydney. . . Hobart Town. . . 18 Registered Letters. . . ” [Adelaide Observer 27 Aug 1859 advert]

“instructions from Capt. McEwan, to sell by auction, at the Mart, This Day (Monday), September 12, at 11 o'clock. The Lifeboat of the Admella, as she lies (said to be) on the Beach, about 25 miles N. W. of Cape Northumberland.” [Advertiser 12 Sep 1859 advert]

“report upon the circumstances connected with the loss of the iron screw-steamer Admella, and to investigate the cause or causes of such wreck. . . the Admella screw steamship left Port Adelaide on the 5th August, 1859, with about eighty passengers and twenty-seven in crew, during fine weather. . . she steered her usual course until 4.45 a.m. on the 6th August, when she struck on a reef of rocks 19 miles north-west of Cape Northumberland. . . out of 107 souls, only twenty-four survived; twenty-two were rescued by the daring gallantry of those who manned the Admella's lifeboat, the Portland Bay lifeboat, and the pilot-boat, and two seamen went on shore on the raft.” [Advertiser 17 Nov 1859]

“the loss of the Admella is to be attributed chiefly to the effects of a current, which appears to have been setting towards the coast, between Cape Willoughby and Northumberland, on the 5th and 6th August. . . Captain McEwan, lately commanding the Admella, and the whole of his officers and crew are most honourably exonerated from all blame; and that the conduct of the captain is worthy of our highest commendation, he having done all in his power to rescue his passengers and crew from their perilous position, sustain them in hope, and give them clothes, food, and consolation. In this work he was ably seconded by his officers, and such of the crew as survived.” [Register 17 Nov 1859]

“the conduct of Mr. Benjamin Germein, the head keeper of the MacDonnell Lighthouse, and his crew. These gallant men having procured a boat that had been washed on shore from the Admella, and having patched her up with canvas, soap, &c, made three attempts to leave the beach, and on each occasion they were swamped — regaining the shore with great difficulty; but on the fourth attempt they were the first to succeed in making fast to the wreck, and the first to rescue any of the survivors. In the two latter efforts of the Admella's boat she was accompanied by the pilot-boat, which, on nearing the wreck on the day the survivors were rescued, was filled by a heavy sea, and the crew had to haul off and bale her out ; the Admella's boat in the meantime succeeded in making fast her line to the wreck.” [Advertiser 18 Nov 1859]

“to cause lifeboats and rocket apparatus to be distributed on those parts of the coast where wrecks are likely to occur. Had those means of saving life been stationed at Cape Northumberland, we believe that a far larger proportion of the crew and passengers of the Admella would have been rescued. . . highly desirable that, whenever practicable, the electric telegraph should be extended to the lighthouses on the coast. If this were done, masters of vessels in distress would obtain far greater facilities in procuring assistance.” [Adelaide Observer 19 Nov 1859]

“The Geelong Advertiser of June 12 gives the following quotation from the Hobart Town Mercury:—‘By private hand we learn that several articles, bearing the name of the ill-fated Adelaide steamer, Admella, wrecked about three years since upon Cape Northumberland, have been recently washed ashore at Sealer's Cove.’” [Adelaide Observer 27 Jun 1863]

In the process of restoring this almost unknown, yet significant part of American history. This area is renown, and complex. First, there is the aspect of the Internment camp itself, which is a location where, during WWII, Japanese-Americans living on the West Coast state of California, Oregon & Washington, were rounded up, and corralled.

Second, is the fact of the burial of some of those who died during that time, the first of which was a newborn infant.

Next, is the monument (the base upon which the gentleman is seen seated) dedicated to the 100/442 Regimental Infantry, which was comprised entirely of men from the Rohwer Relocation Center/Internment Camp.

In the annals of American Military History, there has never been a more highly decorated unit than that unit, which was singularly and collectively responsible for operations that directly led to the defeat of strongholds of the Nazi army, which led eventually to the end of the war.

www.history.army.mil/html/topics/apam/patriots.html

"Fifty years later, the "Remember Pearl Harbor" 100th Infantry Battalion, and the "Go For Broke" 442d Regimental Combat Team is still the most decorated unit in U.S. military history.

"As part of the Allies' Southern Group of Armies commanded by Jacob L. Devers, the 100/442d fought in eight campaigns and made two beachhead assaults in Italy and France, captured a submarine, and opened the gates of Dachau prison."

Relocation day. Today we spend the sunday by moving out of the old studio and moving into the new one, just next door.

I’m looking forward to use more daylight in my future portrait session, but we still have some construction days before we are ready to welcome our customers.

[ website | instagram | istock | getty images ]

model: Selfportrait

location: Pixi Studio, Dronninglund, Denmark

The burr arch truss covered bridge was built in 1847 over Chickies Creek. It was rebuilt in 1855. In 1971, the bridge was relocated to Manheim Veteran Memorial Park where its spans Big Chiques Creek. The bridge is closed to vehicular traffic. The bridge is listed on the National Register of Historic Places.

+++ DISCLAIMER +++

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

Some background:

The 80th Pursuit Group (Interceptor) was constituted on 13 January 1942 and activated on February 1942. It was redesignated as the 80th Fighter Group in May 1942. During World War II, the group was the first USAAF unit to be stationed in Burma after the Allied retreat in 1942. During its two years in combat, this group, which called itself the Burma Banshees, kept the supply lines open to China while clearing the way for Allied forces and US Army units such as Merrill's Marauders to sweep Japanese forces from northern Burma.

By the end of the war, the group had destroyed more than 200 bridges and killed scores of bridge repair crews. Air-to-air and air-to-ground sweeps by the group's pilots claimed 80 enemy planes destroyed in the air or on the ground. The 80th Fighter Group was withdrawn from combat in May 1945 and inactivated in November.

General characteristics:

Crew: 1

Length: 36 ft 1.75 in (11.02 m)

Wingspan: 40 ft 9 5/16 in (12.429 m)

Height: 14 ft 8 1/16 in (4.472 m)

Airfoil: Seversky S-3

Empty weight: 10,000 lb (4,536 kg)

Max takeoff weight: 17,500 lb (7,938 kg)

Powerplant:

1 × Pratt & Whitney R-2800-59 18-cylinder air-cooled radial piston engine, 2,000 hp (1,500 kW),

driving a 4-bladed Curtiss Electric C542S constant-speed propeller, 13 ft (4.0 m) diameter

Performance:

Maximum speed: 426 mph (686 km/h, 370 kn) at 30,000 ft (9,100 m)

Range: 1,030 mi (1,660 km, 900 nmi)

Service ceiling: 42,000 ft (13,000 m)

Armament:

8x 0.5” caliber (12.7 mm) M2 Browning machine guns (3.400 rounds)

Up to 2,500 lb (1,100 kg) of bombs, drop tanks and/or up to ten 5” (130 mm) unguided rockets

The kit and its assembly:

This is a very modest what-if model – just a fictional livery on a stock model, and part of the ongoing plan to “build down” The Stash™ of kits during the ongoing Corona lockdown. The idea behind it was spawned by a number of decals for P-40s for the 80th FG I found in my scrap box, which all carried spectacular skull markings on their noses. I wondered if and how these could be adapted to another aircraft type – and the P-47 lent itself for this project due to its sheer “canvas” size, despite having a radial engine, and being the natural successor of the P-40 in USAAF service.

From that I spun the idea further and settled for an early Razorback P-47D, in the form of the very nice Academy kit. The kit was basically built OOB, it went together nicely without major fights – a trait that I really like about most Academy kits. The only true weak spot of the P-47 is the flaps’ undersides: they are pretty thick/massive, so that there are shallow sinkholes. These are easy to fill, though, even though I ignored this flaw and rather lowered the flaps, a mod that’s pretty easy to do.

An addition is a scratched D/F loop antenna on a streamlined socket behind the cockpit, a typical feature of P-47s operated in the BMI theatre. The loop was created with thin wire, the socket is a piece of sprue, integrated into the spine with some putty. As a late-production Razorback Thunderbolt I gave the aircraft a Curtiss Electric paddle-bladed propeller, which the Academy kit offers as an optional piece.

The ordnance was also taken from the kit: a pair of Bazooka triple launchers for ground attack duties and a drop tank under the fuselage.

Painting and markings:

A simple affair: as an early P-47, I gave the aircraft the standard USAAF livery of olive drab and neutral grey. I used Tamiya XF-62, IMHO the best interpretation of the tone, and ModelMaster 1740, actually FS 36231 instead of FS 36173, but the Dark Gull Grey is a bit lighter than Neutral Grey and looks IMHO better on the 1:72 scale model. AFAIK, no P-47 carried the earlier mid-green blotches on the wings anymore. The cockpit was painted in Interior Green, while the landing gear wells became zinc chromate yellow, very traditional.

The individual aircraft markings were more spectacular and also challenging. The real eye-catcher is pair of 80th FG skulls on the cowling flanks, even though these had to be completed with paint since they come from a Hobby Boss P-40N and feature empty sections for the exhaust stubs. The empty eye sockets had to be added manually, too, and since there was now a lot of white, I added – after consulting pictures of 80th FG P-40s - thin black lines to the skull with a felt tip pen. A real improvement, and it’s even authentic!

Furthermore, I added 1st Air Commando Group markings in the form of five white diagonal stripes around the rear fuselage. This group operated in the BMI area, e.g. P-51s, B-25s and even P-47s, but the 80th FG was not part of it. Nevertheless, the stripes suit the Razorback very well, and they were created with generic 2mm decal stripes from TL Modellbau. Each stripe had to be applied and trimmed individually, not an easy task on the conical tail with its concave and convex surface. The result is not perfect, but I am fine with it, and it looks very cool.

Pictures of early USAAF P-47s in the BMI are hard to find, but what I found suggests that Allied machines wore single bands on wings and tail surfaces as additional ID markings from 1943 on, much like the P-47s over Europe. On later NMF aircraft, these were dark blue (on both USAAF and RAF aircraft), and I was lucky to have a complete set of white P-47 markings left over from an Xtradecal set for SEAC RAF Thunderbolts, which comes with pre-cut bands in white and blue, very convenient! On the downside, the white fuselage stripes dramatically revealed that the P-47’s OOB decals, esp. the Stars and Bars, lacked opacity, so that I had to add some white paint manually to hide the resulting mess.

Typical unit markings of the 89th FS are a red spinner, and since the P-47 has only a small one, I added a thin red frame around the cowling, as carried by later real-world 89th FS P-47s, which were left in bare metal, though. As a gimmick I painted the wheel hubs in red, too. As a personal marking of the pilot I christened the aircraft “The Big Fella”, taken from an Irish pre-WWII armored car, and I added some air victory markings.

As usual, the kit received a black ink washing overall and some post panel shading with Revell 42 and 46 on the upper surfaces and ModelMaster 2105 (Dark French Blue Gray) underneath for visual drama and weathering. Some light soot stains around the gun muzzled were created with graphite, oil stains under the fuselage with Tamiya “Smoke”.

While this was not a complex build and even the livery is pretty close to real world standards, I like the outcome and how the skull markings stand out on the huge P-47. The array of fuselage stripes are an interesting visual extra, even though I was afraid that they were, together with the white ID stripes on the wings, a bit too much. The red highlights are an interesting contrast, too, and IMHO the whole decoration works fine. Everything fictional, but plausible and believable.

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Feel free to use this image but give credits to 8th.in

A National Historic Landmark

Prowers County, CO

Listed: 05/18/1994

Designated an NHL: 02/10/06

The site of the Granada Relocation Center is nationally significant as one of ten camps which housed Japanese Americans from 1942 to 1945 following their forced removal by military authorities from the West Coast. The site is significant under Criterion A for its association with U.S. Military History (World War II on the Home Front), for its association with U.S. constitutional law (the protection of civil liberties during wartime), and for its association with Japanese American social history. The camp, with a period of significance of 1942-45, is eligible for listing on the National Register under Criteria Consideration G for its exceptional historical significance in the above areas.

More than ten thousand persons passed through the Granada Relocation Center, which operated from August 1942 to October 1945. At its peak, Amache contained 7,318 Japanese Americans, nearly all of whom were former California residents and two-thirds of whom were United States citizens. As one of only ten such camps in seven mostly western states, the center housed Japanese Americans removed from the West Coast under the authority of Presidential Executive Order 9066. Although not charged with any crimes and without benefit of judicial hearings, Japanese Americans as a group were uprooted from their homes and businesses and taken under armed guard for detention in a system of assembly and relocation centers. At the time the "evacuation" of Japanese Americans was justified on the basis of "military necessity" in the months following Japan's attack on Pearl Harbor and due to the professed inability of the military to gauge the loyalty of individual Japanese Americans. From the relocation centers, evacuees were released over time to pursue jobs or higher education in parts of the nation away from the West Coast. The exclusion from the Pacific Coast states was lifted in early 1945 and a portion of the Japanese American community returned. The relocation had a profound impact on the social life of Japanese Americans in terms of family structure, assimilation into American life, and the geographic distribution of the group as a whole. A number of United States Supreme Court cases dealt with the relocation, which has received extensive legal and academic study.

Looking south at statues that are part of the Korean War Veterans Memorial on September 6, 2012.

Authorized by Congress in 1986, the memorial was originally designed in 1989 by Don Leon, John Paul Lucas, Veronica Burns Lucas, and Eliza Pennypacker Oberholtzer from Penn State University. This design was a semi-circle about 1,250 feet wide on the long edge. The southern curve was formed by a dense row of tall boxwood trees. The semi-circule was bifurcated along its north-south axis. A large V-shaped ramp (with the point in the east) led slightly upward. On either side was a downward-sloping, rocky poll over which a thin film of water flowed. A red line of granite moved up the center of the V. On either side of the "red line" were 38 soldiers, done in a symbolist style. As a visitor reached the apex of the V, they were about six feet in the air. A ramp down descended into the other half of the semi-circle. In the middle of the circle was a white granite block, into which an American flag was set. Turning to look backward up the ramp, the visitor would see that the six-foot-high wall was adorned with images and text documenting the various battles, nations, and acts of valor that occurred during the Korean War. The western half of the long edge was densely packed with bushes and deciduous trees. The eastern long edge was adorned with a "memorial grove" of taller, less densely packed trees among which one was invited to wander and sit and contemplate.

This design was subsequently altered by Cooper-Lecky Architects in 1991, causing the original design team to withdraw. (An unsuccessful lawsuit occurred.) The number of statues was halved due to cost, the memorial radically redesigned, and the documentary wall relocated.

Ground was broken on June 14, 1992, and the memorial dedicated on July 27, 1995 (the 42nd anniversary of the Korean War armistice).

Frank Gaylord designed the realistic statues, each of which is about one-sixth larger than life. (Reflected in the black granite wall, there appear to be 38 soldiers.) Louis Nelson designed the documentary wall, which contains photographic images sandblasted into the polished granite.

The soliders form a loose triangle with its apex pointed at a small pool, in the center of which is the U.S. flag. The pool is surrounded by a double line of trees (the "memorial grove"). To the south of the trees, a second curving wall of granite (the "United Nations wall"), about three feet high, lists the 22 members of the United Nations that contributed troops or medical support to the Korean War. The foot-high wall enclosing the pool lists statistics about the war, while a nearby plaque contains a memorial inscription. Yet another granite wall to the west of the trees bears the message "Freedom Is Not Free."

October 2021

Various utility companies began relocating underground utilities along 48th Street near Elwood Street.

Moving Thursday afternoon and/or Friday morning... groan.

Here are some boxes in our hallway this morning. Jen said we have about 38 - three of which I've packed.

Workers relocate a saguaro cactus at Organ Pipe National Monument. Over 100 cacti, including 76 saguaros, have been relocated as of October 7, 2019 as part of the new border wall project and infrastructure improvements at the border near Lukeville, Arizona. U.S. Customs and Border photo by Jerry Glaser.

An emergency proposal to relocate 120,000 asylum seekers from Greece, Italy and Hungary to other EU member states will be put to a vote, as a matter of urgency, at 10.00 on Thursday. This recourse to the urgency procedure (Rule 154) was proposed by President Schulz and approved in a plenary vote at the opening.

"The current refugee crisis makes it absolutely necessary (...) to act swiftly", said Mr Schulz, backed by Civil Liberties Committee Chair Claude Moraes (S&D, UK), who invited MEPs ”to express European solidarity on the refugee crisis” in the vote on Thursday.

Read more: www.europarl.europa.eu/news/en/news-room/content/20150915...

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Lord Max Of Rustica has been succesfully relocated to a new grid space and this required us to reverse the process we used in 2020 to bring him to New Babbage

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Paraphrasing Infernal Overdrive's Facebook page:

Genre

Heavy Rock

Members

• Marc Schleicher- Lead Guitar and Vocals

• Rich Miele- Lead Guitar and Backing Vocals

• Mike Bennett- Lead Drums

• Keith Schleicher- Lead Bass Guitar

On the web

MySpace

Facebook

ReverbNation

SongKick

Last FM

Photos of their shows

• O'Brien's, Allston MA, 16 Jul 2011

• Great Scott, Allston MA, 2 Apr 2011

• O'Brien's, Allston MA, 4 Sept 2010

• O'Brien's, Allston MA, 16 Jan 2010

Hometown

Red Bank, NJ

Record Label

Small Stone Records

About

Infernal Overdrive is a heavy rock and roll band formed in early 2008 when Marc Schleicher (fmr. Quintaine Americana [Wikipedia, MySpace, AllMusic], Cracktorch [MySpace], Antler, Liquor Tricks [MySpace]) of Allston , Mass. started jamming with Mike Bennett (fmr. Loud Earth [Reverb Nation, Facebook]) in Red Bank. Soon they got Rich Miele (fmr. Loud Earth [Reverb Nation, Facebook]) on board playing second lead guitar. During some of their early shows, Jake Metz (Godzero [MySpace]) joined the band on bass, but he was soon replaced by Keith Schleicher.

Their sound is a combination of their classic influences such as Led Zeppelin, Blue Cheer, Free, Grand Funk, Cactus, Deep Purple and Pink Floyd and newer heavy bands like Kyuss, Nebula, Soundgarden, STP, QOTSA and Monster Magnet.

Biography

Rumors abound that somewhere in the depths of New Jersey time stands still and it is always 1977. Trapped in this interstellar time warp, making electric amageddon is Infernal Overdrive. Fronted by the mysterious, oft reckless Marc Schleicher (Cracktorch [MySpace], Quintaine Americana [Wikipedia, MySpace, AllMusic], Antler) - a Boston native transplanted in time and space to this 4th dimension - summoned by the all-powerful duo of Mike Bennett and Rich Miele of Loud Earth [Reverb Nation, Facebook]. After a treacherous search to find his long lost brother, Keith Schleicher was sucked into the vortex to fulfill his destiny on bass guitar. They journey in the last of the V8 interceptors, proving themselves worthy of the Small Stone pedigree. Forces to be reckoned with on their own, as a group their wonder team powers activate to kick into Infernal Overdrive.

Armed with their wits, New Jersey dialect and a passion for surviving the likes of the Tall Man, flying orbs, giant sharks, the Turnbull AC's and an occasional family of albino zombies, Infernal Overdrive will be coming to an area near you soon. Can you dig it?

Current Location

Red Bank, NJ

Artists We Also Like

Cortez, Maegashira, Monster Magnet, Roadsaw, Pigs, The Brought Low

Influences

Delta Blues, Led Zeppelin, Grand Funk Railroad, Soundgarden, Monster Magnet, Cactus, Deep Purple, Nebula, Pink Floyd, Cream, Mountain, Kyuss, James Gang and shit loads of other bands.

Reviews

Review by The Obelisk / Stoner Rock:

Infernal Overdrive Kick into Gear

With production by Andrew Schneider (Throttlerod, The Brought Low, Hackman) and mastering by Nick Zampiello at New Alliance East in Boston, there’s no doubt that New Jersey riff rockers Infernal Overdrive are going for that Small Stone Records sound. The four tracks that comprise their new self-titled EP fall in line with the kind of straightforward guitar-led rock the Detroit label has proffered for well over a decade now, and with a similar southern/classic ‘70s influence to New York’s The Brought Low, Infernal Overdrive seem remarkably conscious of what they’re doing sonically. More so than you might expect for a band just releasing their first EP.

The story goes that when guitarist/vocalist Marc Schleicher (ex-Cracktorch [MySpace], Antler) moved from Massachusetts to central New Jersey, he got hooked up with drummer Mike Bennett and guitarist/backing vocalist Rich Miele (both ex-Loud Earth [Reverb Nation, Facebook]). Keith Schleicher (relation assumed) was added on bass and Infernal Overdrive began rocking out early 2008. The EP was recorded over two days in February and four in April, and though that seems quick, none of the songs feels rushed or underdone. Schneider, who also shows up on extra backing vocals, makes his mark sound-wise in the tone of Schleicher and Miele’s guitars and Bennett’s snare sound, which has the same pop Schneider has become known for – not too bright, but able to cut through the mix and propel the songs forward. Some of Schleicher’s leads, as on EP closer “Motor,” feel a little too thought out, too structured where what I’d like to hear is a little bluesy ‘70s recklessness, but they get the job done nonetheless, and the vocals are never out of place.

Although the highway for which it’s named runs down through the whole East Coast, there’s no question that when Infernal Overdrive open the EP with “I-95,” they’re talking about Jersey. The song is a southern-hued guitar rocker that sets the tone well for the three tracks that follow with an ear toward rock traditionalism and, once again, like-minded Small Stone heavy-hitters Sasquatch, Dixie Witch, et al. It’s hard to argue with the approach when it works as well as it does on the speedy “The Edge,” which forgoes central Jersey’s reputation for heavy psychedelia in the style of Monster Magnet in favor of Halfway to Gone’s stripped-down take on rock. “Duel” slows down the pace somewhat but still keeps a mid?paced groove that makes use of some well?placed lead lines that start the song reminding me of Iron Maiden filtered through Nebula’s druggy haze. Only “Motor,” which devolves into an extended jam that brings the track to a total of just under 12 minutes, is longer, as the songs on Infernal Overdrive go in order from shortest to longest. Whether or not that’s on purpose on the part of the band, I don’t know – I’d imagine at least putting “Motor” last is – but I suppose it’s as good a method of organization as any.

There’s a short message from the Devil after “Motor” finishes up, and that’s the end of the EP. Infernal Overdrive are out relatively quick when you consider their first release is only 26 minutes and three of the four songs take up about 11 of it. No complaints though, as the four-piece know precisely how to get the most out of their sound and show exactly that on these tracks. It’s a hell of an investment to make with a self-released debut to hook up with the likes of Schneider and Zampiello, but Infernal Overdrive make the most of Schleicher and co.’s collected experience, and come off sounding confident and notably mature for a band who’s been together less than three years. It may not be changing the game, but Infernal Overdrive is definitely worth checking out for anyone who wants to hook into some solid and unpretentious heavy rock.

Review by Cutting Edge Rocks:

A couple years ago we reviewed a strong up-and-coming Jersey band Loud Earth [Reverb Nation, Facebook]. Well, it seems they dissolved and morphed into Infernal Overdrive. The new band is two parts Loud Earth [Reverb Nation, Facebook] (drummer Mike Bennett and guitarist/backing vocalist Rich Miele), one part Cracktorch [MySpace], Antler (guitarist/vocalist Marc Schleicher) and one part brother (bassist Keith Schleicher). Mike contacted me letting me know the band formed after Marc relocated from Boston and set up shop in Jersey. He sent along the EP for my listening pleasure. And a pleasure it is! The songs are baked in southern ‘70s hard rock with catchy riffs and plenty of power rumbling in the pipes. The info is sketchy but according the record’s liner notes, the four-song EP was recorded this year in Brooklyn, NY over five days (Feb 27, 28 & April 17, 18, 24, 25). Production was handled by Andrew Schneider (Throttlerod, The Brought Low, Hackman) with mastering by Nick Zampiello. Fans of our site will immediately make the Small Stone connection and that seems to be where the band are heading as the vibe is defiantly Detroit retro.

Take for instance “I-95” which opens the disc with a solid guitar wail and foot-stomping drum beat. Tambourine is added for flavor but the song bellows like fellow Boston-natives Roadsaw, mixing biker thunder with a Pat Travers/Leslie West riff-fest. Second track, “The Edge” is pure old school Nugent, including the repeat riff and frantic, almost MC5 delivery. Schleicher voice is ragged and ready to rock. The drums hammer and the bass drives laying down a solid bed for some sexy solo leads. “Duel” has more Fu Manchu in the groove. It’s mostly in the chorus, but the build in the verse is still very Scott Hill/Brant Bjork. The track also boasts our favorite solo - frayed, not over played and sparked with cosmic energy. “Motor” is a 13-minute stoner masterpiece. A heavy bottom end brings to mind Sabbath, Sasquatch and Mountain. The riff is clean but thick with a layered solo painting in all the little nuances - perfect for a psychedelic ride. The echo on the vocals adds to the songs dripping mysticism while the guitar is allowed to float, pierce and melt the brain. Yeah, it only four songs, but dude, sometime that’s all you need when they’re this good.

Review by Heavy Planet

I recently had a chance to hear some new material from thee guys and I'll tell you right now, this is a band to be on the look out for. They're going places. Their sound is straight up southern stoner rock. If I had to compare them, I'd say they're a bit harder version of The Brought Low. Checkout the usual social media spots (links below) to hear what I'm talking about and keep up to date with all their happenings because you'll certainly be hearing from them again.

Wat Phra Kaew (Thai: วัดพระแก้ว, rtgs: Wat Phra Kaeo, IPA: [wát pʰráʔ kɛ̂ːw], Pronunciation, English: Temple of the Emerald Buddha; full official name Wat Phra Si Rattana Satsadaram, Thai: วัดพระศรีรัตนศาสดาราม, IPA: [wát pʰráʔ sǐː rát.ta.náʔ sàːt.sa.daː.raːm]) is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.

The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose present sovereign is Bhumibol Adulyadej, King Rama IX.

The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season.

HISTORY

In 1767, the Kingdom of Ayutthaya fell to the Burmese, and King Taksin then moved the capital to Thonburi where he built the old palace beside Wat Arun on the west bank of Chao Phraya River. In 1778, Taksin's army under the command of Chao Phraya Chakri (who later became Rama I) captured Vientiane and took the Emerald Buddha back to Thonburi.

In 1782, King Rama I succeeded to the throne and founded the Chakri Dynasty, and he decided to move the capital across the river to Bangkok as it would be better protected from attack. The site chosen for the palace is situated between two old wats, Wat Pho and Wat Mahathat, an area inhabited by Chinese residents who were then moved to the present Chinatown. He started the construction of the Grand Palace so that the palace may be ready for his coronation in 1785. Wat Phra Kaew, which has its own compound within the precinct of the palace, was built to house the Emerald Buddha, which is considered a sacred object that provides protection for the kingdom. Wat Phra Kaew was completed in 1784. The formal name of Wat Phra Kaeo is Phra Sri Rattana Satsadaram, which means "the residence of the Holy Jewel Buddha."

Wat Phra Kaew has undergone a number of renovations, restoration and additions in its history, particularly during the reign of King Rama III and Rama IV. Rama III started the renovations and rebuilding in 1831 for the 50th Anniversary of BangkoK of 1832, while Rama IV's restoration was completed by Rama V in time for the Bangkok Centennial celebrations in 1882. Further restoration was undertaken by Rama VII on Bangkok's 150th Anniversary in 1932, and by Rama IX for the 200th Anniversary in 1982.

EMERALD BUDDHA

It is not known when the statue of the Emerald Buddha was made, but it is generally believed that it was crafted in 14th-century Thailand. However, there are also claims that the statue originated in India or Sri Lanka. None of these theories can be firmly established as none of the historians could get a close look at the statue.

According to one account, the Emerald Buddha was found in Chiang Rai, Lanna in 1434, after a lightning storm struck a temple. The Buddha statue fell down and later became chipped, and the monks, after removing the stucco around the statue, discovered that the image was a perfectly made Buddha image from a solid piece of green jade. The image was moved a few time to various temples, first to Lampang, then to Chiang Mai, from where it was removed by prince Chao Chaiyasetthathirat to Luang Prabang, when his father died and he ascended the throne of both Lanna and Lan Xang, in 1551. The statue remained the it to his new capital of Lan Xang in Vientiane in the 1560s. The statue remained there for twelve years. King Chaiyasetthathirat then shifted it to his new capital of Lan Xang in Vientiane in the 1560s. He took the Emerald Buddha with him and the image remained in Vientiane for 214 years until 1778.

In the reign of King Taksin, Chao Phya Chakri (who later became Rama I) defeated Vientiane and moved the Emerald Buddha from Vientiane to Thonburi where it was installed in a shrine close to Wat Arun. When Chao Phra Chakri took over the throne and founded the Chakri Dynasty of the Rattanakosin Kingdom, he shifted his capital across the river to its present location in Bangkok. The Emerald Buddha was also moved across the river with pomp and pageantry and installed in the temple of Wat Phra Keaw.

LEGENDS

There a number of legends associated with the Emerald Buddha. It was said the iconic image of the Emerald Buddha was made by Nagasena, a saint in Pataliputra (present day Patna), India, who, with the help of Hindu god Vishnu and demigod Indra, had the Emerald Buddha image made. Nagasena predicted that:

The image of the Buddha is assuredly going to give to religion the most brilliant importance in five lands, that is in Lankadvipa (Sri Lanka), Ramalakka, Dvaravati, Chieng Mai and Lan Chang (Laos).

The Emerald Buddha image was taken to Sri Lanka after three hundred years in Pataliputra to save it during a civil war. In 457, King Anuruth of Burma sent a mission to Ceylon with a request for Buddhist scriptures and the Emerald Buddha, in order to promote Buddhism in his country. These requests were granted, but the ship lost its way in a storm during the return voyage and landed in Cambodia. When the Thais captured Angkor Wat in 1432 (following the ravage of the bubonic plague), the Emerald Buddha was taken to Ayutthaya, Kamphaeng Phet, Laos and finally Chiang Rai, where the ruler of the city hid it, and was later found.

ARCHITECTURE

Wat Phra Kaeo has a plethora of buildings within the precincts of the Grand Palace, which covers a total area of over 94.5 hectares. It has over 100 buildings with “200 years royal history and architectural experimentation” linked to it. The architectural style is named as Rattanakosin style (old Bangkok style). The main temple of the Emerald Buddha is very elegantly decorated and similar to the temple in ancient capital of Ayudhya. The roof is embellished with polished orange and green tiles, the pillars are inlaid in mosaic and the pediments are made of rich marble, installed around 18th century. The Emerald Buddha is deified over an elevated altar surrounded by large gilded decorations. While the upper part of this altar was part of the original construction, the base was added by King Rama III. Two images of the Buddha, which represent the first two kings of the Chakri dynasty, flank the main image. Over the years, the temple has retained its original design. However, minor improvements have been effected after its first erection during Rama I's reign; wood-work of the temple was replaced by King Rama III and King Chulalongkorn; during King Mongkut's reign, the elegant doors and windows and the copper plates on the floor were additions, Rama III refurbished the wall painting (indicative of the universe according to Buddhist cosmology) and several frescoes that display the various stages of the Buddha's life; three chambers were added on the western side by King Mongkut; in the chamber known as 'Phra Kromanusorn' at the northern end, images of Buddha have been installed in honour of the kings of Ayutthaya; and in the 19th century, In Khong, a famous painter executed the wall murals. The entry to the temple is from the third gate from the river pier.The entrance is guarded by a pair of yakshis (mythical giants – 5 metres high statues). The eponymous image Buddha in brilliant green colour is 66 centimetres (26 in) in height with a lap width of 48.3 centimetres. It is carved in a yogic position, known as Virasana (a meditation pose commonly seen in images in Thailand and also in South India, Sri Lanka and Southeast Asia). The pedestal on which the Emerald Buddha deified is decorated with Garuda (the mythical half-man half-bird form, a steed of Rama, who holds his mortal enemy Naga the serpent in his legs) motifs It is central to Thai Buddhism. The image made with a circular base has a smooth top-knot that is finished with a "dulled point marking at the top of the image". A third eye made in gold is inset over the elevated eyebrows of the image. The image appears divine and composed, with the eyes cast downward. The image has a small nose and mouth (mouth closed) and elongated ears. The hands are seen on the lap with palms facing upwards.

The entire complex, including the temples, is bounded by a compound wall which is one of the most prominent part of the wat is about 2 kilometres length. The compound walls are decorated with typically Thai murals, based on the Indian epic Ramayana. In Thai language these murals are known to form the Ramakian, the Thai national epic, which was written during the reign of Rama I. The epic stories formed the basic information to draw the paintings during the reign of King Rama I (1782–1809). These paintings are refurbished regularly. The murals, in 178 scenes, starting with the north gate of the temple illustrates the complete epic story of Ramayana sequentially, in a clockwise direction covering the entire compound wall. The murals serve to emphasise human values of honesty, faith, and devotion.

There are twelve salas that were built by Rama I, around the temple. They house interesting artefacts of regions such as Cambodia and Java. One of these salas had an inscription of Ramkamhaeng, which was shifted, in 1924, to the National Library. During the reign of King Mongkut, the Phra Gandharara – small chapel on the southwest corner – and a tall belfry were new additions.

WORSHIP AND CEREMONIES

Early in the Bangkok period, the Emerald Buddha used to be taken out of its temple and paraded in the streets to relieve the city and countryside of various calamities (such as plague and cholera). However, this practice was discontinued during Rama IV's reign as it was feared that the image could get damaged during the procession and also a practical line of thinking that Rama IV held "that diseases are caused by germs, not by evil spirits or the displeasure of the Buddha". The image also marks the changing of the seasons in Thailand, with the king presiding over the seasonal ceremonies.

Like many other Buddha statues in Thailand, the Emerald Buddha is dressed in a seasonal costume. It is a significant ritual held at this temple. In this ritual, dress of the deity is changed three times a year to correspond to the seasons. In summer it is a pointed crown of gold and jewels, and a set of jewelled ornaments that adorns the image from the shoulders to the ankles. In winter, a meshed dressing gown or drapery made of gold beads, which covered from the neck down like a poncho is used. During the rainy months, a top-knot headdress studded with gold, enamel and sapphires; the gold attire in the rainy season is draped over the left shoulder of the deity, only with the right shoulder left bare while gold ornaments embellish the image up to the ankles. The astrological dates for the ritual ceremonies, at the changing of the seasons, followed are in the 1st Waning Moon of Lunar Months 4, 8 and 12 (around March, July and November). The costume change ritual is performed by the Thai king who is the highest master of ceremonies for all Buddhist rites. On each occasion, the king himself "cleans the image by wiping away any dust that has collected and changing the headdress of the image". Then a king's royal attendant climbs up and performs the elaborate ritual of changing garments of the image as the king is chanting prayers to the deity. On this occasion, the king sprinkles water over the monks and the faithful who have assembled to witness the unique ritual and seeks blessings of the deity for good fortune during the upcoming season. The two sets of clothing not in use at any given time are kept on display in the nearby Pavilion of Regalia, Royal Decorations and Coins in the precincts of the Grand Palace. While Rama I initiated this ritual for the hot season and the rainy season, Rama III introduced the ritual for the winter season. The robes, which the image adorns, represents that of monks and King's depending on the season, a clear indication of highlighting its symbolic role "as Buddha and the King", which role is also enjoined on the Thai King who formally dresses the Emerald Buddha image.

A ceremony that is observed in the wat is the Chakri Day (begun on April 6, 1782), a national holiday to honour founding of the Chakri dynasty. On this day, the king attends the ceremony. The present king Rama IX, with his Queen, and entourage of the royal family, the Prime Minister, officials in the Ministry of Defence, and other government departments, first offer prayers at the Emerald Buddha temple. This is followed by visit to the pantheon to pay homage to the images of past Chakri rulers that are installed there.

The coronation ceremony, which marks the crowning of the king, is an important event of the Chakri dynasty. One such recent event took place when the present Rama IX was crowned the King. On this occasion, the King came to the Chapel Royal- the Wat Phra Keo – in a procession wearing a 'Great Crown'. After entering the chapel, the king made offerings of gold and silver flowers to the deity and also lighted candles. He also paid homage to the images of Buddha that represented the past kings of the dynasty. In the presence of assembled elite clergy of the kingdom, he took a formal vow of his religion and his steadfastness to 'Defend the Faith'.

RULES OF ENTRY AND CONDUCT

The sacred temples in Thailand follow a dress code, which is strictly followed. Men must wear long pants and sleeved shirts and shoes; women must wear long skirts. Visitors who arrive dressed otherwise may rent appropriate clothing items at the entry area of the temple. It is compulsory to remove the shoes before entering the temple, as a sign of respect of the Buddha, as is the practice in all other temples in Thailand. While offering prayers before the Buddha image, the sitting posture should avoid any offensive stretching of feet towards the deity; the feet should be tucked in towards the back.

OTHER MONUMENTS

While the surrounding portico of the shrine is an example of Thai craftsmanship, the perimeter of the temple complex has 12 open pavilions. These were built during the reign of Rama I. There is plethora of monuments in the temple complex. These are:Grand PalaceThe former residence of the King, the Grand Palace, adjoins the temple. The King makes use of this Grand Palace for ceremonial functions such as the Coronation Day. The King’s present residence is to the north of this Grand Palace and is known as the Chitlada Palace. The four structures surrounding the temple have history of their own. At the eastern end is the Borombhiman Hall (built in French architectural design), which was the residence of King Rama VI, now used as guest house for visiting foreign dignitaries. It has the dubious distinction of having been used as the operational headquarters and residence of General Chitpatima who attempted a coup, in 1981. The building to the west is the Amarindra hall, earlier a hall of Justice, now used for formal ceremonies. The Chakri Mahaprasat is the largest hall in the Grand Palace, built in 1882 by British architects, the architecture of which is fusion of Italian renaissance and Traditional Thai architecture. This style is called farang sai chada, (meaning: "Westerner wearing a Thai crown") as each wing has a shrine (mandap) crowned by a spire. Ashes of the Chakri kings (five ancestors) are enshrined in the largest of these shrines, also known as the pantheons, that were rebuilt after a fire in 1903 during Rama IV's reign. Ashes of the Chakri princess who could not become kings are enshrined in an adjoining hall. The throne room and the reception hall are on the first floor, while the ground floor houses a collection of weapons. The inner palace had the King’s harem (the practice was discontinued during King Rama VI's time who decreed the one wife rule), which was guarded by well trained female guards. Another hall in the palace is the 'Dusit hall' in Ratanokosin-style, which runs from east to west, which was initially an audience hall but now converted into a funerary hall for the Royal family. Royal family corpses are kept here for one year before they are cremated in a nearby field. There is also a garden which was laid during rama IV's reign. The garden depicts a "Thai mountain-and-woods-fable" mountain scenes where the coming of age ritual of shaving the topknot of the Prince is performed.PagodasThe temple grounds also depict three pagodas to its immediate north, which represent the changing centres of Buddhist influence. One such shrine to the west of the temple is the Phra Si Ratana Chedi, a 19th-century stupa built in Sri Lankan style enshrining ashes of the Buddha.Library

Rama I also built a library in Thai style, in the middle of the complex, known as the "Phra Mondop". The library houses an elegantly carved Ayutthaya-style mother-of-pearl doors, bookcases with the Tripitaka (sacred Buddhist manuscripts), human-and dragon-headed nagas (snakes), and images of Chakri kings.

During the 19th century, the Royal Pantheon was built in Khmer style to the east of the temple, which is kept open for only one day in year, in the month of October to commemorate the founding of the Chakri dynasty.

Model of Angkor WatThe temple complex also contains a model of Angkor Wat (the most sacred of all Cambodian shrines). In 1860, King Mongkut ordered his generals to lead 2,000 men to dismantle Angkor Wat and take it to Bangkok. Modern scholars suggested that the king wanted to show that Siam was still in control of Cambodia, as France was seeking to colonise Cambodia at that time. However, the king's order could not be fulfilled. A royal chronicle written by Lord Thiphakorawong (Kham Bunnag), then foreign minister, recorded that many Thai men fell ill after entering Cambodian wilderness. The chronicle also stated that forest-dwelling Khmer people ambushed the Thai army, killing many leading generals. King Mongkut then ordered the construction of the model within Wat Phra Kaew, instead of the real Angkor Wat that could not be brought to Bangkok. Mongkut died before he could see the model. Its construction was completed in the reign of his son, Chulalongkorn.Hermit statue

A hermit's bronze image, which is believed to have healing powers, is installed in a sala on the western side of the temple. It is near the entry gate. It is a black stone statue, considered a patron of medicine, before which relatives of the sick and infirm pay respects and make offerings of joss sticks, fruit, flowers, and candles.

EIGHT TOWERS

On the eastern side of the temple premises there are eight towers or prangs, each of a different colour. They were erected during the reign of Rama I and represent eight elements of Buddhism.

ELEPHANT STATUES

Statues of elephants, which symbolize independence and power, are seen all around the complex. As Thai kings fought wars mounted on elephants, it has become customary for parents to make their children circumambulate the elephant three times with the belief that that it would bring them strength. The head of an elephant statue is also rubbed for good luck; this act of the people is reflected in the smoothness of the surface of elephant statues here.

WIKIPEDIA

The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.

Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.

Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.

Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.

The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.

The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.

To prepare for the construction of a freeway-style interchange at 5400 South and Bangerter Highway, UDOT will relocate a segment of the Jordan Aqueduct that extends north and south through this area.

Title: Relocating A People, ca. 1942

From: Record Group/Collection: 75

Record Hierarchy Level: Item

Scope and Content Note: This item is a brochure that explains the wartime relocation of Japanese-Americans and Japanese aliens, and that encourages the employment of relocated individuals.

Reference Unit: National Archives at Laguna Niguel

Persistent URL: catalog.archives.gov/id/2641502

Repository Contact Information: NARA’s Pacific Region (Laguna Niguel) (NRHAL), 24000 Avila, 1st Floor East, Laguna Niguel, CA, 92677-3497.

Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

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Chittorgarh Fort (Hindi/Rajasthani: चित्तौड दुर्ग Chittorgarh Durg) is the largest fort in India and the grandest in the state of Rajasthan. It is a World Heritage Site. The fort, plainly known as Chittor, was the capital of Mewar and is today situated several kilometres south of Bhilwara. It was initially ruled by Guhilot and later by Sisodias, the Suryavanshi clans of Chattari Rajputs, from the 7th century, until it was finally abandoned in 1568 after the siege by Emperor Akbar in 1567. It sprawls majestically over a hill 180 m in height spread over an area of 280 ha above the plains of the valley drained by the Berach River. The fort precinct with an evocative history is studded with a series of historical palaces, gates, temples and two prominent commemoration towers. These monumental ruins have inspired the imagination of tourists and writers for centuries.

The fort was sacked three times between the 15th and 16th centuries; in 1303 Allauddin Khilji defeated Rana Ratan Singh, in 1535 Bahadur Shah, the Sultan of Gujarat defeated Bikramjeet Singh and in 1567 Emperor Akbar defeated Maharana Udai Singh II who left the fort and founded Udaipur. Each time the men fought bravely rushing out of the fort walls charging the enemy but lost every time. Following these defeats, Jauhar was committed thrice by more than 13,000 ladies and children of the Rajput heroes who laid their lives in battles at Chittorgarh Fort, first led by Rani Padmini wife of Rana Rattan Singh who was killed in the battle in 1303, and later by Rani Karnavati in 1537 AD.

Thus, the fort represents the quintessence of tribute to the nationalism, courage, medieval chivalry and sacrifice exhibited by the Mewar rulers of Sisodia and their kinsmen and women and children, between the 7th and 16th centuries. The rulers, their soldiers, the women folk of royalty and the commoners considered death as a better option than dishonor in the face of surrender to the foreign invading armies.

GEOGRAPHY

Chittorgarh, located in the southern part of the state of Rajasthan, 233 km from Ajmer, midway between Delhi and Mumbai on the National Highway 8 (India) in the road network of Golden Quadrilateral. Chittorgarh is situated where National Highways No. 76 & 79 intersect.

The fort rises abruptly above the surrounding plains and is spread over an area of 2.8 km2. The highest elevation at the fort is 1,075 m. It is situated on the left bank of the Berach river (a tributary of the Banas River) and is linked to the new town of Chittorgarh (known as the 'Lower Town') developed in the plains after 1568 AD when the fort was deserted in light of introduction of artillery in the 16th century, and therefore the capital was shifted to more secure Udaipur, located on the eastern flank of Aravalli hill range. Mughal Emperor Akbar attacked and sacked this fort which was but one of the 84 forts of Mewar,but the capital was shifted to Aravalli hills where heavy artillery & cavalry were not effective. A winding hill road of more than 1 km length from the new town leads to the west end main gate, called Ram Pol, of the fort. Within the fort, a circular road provides access to all the gates and monuments located within the fort walls.

The fort that once boasted of 84 water bodies has only 22 of them now. These water bodies are fed by natural catchment and rainfall, and have a combined storage of 4 billion litres that could meet the water needs of an army of 50,000. The supply could last for four years. These water bodies are in the form of ponds, wells and step wells.

HISTORY

Chittorgarh Fort is considered to be the largest fort of India in terms of area. It is stated that the fort was constructed by the Mauryans during the 7th century AD and hence derives its name after the Mauryan ruler, Chitrangada Mori, as inscribed on coins of the period. Historical records show Chittorgarh fort as the capital of Mewar for 834 years. It was established in 734 AD by Bappa Rawal, founder ruler in the hierarchy of the Sisodia rulers of Mewar. It is also said that the fort was gifted to Bappa Rawal as part of Solanki princess’s dowry in the 8th century. The fort was looted and destroyed at the hands of Emperor Akbar in 1568 AD and subsequently never resettled but only refurbished in 1905 AD. Three important battles were fought for control of the fort; in 1303, Ala-ud-din Khilji besieged the fort; in 1535, Sultan of Gujarat Bahadur Shah besieged the fort; and in 1568, Mughal Emperor Akbar attacked the fort. Not that there were only defeats at the fort. Excluding the periods of siege, the fort had always remained in possession of the Sisodias of the Guhilot (or Gehlot/Guhila) clan of Rajputs, who descended from Bappa Rawal. There were also success stories of establishment of the fort and its reconstruction after every siege, before it was finally abandoned in 1568, all of which are narrated.

Chittor is cited in the Mahabharat epic. It is said that Bhima, the second of the Pandava brothers of Epic Mahabaharata fame, known for his mighty strength gave a powerful hit with his fist to the ground that resulted in water springing up to form a large reservoir. It is called Bhimlat kund, an artificial tank named after Bhima. Folk legend also mentions that Bhima started building the fort.

BAPPA RAWAL

The earliest history linked to the Bappa Rawal's fort is that of the Huna Kingdom of Sialkot (of Mihir Kula 515-540 AD) that was destroyed by Yashodharman. This was subsequently seized by a new dynasty of kshatriyas called Tak or Taxaka. According to historians, the Taxak Mori were the lords of Chittor from a very early period. After a few generations, the Guhilots supplanted them. From 725 to 735 AD, there were numerous defenders who appear to have considered the cause of Chittor their own, the Tak from Asirgarh. This race appears to have retained possession of Asirgarh for at least two centuries after this event and one of its chieftain Bappa Rawal was the most conspicuous leader in the lineage of Prithvi Raj. In the poems of Chandar he is called the "Standard, bearer, Tak of Asir."

SIEGE OF 1303

Ala ud din Khilji, Sultan of Delhi, rallied his forces against Mewar, in 1303 AD. The Chittorgarh fort was till then considered impregnable and grand, atop a natural hill. But his immediate reason for invading the fort was his obsessive desire to capture Rani Padmini, the unrivalled beautiful queen of Rana Ratan Singh and take her into his harem. The Rana, out of politeness, allowed the Khilji to view Padmini through a set of mirrors. But this viewing of Padmini further fired Khilji’s desire to possess her. After the viewing, as a gesture of courtesy, when the Rana accompanied the Sultan to the outer gate, he was treacherously captured. Khilji conveyed to the queen that the Rana would be released only if she agreed to join his harem. But the queen had other plans. She agreed to go to his camp if permitted to go in a Royal style with an entourage, in strict secrecy. Instead of her going, she sent 700 well armed soldiers disguised in litters and they rescued the Rana and took him to the fort. But Khilji chased them to the fort where a fierce battle ensued at the outer gate of the fort in which the Rajput soldiers were overpowered and the Rana was killed. Khilji won the battle on August 26, 1303. Soon thereafter, instead of surrendering to the Sultan, the royal Rajput ladies led by Rani Padmini preferred to die through the Rajput’s ultimate tragic rite of Jauhar (self immolation on a pyre). In revenge, Khilji killed thirty thousand Hindus. He entrusted the fort to his son Khizr Khan to rule and renamed the fort as 'Khizrabad'. He also showered gifts on his son by way of

a red canopy, a robe embroidered with gold and two standards one green and the other black and threw upon him rubies and emeralds.

He returned to Delhi after the fierce battle at the fort.

RANA HAMMIR & SUCCESSORS

Khizr Khan’s rule at the fort lasted till 1311 AD and due to the pressure of Rajputs he was forced to entrust power to the Sonigra chief Maldeva who held the fort for 7 years. Hammir Singh, usurped control of the fort from Maldeva by “treachery and intrigue” and Chittor once again regained its past glory. Hammir, before his death in 1364 AD, had converted Mewar into a fairly large and prosperous kingdom. The dynasty (and clan) fathered by him came to be known by the name Sisodia after the village where he was born. His son Ketra Singh succeeded him and ruled with honour and power. Ketra Singh’s son Lakha who ascended the throne in 1382 AD also won several wars. His famous grandson Rana Kumbha came to the throne in 1433 AD and by that time the Muslim rulers of Malwa and Gujarat had acquired considerable clout and were keen to usurp the powerful Mewar state.

RANA KUMBHA & CLAN

There was resurgence during the reign of Rana Kumbha in the 15th century. Rana Kumbha, also known as Maharana Kumbhakarna, son of Rana Mokal, ruled Mewar between 1433 AD and 1468 AD. He is credited with building up the Mewar kingdom assiduously as a force to reckon with. He built 32 forts (84 fortresses formed the defense of Mewar) including one in his own name, called Kumbalgarh. But his end came in 1468 AD at the hands of his own son Rana Udaysimha (Uday Singh I) who assassinated him to gain the throne of Mewar. This patricide was not appreciated by the people of Mewar and consequently his brother Rana Raimal assumed the reins of power in 1473. After his death in May 1509, Sangram Singh (also known as Rana Sanga), his youngest son, became the ruler of Mewar, which brought in a new phase in the history of Mewar. Rana Sanga, with support from Medini Rai (a Rajput chief of Alwar), fought a valiant battle against Mughal emperor Babar at Khanwa in 1527. He ushered in a period of prestige to Chittor by defeating the rulers of Gujarat and also effectively interfered in the matters of Idar. He also won small areas of the Delhi territory. In the ensuing battle with Ibrahim Lodi, Rana won and acquired some districts of Malwa. He also defeated the combined might of Sultan Muzaffar of Gujarat and the Sultan of Malwa. By 1525 AD, Rana Sanga had developed Chittor and Mewar, by virtue of great intellect, valour and his sword, into a formidable military state. But in a decisive battle that was fought against Babar on March 16, 1527, the Rajput army of Rana Sanga suffered a terrible defeat and Sanga escaped to one of his fortresses. But soon thereafter in another attack on the Chanderi fort the valiant Rana Sanga died and with his death the Rajput confederacy collapsed.

SIEGE OF 1534

Bahadur Shah who came to the throne in 1526 AD as the Sultan of Gujarat besieged the Chittorgarh fort in 1534. The fort was sacked and, once again the medieval dictates of chivalry determined the outcome. Following the defeat of the Rana, it is said 13,000 Rajput women committed jauhar (self immolation on the funeral pyre) and 3,200 Rajput warriors rushed out of the fort to fight and die.

SIEGE OF 1567

The final Siege of Chittorgarh came 33 years later, in 1567, when the Mughal Emperor Akbar invaded the fort. Akbar wanted to conquer Mewar, which was being ably ruled by Rana Uday Singh II, a fine prince of Mewar. To establish himself as the supreme lord of Northern India, he wanted to capture the renowned fortress of Chittor, as a precursor to conquering the whole of India. Shakti Singh, son of the Rana who had quarreled with his father, had run away and approached Akbar when the later had camped at Dholpur preparing to attack Malwa. During one of these meetings, in August 1567, Shakti Singh came to know from a remark made in jest by emperor Akbar that he was intending to wage war against Chittor. Akbar had told Shakti Singh in jest that since his father had not submitted himself before him like other princes and chieftains of the region he would attack him. Startled by this revelation, Shakti Singh quietly rushed back to Chittor and informed his father of the impending invasion by Akbar. Akbar was furious with the departure of Shakti Singh and decided to attack Mewar to humble the arrogance of the Ranas. In September 1567, the emperor left for Chittor, and on October 20, 1567, camped in the vast plains outside the fort. In the meantime, Rana Udai Singh, on the advice of his council of advisors, decided to go away from Chittor to the hills of Udaipur. Jaimal and Patta, two brave army chieftains of Mewar, were left behind to defend the fort along with 8,000 Rajput warriors under their command. Akbar laid siege to the fortress. The Rajput army fought valiantly and Akbar himself had narrowly escaped death. In this grave situation, Akbar had prayed for divine help for achieving victory and vowed to visit the shrine of the sufi saint Khwaja at Ajmer. The battle continued till February 23, 1568. On that day Jaymal was seriously wounded but he continued to fight with support from Patta. Jayamal ordered jauhar to be performed when many beautiful princesses of Mewar and noble matrons committed self-immolation at the funeral pyre. Next day the gates of the fort were opened and Rajput soldiers rushed out bravely to fight the enemies. Jayamal and Patta who fought bravely were at last killed in action. One figure estimates that 30,000 soldiers were killed in action. Akbar immediately repaired himself to Ajmer to perform his religious vow.

RETURN OF THE FORT TO MEWAR

But in 1616, Jehangir returned Chittor fort to the Rajputs, when Maharana Amar Singh was the chief of Mewar. However, the fort was not resettled though it was refurbished several centuries later in 1905 during British Raj.

PRECINCTS

The fort which is roughly in the shape of a fish has a circumference of 13 km with a maximum width of 3 km and it covers an area of 700 acres. The fort is approached through a zig zag and difficult ascent of more than 1 km from the plains, after crossing over a bridge made in limestone. The bridge spans the Gambhiri River and is supported by ten arches (one has a curved shape while the balance have pointed arches). Apart from the two tall towers, which dominate the majestic fortifications, the sprawling fort has a plethora of palaces and temples (many of them in ruins) within its precincts.

The 305 hectares component site, with a buffer zone of 427 hectares, encompasses the fortified stronghold of Chittorgarh, a spacious fort located on an isolated rocky plateau of approximately 2 km length and 155m width.

It is surrounded by a perimeter wall 4.5 kilometres long, beyond which a 45° hill slope makes it almost inaccessible to enemies. The ascent to the fort passes through seven gateways built by the Mewar ruler Rana Kumbha (1433- 1468) of the Sisodia clan. These gates are called, from the base to the hill top, the Paidal Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jorla Pol, Laxman Pol, and Ram Pol, the final and main gate.

The fort complex comprises 65 historic built structures, among them 4 palace complexes, 19 main temples, 4 memorials and 20 functional water bodies. These can be divided into two major construction phases. The first hill fort with one main entrance was established in the 5th century and successively fortified until the 12th century. Its remains are mostly visible on the western edges of the plateau. The second, more significant defence structure was constructed in the 15th century during the reign of the Sisodia Rajputs, when the royal entrance was relocated and fortified with seven gates, and the medieval fortification wall was built on an earlier wall construction from the 13th century.

Besides the palace complex, located on the highest and most secure terrain in the west of the fort, many of the other significant structures, such as the Kumbha Shyam Temple, the Mira Bai Temple, the Adi Varah Temple, the Shringar Chauri Temple, and the Vijay Stambh memorial were constructed in this second phase. Compared to the later additions of Sisodian rulers during the 19th and 20th centuries, the predominant construction phase illustrates a comparatively pure Rajput style combined with minimal eclecticism, such as the vaulted substructures which were borrowed from Sultanate architecture. The 4.5 km walls with integrated circular enforcements are constructed from dressed stone masonry in lime mortar and rise 500m above the plain. With the help of the seven massive stone gates, partly flanked by hexagonal or octagonal towers, the access to the fort is restricted to a narrow pathway which climbs up the steep hill through successive, ever narrower defence passages. The seventh and final gate leads directly into the palace area, which integrates a variety of residential and official structures. Rana Kumbha Mahal, the palace of Rana Kumbha, is a large Rajput domestic structure and now incorporates the Kanwar Pade Ka Mahal (the palace of the heir) and the later palace of the poetess Mira Bai (1498-1546). The palace area was further expanded in later centuries, when additional structures, such as the Ratan Singh Palace (1528–31) or the Fateh Prakash, also named Badal Mahal (1885-1930), were added. Although the majority of temple structures represent the Hindu faith, most prominently the Kalikamata Temple (8th century), the Kshemankari Temple (825-850) the Kumbha Shyam Temple (1448) or the Adbuthnath Temple (15th- 16th century), the hill fort also contains Jain temples, such as Shringar Chauri (1448) and Sat Bis Devri (mid-15th century) Also the two tower memorials, Kirti Stambh (13th-14th century) and Vijay Stambha (1433-1468), are Jain monuments. They stand out with their respective heights of 24m and 37m, which ensure their visibility from most locations of the fort complex. Finally, the fort compound is home to a contemporary municipal ward of approximately 3,000 inhabitants, which is located near Ratan Singh Tank at the northern end of the property.

GATES

The fort has total seven gates (in local language, gate is called Pol), namely the Padan Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jodla Pol, Laxman Pol and the main gate named the Ram Pol (Lord Rama's Gate). All the gateways to the fort have been built as massive stone structures with secure fortifications for military defense. The doors of the gates with pointed arches are reinforced to fend off elephants and cannon shots. The top of the gates have notched parapets for archers to shoot at the enemy army. A circular road within the fort links all the gates and provides access to the numerous monuments (ruined palaces and 130 temples) in the fort.

During the second siege, Prince Bagh Singh died at the Padan Pol in 1535 AD. Prince Jaimal of Badnore and his clansman Kalla were killed by Akbar at a location between the Bhairon Pol and Hanuman Pol in the last siege of the fort in 1567 (Kalla carried the wounded Jaimal out to fight). Chhatris, with the roof supported by corbeled arches, have been built to commemorate the spots of their sacrifice. Their statues have also been erected, at the orders of Emperor Akbar, to commemorate their valiant deaths. At each gate, cenotaphs of Jaimal (in the form of a statue of a Rajput warrior on horseback) and Patta have also been constructed. At Ram Pol, the entrance gate to the fort, a Chaatri was built in memory of the 15 year old Patta of Kelwa, who had lost his father in battle, and saw the sword yielding mother and wife on the battle field who fought valiantly and died at this gate. He led the saffron robed Rajput warriors, who all died fighting for Mewar’s honour. Suraj Pol (Sun Gate) provides entry to the eastern wall of the fort. On the right of Suraj Pol is the Darikhana or Sabha (council chamber) behind which lie a Ganesha temple and the zenana (living quarters for women). A massive water reservoir is located towards the left of Suraj Pol. There is also a peculiar gate, called the Jorla Pol (Joined Gate), which consists of two gates joined together. The upper arch of Jorla Pol is connected to the base of Lakshman Pol. It is said that this feature has not been noticed anywhere else in India. The Lokota Bari is the gate at the fort’s northern tip, while a small opening that was used to hurl criminals into the abyss is seen at the southern end.

VIJAY STAMBHA

The Vijay Stambha (Tower of Victory) or Jaya Stambha, called the symbol of Chittor and a particularly bold expression of triumph, was erected by Rana Kumbha between 1458 and 1468 to commemorate his victory over Mahmud Shah I Khalji, the Sultan of Malwa, in 1440 AD. Built over a period of ten years, it raises 37.2 metres over a 4.4 m2 base in nine stories accessed through a narrow circular staircase of 157 steps (the interior is also carved) up to the 8th floor, from where there is good view of the plains and the new town of Chittor. The dome, which was a later addition, was damaged by lightning and repaired during the 19th century. The Stamba is now illuminated during the evenings and gives a beautiful view of Chittor from the top.

KIRTI STAMBHA

Kirti Stambha (Tower of Fame) is a 22 metres high tower built on a 9.1 m base with 4.6 m at the top, is adorned with Jain sculptures on the outside and is older (probably 12th century) and smaller than the Victory Tower. Built by a Bagherwal Jain merchant Jijaji Rathod, it is dedicated to Adinath, the first Jain tirthankar (revered Jain teacher). In the lowest floor of the tower, figures of the various tirthankars of the Jain pantheon are seen in special niches formed to house them. These are digambara monuments. A narrow stairway with 54 steps leads through the six storeys to the top. The top pavilion that was added in the 15th century has 12 columns.

RANA KUMBHA PALACE

At the entrance gate near the Vijaya Stamba, Rana Kumbha's palace (in ruins), the oldest monument, is located. The palace included elephant and horse stables and a temple to Lord Shiva. Maharana Udai Singh, the founder of Udaipur, was born here; the popular folk lore linked to his birth is that his maid Panna DaiPanna Dhai saved him by substituting her son in his place as a decoy, which resulted in her son getting killed by Banbir. The prince was spirited away in a fruit basket. The palace is built with plastered stone. The remarkable feature of the palace is its splendid series of canopied balconies. Entry to the palace is through Suraj Pol that leads into a courtyard. Rani Meera, the famous poetess saint, also lived in this palace. This is also the palace where Rani Padmini, consigned herself to the funeral pyre in one of the underground cellars, as an act of jauhar along with many other women. The Nau Lakha Bandar (literal meaning: nine lakh treasury) building, the royal treasury of Chittor was also located close by. Now, across from the palace is a museum and archeological office. The Singa Chowri temple is also nearby.

FATEH PRAKASH PALACE

Located near Rana Khumba palace, built by Rana Fateh Singh, the precincts have modern houses and a small museum. A school for local children (about 5,000 villagers live within the fort) is also nearby.

GAUMUKH RESERVOIR

A spring feeds the tank from a carved cow’s mouth in the cliff. This pool was the main source of water at the fort during the numerous sieges.

PADMINI´S PALACE

Padmini's Palace or Rani Padmini's Palace is a white building and a three storied structure (a 19th-century reconstruction of the original). It is located in the southern part of the fort. Chhatris (pavilions) crown the palace roofs and a water moat surrounds the palace. This style of palace became the forerunner of other palaces built in the state with the concept of Jal Mahal (palace surrounded by water). It is at this Palace where Alauddin was permitted to glimpse the mirror image of Rani Padmini, wife of Maharana Rattan Singh. It is widely believed that this glimpse of Padmini's beauty besotted him and convinced him to destroy Chittor in order to possess her. Maharana Rattan Singh was killed and Rani Padmini committed Jauhar. Rani Padmini's beauty has been compared to that of Cleopatra and her life story is an eternal legend in the history of Chittor. The bronze gates to this pavilion were removed and transported to Agra by Akbar.

OTHER SIGHTS

Close to Kirti Sthamba is the Meera Temple, or the Meerabai Temple. Rana Khumba built it in an ornate Indo–Aryan architectural style. It is associated with the mystic saint-poet Mirabai who was an ardent devotee of Lord Krishna and dedicated her entire life to His worship. She composed and sang lyrical bhajans called Meera Bhajans. The popular legend associated with her is that with blessings of Krishna, she survived after consuming poison sent to her by her evil brother-in-law. The larger temple in the same compound is the Kumbha Shyam Temple (Varaha Temple). The pinnacle of the temple is in pyramid shape. A picture of Meerabai praying before Krishna has now been installed in the temple.

Across from Padmini’s Palace is the Kalika Mata Temple. Originally, a Sun Temple dated to the 8th century dedicated to Surya (the Sun God) was destroyed in the 14th century. It was rebuilt as a Kali temple.

Another temple on the west side of the fort is the ancient Goddess Tulja Bhavani Temple built to worship Goddess Tulja Bhavani is considered sacred. The Tope Khana (cannon foundry) is located next to this temple in a courtyard, where a few old cannons are still seen.

JAUHAR MELA

The fort and the city of Chittorgarh host the biggest Rajput festival called the "Jauhar Mela". It takes place annually on the anniversary of one of the jauhars, but no specific name has been given to it. It is generally believed that it commemorates Padmini’s jauhar, which is most famous. This festival is held primarily to commemorate the bravery of Rajput ancestors and all three jauhars which happened at Chittorgarh Fort. A huge number of Rajputs, which include the descendants of most of the princely families, hold a procession to celebrate the Jauhar. It has also become a forum to air one's views on the current political situation in the country.

WIKIPEDIA

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