The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.

 

Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.

 

The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.

 

There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.

 

An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.

  

Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.

 

The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.

  

Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]

 

The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.

 

On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]

 

Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.

 

Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.

 

Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.

 

With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.

 

It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.

  

The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.

 

Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.

 

The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.

 

There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.

 

An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.

  

Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.

 

The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.

  

Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]

 

The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.

 

On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]

 

Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.

 

Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.

 

Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.

 

With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.

 

It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.

  

Kitchen II

Despite all of the recent 'SHUT THE HELL UP' modding I've done to it the quicksilver is still a bit too loud to keep in my bedroom so have swapped it around with the iMac G3 which is completely silent. got a perky little G3 in my room looking pretty and this ridiculous powerhouse sat in the living room. It's a great party piece with full screen cover flow turned on. Almost finished maxxing the system out too.

 

PowerPC 7448 Dual G4 Processors @ 1.81GHz

1.5GB PC133 MHz SD-RAM

ATI Radeon 9600 Pro 128MB

802.11g Wifi + Bluetooth 2.0 EDR

6 USB 2.0 Ports (2 USB 1.0 ports)

DL DVD/RW Superdrive

 

Harman Kardon Soundstick II - 2.1 Stereo Speakers

Mirai 22" Widescreen TFT Monitor 1680x1050

There are a few more upgrades to do including a better graphics card (hard to get decent mac AGP graphics cards though) and possibly faster wifi... adding more storage (probably external) ... maybe a SATA pci card...

Tasma Terrace, at 2 to 12 Parliament Place and 30 to 34 St Andrews Place in East Melbourne, was built by the distinguished British born Australian architect, Charles Webb (1821 – 1898). Once comprising seven three storey buildings, Tasma Terrace was constructed in two stages in the 1870s and 1880s. The first three buildings, which were originally known as “Parliament Place”, were erected in 1878 by William Ireland for George Nipper, a wealthy grain merchant and shipping magnate. George Nipper and his family lived at the northernmost building in the terrace (which was demolished in 1940) before moving to the Windsor Hotel in 1885. Due to financial difficulties, Mr. Nipper had to sell the terrace in 1885 to Joseph Thompson (1838 – 1909), a flamboyant and prominent Melbourne bookmaker and racehorse owner. The remaining four buildings that made up the terrace, thus extending the building to the corner of St Andrews Place, were constructed in 1886 and 1887 by Dunton and Hearnden for Joseph Thompson.

 

From the time of its construction, Tasma Terrace was used mainly as rented accommodation and as some of Melbourne’s most up-market guest and boarding houses. It was customary for many women to conduct boarding houses in the period, and Tasma Terrace was no exception. Women who conducted the various guest houses included Miss Sarah Gould, Elizabeth Gow and Jean Borelli. The name “Tasma” was associated first with terrace number 14 (originally the Nipper family residence) in 1905 when Elizabeth Gow conducted it as a private hotel named the “Tasma Guest House”. Tasma Trrace’s proximity to the city made it ideal accommodation for politicians, businessmen, journalists and entertainers.

 

One of the most famous occupants was lawyer and future Prime Minister Harold Holt who lived at Tasma Terrace in 1934. Other uses for parts of Tasma Terrace included a trained nurses’ home in the late 1890s and medical suites in the 1940s and 1960s. For many years, number 14 was combined with an adjacent three storey building built around 1900 as the Tasma Guest House, but both were demolished for a seven-level office block in 1940. The office block became infamously known as the “Beirut Hilton” because of its dilapidated state and was in turn demolished in 1995 to provide an entry for the new Park Hyatt Hotel.

 

After the Second World War, in a changed world, Tasma Terrace attracted a very different clientele, of more humble means. Some tenants included those who were marginalised by society and endured a range of health and social problems, including Vietnam War veterans. From 1941 Maurice Branagan conducted the Tasma Guest House in numbers 2, 4 and 6 for thirty years, including a successful restaurant, which specialised in mushrooms home grown in the basement. By the early 1970s all six remaining buildings were the property of the Crown Lands Department, and there were plans to demolish the buildings, which were considered by that time to be very rundown. The terrace was saved by a concerted conservation campaign, led by the National Trust and various organisations and individuals. However the three-storey rear wings, which comprised many small rooms used as bedrooms for the guest houses, kitchens, staff rooms and bathrooms were all demolished. A glass conservatory was erected across the rear of the retained front portions to provide a rear link across the terrace.

 

The then Victorian Premier Sir Rupert Hamer, who was primarily responsible for securing the terrace for the National Trust, officially opened the completed National Trust headquarters on 24 March 1979, ten years after the battle to save Tasma Terrace began. This event is recorded in a plaque on the exterior southern end of the terrace along the St Andrew’s Place façade.

 

In 1979 the façade was restored to its original Nineteenth Century appearance. It is believed that the restoration work at Tasma Terrace was the first serious attempt to accurately restore the exterior paint colours of a Nineteenth Century building in Victoria by undertaking paint scrapings. The repainting in browns and greens was almost shocking in 1979, when cast-iron balconies were routinely painted white. The Portland cement render of the façade was left untreated but lower parts were cleaned with a low pressure spray of water. The fine decorative cast iron is unusual. The verandah brackets join to form graceful arches and the circular gothic ‘quatrefoil’ elements within them reflect the churches nearby. The cast iron features include the delicate, balanced leaf motif on the balconies and tassel-like spearheads on the fence railings. The oak wood grain effect of the front doors is a reproduction of the original finish. The main glazing of the doorways is not original but a reproduction of that typical of the period. The ground floor verandahs are paved with encaustic tiles. Replacement tiles were manufactured in England.

 

There are many surviving Victorian interior elements including heavily modelled cornices, high ceilings and sweeping arches. The National Trust undertook a elaborate restoration for the ground level of numbers 2 and 4 to illustrate how these rooms would have originally appeared. Samples of wallpaper were removed and the original wood-graining, varnishing and paintwork revealed by careful scraping. Redecoration of these areas evolved as closely as possible according to the materials and styles of the original. It should be noted that this is not a restoration of what was originally there but rather a careful recreation of a typical late 19th century decorative scheme.

 

Wallpapers were chosen from existing English and French ranges in preference to reproduction of original papers which would have been too expensive. Some of these wallpapers, including dadoes, borders and friezes are authentic Victorian designs while others are adapted from earlier designs. The furnishing of these areas has been largely dictated by the intended functions of the rooms and also by the objects available from the Trust’s collections. The curtains and swags were made up and draped in the Victorian manner. Most of the fireplaces are original although some were relocated from other parts of the terrace, including the basement. Some replacement pieces were obtained from wreckers’ yards. The light fittings are not original but are reproductions of both gas and early electric lights. The terrace has Baltic pine tongue and groove floors throughout, except for basement areas. The cast iron, marble topped Prince Albert hall stand (circa 1860) is a valuable piece from the Trust’s Dr E. Graeme Robertson cast iron collection.

 

Tasma Terrace is an important work of the distinguished architect, Charles Webb, whose other works include the Melbourne Church of England Grammar School (1856), Church of Christ in Swanston Street (1863), Wesley College (1864), the Royal Arcade (1869), the Alfred hospital (1869), Toorak’s “Mandeville Hall” (1876), the South Melbourne Town Hall (1879), East Melbourne’s “Mosspennoch” (1882), the Grand hotel, later the Windsor (1884) and “Charsfield” on St Kilda Road (1889).

 

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.

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_013

Rights: In Copyright - Non commercial use permitted

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

Fresh Drinking Water tanks are scattered across the desert, while Peabody Coal company drains the land of natural water sources. Many must drive several miles to the tanks to fill and haul water back to their homes.

+++ DISCLAIMER +++

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

 

Some background:

The US Marine Corps' lessons learned from the Korean war included the need for a ground attack aircraft with a better performance than the AU-1 Corsair, as well as a higher effectiveness than the jet fighters of the 50ies era.

 

The AU-1 (re-designated from F4U-6) had been a dedicated U.S. Marines attack variant of the Vought F4U fighter with extra armor to protect the pilot and fuel tank, and the oil coolers relocated inboard to reduce vulnerability to ground fire. The fighter's supercharger had been simplified as the design was intended for low-altitude operation. Extra weapon racks were also fitted.

 

Ready for combat the AU-1 weighed 20% more than a fully loaded F4U-4 and was capable of carrying 8,200 lb of bombs, missiles or drop tanks. The AU-1 had a maximum speed of 238 miles per hour at 9,500 ft, when loaded with 4,600 lb of bombs and a 150-gallon drop-tank. When loaded with eight rockets and two 150-gallon drop-tanks, maximum speed was 298 mph at 19,700 ft. When not carrying external loads, maximum speed was 389 mph at 14,000 ft.

 

First produced in 1952, the AU-1 had been a useful addition. But it had become clear, by the end of the Korean War, that the age of the piston engine fighter plane was more or less over. Based on this insight and several studies based on the experience since WWII, Vought offered the USMC an improved ground attack aircraft on a private venture basis under the internal project handle V-381.

The machine was the result of initial attack aircraft studies and roughly based on the F4U's outlines, and a more conservative alternative to the A2U, a proposed attack derivative of the F7U Cutlass, which never came to fruition.

 

The V-381 study incorporated proven elements like the characteristic inverted gull wing, which allowed a short and sturdy landing gear, but it differed considerably in many other details and its internal structure, due to a different engine. The aircraft was to be powered by a T-56 turboprop engine and would fit into a heavier class than the F4U, rather comparable to the US Navy's AD Skyraider but almost as fast as a jet fighter of its time – yet more reliable and rugged for low level operations in direct range of small caliber weapons.

 

The USMC was immediately interested, while the USN declined the proposal (even though much of the V-381’s insights were re-used in the V-406). Compared with the AU-1, the XA3U featured many detail improvements. One of these distinctive modifications was a new cockpit with a bubble canopy. Thanks to the different internal layout of the aircraft the cockpit could be moved forward by about 3', eliminating the abysmal field of view from the F4U's cockpit on the ground and during deck landings. Another significant change was a cruciform tail. This new arrangement had become necessary in order to avoid damage and turbulences from the hot turboprop efflux - the latter's exhaust was bifurcated and placed in the fuselage flanks, slightly deflected downwards and right at the wings' trailing edge, where the residual thrust from the engine helped during liftoff. The characteristic tail arrangement also became the source of the aircraft's official name, the 'Sea Scorpion'.

 

Armament consisted of four 0.79 in (20 mm) M2 cannon with 250 RPG in the wings, plus a total of fifteen hardpoints under fuselage and wings for a wide range of ordnance and a total weight of 8,000 lb (3,600 kg). The landing gear retracted backwards into the wings, rotating 90°, and the tail wheel with an attached arrester hook was fully retractable, too. The T-56 turboprop with 4.050 hp (2.977 kW) replaced the R-2800 radial and its complex compressor installment, driving a four-blade Hamilton propeller on the XA2U.

 

In June 1954 the first XA3U prototype made its maiden flight. Initial flights tests showed a very good performance at low and medium altitude, but directional stability was rather poor and the fin area had to be enlarged, resulting in the X3AU-1. Another new feature became a reversible six blade propeller of smaller diameter, which would improve reaction time to throttle input. In this guise, the A3U-1 entered series production and USMC service in early 1956, just in time to take the place of the AU-1 which was phased out in 1957.

But, by that time, the technical development had already rendered the A3U at least questionable, if not obsolete, so only a single batch of 45 aircraft was ordered and eventually built. Types like the North American FJ-4 Fury or the Douglas A4D Skyhawk offered a better performance as well as a nuclear strike capability that the A3U lacked, even though the turboprop aircraft was popular because of its ruggedness and good low altitude handling.

With its sophisticated design the A3U served well in its intended shipborne CAS role. In 1958 the machines were upgraded to carry AGM-12 Bullpup missiles, becoming subsequently designated A3U-2. Up to four missiles could be carried under the wings, plus a guidance pod that was carried on one of the outermost wing hardpoints.

 

The A3Us were deployed during several occasions, including Cuba from 1959 to 1960 to protect Americans during the Cuban Revolution, Thailand in May-July 1962 to support the government's struggles against Communists as well as Operation Power Pack in 1965 in Haiti to prevent a second Communist nation on America's doorstep.

 

Anyway, no A3U actually fired in anger, their main task had rather been sabre-rattling and representing the USMC with dramatic weapon loads at low altitude. Since ever more potent aircraft entered the USMC, like the F-4 Phantom II, the Sea Scorpion's career ended already in 1968 – and despite its usefulness in the theatre of operations, the A2U was not deployed to Vietnam.

  

General characteristics:

Crew: 1 pilot

Length: 33 ft 8 in (10.2 m)

Wingspan: 41 ft 0 in (12.5 m)

Wingspan, folded: 17 ft 0.5 in (5.2 m)

Height: 14 ft 9 in (4.50 m)

Empty weight: 11,968 lb (5,429 kg)

Loaded weight: 18,106 lb (8,213 kg)

Max. takeoff weight: 25,000 lb (11,340 kg)

 

Powerplant:

1× Allison T-56-A-6 turboprop engine, rated at 4.050 hp (2.977 kW)

plus approximately 750 lbs of thrust from the exhaust

 

Performance:

Maximum speed: 446 mph (717 km/h) at 26.200 ft (using emergency power)

Stall speed: 89 mph (143 km/h) clean

Range: 1,316 mi (1,144 nmi, 2,115 km) on internal fuel

Service ceiling: 41,500ft (12,649 m)

Rate of climb: 3,870ft/min (19.7 m/s) at sea-level

 

Armament:

4 × 0.79 in (20 mm) M2 cannon with 250 RPG in the wings

15 hardpoints for a total of up to 8,000 lb (3,600 kg) of ordnance, including bombs,

torpedoes, mine dispensers, unguided rockets, and gun pods

  

The kit and its assembly:

Well, this Frankenstein creation was actually spawned by the rather simple idea of a turboprop-powered F4U, following a discussion at whatifmodelers.com concerning my “Turbo Fury” conversion and the potential of T-56 engine nacelles from a C-130 on other aircraft. After three Turbo Furies I still had a final T-56 resin nacelle left in the stash (from OzMods), and eventually tackled this project with the idea of an AU-1 replacement for the USMC in the mid Fifties.

 

Anyway, with such a modernized version in mind, new ideas popped up – e.g. square wing tips. When I found a pair of leftover outer wings from a Matchbox A3D Skyknight (and they matched up well in shape and size, even the wing profile!) things unfolded into something … different.

 

The basis for this project was an Italeri F4U-5 from 1994 (a very nice kit!), even though in the later Revell re-boxing. The Skyknight wings replaced the F4U’s outer wings and added about 1” total wingspan to the kit. In order to compensate for this, I thought about moving the tail fin further back, but eventually implanted a completely new and slightly longer tail section from an A.W. Meteor night fighter (also Matchbox), because it perfectly extends the F4U’s fuselage lines! Consequently, the original tail wheel well had to be closed and moved backwards.

 

Another idea was to move the cockpit forward and lower the rear fuselage, for a more up-to-date bubble canopy. The OOB cockpit from the F4U was kept but placed under a new opening – more or less located where the F4U’s main fuselage tank would have been. The ejection seat is new, too, and the canopy comes from a vintage NOVO Supermarine Attacker. The whole spine was cut away and re-sculpted with putty, as well as the fuselage section around the canopy.

 

For the new resin T-56, the front end of the fuselage was cut away and lots of putty and sculpting created a new transition between the narrower Herc engine with its oval diameter and the round F4U fuselage.

The spinner comes from the OzMod engine set, but the propeller blades were scratched: these once belonged to a vintage Airfix D.H. Mosquito kit. The rather massive, single blades were cut off, their originally round tips squared and then glued onto the resin spinner. A metal axis and a styrene adapter inside of the resin engine were added as adapters, allowing a free spin.

 

Once the fuselage and the wings were mated, the horizontal stabilizers had to be added. The F4U parts could not be used because of their round tips, and they had become just too small for the bigger airframe. Implants had to be used once more, and in this case the stabilizers are the outer wing sections from a heavily rivet-infected 1:100 Breguet Alize from Heller. Odd, but they had just the right shape and chord length for the new position.

 

After these had been fitted, the fin turned out to be too small for the new and overall bigger aircraft. Finding a solution was not easy, and I eventually added a new fin tip, a part from a Revell (FROG) P-39 stabilizer, maybe 30 years old!

 

In order to make the intended CAS role believable a LOT of hardpoints were added, all taken from an old Airfix/Heller A-1E Skyraider. The ordnance is an iron bomb mix, IIRC these come from a Monogram A-10 and a Matchbox A-7D.

 

Anyway, building this monstrosity was massive kitbashing work, and the whole thing evolved rather gradually: What started as a simple engine swap and maybe some cosmetic surgery ended up in multiple body transplants and a bigger aircraft than originally envisaged, kind of a ‘Skyraider 2.0’.

  

Painting and markings:

Nothing truly fancy, rather the standard USN high-viz livery with Light Gull Grey (FS 36440, Modelmaster enamel) upper surfaces and white undersides and rudders. Compared to the USN, the USMC machines would be rather timid and less flamboyant concerning marking colors, so I only added a little red trim to the fin and around the cockpit. The landing gear and the respective wells were kept in white, like the undersides, with bright red trim around the edges, and the cockpit is Zinc Chromate Green.

 

The decals were puzzled together from the scrap box. Since almost and surface details was lost due to the massive bodywork on fuselage and wings, I painted some panel lines with a pencil and emphasized them with lighter, dry-brushed panel shadings. The effect, at least from some distance, turned out much better than expected! Additionally, some wear and dirt was simulated through a light black in wash. Soot stains, esp. around the jet exhausts, were created with grinded graphite, and some dry painting with silver was done on the leading edges. Finally, everything was sealed under a coat of matt acrylic varnish.

  

Well, what was to simply become a turboprop-powered F4U turned into something …different. The A3U looks exotic, but not bad or implausible – the thing reminds me of the offspring between a Ju 87 dive bomber and a Westland Whirlwind fighter, and there’s some Fairey Firefly an Il-2 single-seater lineage to it, too? As a positive aspect, this kitbash model reminds IMHO at first glance only remotely of the F4U that it once was, so I think the whiffing work is quite effective. :D

History of the Vienna Hofburg

First residence

(further informations you can get by clicking on the link at the end of page!)

With the elevation of Austria to Archduchy in 1156 Vienna became city of residence. From the residence of the Babenberg which was located on the present site "Am Hof", unfortunately there are no more remains left. After the extinction of the Babenberg, King Ottokar II Přemysl of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known today as the Schweizerhof (Swiss court). In the fight for the German crown Ottokar was defeated at the Battle of Dürnkrut (Lower Austria) by Rudolf I of Habsburg (1218-1291) and killed during the retreat.

As the old residence of the Babenberg burnt about 1276, Rudolf probably in 1296 moved to the former castle of Ottokar 1279. The descendants of Rudolf extended the castle only slightly: chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426) . Due to the division of the lands of the Habsburgs, Vienna lost its importance and it also lacked the financial resources to expand the castle.

Imperial residence

Under Frederick III. (1415-1493) acquired the Habsburgs the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand began a large construction: the three wings of the existing Swiss court were expanded and increased. The defensive wall in the northwest was as fourth wing with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco ) rebuilt. In the southwest was a tract for Ferdinand's children (the so-called "children Stöckl (Kinderstöckl)") added. The newly constituted authorities Exchequer and Chancery were domiciled in adjacent buildings at Castle Square. There were also an art chamber in the castle, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.

First major extensions of the residence

In the area of the ​​"desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) moved after his father's death in 1564 in the old castle. He had his residence for his Spanish horses in a Hofstallgebäude (Court stables building - Stallburg) converted and from 1565 increased.

Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, resided Maximilian II, who was awarded apart from Austria above and below the Enns also Bohemia and Hungary, readily in Prague and moved also the residence there. In 1575 he decided to build a new building opposite the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but was inhabited by the governor of the Emperor (Archduke Ernst of Austria). However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I) that in 1711 there established her widow's home.

In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the treasure and art chamber (1583-1585) as well as setting up of a dance hall in the area of ​​today's Redoutensäle (1629-1631).

Under Leopold I the dance hall war rebuilt of Ludovico Burnacini 1659/1660 into a at that time modern theater ("Comedy House"). 1666 Leopold I had in the area of ​​today's castle garden a new opera house with three tiers and a capacity of 5,000 persons built.

In the 1660-ies was under Leopold I (1640-1705) between the Amalienbourg and the Schweizerhof, the so-called Leopoldine Wing (Leopoldinischer Trakt), according to the plans of architect Filiberto Lucchese an elongated Flügelbau (wing building) built. Since, however, the tract shortly after the completion burned down, it has been newly built and increased by Giovanni Pietro Tencala. Due to its architectur, this tract connects yet more to the late Renaissance. The connection with the Amalienborg Castle followed then under Leopold's son, Joseph I (1678-1711).

After completion of the Leopoldine Wing the in the southeast of the castle located Riding School was restored, the south tower of the old castle razed, the old sacristy of the castle chapel replaced by an extension. Under Charles VI. (1685-1740) the gatehouse between the Castle Yard and carbon market (Kohlmarkt) by Johann Lucas von Hildebrandt was transformed into a monumental triumphal portal as a representative signum of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.

Baroque redesign of the Hofburg

In the early 18th Century began an intense construction activity. The Emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls as well as a new court library.

After the death of Johann Bernhard Fischer von Erlach whose son Joseph Emanuel Fischer von Erlach took over the supervision of the stables and the Imperial Library. 1725 the palatial front of the stables was completed. Since yet during the construction period has been noted that the stables were too smal dimensioned, the other wings were not realized anymore. The with frescoes by Daniel Gran and emperor statues of Paul Strudel equipped Court Library was completed in 1737.

Opposite of the Leopoldine Wing was supposed to be built a new Reich Chancellery. 1723 Johann Lucas von Hildebrandt was commissioned with the design. 1726, however, the Reich Chancellery was withdrawn the supervision and is was transferred to the Chancery and thus to Joseph Emanuel Fischer von Erlach, who also designed the adjacent court chamber and the front to St. Michael's Church. 1728 were finished the court chamber and the facade of the two buildings. By Joseph Emanuel Fischer von Erlach was also planned the Michaelertrakt, the connection between the Winter Riding School and Reichskanzleitrakt (Imperial Chancellery Tract). However, since the old Burgtheater building was in the way, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner.

Under Maria Theresa (1717-1780) was the at St. Michael's Square located and only as remnants existing Ballhaus (ballhouse) adapted as a court theater. Beside the Kaiser hospital therefore a new ballhouse was built, which was name giving for the Ballhausplatz. Subsequently, there were over and over again modifications and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small Redoutensaal and the large Redoutensaal (ball room) (1744-1748). The transformation of the two halls (since 1760), repair of the Court Library and since 1769 the design of the Josefsplatz followed under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension building for the Royal Library was built in the southeast the Augustinian tract.

Other structural measures under Maria Theresa: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg accommodated art collection to the Upper Belvedere, demolition of the remaining two towers of the old castle, the construction of two stairways (the ambassadors (Botschafterstiege) and the Säulenstiege (pillar stairway).

Extensions in the 19th Century and early 20th century

Francis II (1768-1835) gave Albert Duke of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa), the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and by a wing building expanded to the today's Albertina.

1804 proclaimed Francis II the hereditary Empire of Austria and was thus as Francis I the first Austrian emperor. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.

1809 part of the old bastions by the castle was blown up as a consequence of the war with Napoleon and afterwards razed. Towards to the today's ring road then new outworks were layed out (the so-called Hornwerkskurtine and the Escarpen). In the early 20's of the 19th Century were created three gardens: the private Imperial Castle Garden with two by Louis von Remy planned steel/glass-constructed greenhouses, Heroes Square with boulevards and the People garden with the Theseus Temple (Pietro Nobile). At the same time arised also the new, by Luigi Cagnola in 1821 begun and 1824 by Pietro Nobile completed outer castle gate.

1846 was built a monumental memorial to Francis I in the Interior Castle Square. In the turmoil of the 1848 Revolution the Stallburg was stormed and at the outer castle square as well as the castle gate fiercely fought. In the process burned the roof of the court library. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Prince Metternich and the coronation of Ferdinand's nephew Franz Joseph.

In the first years of the reign of Emperor Franz Joseph I (1830-1916) were converted the court stables by Leopold Mayer and expanded. As part of the expansion of the city, the city walls were razed and it emerged in place of the fort complex space for a magnificent boulevard, the Ringstrasse (Ring road). 1862, was born the idea of ​​an Imperial Forum of architect Ludwig Förster. On the surface between the Hofburg and the Imperial Stables should arise Court Museums (Art and Natural History Museum).

At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (defeated Napoleon at the Battle of Aspern-Essling) and Prince Eugene of Savoy (victor over the Turks in several battles) set.

After an unsuccessful architectural competition on the design of the Heroes square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing building over the ring road away with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was started with the Erdaushebungen (soil excavations) for the museums. 1889, the Natural History Museum was opened,1891 the Museum of Fine Arts (Kunsthistorisches Museum).

On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905), an overall view of the Imperial Forum is shown

1888 the Old Court Theatre at St. Michael's Square was demolished as the new KK Court Theatre (today's Burgtheater) by Gottfried Semper and Carl Freiherr von Hasenauer built, was finished. The since150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules" sidewards of the drive-through arches. 1893, the Hofburg had finally its last magnificent decorative facade .

1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans of Friedrich Ohmann (finalization in 1910). In 1907, the Corps de Logis, which forms a closure of the new castle, completed. Since Emperor Franz Joseph I in the budding 20th Century no longer was interested in lengthy construction projects and the Crown Prince Franz Ferdinand of Austria-Este (1863-1914) spoke out against the establishment of a throne hall building, but spoke for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922) succeeded to the throne, however, that he only occupied two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11th November 1918 the First Republic was proclaimed. As Karl in fact renounced of the businesses of government, but not the throne, he had to go into exile with his family.

The Imperial Palace in the 20th century

The interior design of the ballroom tract and the New Castle were continued despite the end of the monarchy to 1926. By the end of the monarchy, many of the buildings lost their purpose. Further on used or operated was the Riding School. The stables were used from 1921 as the Wiener Messe (Fair) exhibition grounds ("Messe palace"). In 1928, the Corps de Logis, the Museum of Ethnology, by then part of the Natural History Museum, opened. 1935 came the weapons collection (court, hunting and armour chamber) of the Kunsthistorisches Museum in the New Castle.

1933/1934 the outer castle gate by Rudolf Wondracek was transformed into a hero monument to the victims of the First World War. 1935 emerged left and right of the castle gate pylon portals with eagle sculptures of Wilhelm Frass. In March 1938, the Heroes' Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler announced to the cheering crowd at the Heldenplatz the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace were held during the period of the Nazism propaganda events.

During the war, the Imperial Palace (Stallburg, St. Augustine's Church, Albertina, the head office of the Federal President, the current building of the Federal Chancellery) was severely damaged by bomb hits: The first President of the Second Republic, Dr. Karl Renner, moved in 1946 the Office of the President to the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).

During the time of occupation the seat of the Inter-Allied Commission was housed in the Neue Burg.

1946 again were held first events in the Exhibition Palace and have been set up two large exhibition halls in the main courtyard of the fair palace. In the course of the reconstruction the damages of war were eliminated and the Imperial Palace repaired, the castle stable were built again. In 1958 in the ballroom wing was set up the convention center, 1962-1966 the modern Library of the Austrian National Library housed in the Neue Burg.

For the first time appeared in 1989 the concept of a "Museum Quarter". The Museum district should include contemporary art and culture. The oversized design of Laurids and Manfred Ortner but was redimensioned several times after the resistance of a citizens' initiative. The implementation followed a decade later.

1992 the two Redoutensäle completely burned out. Yet shortly after the fire was began with the reconstruction. The roof was extended and the small ball room could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.

From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.

1999 was began with the renovation of the Albertina. The for a study building, two exhibition halls and an underground storage enlarged museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.

In 2006, in the area of the boiler house yard were created additional rooms for the convention center.

(Source: Trenkler, Thomas: "The Vienna Hofburg", Vienna 2004)

www.burghauptmannschaft.at/php/detail.php?artnr=7103&...

Copyright ECB / Robert Metsch

+++ 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:

After the first German experiences with the newer Soviet tanks like the T-34 or the Kliment Voroshilov tank during Operation Barbarossa, the need for a Panzerjäger capable of destroying these more heavily armoured tanks became clear.

 

In early 1942, several German companies designed tank destroyers using existing chassis or components, primarily of both the Panzer III and Panzer IV tank, and integrating the powerful 8,8 cm Panzerjägerkanone 43/1 L/71 (or shortly Pak 43/1), a long-barreled anti-tank gun. Alkett, for instance, came up with the SdKfz. 164 “Hornisse” SPG (later renamed “Nashorn”), and Vomag AG proposed the SdKfz. 163, a derivative of the recently developed SdKfz. 162, the Jagdpanzer IV, which was armed with a Pak 39 L/48 at that time in a low, casemate-style hull.

 

However, mounting the bulky, heavy and powerful Pak 43/1 into the Panzer III hull was impossible, and even the Panzer IV was not really suited for this weapon – compromises had to be made. In consequence, the “Nashorn” was only a lightly armoured vehicle with an open crew compartment, and the Jagdpanzer IV was much too low and did not offer sufficient internal space for the large cannon.

 

Vomag’s design for the SdKfz. 163 eventually envisioned a completely new upper hull for the standard Panzer IV chassis, again a casemate style structure. However, the new vehicle was much taller than the Jagdpanzer IV – in fact, the Pak 43/1 and its massive mount necessitated the superstructure to be more than 2’ higher than the Jagdpanzer IV. This also resulted in a considerably higher weight: while a standard Panzer IV weighed less than 23 tons, the SdKfz. 163 weighed more than 28 tons!

 

The driver was located forward, slightly in front of the casemate, and was given the Fahrersehklappe 80 sight from the Tiger I. The rest of the crew occupied the cramped combat section behind him. Ventilation of the casemate’s fumes and heat was originally provided by natural convection, exiting through armored covers at the back of the roof.

The gun/crew compartment’s casemate was well-protected with sloped sides and thick armor plates. Its thickness was 80 mm (3.93 in) at a 40° angle on the front, 40 mm/12° (1.57 in) for the front hull, 50 mm/25° (1.97 in) for the side superstructure, 30 mm (1.18 in) for the side of the lower hull, 30 mm/0° (1.18 in) for the rear of the casemate and 20 mm/10° (0.79 in) for the back of the hull. The top and bottom were protected by 10 mm (0.39 in) of armor at 90°. This was enough to withstand direct frontal hits from the Soviet 76,2 mm (3”) gun which the T-34 and the KV-1 carried.

 

The SdKfz. 163’s main weapon, the Pak 43/1, was a formidable gun: Accurate at over 3,000 m (3,280 yards) and with a muzzle velocity of over 1,000 m/s (3,280 ft/s), the 88 mm (3.5 inch) gun has more than earned its reputation as one of the best anti-tank guns of the war. Even the early versions, with a relatively short L56 barrel, were already able to penetrate 100mm of steel armour at 30°/1000m, and late versions with the long L71 barrel even achieved 192mm.

The main gun had an elevation of +15°/-5° and could traverse with an arc of fire of 12° to the left and 17° to the right, due to the weapon’s off-center position and limited through the side walls and the “survival space” for the crew when the Pak 43/1 was fired. The recoil cylinder was located under and the recuperator above the gun. There were also two counterbalance cylinders (one on each side), and the gun featured a muzzle brake, so that the already stressed Panzer IV chassis could better cope with the weapon’s recoil.

The Pak 43/1 was able to fire different shells, ranging from the armor piercing PzGr. 39/43 and PzGr. 40/43 to the high explosive Gr. 39/3 HL. The main gun sight was a telescopic Selbstfahrlafetten-Zielfernrohr la, with Carl Zeiss scopes, calibrated from 0 to 1,500 m (0-5,000 ft) for the Pz.Gr.39 and 0 to 2,000 m (6,500 ft) for the Pz.Gr.40. There was a 5x magnification 8° field of view.

 

46 8.8 cm rounds could be stored inside of the SdKfz. 163’s hull. In addition, a MP 40 sub-machine gun, intended to be fired through the two firing ports on each side of the superstructure, was carried as a hand weapon, and a single MG 34 machine gun was located in the front bow in a ball mount for self-defense, at the radio operator’s place. Another MG 34 could be fastened to the open commander’s hatch, and 1.250 rounds for the light weapons were carried.

 

The SdKfz. 163 was, together with the SdKfz. 164, accepted by the Oberkommando des Heeres (OKH) in late 1942, and immediately ordered into production. Curiously, it never received an official name, unlike the SdKfz. 164. In practice, however, the tank hunter was, in official circles, frequently referred to as “Jagdpanzer IV/ 43” in order to distinguish it from the standard “Jagdpanzer IV”, the SdKfz. 162, with its 7,5cm armament. However, the SdKfz. 163 also received unofficial nicknames from the crews (see below).

 

Production was split between two factories: Alkett from Berlin and Stahlindustrie from Duisburg. Alkett, where most of the Panzer IVs were manufactured, was charged with series production of 10 vehicles in January and February 1943, 20 in March and then at a rate of 20 vehicles per month until March 1944. Stahlindustrie was tasked with a smaller production series of 5 in May, 10 in June, 15 in July and then 10 per month (also until March 1944), for a planned initial total of 365 vehicles.

 

Initially, all SdKfz. 163s were directly sent to the Eastern Front where they had to cope with the heavy and well-armoured Soviet tanks. Soon it became apparent that these early vehicles were too heavy for the original Panzer IV chassis, leading to frequent breakdowns of the suspension and the transmission.

 

Efforts were made to ameliorate this during the running production, and other Panzer IV improvements were also gradually introduced to the SdKfz. 163s, too. For instance, the springs were stiffened and new all-metal road wheels were introduced – initially, only one or two front pairs of the road wheels were upgraded/replaced in field workshops, but later SdKfz. 163s had their complete running gear modified with the new wheels directly at the factories. These late production vehicles were recognizable through only three return rollers per side, in order to save material and production costs.

 

Furthermore, an electric ventilator was added (recognizable by a shallow, cylindrical fairing above the radio operator’s position) and the loopholes in the side walls for observation and self-defense turned out to be more detrimental to the strength of the armor than expected. In later models, these holes were completely omitted during production and in the field they were frequently welded over, being filled with plugs or 15 mm (0.59 in) thick steel plates. Another important modification was the replacement of the Pak 43/1’s original monobloc barrel with a dual piece barrel, due to the rapid wear of the high-velocity gun. Although this did not reduce wear, it did make replacement easier and was, over time, retrofitted to many earlier SdKfz. 163s.

 

Despite these improvements, the SdKfz. 163 remained troublesome. Its high silhouette made it hard to conceal and the heavy casemate armour, together with the heavy gun, moved the center of gravity forward and high that off-road handling was complicated – with an overstressed and easily damaged suspension as well as the long gun barrel that protruded 8’ to the front, especially early SdKfz. 163s were prone to stoop down and bury the long Pak 43/1 barrel into the ground. Even the vehicles with the upgraded suspension kept this nasty behavior and showed poor off-road handling. This, together with the tank’s bulbous shape, soon earned the SdKfz. 163 the rather deprecative nickname “Ringeltaube” (Culver), which was quickly forbidden. Another unofficial nickname was “Sau” (Sow), due to the tank’s front-heavy handling, and this was soon forbidden, too.

 

Despite the suspension improvements, the tank’s relatively high weight remained a constant source of trouble. Technical reliability was poor and the cramped interior did not add much to the vehicle’s popularity either, despite the SdKfz. 163 immense firepower even at long range. When the bigger SdKfz. 171, the Jagdpanther, as well as the Jagdpanzer IV/L70 with an uprated 7.5 cm cannon became available in mid-1944, SdKfz. 163 production was prematurely stopped, with only a total of 223 vehicles having been produced. The Eastern Front survivors were concentrated and re-allocated to newly founded Panzerjäger units at the Western front, where the Allied invasion was expected and less demanding terrain and enemies were a better match for the overweight and clumsy vehicles. Roundabout 100 vehicles became involved in the defense against the Allied invasion, and only a few survived until 1945.

  

Specifications:

Crew: Five (commander, gunner, loader, driver, radio operator)

Weight: 28.2 tons (62,170 lbs)

Length: 5.92 m (19 ft 5 in) hull only

8.53 m (28 ft) overall

Width: 2.88 m (9 ft 5 in)

Height: 2.52 m (8 ft 3 in)

Suspension: Leaf spring

Fuel capacity: 470 l (120 US gal)

 

Armour:

10 – 50 mm (0.39 – 1.96 in)

 

Performance:

Maximum road speed: 38 km/h (23.6 mph)

Sustained road speed: 34 km/h (21.1 mph)

Off-road speed: 24 km/h (15 mph)

Operational range: 210 km (125 mi)

Power/weight: 10,64 PS/t

 

Engine:

Maybach HL 120 TRM V12 petrol engine with 300 PS (296 hp, 221 kW)

 

Transmission:

ZF Synchromesh SSG 77 gear with 6 forward and 1 reverse ratios

 

Armament:

1× 8.8 cm Panzerabwehrkanone PaK 43/1 L71 with 46 rounds

1× 7.92 mm Maschinengewehr 34 with 1,250 rounds in bow mount;

an optional MG 34 could be mounted to the commander cupola,

and an MP 40 sub-machine gun was carried for self-defense

  

The kit and its assembly:

This fictional tank is, once more, a personal interpretation of a what-if idea: what if an 8.8 cm Pak 43/1 could have been mounted (effectively) onto the Panzer IV chassis? In real life, this did not happen, even though Krupp apparently built one prototype of a proposed Jagdpanzer IV with a 8.8 cm Pak 43 L/71 on the basis of the SdKfz. 165 (the “Brummbär” assault SPG) – a fact I found when I was already working on my model. Apparently, my idea seems to be not too far-fetched, even though I have no idea what that prototype looked like.

 

However, the PaK 43/1 was a huge weapon, and mating it with the rather compact Panzer IV would not be an easy endeavor. Taking the Jagdpanther as a benchmark, only a casemate layout would make sense, and it would be tall and voluminous. The “Brummbär” appeared to be a suitable basis, and I already had a Trumpeter model of a late SdKfz. 165 in the stash.

 

Just changing the barrel appeared too simple to me, so I decided to make major cosmetic changes. The first thing I wanted to change were the almost vertical side walls, giving them more slope. Easier said than done – I cut away the side panels as well as wedges from the casemate’s front and rear wall, cleaned the sidewalls and glued them back into place. Sound simple, but the commander’s hatch had to be considered, the late SdKfz. 165’s machine gun mount had to go (it was literally cut out and filled with a piece of styrene sheet + PSR; the front bow machine gun was relocated to the right side of the glacis plate) and, due to the bigger angle, the side walls had to be extended downwards by roughly 1.5mm, so that the original mudguard sideline was retained.

 

The gun barrel caused some headaches, too. I had an aftermarket metal barrel for a PaK 43/1 from a Tiger I in the stash, and in order to keep things simple I decided to keep the SdKfz. 165’s large ball mount. I needed some kind of mantlet as an adapter, though, and eventually found one from a Schmalturm in the stash – it’s quite narrow, but a good match. It had to be drilled open considerably in order to accept the metal barrel, but the whole construction looks very plausible.

 

Another cosmetic trick to change the SdKfz. 165’s look and esp. its profile was the addition of protective side shields for the entry hatch area at the rear (frequently seen on Jagdpanzer IVs) – these were created from 0.5 mm styrene sheet material and visually extend the casemate almost the up to hull’s rear end.

  

Painting and markings:

Inspiration for the paint scheme came from a picture of a Jagdpanther that took part in the 1944 Ardennenoffensive (Battle at the Bulge): It was painted in the contemporary standard tones Dunkelgelb (RAL 7028), Olivgrün (RAL 6003) and Rotbraun (RAL 8012), but I found the pattern interesting, which consisted primarily of yellow and green stripes, but edged with thin, brown stripes in order to enhance the contrast between them – not only decorative, but I expected this to be very effective in a forest or heath environment, too.

 

The picture offered only a limited frontal view, so that much of the pattern had to be guessed/improvised. Painting was done with brushes and enamels, I used Humbrol 103 (Cream), 86 (Light Olive) and 160 (German Red Brown) in this case. The green tone is supposed to be authentic, even though I find Humbrol’s 86 to be quite dull, the real RAL 6003 is brighter, almost like FS 34102. The brown tone I used, RAL 8012, is wrong, because it was only introduced in Oct. 1944 and actually is the overall factory primer onto which the other colors were added. It should rather be RAL 8017 (Schokoladenbraun), a darker and less reddish color that was introduced in early 1944, but I assume that frontline workshops, where the camouflage was applied in situ, just used what they had at hand. Dunkelgelb is actually very close to Humbrol 83 (ochre), but I decided to use a lighter tone for more contrast, and the following weathering washing would tone everything down.

 

I also extended the camouflage into the running gear – not a typical practice, but I found that it helps breaking up the tank’s outlines even more and it justifies wheels in different colors, too. The all-metal road wheels were painted with a mix of medium grey and iron. The black vinyl track was treated with a cloudy mix of grey, red brown and iron acrylic paint.

 

The kit received a washing with highly thinned dark brown acrylic paint as well as an overall dry-brushing treatment with light grey. Around the lower front of the hull I also did some dry-brushing with red brown and iron, simulating chipped paint. After the decals had been applied, the model was sealed with acrylic matt varnish and finally I dusted the lower areas and esp. the running gear with a grey-brown mix of mineral artist pigments, partly into a base of wet acrylic varnish that creates a kind of mud crust.

 

Originally Weston's; Former Kmart & Hobby Lobby. Ulta Beauty and Old Navy both relocated here from the Shops at Ithaca Mall.

 

Ithaca, NY. June 2024.

 

If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.

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

 

photo by Nick Buchanan, ODOT.

NPS / Jacob W. Frank

Relocated

The Morley Galleria Water Compensation Basin Relocation plan. A giant 'screw you!' to anyone who uses the bus to do their shopping...

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

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.

 

Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), often referred to mononymously as Elvis, was an American singer and actor. Dubbed the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.

 

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.

 

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of his most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

 

Having sold over 400 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, rhythm & blues, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.

 

Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis's identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.

  

A photo of Elvis's parents at the Historic Blue Moon Museum in Verona, Mississippi

Presley's father Vernon was of German, Scottish and English origins. He was a descendant of the Harrison family of Virginia through his ancestor Tunis Hood. Presley's mother Gladys was Scots-Irish with some French Norman ancestry. His mother and the rest of the family believed that her great-great-grandmother, Morning Dove White, was Cherokee. This belief was restated by Elvis's granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief.

 

Vernon moved from one odd job to the next, showing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.

 

In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, was his first public performance. The ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."

 

In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime and was often teased as a "trashy" kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim's show on the Tupelo radio station WELO. He was described as "crazy about music" by Slim's younger brother, who was one of Presley's classmates and often took him into the station. Slim supplemented Presley's guitar instruction by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.

 

In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing". He was usually too shy to perform openly and was occasionally bullied by classmates who viewed him as a "mama's boy".

 

In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew's State Theater. Other jobs followed at Precision Tool, Loew's again, and MARL Metal Products. Presley also helped Jewish neighbors, the Fruchters, by being their shabbos goy.

 

During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes' Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that."

 

Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe.

 

Like some of his peers, he may have attended blues venues—of necessity, in the segregated South—only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations, such as WDIA-AM, that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.

 

Graceland is a mansion on a 13.8-acre (5.6-hectare) estate in Memphis, Tennessee, United States, which was once owned by the rock and roll singer Elvis Presley. His daughter, Lisa Marie Presley, inherited Graceland after his death in 1977. Following Lisa Marie Presley's death in 2023, the mansion is to be inherited by her daughters. In addition to being the final resting place of Elvis Presley himself, the property contains the graves of his parents, paternal grandmother and grandson, and contains a memorial to Presley's stillborn twin brother. In addition, Lisa Marie Presley will be buried there.

 

Graceland is located at 3764 Elvis Presley Boulevard in the Whitehaven neighborhood, about nine miles (14 kilometers) south of central Memphis and fewer than four miles (6.4 km) north of the Mississippi border.[5] It was opened to the public as a house museum on June 7, 1982. The site was listed in the National Register of Historic Places on November 7, 1991, becoming the first site recognized for significance related to rock music. Graceland was declared a National Historic Landmark on March 27, 2006, also a first for such a site. Graceland attracts more than 650,000 visitors annually.

 

Graceland Farms was originally owned by Stephen C. Toof, founder of S.C. Toof & Co., the oldest commercial printing firm in Memphis. He worked previously as the pressroom foreman of the Memphis newspaper, the Memphis Daily Appeal. The "grounds" (before the mansion was built in 1939) were named after Toof's daughter, Grace. She inherited the farm/property from her father in 1894. After her death, the property was passed to her niece Ruth Moore, a Memphis socialite. Together with her husband, Thomas Moore, Ruth Moore commissioned construction of a 10,266-square-foot (953.7 m2) Colonial Revival style mansion in 1939. The house was designed by architects Furbringer and Ehrman.

 

After Elvis Presley began his musical career, he purchased a $40,000 home for himself and his family at 1034 Audubon Drive in Memphis. As his success and fame grew, especially after his appearances on television, the number of fans who would congregate outside the house multiplied. Presley's neighbors, although happy to have a celebrity living nearby, soon concluded that the constant gathering of fans and journalists was a nuisance.

 

In early 1957, Presley gave his parents, Vernon and Gladys Presley, a budget of $100,000 and asked them to find a "farmhouse"-like property to purchase, with buffer space around it. At the time, Graceland was located in southern Shelby County, several miles south of Memphis' main urban area. In later years, Memphis would expand with residential developments, resulting in Graceland being surrounded by other properties. Presley purchased Graceland on March 19, 1957, for the amount of $102,500.

 

Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out." Presley was fond of claiming that the US government had mooted a visit to Graceland by Nikita Khrushchev of the Soviet Union, "to see how in America a fellow can start out with nothing and, you know, make good."

 

After Gladys died in 1958 aged 46, Presley's father Vernon remarried to Dee Stanley in 1960, and the couple lived at Graceland for a time. There was some discord between Presley and his stepmother Dee at Graceland, however. Elaine Dundy, who wrote about Presley and his mother, said that

 

"Vernon had settled down with Dee where Gladys had once reigned, while Dee herself – when Elvis was away – had taken over the role of mistress of Graceland so thoroughly as to rearrange the furniture and replace the very curtains that Gladys had approved of." This was too much for the singer, who still loved his late mother deeply. One afternoon, "a van arrived ... and all Dee's household's goods, clothes, 'improvements,' and her own menagerie of pets, were loaded on ... while Vernon, Dee and her three children went by car to a nearby house on Hermitage until they finally settled into a house on Dolan Drive which ran alongside Elvis' estate."

 

According to Mark Crispin Miller, Graceland became for Presley "the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling." The author adds that Presley's father Vernon "had a swimming pool in his bedroom", that there "was a jukebox next to the swimming pool, containing Elvis' favorite records", and that the singer himself "would spend hours in his bedroom, watching his property on a closed-circuit television." According to the singer's cousin, Billy Smith, Presley spent the night at Graceland with Smith and his wife Jo many times: "we were all three there talking for hours about everything in the world! Sometimes he would have a bad dream and come looking for me to talk to, and he would actually fall asleep in our bed with us."

 

Priscilla Beaulieu lived at Graceland for five years before she and Presley wed in Las Vegas, Nevada, on May 1, 1967. Their daughter Lisa Marie Presley was born on February 1, 1968, and spent the first years of her life on the estate. After her parents divorced in 1972, her mother moved with the girl to California. Every year around Christmas, Lisa Marie Presley and all her family would go to Graceland to celebrate Christmas together. Lisa Marie often returned to Graceland for visits.

 

When Elvis would tour, staying in hotels, "the rooms would be remodeled in advance of his arrival, so as to make the same configurations of space as he had at home – the Graceland mansion. His furniture would arrive, and he could unwind after his performances in surroundings which were completely familiar and comforting." 'The Jungle Room' was described as being "an example of particularly lurid kitsch."[

 

On August 16, 1977, Presley died aged 42 at Graceland. The official cause of death was cardiac arrhythmia, although later toxicology reports strongly suggested that polypharmacy was the primary cause of death; "fourteen drugs were found in Elvis' system, with several drugs such as codeine in significant quantities. Presley lay in repose in a 900-pound (410 kg), copper-lined coffin just inside the foyer; more than 3,500 of his mourning fans passed by to pay their respects. A private funeral with 200 mourners was held on August 18, 1977, in the house, with the casket placed in front of the stained glass doorway of the music room. Graceland continued to be occupied by members of the family until the death of Presley's aunt Delta in 1993, who had moved in at Elvis's invitation after her husband's death. Elvis's daughter, Lisa Marie Presley, inherited the estate in 1993 when she turned 25.

 

Presley's tombstone, along with those of his parents Gladys and Vernon Presley, and his grandmother Minnie Mae Presley, are installed in the Meditation Garden next to the mansion. They can be visited during the mansion tours or for free before the mansion tours begin. A memorial gravestone for Presley's stillborn twin brother, Jesse Garon, is also at the site.

 

In 2019, the owners of Graceland threatened to leave Memphis unless the city provided tax incentives. The Memphis City Council subsequently voted on a deal to help fund a $100 million expansion of Graceland.

 

Constructed at the top of a hill and surrounded by rolling pastures and a grove of oak trees, Graceland is designed by the Memphis architectural firm, Furbringer and Erhmanis. It's a two-story, five-bay residence in the Colonial Revival style, with a side-facing gabled roof covered in asphalt shingles, a central two-story projecting pedimented portico, and two one-story wings on the north and south sides. Attached to the wing is an additional one-story stuccoed wing, which was originally a garage that houses up to four cars. The mansion has two chimneys; one on the north side's exterior wall, the second rising through the south side's roof ridge. The central block's front and side facades are veneered with tan Tishomingo limestone from Mississippi and its rear wall is stuccoed, as are the one-story wings. The front facade fenestration on the first floor includes 9x9 double-hung windows set in arched openings with wooden panels above, and 6x6 double-hung windows on the second floor.

 

Flanked by two marble lions, four stone steps ascend from the driveway to the two-story central projecting pedimented portico. The pediment has dentils and a small, leaded oval window in the center while the portico contains four Corinthian columns with capitals modeled after architect James Stuart's conjectural porticos for the "Tower of the Winds" in Athens, Greece. The portico's cornered columns are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns while its transom and sidelights contain elaborate and colorful stained glass. And above the main entrance is another rectangular window, completed with a shallow iron balcony.

 

Graceland is 17,552 square feet (1,630.6 m2) and has a total of 23 rooms, including eight bedrooms and bathrooms. To the right of the Entrance Hall, through an elliptical-arched opening with classical details, is the Living Room. The Living Room contains a 15-foot-long (4.6 m) white couch against the wall overlooking the front yard. To the left are two white sofas, a china cabinet and a fireplace with a mirrored wall. The painting that hangs in the room was Elvis' last Christmas present from his father, Vernon, and also displayed are photographs of Elvis' parents Vernon and Gladys, Elvis and Lisa Marie. Behind an adjoined doorway is the Music Room, framed by vivid large peacocks set in stained glass and contains a black baby grand piano and a 1950s style TV. And the third adjacent room is a bedroom that was occupied by Elvis' parents. The walls, carpet, dresser, and queen size bed are bright white with the bed draped in a velvet-looking dark purple bedspread along with an en-suite full bathroom done in pink.

 

To the left of the Entrance Hall, mirroring the Living Room, is the Dining Room, headlined by a massive crystal chandelier. It features six plush chairs in golden metal frames set around a marble table, all of which are placed on black marble flooring in the center with carpet around the perimeter. Connected to the Dining Room is the Kitchen, which was used by Elvis' aunt Delta until her death in 1993 before it was opened to the public two years later.

 

The original one-story wing on the north end of the residence includes a mechanical room, bedroom, and bath. In the mid-1960s, Presley enlarged the house to create a den known as the Jungle Room which features an indoor waterfall of cut field stone on the north wall. The room also contains items both related to and imported from the state of Hawaii because, after starring in the tropical film "Blue Hawaii" (1961), the musician wanted to bring some memorabilia from The Aloha State to his mansion, which gives visitors the same feeling. In 1976, the Jungle Room was converted into a recording studio, where he recorded the bulk of his final two albums, From Elvis Presley Boulevard, Memphis, Tennessee (1976) and Moody Blue (1977); these were his final known recordings in a studio setting.[27] During the mid-1960s expansion of the house, Presley constructed a large wing on the south side of the main house that was a sidewalk, between the music room in the original one-story wing and the swimming pool area, that connected to the house by a small enclosed gallery. The new wing initially housed a slot car track and to store his many items of appreciation, but was later remodeled to what is now known as the Trophy Building, which now features an exhibit about the Presley family, and includes Priscilla's wedding dress, Elvis' wedding tuxedo, Lisa Marie's toy chest and baby clothes and more.

 

The Entrance Hall contains a white staircase leading to the house's second floor with a wall of mirrors. However, the second floor is not open to visitors, out of respect for the Presley family, and partially to avoid any improper focus on the bathroom which was the site of his death. Still, it features Elvis' bedroom at the southwest corner that connects to his dressing room and bathroom in the northwest. His daughter Lisa Marie's bedroom is in the northeast corner, and in the southeast is a bedroom that served as a private personal office for the musician. The floor has been untouched since the day Elvis died and is rarely seen by non-family members.

 

Downstairs in the basement is the TV room, where Elvis often watched three television sets at once, and was within close reach of a wet bar. The three TV sets are built into the room's south wall and there's a stereo, and cabinets for Elvis' record collection. And painted on the west wall is The King's 1970s logo of a lightning bolt and cloud with the initials TCB, both of which represent 'taking care of business in a flash'. And the last room in the mansion opposite of the TV room is the billiard room; an avid billiards player, Elvis bought the pool table in 1960 and had the walls and ceiling covered with 350–400 yards of pleated cotton fabric after the two basement rooms were remodeled in 1974. The pool balls are arranged just the way they were in the musician's final days along with a strict warning sign to visitors that says "Please Do Not Touch! Thank You!" in capital letters. And in one corner of the pool table, there's a rip in the green felt, which was caused by one of Elvis' friends in a failed attempt of a trick shot.

 

Critics such as Albert Goldman write: "Though it cost a lot of money to fill up Graceland with the things that appealed to Elvis Presley, nothing in the house is worth a dime." In chapter 1 of his book, Elvis (1981), the author describes Graceland as looking like a brothel: "it appears to have been lifted from some turn-of-the-century bordello down in the French Quarter of New Orleans. Lulu White or the Countess Willie Piazza might have contrived this plushy parlor for the entertainment of Gyp the Blood. The room is a gaudy mélange of red velour and gilded tassels, Louis XV furniture and porcelain bric-a-brac..." And he dismisses the interior as "bizarre," "garish" and "phony," adding that "King Elvis's obsession with royal red reaches an intensity that makes you gag."

 

In similar terms, Greil Marcus writes that people who visited the inside of Graceland—"people who to a real degree shared Elvis Presley’s class background, and whose lives were formed by his music—have returned with one word to describe what they saw: ‘Tacky.’ Tacky, garish, tasteless—words others translated as white trash."

 

According to Karal Ann Marling, Graceland is "a Technicolor illusion. The façade is Gone With the Wind all the way. The den in the back is Mogambo with a hint of Blue Hawaii. Living in Graceland was like living on a Hollywood backlot, where patches of tropical scenery alternated with the blackened ruins of antebellum Atlanta. It was like living in a Memphis movie theater... Diehard fans are sometimes disappointed by the formal rooms along the highway side of Graceland. They’re beautiful, in a chilly blue-and-white way, but remote and overarranged." The Jungle Room's "overt bad taste" lets nonbelievers "recoil in horror and imagine themselves a notch or two higher than Elvis on the class scale."

 

After purchasing the property Presley spent in excess of $500,000 carrying out extensive modifications to suit his needs including a pink Alabama fieldstone wall surrounding the grounds that has several years' worth of graffiti (signatures and messages) from visitors, who simply refer to it as "the wall". Designed and built by Abe Sauer is the wrought-iron front gate shaped like a book of sheet music, along with green colored musical notes and two mirrored silhouettes of Elvis playing his guitar. Sauer also installed a kidney shaped swimming pool and a racquetball court, which is reminiscent of an old country club, furnished in dark leather and a functional bar. There is a sunken sitting area with the ever-present stereo system found throughout Graceland, as well as the dark brown upright piano upon which Elvis played for what were to be his last songs, Willie Nelson's "Blue Eyes Crying in the Rain" and "Unchained Melody".

 

However, reports conflict about which one was the last song. The sitting area has a floor-to-ceiling shatterproof window designed to watch the many racquetball games that took place there when Elvis was alive. In the early hours of the morning on which Elvis died, he played a game of racquetball with his girlfriend Ginger Alden, his first cousin Billy Smith and Billy's wife Jo before ending the game with the song on the piano before walking into the main house to wash his hair and go to bed. Today the two story court has been restored to the way it was when Elvis used the building.

 

Elsewhere on the estate is a small white building that served as an office for Vernon, along with an old smokehouse that housed a shooting range and a fully functional stable of horses.

 

One of Presley's better known modifications was the addition of the Meditation Garden, designed and built by architect Bernard Grenadier. It was used by the musician to reflect on any problems or situations that arose during his life. It is also where his entire family is buried: himself (1935–1977), his parents Gladys (1912–1958) and Vernon (1916–1979), and grandmother Minnie Mae Hood (1890–1980) while a small stone memorializes his twin brother Jesse Garon, who died at birth thirty minutes before Elvis was born on January 8, 1935. In late 2020, Lisa Marie's son Benjamin Keough was laid to rest on the opposite end of the Meditation Garden after his death from suicide in July of that year. Lisa Marie Presley died from sudden cardiac arrest in January 2023 and is buried next to her son.

 

After Elvis Presley's death in 1977, Vernon Presley served as executor of his estate. Upon his death in 1979, he chose Priscilla to serve as the estate executor for Elvis's only child, Lisa Marie, who was only 11. Graceland itself cost $500,000 a year in upkeep, and expenses had dwindled Elvis's and Priscilla's daughter Lisa Marie's inheritance to only $1 million. Taxes were due on the property; those and other expenses due came to over $500,000. Faced with having to sell Graceland, Priscilla examined other famous houses/museums, and hired a CEO, Jack Soden, to turn Graceland into a moneymaker. Graceland was opened to the public on June 7, 1982. Priscilla's gamble paid off; after only a month of opening Graceland's doors the estate made back all the money it had invested. Priscilla Presley became the chairwoman and president of Elvis Presley Enterprises, or EPE, stating at that time she would do so until Lisa Marie reached 21 years of age. The enterprise's fortunes soared and eventually the trust grew to be worth over $100 million.

 

An annual procession through the estate and past Elvis's grave is held on the anniversary of his death. Known as Elvis Week, it includes a full schedule of speakers and events, including the only Elvis Mass at St. Paul's Church, the highlight for many Elvis fans of all faiths. The 20th Anniversary in 1997 had several hundred media groups from around the world that were present resulting in the event gaining its greatest media publicity.

 

One of the largest gatherings assembled on the 25th anniversary in 2002 with one estimate of 40,000 people in attendance, despite the heavy rain. On the 38th anniversary of Elvis's death, an estimated 30,000 people attended the Candlelight Vigil during the night of August 15–16, 2015. On the 40th anniversary of Elvis's death, on August 15–16, 2017, at least 50,000 fans were expected to attend the Candlelight Vigil. No official figure seems to have been released, maybe because, for the first time, attendees had to pay at least the lowest tour fare, $28.75, to cover the extra security costs due to a larger than usual crowd.

 

For many of the hundreds of thousands of people who visit Graceland each year, the visit takes on a quasi-religious perspective. They may plan for years to journey to the home of the 'King' of rock and roll. On site, headphones narrate the salient events of Elvis's life and introduce the relics that adorn the rooms and corridors. The rhetorical mode is hagiographic, celebrating the life of an extraordinary man, emphasizing his generosity, his kindness and good fellowship, how he was at once a poor boy who made good, an extraordinary musical talent, a sinner and substance abuser, and a religious man devoted to the Gospel and its music. At the meditation garden, containing Elvis's grave, some visitors pray, kneel, or quietly sing one of Elvis's favorite hymns. The brick wall that encloses the mansion's grounds is covered with graffiti that express an admiration for Presley as well as petitions for help and thanks for favors granted.

 

The Graceland grounds include a new exhibit complex, Elvis Presley's Memphis, which includes a new car museum, Presley Motors, which houses Elvis's Pink Cadillac. The complex features new exhibits and museums, as well as a studio for Sirius Satellite Radio's all-Elvis Presley channel. The service's subscribers all over North America can hear Presley's music from Graceland around the clock. Not far away on display are his two aircraft including Lisa Marie (a Convair 880 jetliner) and Hound Dog II (a Lockheed JetStar business jet). The jets are owned by Graceland and are on permanent static display.

 

In early August 2005, Lisa Marie Presley sold 85% of the business side of her father's estate. She kept the Graceland property itself, as well as the bulk of the possessions found therein, and she turned over the management of Graceland to CKX, Inc., an entertainment company (on whose board of directors Priscilla Presley sat) that also owns 19 Entertainment, creator of the American Idol TV show.

 

Graceland Holdings LLC, led by managing partner Joel Weinshanker, is the majority owner of EPE. Lisa Marie Presley's estate retains a 15% ownership in the company.

 

In August 2018, Gladys Presley's headstone, which contained the Jewish star of David on one side and a cross on the other and was designed by Elvis himself, which become publicly displayed when it placed in Graceland's Mediation Garden after being stored for many years in the Graceland Archive.

 

Lisa Marie Presley's estate, which is being held in trust for her daughters Riley Keough and Harper and Finley Lockwood, retain 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds as well as Elvis Presley's personal effects – including costumes, wardrobe, awards, furniture, cars, etc. Prior to her death in 2023, Lisa Marie Presley had made the mansion property and her father's personal effects permanently available for tours of Graceland and for use in all of EPE's operations.

 

According to Elvis Presley's Enterprises, staff at Graceland informally kept a list of celebrities who had visited in the first years following Elvis's death. This practice was not formalized for a decade. Muhammad Ali was an early celebrity visitor in 1978, as was singer Paul Simon. He toured Graceland in the early 80s and afterward wrote a song of the same name; it was the title track of his Grammy-winning album Graceland.

 

During the Joshua Tree Tour in 1987, U2 toured Graceland. The footage was filmed for the film Rattle & Hum. During the visit, drummer, Larry Mullen Jr., sat on Elvis Presley's motorcycle -- against the rules for Graceland visitors.

 

On June 30, 2006, then US President George W. Bush hosted Japanese Prime Minister Junichiro Koizumi for a tour of the mansion. It was one of the few private residences on United States soil to have been the site of an official joint-visit by a sitting US president and a serving head of a foreign government. On August 6, 2010, Prince Albert II, Head of State of the Principality of Monaco, and his fiancée (now Princess of Monaco) Charlene Wittstock, toured Graceland while vacationing in the US. On May 26, 2013, Paul McCartney of The Beatles visited Graceland. Prince William and Prince Harry, while in Memphis for a friend's wedding, visited Graceland on May 2, 2014.

 

The home has also been visited by former US President Jimmy Carter; the late Duchess of Devonshire, the sitting ambassadors of India, France, China, Korea and Israel to the United States; as well as several US governors, members of the US Congress, and at least two Nobel Prize winners, namely singer-songwriter Bob Dylan, a Literature Prize laureate, and the former President of Costa Rica, Oscar Arias, a Peace Prize honoree, who visited it on October 10, 2001.

 

In May 2016, Graceland welcomed a newlywed couple as its 20 millionth visitor.

 

In June 2022, actors Austin Butler and Tom Hanks visited the mansion and were interviewed virtually by the Good Morning America news program from the Jungle Room to talk about their biographical film Elvis.

 

In popular culture

Paul Simon named an album Graceland, as well as its title track. The song won the Grammy Award for Record of the Year in 1987.

The song "Walking in Memphis" by Marc Cohn mentions Graceland; in the second verse, he refers to the mansion and the Jungle Room. This song was later covered by Cher and Lonestar, among others.

The film 3000 Miles to Graceland is about a group of criminals who plan to rob a casino during an international Elvis week, disguised as Elvis impersonators. No scenes take place at or near the estate.

The film Finding Graceland stars Harvey Keitel with Johnathon Schaech. Keitel is an impersonator who claims to be the real Elvis after Schaech picks him up as a hitch-hiker.

In the rock music "mockumentary" This Is Spinal Tap, band members gather around Presley's grave at Graceland and attempt to sing a verse of "Heartbreak Hotel".

Pop punk group Groovie Ghoulies have a song called "Graceland" on their 1997 album Re-Animation Festival.

In the movie Zombieland: Double Tap, the protagonists venture to Graceland in hopes of shelter during a zombie apocalypse, but are distressed to find it in a ruined state.

During the credits of Lilo & Stitch, there's a photograph of Lilo, Nani, David and Stitch visiting the front gates of Graceland. Almost 20 years later, the original painting of that shot was put on display as part of the traveling Walt Disney Archives exhibition at Graceland.

In the season three episode of American Dad “The Vacation Goo”, Steve Smith asks Stan Smith if they can go to Graceland for their next vacation and Stan says “Steve, if you want to pay your respects to a fat man who died on the toilet, we can visit your Aunt Mary’s grave.”

Phoebe Bridgers has a song "Graceland Too" on her second studio album Punisher.

In the third episode of National Treasure: Edge of History, "Graceland Gambit," the main protagonist, Jess (portrayed by Lisette Olivera) is on a treasure hunt that leads her and her friends to Graceland.

Florence + The Machine reference Graceland and Elvis in their song "Morning Elvis" on their 2022 album Dance Fever.

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.

Old Albuquerque High School is a historic landmark that lies at the center of the East Downtown (EDo) area adjacent to downtown Albuquerque, New Mexico. The campus comprises five buildings grouped around a central courtyard on the northeast corner of the intersection of Central and Broadway NE.

The first building built on the site was Old Main, a Gothic edifice of brown brick and concrete that went up in 1914. It was designed by Henry C. Trost of El Paso and included classrooms, an auditorium, a gymnasium, and a science laboratory. Old Main was followed in 1927 by the Manual Arts Building on the east side of the campus, which was designed by local architect George Williamson. The other three buildings on the campus—the Classroom Building, the Gymnasium, and the Library—were built using New Deal funding between 1937 and 1940. These buildings were designed by local architect Louis Hesselden.

The buildings were occupied by Albuquerque High until the school was relocated in the 1970s, leaving the old campus empty. It was not treated well; most of the windows were broken out by vandals, and the buildings became something of an eyesore. After sitting empty for three decades, the school was purchased and renovated by the city of Albuqueruqe, marking a victory for preservationists who feared the landmark buildings would be demolished.

Currently Old Albuquerque High has been turned into an upscale apartment/condo area , and many new shops have been built around it, and others shops have been redecorated to match. It sits on the old U.S. Route 66.

The Old Albuquerque High School closed following the 1974 school year, moving to its current location 1 mile to the North. Declining enrollment was the primary reason for the move.

 

en.wikipedia.org/wiki/Old_Albuquerque_High_School

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

John LItel / City of Fort Collins

The school was relocated to a hill top in a modern wealthy area of Bellevue Washington in the early 1970's. This location is now a Hebrew Academy. The building suffered a bit of damage in the 2001 Earthquake that hit Seattle, but its all been restored to its original beauty.

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]

 

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

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

 

The bronze statue that once stood atop the Pitt County Confederate Soldiers Monument is secured for transport as the sun begins to rise on Monday, June 22. Crews worked throughout the night to disassemble the monument while hampered by equipment issues; the remainder of the monument was removed on Tuesday evening. Work was performed at night to prevent interfering with traffic, court proceedings, and businesses in the Uptown area.

 

On Monday, June 15, the Pitt County Board of Commissioners voted to relocate the memorial due to threat of vandalism and concern for public safety after property damage occurred during rioting in the Uptown area two weeks earlier. Following the vote to relocate the monument, County Commissioners created a committee to select a new location for the statue, which has not been determined at this time.

 

The monument was formally dedicated in November 1914; various groups have called for its removal from the courthouse grounds since at least the 1990’s.

 

“NOW THEREFORE, be it resolved that the City Council of the City of Greenville is committed to a community where all are welcome and should be treated equally with the same compassion in every interaction with a commitment to fairness, equality, kindness, justice, peace, and understanding.” — excerpt from Resolution For Equality, adopted by Greenville City Council on June 15, 2020.

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

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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.

This wall was originally where the CD towers were; I swapped them for the bookshelf and fiber arts cubes to make room in that corner. This bit of wall is *just barely* wide enough to accomodate both the cubes and the bookshelf. Though it did give me a handy place to hang up my Who poster, which made me pretty happy.

 

Also, as part of this and "the great lessening of 2007," I decided to clean out at least "one box's worth" of books while rearranging the living room. (Box size non-specific!) I wound up clearing quite a few books out, and actually cleared nearly that whole top shelf, which gave me space to put my audiobooks up there instead of leaving them stuffed in the closet. Though, even they may fall victim to a future "lessening" if they continue not being pulled out of their boxes...

 

Philosophically, I have gotten over my book hoarding tendencies. I no longer see it as necessary to keep every book I buy or enjoy. I try to keep only the ones I know I will re-read or want to refer to, or which have some sort of specific value to me. And I'm working really hard on getting over my "display the books that show what really good taste in books I have" tendencies. It's harder than you'd think! Still, it's hard giving my books away sometimes, even if I know I am sending them on to make someone else happy.

Crews work to complete the Cambie Combined Sewer relocation at Cambie Street and Broadway. The sewer relocation is being done to make space for a seamless connection between the existing Canada Line and the Millennium Line extension.

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

black tailed prairie dog being transferred from a trap to a transport carrier to be released. These dogs were trapped from urban areas in Pueblo and released on military lands to increase biodiversity

Photo: Dana Shellhorn/USFWS

 

Sannomiya, Kobe, Japan

Workers prepare to 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.

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.

Relocated driveway to Marlton Kohl's/Shop Rite Center (Former Two Guys) Marlton, NJ.

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.

Professional Packers Movers In Faridabad 9311166155

 

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Professional Relocation offers reliable and economical services to each sort of client for packers and movers Faridabad services. Its storage facilities ar distinctive and also the team is actuated towards taking care of products of shoppers with utmost care. The transportation facilities ar accessible around the clock and 100% client satisfaction is that the mission of the Team at the tip of the day.

 

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.

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.

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