When they finally start in service, they'll be billed as 'new trains'. Yet the D78 stock, from which these were devised from, were constructed between 1978 and 1981, where as the Class 150 that they'll replace, were built between 1984 and 1987. Northern did similar with the Class 319's when introduced on routes out of Lime Street, that were no newer than the trains they replaced.

 

You can argue the technology to power the train is new, batteries charged up by small diesel engines....Arriva on Merseyside have had a fleet of buses like that in service since 2013! So even that's not really new in the true sense of the word.

 

Add to that, there are already Class 769 'flex' units in service, so converted bi-mode units aren't new either.

 

But at the moment, they still run empty....

  

230008 Storeton Bank

5T01 10:07 Chester to Bidston

The old, new & unusual at West Ruislip. Furthest from the camera the 62 Stock which was being replaced by the 92 Stock in the middle. On milage accumulation test runs before being dispatched to the Waterloo & City Line is a Class 482 Unit seen at the front of the picture.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 08-Sep-23.

 

This aircraft was ordered by Libyan Arab Airlines as a 'Combi' passenger/freighter with a side cargo door (SCD). It was due to be registered 5A-DIK but the order was cancelled prior to delivery.

 

The aircraft first flew in Mar-80 and was stored at Seattle-Everett, WA, USA until it was delivered to VARIG Brasil as PP-VNB in Feb-81. In Dec-82 VARIG sold it to Orient Leasing and leased it back.

 

It was returned to Orient Leasing in Dec-94 and was stored at Rio de Janeiro-Galeao, Brazil. In Feb-96 it was sold to Cathay Pacific Airways as VR-HME. The aircraft was converted to a full freighter configuration by Apr-96 and leased to Cathay's subsidiary, Air Hong Kong.

 

In Oct-97 it was re-registered B-HME when Hong Kong became an autonomous region of China. The aircraft was returned to Cathay Pacific Airways Cargo in Jul-02 and continued in operation until it was retired in Sep-08 and stored at Victorville, CA, USA. It was last noted still at Victorville in May-15.

The Jaguar programme began in the early 1960s, in response to a British requirement (Air Staff Target 362) for an advanced supersonic jet trainer to replace the Folland Gnat T1 and Hawker Hunter T7, and a French requirement (ECAT or École de Combat et d'Appui Tactique, "Tactical Combat Support Trainer") for a cheap, subsonic dual role trainer and light attack aircraft to replace the Fouga Magister, Lockheed T-33 and Dassault Mystère IV. In both countries several companies tendered designs: BAC, Hunting, Hawker Siddeley and Folland in Britain; Breguet, Potez, Sud-Aviation, Nord, and Dassault from France. A Memorandum of Understanding was signed in May 1965 for the two countries to develop two aircraft, a trainer based on the ECAT, and the larger AFVG (Anglo-French Variable Geometry)

 

Cross-channel negotiations led to the formation of SEPECAT (Société Européenne de Production de l'Avion d'École de Combat et d'Appui Tactique – the "European company for the production of a combat trainer and tactical support aircraft") in 1966 as a joint venture between Breguet and the British Aircraft Corporation to produce the airframe. Though based in part on the Breguet Br.121, using the same basic configuration and an innovative French-designed landing gear, the Jaguar was built incorporating major elements of design from BAC – notably the wing and high lift devices.

 

Production of components would be split between Breguet and BAC, and the aircraft themselves would be assembled on two production lines; one in the UK and one in France, To avoid any duplication of work, each aircraft component had only one source. The British light strike/tactical support versions were the most demanding design, requiring supersonic performance, superior avionics, a cutting edge nav/attack system of more accuracy and complexity than the French version, moving map display, laser range-finder and marked-target seeker (LRMTS). As a result, the initial Br.121 design needed a thinner wing, redesigned fuselage, a higher rear cockpit, and after-burning engines. While putting on smiling faces for the public, maintaining the illusion of a shared design, the British design defacto departed from the French sub-sonic Breguet 121 to such a degree that it was for all intents and purposes a new design.

 

A separate partnership was formed between Rolls-Royce and Turbomeca to develop the Adour afterburning turbofan engine. The Br.121 was proposed with Turbomeca's Tourmalet engine for ECAT but Breguet preferred the RR RB.172 and their joint venture would use elements of both. The new engine, which would be used for the AFVG as well, would be built in Derby and Tarnos.

 

Previous collaborative efforts between Britain and France had been complicated – the AFVG programme ended in cancellation, and controversy surrounded the development of the supersonic airliner Concorde. Whilst the technical collaboration between BAC and Breguet went well, when Dassault took over Breguet in 1971 it encouraged acceptance of its own designs, such as the Super Étendard naval attack aircraft and the Mirage F1, for which it would receive more profit, over the Anglo-French Jaguar.

 

The initial plan was for Britain to buy 150 Jaguar "B" trainers, with its strike requirements being met by the advanced BAC-Dassault AFVG aircraft, with France to buy 75 "E" trainers (école) and 75 "A" single-seat strike attack aircraft (appui). Dassault favoured its own Mirage G aircraft above the collaborative AFVG, and in June 1967, France cancelled the AFVG on cost grounds. This left a gap in the RAF's planned strike capabilities for the 1970s at the same time as France's cancellation of the AFVG, Germany was expressing a serious interest in the Jaguar, and thus the design became more oriented towards the low-level strike role.

 

The RAF had initially planned on a buy of 150 trainers; however, with both TSR2 and P.1154 gone, the RAF were looking increasingly hard at their future light strike needs and realizing that they now needed more than just advanced trainers with some secondary counter insurgency capability. The RAF's strike line-up was at this point intended to consist of American F-111s plus the AFVG for lighter strike purposes. There was concern that both F-111 and AFVG were high risk projects and with the French already planning on a strike role for the Jaguar, there was an opportunity to introduce a serious backup plan for the RAF's future strike needs - the Jaguar.

 

While the RAF had initially planned to buy 150 trainers, the TSR2 and p.1154 were gone, and believing that both the US F-111 and AFVG were high-risk programs, and with the French already planning a strike role for their Jaguar, the MOD suddenly realized they were in bad need of a new light strike aircraft capable of delivering tactical nuclear weapons. As a result, by October 1970, the RAF's requirements had changed to 165 single-seat strike aircraft and 35 trainers.

 

The Jaguar was to replace the McDonnell Douglas Phantom FGR2 in the close air support, tactical reconnaissance and tactical strike roles, freeing the Phantom to be used for air defence. Both the French and British trainer requirements had developed significantly, and were eventually fulfilled instead by the Alpha Jet and Hawker Siddeley Hawk respectively. The French, meanwhile, had chosen the Jaguar to replace the Aeronavale's Dassault Étendard IV, and increased their order to include an initial 40 of a carrier-capable maritime version of the Jaguar, the Jaguar M, for the Aeronavale. From these apparently disparate aims would come a single and entirely different aircraft: relatively high-tech, supersonic, and optimised for ground-attack in a high-threat environment.

Estamos substituindo cartas por e-mails, radio por televisão, livros por livros de internet, a realidade por computador... Iremos substituir as pessoas pelas máquina?

 

we're replacing the letters for e-mails, the radio for the television, books for internet's books, the reality for the computer... Are we going to replace people for machines?

 

minha internet não poderia estar pior!

Replacing an earlier scanned photo with a better version 12-Feb-22 (DeNoise AI).

 

This aircraft, built as a Tristar 500, was delivered to British Airways as G-BFCE in Jul-79. It was in service for less than four years before it was sold to the UK's RAF Royal Air Force as ZD952 in Mar-83.

 

It was leased back to British Airways charter subsidiary British Airtours as G-BFCE in Jun-85 for the peak summer season, and returned to the RAF as ZD952 in early Oct-85.

 

It was converted to a Tristar KC.1 in Oct/Nov-85. The aircraft was in service with the Royal Air Force for another 29 years until it was permanently retired at Kemble, UK in Feb-14. Updated 12-Feb-22.

Replacing an earlier photo with a better version 23-Oct-25.

 

First flown in Jan-91 as F-GKND, this aircraft was delivered to a lessor and leased to TAT Transport Aerien Transregional, France in Mar-91. TAT was renamed TAT European Airlines in Dec-95 and they were merged into Air Liberte in Oct-97.

 

The aircraft was sub-leased to Air Atlantique, France in Oct-98 and returned to Air Liberte in Jul-99. It as leased to Air Open Sky, France in Dec-99 and returned to Air Liberte in Nov-00. It was returned to Gie Prop Bail No:1 in Aug-01 and stored at Dinard, France.

 

In Oct-01 it was leased to Airlinair, France and sub-leased to Air Atlantique in Mar-03. It was returned to Airlinair and the lessor in Mar-04. The aircraft was immediately sold to Swift Air as EC-IVP and converted to freighter configuration by May-04 (cabin conversion only). Current, updated 13-Jun-25.

Replaces Kool and Chaz that got buffed.

Replacing an earlier digital photo with a better version 27-Dec-24.

 

It was the first visit of this aircraft, on its delivery flight en-route from Seattle-Everett to Karachi, Pakistan.

 

This was the B777-200LR development aircraft which had a ceremonial roll-out on 15-Feb-05 in 'Dreamliner' style livery. It first flew as N60659 on 08-Mar-05 and took part in the 'LR' development programme.

 

It was later re-registered N5022E and delivered to PIA Pakistan International Airlines as AP-BGY in Feb-06. The aircraft was withdrawn from service and stored at Karachi, Pakistan in May-24. Stored, updated 27-Dec-24.

Replacing an earlier scanned photo with a better version 14-Jan-18.

 

This aircraft was delivered to Air Malta as 9H-ABS in Apr-93. It was sold to ILFC International Lease Finance Corporation in Jul-02 and leased back to Air Malta. It was wet-leased to Air New Zealand between Jan/Apr-03 and was returned to the lessor in Nov-05. The aircraft was sold to Boeing Capital Leasing as EI-DNH in Dec-05 and leased to Air Union/Kras Air (Russia) in Jan-06. Kras Air ceased operations in Nov-08, the aircraft was repossessed by Boeing Capital and stored at Moscow-Domodedovo. In Aug-10 it was leased to Atlant-Soyuz Airlines, they were renamed Moscow Airlines in Sep-10. Unfortunately, they too ceased operations in Jan-11 and the aircraft was returned to the lessor and stored at Goodyear, AZ, USA. It was re-registered N413BC the following month and remained stored until Dec-11 when it it was transferred to Bank of Utah [owner trustee) and moved to Miami for freighter conversion with a main deck cargo door. On completion in Mar-12 the aircraft was leased to Cargo Air (Bulgaria) as LZ-CGQ. Current (Jan-18).

Replacing an earlier scanned photo with a better version 20-Oct-16.

 

Operated by Comair

 

Fleet No: "7044" (also the construction number!)

 

An Early CRJ.100ER, first flown Jul-94 with the Canadair test registration C-FMLI. This aircraft was delivered to Comair as N936CA in Sep-94. It was leased to and operated for Delta Connection.

 

It was withdrawn from service and stored at Kingman, AZ, USA in Apr-12. It was broken up at Kingman in 2015.

Once the hub of the farm family, this house now plays an unheard second fiddle to the new house on the property.

I replaced the previous video with this 720 rez, let's see if it works. Flickr is spotty today

Today 14 wild horses came galloping down our dirt road and made a beeline to our stock tank. OMG, they drank it dry in minutes. So, I got the hose out while talking sweet to them and started filling it back up. They watched intently and then started drinking from the hose gentle spray. Then they made another beeline to the tall grasses near our septic tank field.

I love nature!!!

Replacing an earlier digital photo with a better version 11-Nov-19 + DeNoise AI 29-Oct-22.

 

With Additional 'Bayer Leverkusen' titles & logo (German football/soccer team).

 

First flown with the Airbus test registration F-WWBQ, this aircraft was delivered to GECAS and leased to LTU International Airways as D-ALTC in Apr-01. It was painted in the 'Bayer Leverkusen' livery in Sep-03.

 

LTU International was taken over by Air Berlin in Apr-07 but they continued to operate separately. The aircraft was repainted in Air Berlin livery in Jan-08 and the take-over was completed in May-09.

 

It was returned to the lessor in Feb-11 and leased to Brussels Airlines as OO-SNA a few days later. The aircraft was painted in the full 'Belgian Red Devils' special livery in Mar/Apr-16. After 21.5 years in service it was ferried to St. Athan, Wales, UK in Oct-22 and permanently retired. Updated 29-Oct-22.

Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.

 

Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.

 

The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.

 

The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.

 

The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.

 

Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.

 

In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.

 

The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.

 

By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.

 

John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.

 

By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.

 

Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.

 

In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.

 

Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.

 

By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.

 

In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.

 

In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.

 

In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.

 

Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.

 

Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.

 

More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.

 

Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.

 

Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.

 

Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.

 

From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.

 

The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.

 

The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.

 

Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.

 

Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.

 

In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.

 

The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.

 

The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".

 

West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.

 

The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.

 

At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.

 

Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.

 

The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.

 

The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."

 

The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.

 

In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.

 

According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.

 

Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.

 

The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.

 

The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".

 

The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.

 

The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.

 

Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.

 

In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.

 

The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.

 

The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.

 

The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.

 

The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.

 

Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.

 

Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.

 

The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.

 

The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.

 

The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.

 

Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.

 

The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.

 

The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.

 

The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.

 

The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.

 

The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.

 

Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.

 

The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.

 

Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".

 

The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.

 

The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.

 

Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.

 

Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.

 

The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.

 

In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.

 

The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.

 

On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.

 

In 2010 the official clock-winder retired and was replaced by an electric mechanism.

 

The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.

 

The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.

 

Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.

 

The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.

 

There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.

 

The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.

 

In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.

 

The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.

 

The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.

 

The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.

 

The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.

 

Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.

 

Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.

 

To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.

 

To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.

 

The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.

 

The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.

 

The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.

 

An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.

 

The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.

Replacing an earlier scanned slide with a better version 19-Mar-15 (DeNoise AI 17-Sep-22).

 

Named: "City of Newcastle".

 

Delivered new to Hunting Clan Air Transport as G-ANRS in Jun-55, this aircraft was leased to MEA Middle East Airlines as OD-ACH in Oct-55. It didn't stay as OD-ACH for long as it was sub-leased to BEA British European Airways as G-ANRS again the following month.

 

It returned to MEA as OD-ACH at the end of Mar-56 and was returned to Hunting Clan as G-ANRS in Sep-57. It was soon off to the Middle East again 2 years later when it was sold to Misrair-Egyptian Airlines in Aug-59 as SU-AKY. Misrair merged with Syrian Air and became part of United Arab Airlines in Aug-60.

 

The aircraft was stored at Cairo for a while before it was bought by British Eagle International Airlines and became G-ANRS again in Mar-65. It was briefly wet-leased to Air France in Aug-68 and was stored at Liverpool in Nov-68 when British Eagle ceased operations.

 

The aircraft was sold to Cambrian Airways in Jul-69, flown to Cardiff and retired. It was disassembled and became a cabin services trainer. In Sep-76, the fuselage was donated to the Wales Air Museum and put on display at Cardiff.

 

The Wales Air Museum eventually went out of business and the aircraft was given to Cardiff Airport Fire Service in 1991. It was finally broken up in early 1996.

Replaced 18432 YN06LMJ On 19 To Rotherham Via Dinnington.

Isolette iii/Solinar.

Fuji Neopan Acros 100, Xtol 1+2 13 min.

Braun FS 120.

Replacing an earlier scanned photo with a better version 05-Dec-20.

 

Fleet No: "239"

 

This aircraft was delivered to TAP Air Portugal as CS-TEA in Jan-83. It was wet-leased to BWIA International in Dec-94 for 12 months, returning to TAP in Dec-95. It was wet-leased to Linhas Aereas de Mocambique (Mozambique Airlines) in May-96 and returned to TAP in Aug-97. The aircraft was sold to Air Transat as C-GTSR in Nov-97. It was wet-leased to Airtours International Airways (UK) for three weeks in Mar/Apr-98 and wet-leased to Star Airlines (France) in Dec-98, returning to Air Transat in Dec-00 (so presumably it was still operating for Star Air in Aug-00 when I took the above photo). The aircraft was withdrawn from service and stored at Montreal-Mirabel in May-04. It was sold to Gee Bee Air (Greece) as SX-CVB in Jul-04 but doesn't appear to have been operated and remained stored at Montreal-Mirabel. It was sold to JOASRO Aviation in Sep-05 and ferried Mirabel / Beirut for immediate lease to Globe Jet Airlines (Lebanon) as OD-ZEE. From this point it appears to have had a chequered history, flying at times for Cameroon Airlines, Garuda Indonesia and LAB Lloyd Aero Boliviano. It was impounded at Santa Cruz, Bolivia in Apr-07 after LAB ceased operations. Globe Jet ceased operations in Nov-07 when the Lebanese authorities withdrew their AOC. The aircraft was abandoned at Santa Cruz and was noted still there in Mar-09. Libyan company Kallat Al Saker bought two of Globe Jet's Tristar 500's and probably bought this one as well as it was last noted derelict at Sebha, Libya in Apr-12.

 

This registration C-GTSR was previously used on an Air Transat Boeing 757 in Nov-96, and later re-used on an A330-243 in Sep-10.

Replacing an earlier scanned slide with a better version 22-Oct-21 (DeNoise AI).

 

The previous day, 1st April 1982, this aircraft was parked at Manchester, UK in full Laker Airways livery, Laker having ceased trading in Feb-82. During the day on the 1st, intense negotiations had been going on in London between the Laker liquidators and B.Cal for the purchase of Laker's four One-Elevens. Having worked a full day already (I was B.Cal's Station Manager at Manchester), I had to sit in the office until the sale was confirmed.

 

Just before midnight it was all confirmed and the liquidator's Representative was on his way to the airport with the aircraft log book (Yes, aircraft have log books very similar to the ones for a car in the UK, and no, I didn't know that either!). He arrived at the airport just after 1:00am and, having signed all the paperwork, I became the proud owner of a BAC One-Eleven (well, for a few hours at least!).

 

Before I went home I called Dan Air Engineering (who looked after our engineering at Manchester) and asked them to paint out the Laker name and put the new registration, G-BKAU, on the aircraft. When I came back next morning they had done the painting but were having problems with the lettering transfers. You'd think that an engineer could have at least put the new registration on straight!

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Delivered to Laker Airways in Feb-67 as G-AVBW, it was sub-leased to Air Congo between Feb/May-68. This aircraft was impounded and stored at Manchester, UK, when Laker Airways ceased operations in 05-Feb-82.

 

It was repossessed by Nordic Finance in Mar-82 and sold to British Caledonian Airways on 01-Apr-82 as G-BKAU. It didn't stay with B.Cal for long though and was sold to OBS Ltd in Nov-83.

 

It was immediately sold on to Okada Air, Nigeria, as 5N-AOZ. It was operated by Okada for another 13 years until it was retired at Benin City, Nigeria, in Dec-97 and was subsequently broken up.

The single-arch, red-brick road bridge on Chapel Street, over Slaughter Yard Creek, Ravenswood, was most likely constructed by the Ravenswood Divisional Board circa 1895 - 1900, to replace an earlier timber bridge and improve access between Ravenswood and the gold mines at Sandy Creek (and their associated town of Evlinton), located almost 4km southeast of Ravenswood. The Chapel Street Bridge is important in illustrating the importance of mining to the economy of Ravenswood during the 1890s. It is also rare as the only known example of an early brick-arch road bridge in Queensland.

 

Ravenswood, part of the traditional land of the Birriah people, is located about 85km south of Townsville and 65km east of Charters Towers. The Ravenswood goldfield, which included the John Bull reef near Sandy Creek, was the fifth largest producer of gold in Queensland during the late 19th and early 20th centuries.

 

European settlement of the Kennedy Land District in north Queensland commenced with the founding of Bowen in 1861, and the spread of pastoralists through the hinterland. Pastoral stations were established up the valley of the Burdekin River, including ‘Ravenswood’ and ‘Merri Merriwa’. Alluvial gold was discovered in tributaries of Connolly Creek, on Merri Merriwa Station, in late 1868; and in April 1869, the goldfield’s richest alluvial discoveries occurred in three dry creek beds close to the site of Ravenswood. The parent reefs of this alluvial gold were soon located, but a lack of water meant that miners did not establish Ravenswood (initially called ‘Upper Camp’) until October 1869, after a storm temporarily resolved the water issue. The first machinery for crushing quartz ore to extract gold was operational at Burnt Point (south of Upper Camp) from the 18th of April 1870.

 

The Ravenswood goldfield (about 300 square miles) was proclaimed on the 3rd of November 1870, and the town of Ravenswood was proclaimed on the 19th of May 1871. In 1871, the population of the goldfield was 900, with over half being in Ravenswood. The town developed on either side of Elphinstone Creek, and the first permanent bridge over the creek was constructed, of timber, in 1873.

 

Despite its promising start, in 1872 the Ravenswood goldfield entered a ‘period of depression’, as its most important mines reached the water table, and difficult to process ‘mundic’ ore, at about 70ft (21m) deep. Although only a percentage of the gold was recoverable from the mundic ore with the technology available at the time, Ravenswood’s mines continued to be viable into the 1880s.

 

There was an increase in productivity in the mid-1880s, due to good returns from the mines on the John Bull reef, located on the east bank of Sandy Creek, almost 4km southeast of Ravenswood. The Chapel Street Bridge is a product of the success of the John Bull reef, and the resulting need for a road link between Ravenswood and Sandy Creek.

 

Work on the John Bull reef, just south of the later site of the town of Evlinton (initially known as Sandy Creek), had occurred from 1879 – and by October that year crushings from a stamper battery on the John Bull were being carted into Ravenswood. The John Bull Gold Mining Company Ltd (formed in 1881), worked the John Bull PC lease on the reef, while the John Bull Block lease, to the south, was worked by Hugh Hawthorne Barton and Andrew Trenfield by July 1882. A 15-stamp battery was erected on the John Bull Block in 1883, when it was reported that ‘Sandy Creek bids fair to become a very busy little place at no distant date’. Although the John Bull’s ore was low quality, the reef was large, and it continued to produce well during 1884 – the year that the railway reached Ravenswood from Ravenswood Junction on the Northern Railway.

 

By 1886, the settlement at Sandy Creek was called ‘Evlinton’, and was part of a mail route. Although Sandy Creek Provisional School, established in 1885, was renamed Evlinton Provisional School in 1886, the town of Evlinton was not surveyed until early 1890.

 

A timber bridge was extant over Slaughter Yard Creek on Chapel Street, on the road between Ravenswood and Evlinton, by 1887. This bridge was the scene of a fatal accident in August 1887, when Joseph Lane, a miner working at the John Bull Block, fell off his horse when it slipped on the bridge while he was riding into Ravenswood. The Ravenswood Divisional Board is likely to have built the bridge, as after the Divisional Boards Act 1879, responsibility for local roads passed from Queensland’s Department of Public Works to local governments – although the State Government still provided grants and loans.

 

The John Bull reef remained one of the best producers on the Ravenswood goldfield from the mid-1880s to the early 1890s. By October 1887, the John Bull Block was ’held to the extent of three-fourths by Messrs. Kyle Sidley and Andrew Trenfield’; and in 1891, it was reported that the John Bull Block mine and mill employed 60 hands. ‘Although they put through a low-grade ore, the size of the reef and the great number of tons passing under their stampers (twenty head) give a live and busy appearance to their little township of Evlinton’.

 

The Ravenswood Divisional Board attempted to replace the timber Chapel Street Bridge in 1888. It sought a grant of £1000, to build bridges over the One Mile Creek (on the main road to Ravenswood Junction), and ‘over the crossing on the road to Sandy Creek, at which place there is a considerable amount of heavy traffic’. However, no grant appears to have eventuated at this time, as the government preferred that the Divisional Board borrow the money.

 

The bridge’s replacement was delayed when Evlinton’s prosperity was interrupted in the early 1890s. The John Bull Block had already extracted the best quality ore, and had continued issues with water ingress. This led to a stoppage of work in 1892, which ‘caused an almost total desertion of the little township there (Evlinton), and a shifting of dwellings in here and elsewhere’. The Ravenswood goldfield’s production in 1893 was its lowest since 1886.

 

A revival in the fortunes of Evlinton and the John Bull reef occurred from 1894, when Sidley and Trenfield sold their mines and the Saint George (20 head) battery to Archibald L Wilson (1852 - 1935). Wilson had arrived in Ravenswood in 1878, after gaining a diploma in mining engineering in Edinburgh, and working in New Zealand and on the Palmer River. He was publican of the Silver King Hotel in Totley in the 1880s. At the end of 1893, Wilson travelled to London to float the John Bull property, and his syndicate purchased the John Bull mines, with himself as general manager, in April 1894. Digging of a new vertical shaft commenced in late 1894.

 

Gold bearing ore was struck in October 1895, at 626ft (191m) depth, and by 1896 the John Bull was considered the ‘chief mine’ on the Ravenswood goldfield. Although the ore was low grade, and there were ‘oceans of water’ to pump out, Wilson had set up a cyaniding plant nearby, to treat tailings as soon as they had been crushed. He extracted 1800oz of gold from 5000 tons of ore during 1896; and supplying the 20 stamper battery with cordwood required ‘quite a little colony’ of timber-getters and carters. ‘Sandy Creek (Evlinton), with two public-houses, boarding houses, school, and its mill at work, presented quite a lively appearance, particularly on “pay night”’.

 

The recovery of Evlinton in the late 1890s led to the construction of the current brick bridge on Chapel Street, between 1895 and 1900. In May 1895, the Ravenswood Divisional Board asked for a £500 grant to repair several roads and their bridges, including the road from Ravenswood to Evlinton. ‘These are all main roads and lead to thriving mining centres, particularly the Evlinton and Old [?] roads, where there are several large gold mines being developed…. All the roads and bridges thereon…are almost untrafficable, particularly in bad weather’. The expenditure statement of the Division of Ravenswood for the second half of 1895 refers to a £25 18s and 8p contract for a wall on ‘Slaughter-yard Gully’, while the statement for the first half of 1896 lists a ‘retaining wall at Slaughter-yard Gully Bridge’, for £25 18s and 9p, deducted from the ‘Main Roads Grant Account’. Later, £48 is deducted, for a bridge, from the ‘John Bull and Standard Road Account’ during the second half of 1900.

 

Constructed of red brick, the Chapel Street Bridge has a semi-circular arch and low-height solid spandrels (side walls, north and south) with render-capped coping. Postholes formed in the coping suggest the bridge originally had a balustrade. The angled abutment wing walls on the upstream (south) side were designed to channel water flow during times of flood and, along with the stone retaining walls on the upstream (north) side, help stabilise the abutment embankments and roadway approaches (east and west).

 

The Chapel Street Bridge is a rare Queensland example of a brick-arch road bridge, where historically, due to an abundance of hardwood timber for bridge piers and decking, the preference has been for girder and truss types of timber, steel, or concrete construction – although early pipe culverts used brick, and some bridges used bricks for abutments or retaining walls. Brick was also used in Queensland for railway bridge abutments and piers, retaining walls, and culverts. Early examples of brick culverts are found on the 1860s Main Range Railway (1865 - 1867). One example of a masonry road bridge in Queensland is a 1865 bridge at Dalrymple Gap on the Valley of Lagoons Rd, which consists of stone retaining walls inset with a circular brick culvert. A 1930s arched road bridge across Little Crystal Creek at Mount Spec is faced in stone, but is actually concrete. Comparatively more common in the southern states of Australia, masonry arch bridges rely on their curved arch rib and end supports for stability, and characteristically have solid spandrels.

 

The bricks for the Chapel Street Bridge may have been locally manufactured, although quality bricks were available from Townsville, particularly after the railway reached Ravenswood in 1884. Most buildings in 19th century Ravenswood were constructed of timber, but bricks were used for mining infrastructure such as chimneys, flues, furnaces, and engine mounts – so skilled bricklayers would have been available on the goldfield. At least one brick chimney existed by 1880, while a 56ft (17m) brick chimney was present at HH Barton’s chlorination works in 1888. During 1891 - 1892, the contractor Robert Mann locally constructed the bricks for, and erected, a 90ft (27m) brick chimney and furnaces, for the Australasian Gold Extracting Company (New England lease). Later, a block of timber commercial buildings in Ravenswood, lost in a disastrous fire in April 1901, was rebuilt using bricks, suggesting confident expectations of permanence for Ravenswood.

 

However, the revival of nearby Evlinton in the late 1890s was a short-term phenomenon. Although Wilson was able to wring enough return from cyaniding the ore to pay the John Bull’s operating expenses, there was insufficient capital for development work. Wilson left for London in 1898 to seek investors for other mines, and although the John Bull Block mine had a record weekly crush of 298oz of gold from 198 tons of ore in 1899, the John Bull mines closed in January 1901.

 

Evlinton vanished after the closure of the John Bull mines, although the town did not die immediately. A social and dance was held at Evlinton State School in 1916, in aid of Ravenswood Red Cross Society, when people from Ravenswood travelled ‘by motorcar, buggy etc’ to the function; and the school was also used as a polling place for elections, prior to its closure in 1921.

 

Although the John Bull mines at Sandy Creek had closed, Ravenswood entered a new period of prosperity from 1900, thanks to Wilson. While in London, in 1899 he had floated both the Donnybrook Blocks Mining Syndicate and the New Ravenswood Company. Using British capital, Wilson introduced modern machinery to work the main Ravenswood mines and the New Ravenswood Company effectively reshaped Ravenswood’s landscape. Wilson was known as ‘the uncrowned king of Ravenswood’.

 

The early 20th century revival at Ravenswood ended in 1917, after declining yields, increased costs, and industrial disputes. On the 24th of March 1917 the New Ravenswood Company ceased operations, ending large-scale mining in Ravenswood for the next 70 years. Up to 1917, Ravenswood was the fifth largest gold producer in Queensland, after Charters Towers, Mount Morgan, Gympie, and the Palmer goldfield. Ravenswood was also the second largest producer of reef gold in north Queensland, after Charters Towers.

 

After 1917 the Ravenswood goldfield entered a period of hibernation, with intermittent small-scale attempts at mining until the 1960s. During the 1920s, prior to the closure of the railway branch line to Ravenswood in 1930, hundreds of the town’s timber buildings were dismantled and railed away; and by 1934 only 357 people remained in Ravenswood. In the 1960 and 1970s, Ravenswood’s population shrank to its nadir of about 70 people. However, gold mining recommenced at Ravenswood in the 1980s, due to a rise in the gold price and the efficiencies gained from open cut mining and modern cyanide metallurgical extraction processes.

 

The Chapel Street Bridge was closed to traffic in the 1980s, but it survives as a physical reminder that the mines at Sandy Creek, once accessed via the road that crossed the bridge, were important to Ravenswood’s economy. In 2019, modern metal road guards block access to the bridge, which is located almost 300m north of the northern rim of Carpentaria Gold’s Sarsfield pit.

 

Source: Queensland Heritage Register.

Replaced on X43 duties by 'Sky Class' Enviro 400s, several of the previous 'Witch Way' Volvo B9TL / Wright are now in 'Hotline' livery for the 152 on which The Blackburn Bus Company 2768 was photographed in Hoghton.

 

This image is copyright and must not be reproduced or downloaded without the permission of the photographer.

Replacing an earlier scanned photo with a better version 23-Apr-14..

 

Crew training at Manchester in late April, 1989 before entering service on 01-May-89.

 

History... This aircraft was delivered to the Rank Leisure Group and leased to Novair International Airways as G-BOPK in Mar-89. It was only in service for 1 year until the company closed down at the end of Mar-90. Sold to a leasing company by The Rank Leisure Group, it was stored until it was leased to Air Europe in Dec-90.

 

Unfortunately, Air Europe ceased operations in Mar-91 and the aircraft was repossessed and again stored until Nov-91 when it was leased to US private airline, Mark Air as N689MA.

 

It was returned to the lessor in May-94 and leased to Futura International the following month with the temporary registration EC-655, becoming EC-FYG in Aug-94. It was sub-leased to AMC Aviation, Egypt during the 1995/96 winter season as SU-SAA. It returned to Futura in May-96 with another temporary registration, EC-309, becoming EC-GHF in July-96.

 

There was a repeat performance with AMC Aviation for the 1996/97 winter season, this time as SU-SAB. By the time it returned to Futura in Mar-97 the Spanish Government had finally done away with temporary registrations and it became EC-GNC.

 

In Oct-98 Futura leased it to Aer Lingus as EI-CRC, they operated it for Ryan International Airlines in the USA until Apr-99 when it was returned to Futura, this time as EC-HCP. At that time Futura were in a partnership with Pegasus Airlines, Turkey and shared a common livery.

 

The Aer Lingus/Ryan International winter season deal was repeated in 1999/2000 as EI-CRC and the aircraft returned to Furura in May-00 with yet another different registration, EC-HME. In Jan-01 it was sub-leased to Transbrazil for 3 months as PT-TDH.

 

On its return in Apr-01 it was returned to the lessor and immediately leased to Aer Lingus, again as EI-CRC, and sub-leased to Futura for the 2001 European summer season. It was again returned to Aer Lingus for the 2001/02 winter season sub-lease to Ryan International. It was sub-leased to Futura again in Apr-02 and re-registered EC-IFN the following week.

 

It was returned to Aer Lingus and the lessor at the end of Apr-03 and leased to Islandsflug as TF-ELD. Islandsflug were merged into Air Atlanta Icelandic in Jan-05. In Feb-05 it was operated for Blue Line, France. It returned to Air Atlanta and the lessor in Nov-05 as N412CT.

 

In Jan-06 it was leased to Aegean Airlines as SX-BGX for 3 years. In Apr-09 it was sold to Jordan Aviation as JY-JAP. The aircraft was wet-leased to Bouraq Air Transport (Libya) Jun-09 and returned to Jordan Aviation in Oct-10. in Apr-16 it was wet-leased to Fly Baghdad (Iraq), returning to Jordan Aviation in Nov-16.

 

The aircraft was wet-leased to Al-Naser Wings (Iraq) in Jan-18 and returned to Jordan Aviation in Jun-18. It was permanently retired at Amman in Jan-20 after 31 years in service.

E48 (SN12AVX) is seen at Kingsend, Ruislip whilst on ML-1.

July 7, 2014 - North of Kearney Nebraska US

 

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Always good storm chasing stories to tell about my weather adventures in 2014.

 

Days right after my knee replacement... Home from the hospital & I definitely wasn't supposed to be out and about. Knee was almost in a cast and I wasn't supposed to be doing anything to aggravate the situation. Though my quest for severe weather never ends and I wasn't going to miss another possible chase especially when its in my backyard. This storm was going to be a photogenic monster... Decision was made & off I went.

 

Personal Note *** On the original set Back in 2014 I had use the free Avery photo editor here Flickr and it wasn't the best but I had no prior knowledge of editing them back then. Only shot in .jpg format and I didn't do the best by over coloring and over saturation. Was very under experienced in photo editing back then.

 

Another epic set of thunderstorm captures from South Central Nebraska remastered through Lightroom and Photoshop. Though I paid for it with my knee just being replaced. I was super sore and the swelling was unreal a few days after this event. All worth it when it comes to what epic views I caught storm chasing on that particular day!

 

#ForeverChasing

 

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partially replaced by subterranean cables

Replacing an earlier digital photo with a better version 23-Nov-21 (DeNoise AI).

 

A very early A330 (c/n 087), first flown with the Airbus test registration F-WWKF, this aircraft was delivered to LTU Lufttransport Unternemen as D-AERH in Mar-95. The airline was renamed LTU International Airways in Nov-97.

 

It was sold to ILFC International Lease Finance Corporation in May-00 and leased back to LTU. The aircraft was returned to ILFC in Nov-02 and immediately leased to Skyservice Canada as C-FRAP. It was operated by Skyservice on behalf of 'ConQuest Vacations'.

 

The aircraft returned to the lessor at the end of Jun-03 and was leased to Air Luxor (Portugal) as CS-TQF the following day. It was wet-leased to Ariana Afghan Airlines in Apr-05, returning to Air Luxor around Mar-06. It was returned to the lessor in Apr-06 and stored at Lake Charles Regional, LA, USA.

 

In May-07 the aircraft was leased to Vietnam Airlines as VN-A368, returning to the lessor in Jul-11. It was immediately leased to Onur Air (Turkey) as TC-OCD.

 

In Sep-11 it went on a long-term wet-lease to Saudia Saudi Arabian Airlines. It returned to Onur Air in Jan-16. The aircraft was returned to the lessor in Mar-16 and permanently retired at San Bernardino, CA, USA.

Added Gold Mario. I may replace this later when I get Toad, so be on the lookout! As always, info from now on will be posted here; so make sure to keep an eye out for when I update info on nicknames n' such.

 

Most of you probably don't care at this point. I've updated this for what, 4 times now? Uh, sorry about that... I'm not trying to rub this anyone's face or anything, just don't have anything better to post.

 

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Last Updated: 5/14/2015

 

.....

 

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1. is when I got them

2. is what the amiibo's nickname is

3. is what level said amiibo is currently on

 

//////

 

Mario

1. I got him shortly after Christmas, tied for the 3rd amiibo I got. Somewhere at the end of December I think.

2. His nickname is Madio, which is a pun off the original name.

3. He's currently lv.42, grouped with my more experienced amiibo's. He was actually lv.50 awhile back, but grew stuipid and non-aggressive because I kept training him with the same people over and over again. So Madio, along with a bunch of others are being retrained. He's probably my best and smartest amiibo at the moment, though he tends to spam Cape too often.

 

Donkey Kong

1. I got him shortly after Christmas along with Mario, which means he's also tied for my 3rd amiibo.

2. I named him Beat&Smack for his tendancy to hurdle you around like a sandbag.

3. He's currently lv.27, over the half way point but not quite up there. He was part of the intial batch that was trained to lv.50, but I'm retraining to be smarter; much like Mario.

 

Link

1. He's actually tied for my 4th amiibo with a bunch of others that I got from Toysrus. Got him the same day as Mario and Donkey Kong.

2. Nicknamed SirCourage, I think you get why.

3. Currently lv.25. He was actually 50 awhile back like Mario and Donkey Kong, but I'm retraining him to be smarter.

 

Samus

1. Tied with Link for my 4th amiibo, nothing special. Expect alot of characters tied with Link.

2. Nicknamed Huntress, thought it sounded cool.

3. Currently lv.19. She's one of my newbies. Like the others above, I'm retraining her to be smarter.

 

Yoshi

1. He was my 11th amiibo to be exact, I got him the same day I got Luigi, but at Toysrus. I don't know why I didn't pick him up sooner.

2. Nicknamed Yoshisaur, I just thought it sounded cewl.

3. Currently lv.20, I haven't got far with him due to paying attention to other characters. He was lv.50 before though.

 

Kirby

1. My very first amiibo was unwrapped as an early Christmas gift from my parents. My little sister actually wrapped the box.

2. Nicknamed Kitby, I got this name from my very first photo of my Lego Kirby. I misspelled his name in the photo title and I've loved the nickname ever since. My buddy Deku Scrubster actually pointed it out.

3. Currently lv. 23, same situation as the others above.

 

Fox

1. My 2nd amiibo was a gift from my great grandparents at Christmas, at Christmas Eve to be exact.

2. Nicknamed is Trick for his incredible speed in mindgame prowness.

3. Currently lv.50. He was one of my first amiibo's to be retrained along with a couple others.

 

Pikachu

1. Tied for my 3rd amiibo along with Mario and Donkey. The 3 were found at Meijer shortly after Christmas.

2. Nicknamed Peekachu.

*giggle*

3. Another lv.50, was retrained along with Fox.

 

Luigi

1. My 10th amiibo. I got him at Best Buy right before I went to Toysrus down the road to get Yoshi.

2. Nicknamed Weegee because he's Weegee.

 

e_e

 

3. Currently lv.37. Retraining him.

 

Captain Falcon

1. I got him from my grandma as a gift in mid January, I helped pay for it though. tied for my 13th amiibo along with a few others.

2. Nicknamed TheHawk. My Falcon tends to stay in the air and quickly swoop in and out for hits, so my amiibo will do the same.

3. Lv.33 because I'm retraining him.

 

Peach

1. Tied for my 4th amiibo like Link.

2. Peech. *giggles again*

3. Only lv.21 at the moment, I'm trying to be careful with this one. Because like the characters above, I'm retraining her to be smarter. Problem is, I hardly know how to play Peach in general and I'm learning myself. So I'm taking my time with her.

 

Bowser

1. My first Wave 3 amiibo was also my 17th. I got him about a week before Lucario on a Sunday. The 25th to be exact.

2. Nicknamed him Bruzer. He was actually named Browser originally, but I changed it at short notice because it sounded better.

3. Currently lv.34. Definitely one of my more experienced amiibo's. I've been trying to get him to use Bowser Bomb more to break shields.

 

Zelda

1. Tied for my 4th amiibo with a bunch of others. Acquired at TRU.

2. Nicknamed WisdomWiz.

3. At lv.23. I'm taking my time because I wanna teach her how to be a defensive machine. Plus I still have a bunch of others to train. Being retrained.

 

Sheik

1. Tied for my 19th amiibo, got my Target's last one.

2. Nicknamed Illusive. The name always reminded me of how Sheik is as a character. I don't wanna go all nerd, but she's the fastest character in terms of frame data.

3. Now lv.50. She actually has a good pressure game!

 

Marth

1. Tied for my 13th amiibo along with Falcon. Gift from my grandma.

2. Nicknamed Mars, a reference to his name in the Fire Emblem anime when it was translated into the US.

3. Currently lv.28, retraining.

 

Meta Knight

1. My 27th amiibo and my most recent one at that. Was a late Christmas gift from my grandparents. Best Buy exclusive.

2. Nicknamed Mask. I dunno, it beats MaskedPuff in terms of coolness. Probably going to stay that way until I come up with something.

3. Only lv.1. I haven't trained him yet, but I'm determined to make him one of my strongest amiibo.

 

Pit

1. My 16th amiibo. Another gift from my grandma.

2. Nickamed Capt OPG. It technically stands for "Captain of Palutena's Guard", but I try not to think about when I say his name because it brings down it's 'coolness' factor.

3. Lv.39. Definitely an experienced amiibo, and I must say, he's learned not all that much XD

 

Ike

1. Obtained a bit later in mid Febuary. My 22nd amiibo I believe.

2. Named him Brawn for the sheer power in his moveset.

3. Lv.1, retraining because he turned retarded.

 

Diddy Kong

1. My 11th amiibo, aquired at Meijer when I randomly stopped by. His eyes are surprisingly non-derpy.

2. Nicknamed TheMangler... Why? Two words, Monkey Flip.

3. Lv.18. Darn Diddy won't learn anything cool, I'm working on boosting his smarts up.

 

King Dedede

1. Tied for my 25th amiibo along with Mega Man. A preorder from Walmart.

2. Nicknamed Hammy. If you get this reference, you get a virtual cookie :3

3. Uh... he's only lv.1 lol. I haven't trained him yet. I assure you though, he'll be one heck of a force to reckon with.

 

Lucario

1. Tied for my 17th amiibo along with Toon Link. Woke up early to grab this Toys 'R' Us exclusive.

2. LuCardio, that is all.

3. Lv.21 at the moment, working on him cuz I have no idea how to play Lucario effectively lol.

 

Shulk

1. reely

2. feelin

3. et

 

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More info to come!

  

Replacing an earlier scanned photo with a better version 30-Aug-22 (DeNoise AI).

 

JAL's 50th Anniversary Pink 'Dream Express' logojet, 'Friends'. Right Side.

 

The Boeing 747-400D was built for the Japanese Domestic market and had no winglets. They didn't do anything for fuel efficiency on short sectors and omitting them saved weight. Only 19 were built for Japan Air Lines and All Nippon Airways, they had a maximum passenger capacity of 660.

 

This aircraft was delivered to JAL Japan Air Lines as JA8904 in Nov-92. When JAS Japan Air System was merged into JAL in Apr-04, they created two divisions, Domestic and International. This aircraft was part of Japan Airlines - Domestic until the Domestic Division was merged into International in Oct-06.

 

It was retired in Jun-10 after almost 18 years in service and sold to AerSale Inc (USA) as N894DB and permanently retired at Roswell, NM, USA. The registration was cancelled in May-15. Updated 30-Aug-22.

Replace the 2x4 white slopes with 2x2.

 

I shortened the tanker to 28 long. It needs alot more work on the top, but

this is mainly just a sketch.

Replacing an earlier scanned photo with a better version 21-Jan-18, plus Topaz DeNoise AI 02-Nov-23.

 

Fleet No: '630'.

 

This aircraft was delivered to Delta Air Lines as N630DL in Nov-87. It was in service with Delta for 25 years before being retired and stored at Marana, AZ, USA in Jul-12. The registration was finally cancelled in May-17.

Replaced 33860 with low power and my first E200 on #120

 

In December 2021 it was announced that this unique batch of 10 buses would transfer to Potteries.

Replacing an earlier digital photo with a better version 16-Oct-21 (DeNoise AI).

 

This aircraft was delivered to British Airways, in full Caledonian Airways livery, as G-BPEA at the end of Mar-89. It was leased to Caledonian Airways in early Apr-89 (the later BA version of Caledonian, not the original Caledonian Airways which became B.Cal).

 

During it's time with Caledonian, the aircraft was wet-leased to many other airlines. to North American Airlines (Jan/Mar-90), El Al Israel Airlines (Mar/May-90), Nationair Canada (Dec-90/Mar-91), British Airways (Nov-91/Mar-92), Nationair Canada again (Dec-92/Mar-93), LAPA Argentina (Dec-93/Mar-94 and Dec-94/Mar-95).

 

It was returned to British Airways in Nov-95 and continued in service in full BA livery. The aircraft was sold to a lessor in May-97 and leased back to British Airways until it was returned to the lessor in Oct-00 and stored at Marana, AZ, USA.

 

It was moved to Tucson, AZ, USA in Mar-01 and was re-registered N903PG the following month. The aircraft remained stored until it was leased to Cebu Pacific Air (Philippines) as RP-C2714 in Feb-02.

 

In Feb-06 it was returned to the lessor and leased to Air Slovakia as OM-ASA in Mar-06. The aircraft was wet-leased to RAK Airways (Ras al Khaimah, UAE) between Jun/Jul-08. It returned to the lessor as N580SH in Oct-09 and was stored at Miama, FL, USA.

 

It remained stored until it was leased to SBA Santa Barbara Airlines (Venezuela) as YV-450T in Jan-11. It was withdrawn from service and stored at Mexico City, Mexico in Apr-17 and returned to the lessor as N635SH at the end of May-18.

 

The aircraft was permanently retired and broken up at Mexico City in 2019. Updated 13-Nov-21.

Replacing an earlier digital photo with a better version 30-Mar-20.

 

'Silver Bullet' livery.

 

First flown as a passenger aircraft with the Boeing test registration N5573B, this aircraft was delivered to Cathay Pacific Airways as VR-HIH in Apr-84.

 

It was converted into freighter configuration with a main deck side cargo door (SCD) in Jun-94 and transferred to Cathay Pacific Airways Cargo.

 

The aircraft was re-registered B-HIH in Jul-97 when Hong Kong became an autonomous region of China. After 25 years in service it was initially stored at Hong Kong in Jun-09.

 

It was sold to Wells Fargo Bank Northwest as N2868R in Aug-09 and ferried to Kemble, UK in Sep-09 where it was permanently retired and broken up in Feb-10.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI.

 

First flown with the Airbus test registration D-AVZG, this aircraft was delivered to SABENA Belgian World Airlines as OO-SUB in Apr-99. SABENA ceased trading in Nov-01 and the aircraft was stored at Brussels, Belgium.

 

It was stored at Brussels for more than 4 years until it was sold to Nouvelair Tunisie as TS-IQB in Mar-05. In Apr-14 the aircraft was sold to a lessor and was originally due to be leased to Onur Air as TC-OEB, however the lease wasn't taken up and it was leased to Germania as D-ASTV later that month.

 

It was painted in an Alltours (German Tour Operator) logojet livery in May-14 and repainted into Germania's standard livery in Mar-15. Germania ceased operations in Feb-19, the aircraft was returned to the lessor and initially stored at Dusseldorf before being flown to Castellon de la Plana - Costa Azahar, Spain in Mar-19 for further storage.

 

It was re-registered OE-IDK in May-19 and permanently retired. It was broken up at Castellon de la Plana in Jan-20

Replacing an earlier scanned photo with a (slightly) better version 03-Dec-21 (DeNoise AI).

 

Very grainy, taken on a dark and murky day at LAX (but rescued by 'noise reduction' software).

 

An 'unlucky' aircraft which didn't stay long with any airline. First flown with the Boeing test registration N57008, this aircraft was an early standard B767-205 (Line No:81), delivered to Braathens S.A.F.E (Norway) as LN-SUV in Mar-84.

 

It was returned to the Boeing Equipment Holding Company as N767BE in Sep-85 and leased to TACA International Airlines in Oct-85. It returned to Boeing in May-86 and was leased to VARIG Brazil as PP-VNL the following month.

 

Boeing sold it to ILFC International Lease Finance Corporation in Aug-86 while the lease to VARIG continued. It was returned to ILFC in May-87 and was leased to Britannia Airways as G-BNAX the following day, for the summer season.

 

Returning to ILFC in Oct-87 as N650TW, the aircraft was converted to a B767-205ER before being leased to TWA Trans World Airlines in Oct-87. It was sub-leased to Gulf Air between May/Sep-88.

 

In Mar-01 it was returned to ILFC and stored. In Oct-01 the aircraft was leased to Aero Continente (Peru) as OB-1758. It became OB-1758-P in Jun-03. It was returned to ILFC in Oct-04 as N371LF and stored at Dothan, AL, USA.

 

The aircraft was leased to MaxJet in Jan-06 and was re-registered N260MY the following month. MaxJet ceased operations in Dec-07 and it was impounded at New York-JFK. ILFC managed to retrieve it in Jan-08 and it was stored at Victorville, CA, USA.

 

It was leased to Air Seychelles (still as N260MY) in Aug-08 and was re-registered in S7-ILF in Sep-10. It was returned to ILFC in Nov-11 as N391LF and permanently retired at Goodyear, AZ, USA. The registration was cancelled in Mar-12. It was last noted still stored at Goodyear in Mar-13 and was subsequently broken up.

Replacing an earlier digital photo with a better version 02-Mar-20.

 

First flown with the Boeing test registration N1786B, this aircraft was delivered to Boullioun Aviation Services as N747BX in Aug-01 and leased to Air Europa (Spain) as EC-HZS in Sep-01.

 

It was fitted with blended winglets in Sep-02. The aircraft was withdrawn from service and stored at Budapest, Hungary in Nov-13. It was ferried to Lasham, UK in Jan-14 and returned to the lessor as EI-FDZ.

 

It was leased to The Dart Group Plc as G-GDFZ and sub-leased to Jet2.com in Apr-14. It's operated in full Jet2 Holidays livery. Current, updated 23-Dec-22.

Now replacing A318/319 on a few services into TLS

A new sandstone gatepost pillar is in place at the northern end of Lord Derby's Coach Road. The previous one had been lying on the ground having been clouted by a "wide load" of agricultural produce.

Replacing a very old but well used Washtec SoftCare Pro

Replacing their K-Bus as part of modernization.

 

Prince McKhaine Transport 0821

 

Company/Owner: Prince McKhaine Transport, Inc.

Route: Malanday-Baclaran via Ayala

Rationalized Route: EDSA Carousel (ES Transport and Partners Consortium, Corp.)

Area of Service: Metro Manila (NCR)

Type of Service: PUB City Operation Bus

Classification: Airconditioned bus

Coachbuilder: Zhongtong Bus Holdings, Ltd.

Model: LCK6125 "Fashion"

Chassis: LCDGCS

Engine: YC6L330-42

Transmission: M/T

Speed: 6 Forward, 1 Reverse

Suspension Type: Airsuspension

Seat Configuration: 2x2

Maximum Capacity: 43+1+standees

Shot Location: EDSA Carousel Nepa-Q Mart Bus Stop, EDSA-Pan-Philippine Highway, Cubao, Quezon City

Date Taken: October 19, 2022

Replacing an earlier scanned photo with a better version 18-Sep-21 (DeNoise AI).

 

Although still registered N610TF, it already has the fleet number 141 on the nosewheel doors.

 

First flown with the McDonnell Douglas test registration N19B, it was re-registered N54652 the following week for further test flights. The aircraft was delivered to JAL Japan Air Lines (as a 'domestic' DC-10-40D - see note below) as JA8533 in May-76.

 

It served with JAL for 22 years before being sold to Ten Forty Inc as Apr-98 as N610TF. The aircraft was converted to freighter configuration as a DC-10-40(F) in Oct/Nov-98, with main deck cargo door. On completion it was leased to CAC Challenge Air Cargo. It was re-registered N141WE in Apr-99. By late 2000 Challenge Air Cargo had financial problems and the aircraft was stored at Greenwood, MS, USA in Jan-01.

 

In Aug-01 it was transferred to a new company, Centurion Air Cargo. It was returned to the lessor in Aug-03. It was leased to Aeroflot Russian Airlines as VP-BDG the following month. In Mar-07 the aircraft was transferred to their new cargo division, Aeroflot Cargo. It was returned to the lessor in Apr-08 as N141WE and stored at Miami.

 

In Jul-08 the aircraft was leased to Arrow Air Cargo. At the age 0f 33 it was retired and stored at Orlando-Sanford, FL, USA in Aug-09. It was ferried to Marana, AZ, USA in Aug-12 for further storage and was last noted still stored there in Apr-16, complete and with everything 'taped up'.

 

The aircraft was sold to Omega Aerial Refuelling Services in Nov-23 for spares use, Permanently retired at Marana.

 

Note: Japan Air Lines operated two types of DC-10-40, the DC-10-40D used on Japanese domestic services and the DC-10-40I which was used mainly on international services. They were basically the same aircraft, however the DC-10-40D had the centre main undercarriage leg and the centre fuel tank locked out and could be operated at the lower maximum take-off and landing weights of the DC-10-10.

 

Aircraft landing charges are based on the maximum take-off weight of the aircraft (I know that sounds weird, having the landing charge based on the MTOW but that's how it works world-wide!) and using the aircraft as a DC-10-10 gave JAL a considerable saving on landing fees. Some of JAL's DC-10-40D's were converted to 'I' standard during their time with the company and all of the aircraft which were later converted to freighters became DC-10-40(F)'s.

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On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being rolled out to the general public in December. (ESP went live on Tuesday December 15th 2015)

  

***** Selected for sale in the GETTY IMAGES COLLECTION on March 30th 2016

  

CREATIVE RF gty.im/515635772 MOMENT OPEN COLLECTION**

  

This photograph became my 1,842nd frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

  

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Photograph taken at an altitude of Three hundred and thirty three metres in the magic of a rainy and misty Golden Hour around sunrise at 05:17am on Monday 25th May 2015 off the A855 close to The Storr, showing The old man of Storr, on the Isle of Skye, Scotland.

  

The Storr (Gaelic: An Stòr), is a rocky hill on the Trotternish Peninsula on the Isle of Skye with a steep rocky eastern face overlooking the Sound of Raasay, contrasting with gentler grassy slopes to the west.The Old Man of Storr rises to 535 metres and is visibile from the main road between Portree and Staffin on the west coast of Skye. Dominating the scene and visible fom many more parts of the islands the Storr is the hill immediately west of the Old Man and rising to 719 metres with xdcramatic cliffs on its eastern flank.

   

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Nikon D800 50mm 1/40s f/2.8 iso200 RAW (14-bit) AF-S single point focus. Manual exposure. Centre weighted metering. Auto white balance.Auto Active D-lighting.

  

Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries.Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap. Digi-Chip Speed Pro 64GB Class 10 UHS-1 SDXC card. Nikon DK-17a magnifying eyepiece. Hoodman HGEC soft eyepiece cup. Optech Tripod Strap. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.

  

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LATITUDE: N 57d 30m 13.87s

LONGITUDE: W 6d 10m 6.62s

ALTITUDE: 333.0m

  

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 25.77MB

  

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PROCESSING POWER:

 

Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)

 

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit.

   

replaced...

Replacing an earlier scanned photo with a better version 07-Sep-17, plus Topaz DeNoise AI 14-Apr-23.

 

KTHY = Kibris Turk Hava Yollari / Cyprus Turkish Airlines, from Northern Cyprus.

 

Named: "Lefkosa".

 

First flown with the Airbus test registration F-WWBC, this aircraft was delivered to THY Turkish Airlines as TC-JCO in Jun-85.

 

It was leased to KTHY Cyprus Turkish Airlines in May-99 and returned to Turkish Airlines in Aug-05. The aircraft was permanently retired at Istanbul (IST), Turkey in Sep-08. It was scrapped there around 2012/13.

 

I also have a photo of this with THY Turkish Airlines at ...

www.flickr.com/photos/kenfielding/5737795052

Replacing an earlier scanned slide with a better version 26-Oct-21 (DeNoise AI).

 

Short-term lease to British Caledonian in basic Air Manchester livery.

 

A rare shot as this aircraft was only leased short-term in this hybrid livery for 10 weeks between mid Nov-83 and the end of Jan-84, it was previously destined for the very short-lived airline Air Manchester, painted in their full livery as G-BMAN but it was never delivered.

 

Delivered to Autair International Airways in Feb-68 as G-AVOF, it was sold to Cambrian Airways in Dec-69. The aircraft was briefly leased to Gulf Air in Oct/Nov-74. Cambrian was merged into British Airways in Apr-76. The aircraft was sold to British Aerospace in Nov-78 and leased back to British Airways.

 

It was returned to B.Ae in Aug-80 and stored. It was due to be sold to Air Manchester in mid 1982 as G-BMAN but they ceased operations and were merged into British Air Ferries in Sep-82. The sale was cancelled and the aircraft was given the temporary registration G-16-32 with British Aerospace in Sep-82 and became G-AVOF again in Mar-83.

 

In May-83 it was leased to British Island Airways for the summer season, returning to B.Ae in Nov-83. A week later it went to British Caledonian Airways on a short-term lease until the end of Jan-84 when it was returned to B.Ae.

 

It was leased to Dan-Air Services in May-84 for the summer season, returning to B.Ae in Oct-84. It was sold to Britt Airways (USA) in Mar-85 as N392BA. In May-87 it was sold to Okada Air, Nigeria, as 5N-AYT. It was stored at Benin City, Nigeria, in Dec-97 and broken up there around 1999.

Replacing an earlier scanned photo with a better version 14-May-17, plus Topaz DeNoise AI 06-Jul-23.

 

Operated on behalf of British Airways by Citiexpress.

 

'Youm al Suk'(Market Day), Saudi Arabia World Tail livery.

Replacing an earlier scanned photo with a better version 11-Nov-17.

 

Built as a freighter, this aircraft was delivered to a lessor and leased to Atlas Air Cargo as N493MC in Oct-98. It was sold to Atlas Air in Nov-16. Current, updated 11-Jul-23.