Replacing an earlier scanned print with a (slightly) better version 28-Apr-19.

 

Fleet No: "209".

 

First flown in Dec-90 with the Airbus test registration F-WWDP, this aircraft was delivered to Air Canada as F-WWFI in Feb-91. Now almost 30 years old, it was ferried to Kansas City, MO, USA. in Sep-20 and stored due to the COVID-19 Pandemic. There's a fair chance it's permanently retired... Updated (Sep-20).

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 02-Jan-25. Slightly blurred!

 

This aircraft was built as a full freighter and was due to be delivered to EVA Air as N107EV. However that registration wasn't taken up and it was delivered to EVA Air Cargo, Taiwan as B-16107 in Aug-95.

 

It was sold to Nordic Global Airlines, Finland as OH-NGB in Nov-12. It was withdrawn from service in Mar-15 and stored at Oscoda, MI, USA. The aircraft was sold to a lessor in Jun-15 as N546JN.

 

A few days later it was leased to Western Global Airlines and remained stored until it was ferried to Roswell, NM, USA in Oct-15 on delivery. It was sub-leased to FedEx Federal Express at the end of Nov-14 and returned to Western Global in Dec-16.

 

The aircraft was withdrawn from service in May-20, possibly as a result of the COVID-19 Pandemic, and stored at Shreveport-Regional, LA, USA. It returned to service in Aug-21. It was stored at Shreveport again in May-23 and hasn't returned to service. Possibly permanently retired? Updated 01-Jan-25.

Replacing an earlier scanned photo with a better version.

 

Delivered new to Air Europe in May-89, it was in service for two years until they ceased trading in Mar-91. It was returned to the lessor and stored at Lasham, UK, for a year until it was sold to Boeing Equipment Holdings in Mar-92 and leased to Markair as N691MA. Returned to Boeing Equipment Holdings in Oct-95 it was stored until Jul-96 when it was leased to Jet Airways (India) as VT-JAJ. Returned to the lessor in Aug-99 and stored at Delhi until it was re-registered VT-SII in Dec-91 and leased to Sahara Airlines. Sahara was renamed Air Sahara in Jan-01 and the aircraft continued in service until it was returned to the lessor in Feb-03 and stored at Victorville, CA, USA, as N768BC. Not for long however, as it was re-leased to Air Sahara in May-03, this time as VT-SIY. Returned to the lessor in May-05, it was immediately leased to Futura International as EC-JHX. It was returned to the lessor in Feb-06 and sold to Boeing Capital Leasing the following month and leased to Transaero Airlines as EI-DNM. As of Dec-14 it’s still in service, now almost 26 years old.

Photo credited to strumdogg at forum.blu-ray.com. As one of my collaborations, Nickelodeon will release Blue's Clues Handy Dandy notebook prop replicas to stores everywhere replacing DVDs and Walmart will replace the DVD isle with expanded teacher supply isle with extra more teacher supply stuff like Green Chalkboards and electric mechanical wall bells and extra Disney Snow White and Pinocchio stuff and extra more new modern environmental friendly 1997 Crayola Crayon boxes for all elementary schools and daycare centers to replace all Bogen Muticom 2000 systems and having Corbeil School buses and all other school buses with an electric stop arm and my new safety updated ice cream trucks with the current yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and school bus stop signs replacing all of the last remaining ice cream trucks that still have the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO and for all schools to get rid of that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and mean-spirited angers like mean teachers, Frankie Foster getting mad by yelling, screaming, and making freaky spikey eyelashes and triangular eyes in Foster's Home for Imaginary Friends, and Chief Wiggums meanly aiming his gun in modern Simpsons forever. And also with this collaborations Walmart will also have Blue's Clues Handy Dandy Notebook prop replicas and Little Golden Books replace all of the DVDs in the bargain bins since that many people including me love prop accurate Blue's Clues Handy Dandy Notebooks and Little Golden Books and that we also need to get rid of the bad old school junk like that Walmart and other stores need to get rid of 1992's Tom and Jerry: The Movie due to that 1992's Tom and Jerry: The Movie is extremely upsetting to Blue's Clues Steve fans because of the mean-spirited fake exaggerated house demolition with a pear-shaped wrecking ball at the beginning and the house at the beginning of 1992's Tom and Jerry: The Movie does resemble the Blue's Clues house and that 1992's Tom and Jerry: The Movie is also a huge plagiarism from Disney too because 1992's Tom and Jerry: The Movie is an extremely huge rip-off of The Rescuers which is a Disney Movie and Walmart and other stores also need to get rid of that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and mean-spirited anger images because they make little kids cry extremely bad and remind them of mean teachers at school. And these new changes I am making for Walmart and other stores and all other of my collaborations, Corduroy episodes at Nelvana, restoring all of the good things from my past, safety improvements, and Friendly rebrands will make a better economy and an all-inclusive future together. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. That mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Mean teachers getting students arrested for having autism or other disabilities MUST BE BANNED because that is very mean and hurtful and causes trauma to students with autism and other disabilities especially in modern Simpsons (The Simpsons seasons 19 to 30) Chief Wiggums was getting people arrested for having autism and other disabilities is why modern Simpsons MUST END IMMEDIATELLY and that Nelvana's version of Corduroy the Bear MUST BE REVIVED with the premiere of Two Buttons again and Forever IMMEDIATELY and a lot of big schools with Bogen Multicom 2000 also have mean teachers getting students arrested for having autism or other disabilities is another reason why Bogen Multicom 2000 is a very mean-spirited PA System along their bell tones not sounding like a bell at all especially the in this picture of a mean teacher getting a boy arrested for having autism is in a school with a Bogen Multicom 2000 and allowing mean spirited stuff and allowing an ice cream truck to keep the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO is why I am dead furious with Bogen Communications and Fox Broadcasting and getting students arrested for having autism or other disabilities is one of the extremely bad impact modern Simpsons (The Simpsons seasons 19 to 30) has gave us along with reusing bad things they used to make in the past and how to be mean and scary which are extremely bad. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation and Fuzzy Door Productions. And from now on the only childrens' books from the McDonald's double-sloped mansard era people MUST reuse in schools, republish, restore, reprint, and re-create are ONLY little golden books with the classic character train back cover template with Tootle pulling the long train of characters and Donald duck waving the flag saying "The World of Little Golden Books" not any of those old Thomas books with pictures from the old live action model version of Thomas and Friends so we will never ever have to deal with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends ever again. That mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Original photo credited to TrustaMann on Deviantart.com. Parents and Teachers being mean to them and destroying their kid's toys and belongings and yelling "GOD DAM HELL" and "GOD IN HELL" as a punishments MUST BE BANNED AND ILLEGAL EVERYWHERE FOREVER!!!!!!!! because Parents and Teachers taking away and destroying kid's toys and stuff as a punishment is being mean to kids and hurts their feelings real bad and cry which is extremely bad and parents and teachers use scary inappropriate behaviors like yelling "GOD DAM HELL" and meanly yell I'm so god dam cross with you whey they take away kid's toys and stuff needs to stop forever. And at Holly Springs school in my 5th grade school year there were mean teachers that got mean and super mad at me and took away my Steve notebook and forced me to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends which scared me and other kids real bad when they meanly called me bad just because I made one bad choice and I am a good boy and always try to be kind and respectful. And in the old model version of Thomas and Friends, Gordon looked like an evil man with a gun when he gets grumpy is why I hate the old model version of Thomas and Friends and say that the old model version of Thomas and Friends MUST BE BANNED and good thing I the kind and respectful teachers gave me back my Steve Notebook. Also in my 5th grade year at Holly Springs there was a preschool class with a secondary teachers being mean and got super mad at the little kid and took away his toys and stuff and destroyed them and made the little kid sit in the hallway and and forced and made the little kid to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends and the little kid cried real hard and I felt bad for the little kid but at least Santa mended the little kids destroyed toys back together at his workshop and gave the toys back to the little kid and at also it is a good thing Thomas and Friends moved to from live action models to CGI animations which is better and friendlier and made Gordon have a more accurate grumpy face similar to Homer Simpson in classic Simpsons episodes. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Eventhough I am not worried about the mean teachers at Holly Springs school anymore, I still occasionally have nightmares about the mean teachers at Holly Springs school, one night I had 2 nightmares of the mean teachers at Holly Springs school and the first nightmare was in Mrs. Monic's room with the mean teachers at Holly Springs threatening to give me a punishment day by destroying my Steve notebook and forcing me to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean then the mean teachers told me to shut up in a slow monster voice with teeth sticking together and then I woke up and realized it was only a dream and the second nightmare with the mean teachers at Holly Springs school the mean teachers were forbidding me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good and the mean teachers then were calling me a bad boy and then destroyed my Steve notebook and had Gordon in the old live action model version of Thomas and Friends kill me by running me over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and sending my soul to where the devil lives but good thing God came and angrily confronted the mean teachers at Holly Springs school and angrily destroyed that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and angrily put a grinning smile face on the live action model version of Gordon the Big engine and made the live action model version of Gordon the Big engine inanimate forever as his punishment and revived me and mended my Steve notebook back together and God told me that I am not a bad boy and then allowed me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. Especially when I was in 5th grade at Holly Springs, my anxiety had in my head of the mean teachers making evil magic giant steel crates to lock kids in with slamming lift doors forcing kids to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having live action model version of Gordon the Big engine shoot a gun at the kids in the steel crate with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having the live action model version of Gordon the Big engine kill the kids in the steel crate by running them over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and I had been having this scary thought since 5th grade at Holly Springs when the mean secondary teachers from Mrs. Monic's room was giving a little kid a punishment day in the hall and was giving me the idea of killing myself by setting my own body on fire I had this bottled up since 5th grade at Holly Springs school. This is why I am collaborating to make everything great again as when I revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. And parents and teachers being mean to kids and destroying their kid's toys and belongings as punishments was giving me the idea of killing myself by setting my own body on fire.

Replaced framing sections on the historic Swindon Intercity DMU Buffet vehicle from the original 1956 Edinburgh Glasgow sets are cleaned of paint and rust in preparation for welding on new bodyside sheeting during the 2016 Winter Woolies Work Week inside the goods shed at Bo'ness (SRPS).

 

The vehicle is being completely rebuilt from the frames up (and down) in a total restoration by our volunteers. When complete the vehicle shall operate with the three (already restored) Ayrshire Class 126 vehicles. www.class126.co.uk

Replacing an earlier scanned photo with a better version 15-Jul-21 (DeNoise AI).

 

First flown with the Saab Aircraft test registration SE-022, this aircraft was delivered to Crossair (Switzerland) as HB-IZL in Sep-95. Crossair was renamed Swiss International Airlines in Jul-02 after Swissair had ceased operations in Oct-01.

 

The aircraft was sold to Moldavian Airlines (Moldova) as ER-SFB in Dec-04 and operated on behalf of MALEV (Hungary). It was wet-leased to Carpatair (Romania) between Feb-12/Mar-13.

 

It was sold to Nordic Aviation Capital A/S as OY-SFB in Sep-13 and stored at Billund (Denmark). The aircraft was leased to BRA Braathens Regional as SE-MFM in Apr-14. It was withdrawn from service and stored (where?) in Jun-17.

 

The aircraft was sold to the Erik Thun Group (a major Swedish shipping company) in Oct-17 and remained stored. I've been unable to find any further information and presume It's permanently retired. Updated (May-20).

Replacing an earlier scanned photo with a better version 02-Jun-20

 

This aircraft was delivered to ILFC International Lease Finance Corporation and leased to Finnair O/Y as OH-LBT in May-98. It was wet-leased to associate company Air Scandic (UK) between Jul/Nov-03. The aircraft was fitted with blended winglets in May-07 and it was wet-leased to Air Europe Italy SpA between Jun/Oct-07. The aircraft was returned to the lessor in Mar-13 and immediately leased to Air Contractors (Ireland) Ltd as EI-ASL. It was wet-leased to Aer Lingus in Apr-13. Air Contractors (Ireland) Ltd was renamed ASL Airlines (Ireland) Ltd in May-15 while the wet-lease to Aer Lingus continued. The aircraft was returned to ASL Airlines (Ireland Ltd in Jan-20 and is currently stored at Marana, AZ, USA awaiting freighter conversion. Current, updated (Jun-20).

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 14-Sep-24.

This is another one of my favourite kid pics from here.

Church of St James, Twycross Leicestershire.

The present building dates back to c1330-1350, but must have replaced an earlier one. More additions were made late in the 14c.

The north side clerestory is 15c when the nave was heightened and the tower built.

In 1840 the north aisle was enlarged to house the box pews belonging to the Curzon / Howe family from Gopsall Hall and their staff. The cemented South porch also dates from this time. These were funded largely by Richard William Penn Curzon, 1st Earl Howe www.flickr.com/gp/52219527@N00/80869R . who was Lord Chamberlain to Queen Adelaide (both of their coats of arms are set into a windows www.flickr.com/gp/52219527@N00/5feFgc www.flickr.com/gp/52219527@N00/ka4B06 )

 

The chancel east window stained glass was presented to the church by Sir Walter Waller in 1840 bought by him when the french revolution threatened (other sources say it was given first to King William lV who gave it to Earl Howe) In the centre light the panel showing the Presentation in the Temple www.flickr.com/gp/52219527@N00/mv630q was originally in the Lady Chapel of St. Denis, near Paris (c. 1145). Below it are Christ taken down from the Cross www.flickr.com/gp/52219527@N00/7Qb517 and the spies carrying the grapes on their return from the promised land; www.flickr.com/gp/52219527@N00/BG0Q8D and the people www.flickr.com/gp/52219527@N00/H86SA9 coming before Moses www.flickr.com/gp/52219527@N00/86v20y both are from the Sainte-Chapelle in Paris of 1243-8. More glass from Sainte-Chapelle shows St. John www.flickr.com/gp/52219527@N00/kM1b8c one of two scenes, meeting the Emperor Domitian or possibly the High Priest Aristodemus. www.flickr.com/gp/52219527@N00/36W50X Also on the south side, a kneeling woman www.flickr.com/gp/52219527@N00/Q732B3 , probably from the choir of Le Mans Cathedral, dedicated 1354, opposite a kneeling monk, possibly Abbot Sugar of St Denis (died 1151`) www.flickr.com/gp/52219527@N00/519pb7

The upper panels are part of a series on the life of St Dominic, possibly from St. Julien de Sault. www.flickr.com/gp/52219527@N00/jBV8p4 www.flickr.com/gp/52219527@N00/Q4q36L

The traceries contain English 15c century fragments, presumably original to the church

A rich and rare treasure in a humble village church

 

Citing a need to adapt the celebration to a more Australian context, the Government announced today that the official Christmas greeting in this country will be changed from ‘Merry Christmas’ to ‘Happy Total Fire Ban’.

“When you say ‘Merry Christmas’, you evoke images of quaint little cottage chi...

 

www.happynewyearonline.in/2015/12/australia-replaces-merr...

Northbridge Mall opened in 1987 to serve the small community of Albert Lea which had a population of 19,000 at the time. The mall replaced Skyline Mall as this mall was near the interstate which is where Albert Lea's shopping area is unlike Skyline. The mall is 250,000 Square and it's own by locals. The mall's original anchors were Shopko and Herberger's. Both closed in 2018 and 2019 as those company went out. Northbridge Mall is one of my favorite small town malls and it also is one of the few to offer a food court not usually found in small town malls. Currently however, the mall is struggling due to the loss of the anchors and numbers of vacant spaces throught the mall. A strange thing about Northbridge Mall is that Dunham's Sports which is their junior anchor opened at 9 which means the mall technically opened at 9 however most of the tenants open at 10 which is why it doesn't look busy but some people did come in at 10 which made it at least a little busy.

I've rediscovered PicMonkey.....found some options I overlooked before, so I now like it more than Pixlr. And more good news I discovered today......the old Picnik team is about to launch a new site that is very similar to Picnik called ribbit! Not up and running yet, but soon!

 

© all rights reserved

Replacing an earlier photo from Apr-15 with a better version 14-Sep-18.

 

Fleet No: '0901'.

 

Originally ordered by Continental Airlines, they were merged into United Airlines in Oct-10. This aircraft was built in Nov-11 and stored at the Boeing factory at Everett, WA, USA. It was first flown in Dec-12 and delivered to United Airlines as N27901 later the same month. Current (Sep-18).

Replacing an earlier digital photo with a better version 30-Jun-19.

 

The AirAsia 'Manchester United' logojet's only visit to the UK.

 

First flown with the Airbus test registration F-WWIO, this aircraft was delivered to AirAsia as 9M-AFC in Jan-06. It was withdrawn from service and stored at Kuala Lumpur in Feb-20 due to the COVID-19 Pandemic.

 

The aircraft was returned to Castlelake Leasing as OE-LMT in Sep-20 and moved to Malta in Oct-20. It was leased to Lauda Europe as 9H-LMT in Nov-20.

 

The aircraft was stored at Stansted, UK on delivery and ferried to Vienna in Mar-21 for continued storage. It returned to Stansted in Apr-21 and entered service in late Jun-21. Current, 30-Aug-23.

The Mobile Exploration Rover, meanwhile, is a fairly simple modification of existing set 60225-1 Rover Testing Drive.

 

By replacing the gunmetal Mars Mission-style wheels with rubber-tyred ones from two copies of 70821-1 Emmett and Benny's Build & Fix Workshop, and systematically stripping away anachronistic Pearl Gold and Trans-Black parts, I've made a pretty coherent homage to the latter-day "white vehicle" aesthetic first appearing in 1983 but taking center-stage in '87. To that end, it's being driven around by a blue Spacer minifig, which is associated with that era through sets like 6972 Polaris I Space Lab!

 

It's not a perfect encapsulation of the design sensibilities - especially with the claw arm in orange instead of blue, due to the new clamp-half piece only being available in Bright Orange - but I feel like it doesn't look completely out-of-place amongst those builds. It's definitely super fun to drive it around and have the arm pick up random parts to place in its truck bed, at least!

 

Two extra 13-long technic beams were requisitioned from my pile of parts in order to mount the wheels the desired width away from the body. I do not know the set these came from, but it would not surprise me if it was a BIONICLE set from the mid-2000's.

I said I'd replace the photo with a better one, here you go. Front and rear views. .I made this model for Dr.Hook towing. It's a replica of the truck they recently bought. It is also the first 75 ton rotator wrecker in Canada. A large portion of this truck is scratchbuilt, it took 500 hrs.

This 1501 is an extremely rare car in the streets of France AD 2014. I was very satisfied to find one.

Once I had a 1976 1301 Berline and a 1969 1501 Tourist myself. I like their design: they were modern looking in Oct. 1966 when they were presented.

In Autumn 1968 the GLS version was cancelled and replaced by the Spècial.

In September 1969 the 1501 received a new grille with integrated fog lights, which were also available for the 1301 for 1971.

 

1475 cc,

Production Simca 1300/1500-Series: 1963-1966,

1301-1501-Series: 1966-1976.

New French license plate from 1999 (Dordogne).

 

Number seen: 1.

 

Trélissac (Fr.), Av. Michel Grandou N21, May 3, 2014.

 

© 2014 Sander Toonen Amsterdam | All Rights Reserved

View of the right-most part of Der Fürstenzug (The Procession of Princes). This a long mural on an external wall of Dresden Castle on Augustusstrasse. It depicts a procession of the Princes of Saxony and was originally painted in the 1870s to mark the 800th anniversary of the Saxony's ruling Wettin Dynasty.

 

The original painted mural was replaced by the current one made of 23,000 Meissen porcelain tiles between 1904 and 1907. It is over a 100 metres (335 ft) long and is the the world's largest porcelain work of art. It survived the fire-bombing of Dresden in 1945; one of the few large landmark structures to have survived largely intact.

 

Dresden; July 2003

 

------

 

[ This panorama was stitched from two images

captured with a Nikon 4500. ]

Fall colours fading and replaced with holiday lights and decor.

Replacing an earlier scanned photo with a better version 15-Mar-21.

 

Fleet No: "160".

 

First flown in Dec-75 with the Fokker test registration PH-EXL, the aircraft was converted to a 'Combi' configuration with a main deck cargo door in May-76 and sold to the Ivory Coast Government as TU-VAB (registered in Tunisia). It was leased to Air Ivoire as TU-TIN in Nov-79 and returned to the Ivory Coast Government as TU-VAB in Dec-81. The aircraft was sold to Aircraft Finance & Trading in Apr-92 and stored at Woensdrecht, Netherlands. It was re-registered PH-VAB in Dec-93. In Dec-94 it was leased to Air Ivoire as TU-TIZ. It was returned to the lessor in Mar-95 and returned to storage. The aircraft was leased to Peace Air Togo in Mar-96 and returned to the lessor as PH-VAB in Apr-97. It was sold to East West Helicopters Inc (USA) as N104EW in Oct-97 and sold on to Canadian Regional Airlines as C-GTIZ in Nov-97. It was stored at Calgary, AB, Canada on delivery prior to service entry. The aircraft was leased to Inter-Canadian in Jul-99. It was returned to Canadian Regional in Sep-00 and stored at Saskatoon, SK, Canada and never returned to service. Canadian Regional was merged into Air Canada Regional in Nov-01 and Air Canada Regional was renamed Air Canada 'Jazz' in Jul-02. The aircraft was last noted derelict at Saskatoon in Jun-10. Updated Mar-21.

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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 current 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 January 20th 2016

  

CREATIVE RF gty.im/502830156 MOMENT OPEN COLLECTION**

  

This photograph became my 140th frame to be selected for inclusion and sale in the Getty Images 'ESP' collection,(I have 1,650+ in total for sale through Getty Images), and I am very grateful to them for this wonderful opportunity.

  

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It's Christmas Eve with just a matter of hours until the wee small hours when the fat man with the beard and didy red outfit will be sliding down our chimney's with his sack full of goodies....

  

I will be... I mean, HE will be sampling the mince pies and single malt left for his attention before making his departure, and leaving behind smiles galore.

  

It's been raining today, so some snowy shots to get my festive spirits rising..

  

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Photograph taken at an altitude of Fifty one metres at 11:46am on Monday January 21st 2013 off New Road and Abbey Road B213 in the grounds of Lesnes Abbey Park within Lesnes Abbey Wood in Bexleyheath, Kent, England.

  

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Nikon D800 140mm 1/160s f/5.6 iso200 RAW (14-bit) +2.0EV compensation.. Handheld. AF-S single point focus with manual override mode. Manual exposure. Matrix metering. Auto white balance. Auto Active D-lighting.

  

Nikkor AFR-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.

  

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LATITUDE: N 51d 29m 13.91s

LONGITUDE: E 0d 8m 14.13s

ALTITUDE: 51.0m

  

RAW (TIFF) FILE: 103.00MB

PROCESSED FILE: 16.41MB

  

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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

   

Thermit reaction

Replaced my misbehaving 25-year-old Yamaha amp today with my 40-year-old Technics until it can be repaired.

Replacing an earlier scanned photo with a better version 05-Mar-21.

 

Fleet No: "625".

 

This Viscount, ex Air Canada sat in this position at Vancouver for many years before being floated across to Victoria, Vancouver Island on a barge for restoration. It's now complete and on display at the British Columbia Aviation Museum in the original Trans-Canada livery. The Museum is located at Sydney, BC, Canada (on the east side of Victoria International Airport).

 

The aircraft was delivered to Trans-Canada Air Lines as CF-THG in Mar-57. TCA was renamed Air Canada in Jun-64. It was withdrawn from service in Mar-74 and stored at Winnipeg, MB, Canada.

 

Along with another 23 Air Canada Viscounts, the aircraft was sold to Beaver Enterprises at the end of Apr-74 and remained stored. It was sold to Harrison Air in Jan-77 and stored at Vancouver, BC, Canada.

 

It never entered service and was sold to BCIT British Columbia Institute of Technology in Jun-80 for use as an instructional airframe. It was retired by BCIT in late 1995 and remained in open storage at Vancouver International.

 

The aircraft was sold to the British Columbia Aviation Museum in Apr-05, external restoration in the original Trans-Canada livery was completed by late 2008.

replaced isle coaches 646/647 college service.

Construction is now underway to replace Lord Nelson Elementary school with a seismically safe and state of the art school, thanks to a provincial investment of $18.4 million. The new school will be built to the Leadership in Energy and Environmental Design Gold standard and will support BC’s new curriculum with modern and open learning spaces. It will include a Neighbourhood Learning Centre and a StrongStart program to support families, children and the community. The third floor will include a 69-space childcare centre, which is being funded by the City of Vancouver. The new school is expected to be ready for students in fall 2018. The Lord Nelson seismic replacement project will also help ensure young people get a chance to learn the trades as it will be built under BC’s Apprentices on Public Projects Policy.

 

Learn more:

Vancouver School District: www.vsb.bc.ca/

 

Seismic Mitigation Program: www2.gov.bc.ca/gov/content/education-training/administrat...

 

Apprentices on Public Projects Policy: www2.gov.bc.ca/gov/content/industry/construction-industry...

 

My new build, AMD Ryzen 1700 based. 16GB DDR4 @3200Mhz.

GPU is R9 380X, soon to be replaced with a Vega 64 Limited edition.

Replaced with a foot bridge, Kilby Bridge Junction

Replacing an earlier scanned photo with a better version 25-Feb-22 (DeNoise AI).

 

First flown in Mar-93 with the Airbus test registration F-WWCH, this aircraft was delivered to Delta Air Lines as N837AB in Jul-93. It was sold to AFS Airbus Financial Services on delivery and leased back to Delta.

 

It was returned to the lessor in Oct-95 and stored at Atlanta, GA, USA. The aircraft was leased to Air Jamaica, still as N837AB, in Apr-96. It returned to AFS with the French Overseas registration F-OIHS in Nov-99 and was leased to Air Maldives a couple of days later.

 

In Feb-00 the aircraft was repossessed by AFS at Dubai, UAE and stored. It was due to be leased to Royal Jordanian Airline and then to Air India but neither lease happened and it was eventually leased to Khalifa Airways, still as F-OIHS, in Dec-00.

 

It was returned to the lessor in Sep-02 and stored at Paris-Orly, France. It remained there until it was ferried to Bordeaux, France in Jun-04, still in full Khalifa livery. The aircraft was leased to CSA Czech Airlines as OK-YAD in Oct-04. It was wet-leased to Air India between Mar-07/Apr-09.

 

The aircraft was returned to AFS as F-WHUR in Jun-10 and sold to Wilmington Trust Company as F-HBOS few days later. It was leased to Blue Line (France) in Jul-10. Unfortunately, they ceased operations in Oct-10, the aircraft returned to the lessor and was stored at Lourdes, France.

 

It remained stored until it was leased to United Airways (Bangladesh) as S2-AFW in Dec-11. United Airways had a very bad name because of numerous technical delays, flight cancellations and poor cabin service.

 

In Sep-14 the airline closed down for three days because of "conflict among its board of directors and a financial crisis". In Oct-14 the aircraft operated a flight to Karachi, Pakistan, developed a technical problem and never left.

 

The aircraft was stored and abandoned. United Airways ceased operations in Mar-16. The aircraft was noted derelict at Karachi in 2017. Updated 25-Feb-22.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 04-Sep-25.

 

This aircraft was delivered to Singapore Airlines as 9V-SYB in Dec-98. It was withdrawn from service and stored at Singapore in Dec-11.

 

It was sold to VEBL-767-300 Ltd as EI-UNP in Mar-12 and leased to Transaero Airlines, Russia in May-12. Transaero ceased operations on 26-Oct-15, the aircraft was returned to the lessor and stored at Teruel, Spain.

 

In Aug-15 the aircraft was to Rossiya - Russian Airlines. It was repainted in Feb-17 in a memorable 'Far Eastern Leopard' special livery with the head and face of a leopard around the nose and forward fuselage.

 

The aircraft was re-registered RA-73282 in Mar-22 after Russia invaded Ukraine. Due to western sanctions the Russian Government re-registered all aircraft owned by western leasing companies.

 

It was withdrawn from service and stored at Moscow-Sheremetyevo the day after it was re-registered in Mar-22, and returned to service in Dec-23. It was withdrawn from service and stored at Moscow-Sheremetyevo again on 05-Jul-25. Possibly due to non-availability of spare parts? Updated 04-Sep-25.

PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO

Vienna, around 1740

Ke 6201/1912

In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.

Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).

Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.

1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.

Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.

 

PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN

Wien, um 1740

Ke 6201/1912

Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.

Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).

Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.

1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.

Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.

 

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

Barlaston Hall was built by architect Sir Robert Taylor for Thomas Mills in 1756-8, to replace the existing manor house that he had acquired through marriage. The hall has a red-brick exterior, and is one of a few of Taylor's buildings which retain his trademark octagonal and diamond glazing in the sash windows.

 

The hall came into the Adderley family in 1816 when Rosamund Mills co-heiress of the Barlaston estate, married Ralph Adderley of Coton Hall, Hanbury, Staffordshire. Their son Ralph Thomas Adderley was High Sheriff of Staffordshire in 1866.

 

Following his death in 1931 the 380-acre (1.5 km2) estate was put up for sale and was bought by the Wedgwood pottery company in 1937, as a site to replace its operation in Etruria a few miles away in an industrial part of Stoke-on-Trent. A new electric pottery and model village for its employees were built in the grounds. From 1945 the hall housed the Wedgwood Memorial College, but when the building was found to contain dry rot, they left and moved elsewhere in the village. Wedgwood continued to maintain the Hall until the late 1960s after which the Hall was vandalised and lead removed from the roof. It also suffered major subsidence due to coal mining. The house had been built across a geological fault, and 4-inch (100 mm) wide cracks had opened in its walls

 

Replacing an earlier scanned photo with a (slightly) better version 28-Jan-21 (apologies for the purple patch... This negative has deteriorated more than others!).

 

Fleet No: "139".

 

First flown with the Fokker test registration PH-EXA, this aircraft was delivered to Fairchild-Hiller (USA) as N287FH in Dec-71 and stored at Woensdrecht, Netherlands. It was sold back to Fokker in Dec-74 and re-registered PH-EXM in May-75.

 

The aircraft was sold to Garuda Indonesia Airlines as PK-GVN in Jun-75. It was sold back to Fokker as PH-EZY in Apr-84 and stored. It was sold to Piedmont Airlines (USA) as N291N in Mar-85. The aircraft was re-registered N459US in Nov-88 ahead of Piedmont's merger into US Air in Aug-89.

 

It was withdrawn from service and stored at Marana, AZ, USA in Apr-93. The aircraft was wet-leased to Canadian Regional Airlines in Sep-93 and was re-registered C-FCRI in Jun-94 and operated on behalf of Inter-Canadian Airlines.

 

It returned to Canadian Regional in Nov-95 and they bought it from US Airways in Jul-99. Canadian Regional became part of Air Canada Regional when Canadian Airlines International was merged into Air Canada in Nov-01. Air Canada Regional was renamed Air Canada Jazz in Mar-02 and the aircraft was permanently retired at Saskatoon, SK, Canada in Nov-02. It was sold to Quest Aviation Holdings in Jul-06 and later broken up.

The C15 was introduced in 1984 to replace the Acadiane. After 21 years of production in 2005 the Berlingo was its successor.

 

I've owned this car till about April 2009. It would't pass the the yearly technical check (MOT, Tüv, CT, APK), due to all kind of small mechanical problems. Although the engine was still perfect, it didn't make sense to put more money it this project. In the end I received only € 135,00 for it.

This striking colour is indeed original. I knew two other yellow C15's in Amsterdam at the time.

I think I took these pics for having plans to put the car for sale.

 

1769cc diesel engine,

905 kg.

Original Dutch license number: Jan. 5, 1993.

It has been exported after I'd sold her.

 

Picture up-load number 10.400.

Amsterdam-N., Schoenerstraat, Dec. 14, 2008.

 

© 2008 Sander Toonen Amsterdam | All Rights Reserved

The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.

 

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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL

  

Heritage Category: Listed Building

 

Grade: I

 

List Entry Number: 1371308

 

National Grid Reference: NU 18685 13574

  

Details

This list entry was subject to a Minor Amendment on 05/10/2011

 

NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330

 

Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School

 

GV I

 

Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.

 

Listing NGR: NU1863413479

  

historicengland.org.uk/listing/the-list/list-entry/137130...

 

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ALNWICK CASTLE

 

Heritage Category: Park and Garden

 

Grade: I

 

List Entry Number: 1001041

 

National Grid Reference: NU1739315366, NU2254414560

  

Details

 

Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.

 

Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).

 

NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.

 

HISTORIC DEVELOPMENT

 

In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.

 

Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).

 

In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).

  

Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.

 

Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.

 

Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.

 

During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.

 

As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.

 

Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.

 

SUMMARY DESCRIPTION

 

Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.

 

The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.

 

To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.

 

A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.

 

Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.

 

The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).

 

The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.

 

The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.

 

Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:

 

Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]

 

Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).

 

Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.

 

The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.

 

The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.

 

REFERENCES

 

Note: There is a wealth of material about this site. The key references are cited below.

 

The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)

 

Description written: August 2000 Resgister Inspector: KC Edited: June 2003

  

historicengland.org.uk/listing/the-list/list-entry/100104...

 

See also:-

 

www.alnwickcastle.com/

 

en.m.wikipedia.org/wiki/Alnwick_Castle

 

Railway Gazette reported on the 16th December 2016 that the leaders of the Liverpool City Region Combined Authority had givene the go-ahead for a £460m project to replace the Merseyrail suburban electric multiple-unit fleet. This includes the selection of Stadler to supply a fleet of 52 trainsets for entry into service from the end of 2020. Contracts are expected to be signed in early 2017.

‘This is a once in a generation opportunity for custom-built trains that will be safer and carry more people more quickly’, said Chair of the combined authority and Mayor of Liverpool Joe Anderson. ‘Unusually, these trains will be owned by us locally, meaning we can make sure the trains are exactly what passengers want and that they are ready for our future plans.’

The project is being financed from a reserve fund which had been established for the purpose, as well as loans which the combined authority is to secure from sources including the European Investment Bank. Transport authority Merseytravel will own the trains and lease them to the operating concessionaire, which will be paid a lower operating fee to account for the expected increase in revenue and lower running costs.

The fleet renewal programme also includes power supply, track, and station upgrades and refurbishment of the Kirkdale and Birkenhead North depots. The reduced journey times and better reliability means the decision has been made to order 52 EMUs to replace the current fleet of 59 trains.

The first EMU is scheduled to be delivered in summer 2019 for several months of testing ahead of the delivery of series-built trains by the end of 2020. A new timetable will be introduced in 2021 once the existing Class 507 and 508 units dating from the 1970s have been withdrawn; the new trains’ better acceleration and braking is expected to enable Hunt’s Cross – Southport journey times to be reduced by 9 min.

The 65 m long four-car EMUs will have the same number of seats as the existing three-car sets, but will be 4 m longer with wide through gangways to provide an increase in standing space. This will increase total capacity per EMU from 303 to 486 passengers.

There will be a mix of airline and facing seats, with more space for bicycles, pushchairs and persons with reduced mobility. The train body will be designed specifically for the Merseyrail network, with lower floors and a sliding step to provide near-level access.

There will be a passenger intercom and CCTV linked to the driver and control room. The doors will be illuminated red, amber and green inside and out to show when they are opening or closing and when it is safe to board and alight.

At 99 tonnes, the EMUs will be lighter than the current 105 tonne trains, and energy consumption is expected to be 20% lower, including regenerative braking; options for energy storage are to be studied.

The 750 V DC third-rail EMUs will be capable of conversion to dual-voltage operation for use on 25 kV 50 Hz lines with a view to serving Skelmersdale, Warrington and Wrexham in the longer term.

The trains will be equipped for driver controlled operation, which the combined authority said was ‘put forward by all bidders’ as way to meet the requirements of a report into a fatal incident in 2011. The driver will be responsible for opening and closing the doors and for train dispatch, eliminating the need for guards. Roving customer service roles will be created, with staff available to assist passengers ‘at key locations and times’. There will be fewer customer service roles than guards positions, and while the combined authority envisages there will be natural wastage over the next four years, it has endorsed proposal to guarantee continued employment for all guards currently permanently employed.

‘In an ideal world we’d like to have a second member of staff on every train to ensure the highest level of customer service, but there aren’t the resources to do that’, said Councillor Liam Robinson, Chair of the Merseytravel Committee. ‘Some guards will have the opportunity to be employed in a new on-board customer service role and others will be able to take advantage of other redeployment opportunities, all on the same terms and conditions as now.’

 

The contract came in slightly over budget (£460m vs target of £400m)

52 units, slightly over the tender requirement of 50 but a reduction from current fleet of 59 (increased reliability and faster journey speeds anticipated to compensate)

65m versus tender specification of 60m to allow doubling up, though that wasn't expected to be normal operating practise just for event strengthening (3m longer than current 62m fleet) and they have significantly higher capacity (60%) from being a wide aisle articulated design.

No mention of earlier proposed fleet extension options, the tender called for 60 options on top of original 50

99 tonnes, 6 tonnes lighter than existing trains and 20% more energy efficient.

DOO but with driver aides such as radar to detect obstructions and people standing too close.

The single doors in the end cars appear to be to allow them to work in multiples without having to extend the platforms. By having a single door in the middle of the car the front and or back could potentially overhang the platform ends to provide a capacity uplift without the additional infrastructure costs.

 

Images- Merseytravel/Stadler.

 

I have never seen the new Superman films and I never will but I really wanted this Ken doll because of his articulated body and really nice face sculpt. So when I got the chance to get one from Amazon I was ecstatic.

 

The cape keeps falling off but I look forward to redressing him and hopefully replacing his hands….

 

Perspective AC electric freight locomotive 2ЭС11 was developed by the Ural Locomotives (Sinara Transport Machines). In contrast to previous modern models of the Malachite family (8800 kW AC electric 2ЭС7 and DC electric 2ЭС10) it slightly less powered (8000 kW) but has electrical equipment including power inverters on IGBTs and asynchronous traction motors all made in Russia that replaced ceased components produced by Siemens.

  

Great Sampford, Essex

 

The beautiful church of St Michael the Archangel at Great Sampford is not the first church to stand on the rising ground at the centre of the village overlooking the cornfields along the valley of the river Pant. It is possibly sited on an ancient place of cult or religious significance. The proximity of the Stow farm may be of some importance, for the word ‘Stow’ in Old English can mean a ‘holy place’ or ‘place of assembly’. A pre-Conquest church, presumably of timber and thatch construction, followed perhaps, by a simple stone-built church, was replaced by the 13c on the same site by a major church building of which one of the transepts remains as the vestry of the present church which was built between 1320 and 1350. The original dedication of the church, if different, is not known as the first documentary reference to St Michael occurs as late as 1540 in a Sampford will. Dedications were sometimes changed and the use of the proper style, St. Michael the Archangel, is in fact quite rare. However, dedications to St. Michael or St. Michael and All Angels are numerous and were popular as the Archangel is an important figure in Christian tradition and art, symbolising the victory of God over evil, as an intercessor for the sick and as a leader of the Church militant. Churches dedicated to him, as at Great Sampford, are often found on hill—top sites or on high ground .a possible allusion to St. Michael’s pre-eminence in the Angelic Host of Christian belief. His Feast Day is 29th September.

 

Knowledge of the origins of the Christian Church in Essex relies largely on the fragile but growing evidence of archaeology and landscape interpretation. An ill-defined and mobile pattern of contemporaneous pagan and early Christian practices in the Roman era comes into historical focus with the missionary endeavours of the Roman and Celtic Churches when such names as Augustine, Mellitus and Cedd are prominent in Essex history. Within that tradition there are various, as yet unproven, theories about the establishment of a church at Great Sampford.

 

On entering the church the first impression that the visitor receives is of its elegant dignity; the next, the incongruence of its scale in such a tiny rural community. An interesting aspect of this enigma is the search for a convincing explanation of its status, from the mid-13c until 1907, as a deanery church serving twenty-one surrounding parishes in the Freshwell Hundred and in part of Uttlesford. It may have been a consequence of an early ‘minster’ (i.e.: missionary) role or as the result of a parochial compromise in an area with more important communities such as (Saffron) Walden. We do not know. However, it is a fact that the missionary work of the early minsters often extended to and beyond the boundaries of the administrative hundreds and became the sites of the hundredal centres themselves. There may well be historic linkages, not yet understood, between the Freshwell and Uttlesford Hundreds and the Sampford Deanery that relate to the early status of the church at Great Sampford.

 

The earliest historical fact about St. Michael’s is the grant by William Rufus, son and successor of William the Conqueror, of the church at Sampford along with the subordinate chapel at Hempstead with their lands and tithes to Battle Abbey in 1094. According to Philip Morant, the most famous of Essex historians, this was a formal confirmation of the Conqueror's original royal grant. This act of confirmation was a necessary and regular practice in regard to the efficacy of grants and early charters which were frequently forged. The church at Hempstead was within the jurisdiction of the vicar of Great Sampford until as late as 1979. Great Sampford remained in the hands of Battle Abbey until the Dissolution of the Monasteries in 1539 when it was transferred to the Dean and Chapter of Canterbury. In 1836 it passed to the newly-established Church Commissioners. In 1982 Great Sampford was combined with the parish of Little Sampford.

 

For perhaps a thousand years, even more, the Church at Sampford pursued its mission and, like others of medieval foundation, did not escape the consequences of religious, political and parochial events or circumstances. An astonishing flowering of spiritual faith and social commitment led to the building and re-building of these lovely churches. This phase was followed by the painful disruption of the Reformation, the Commonwealth and the Restoration, all of which led to anxious change and despoliation. In the course of these events much of the magnificence of the church at Great Sampford and its furnishings was lost or abandoned. All his was compounded by periods of neglect and the chronic problems of maintaining a great building in a small village bereft of wealthy resident patrons.

 

The loss, confiscation or sale of the rood, images, church plate and "such other goods as could be spared" was mirrored by decay of the fabric as is evident from the Parochial Inventories and Visitations of the l6c and l7c. The l7c saw the introduction of new arrangements for the railing of the Lord’s Table and seating for the congregation, a school was held in the south transept and the village musicians performed in a gallery under the tower. The inevitable ‘restorations’ by the Victorians led to the removal of furnishings, the installation of new pews, patterned floor tiling and the stripping of the stucco from the exterior walls of the church to expose the original flint and rubble surfaces. In more recent times the spiral staircase in the tower was removed and the roof structure of the south aisle replaced. We are, fortunately, left with a church of beauty and distinction.

 

It is hoped that the following brief notes on the architectural features and minor objects and details of interest in the church will help visitors to enjoy their visit.

  

The significance of St. Michael the Archangel in the village scene is apparent from the scale of the building, its strong profiles and conspicuous English Gothic idiom of the Decorated period. Internally, the major architectural theme is that of a restrained, uncomplicated elegance that is enhanced by the ample light admitted by plain glass windows. A dominant feature is the fine range of trefoiled, cinquefoiled and sexfoiled lights of the nave, chancel and aisle windows all dating from the period c. 1320-50. The cusped tracery of the windows is complemented by the symmetrical refinement of the arcading which is only lightly embellished by mouldings and carved capitals, typical of the period, and among the best in the county. Although not devoid of interesting detail, there is nothing to detract from the simple elegance and spatial qualities with which the fenestration and graceful arcading endow this fine building.

 

In 1769 Peter Muilman referred to the church at Great Sampford which "stands pleasantly on a small eminence by the roadside". Pleasantly indeed, the church is handsomely set in the Essex cornfields and seen to advantage from the high ground on the opposite side of the river. Close to, the sturdy profiles and somewhat severe external textures, relieved by some decorative areas of knapped flint flushwork, offer little hint of the quality of its Gothic interior. The main structure is built with random-faced flint and rubble set in lime mortar with limestone and clunch dressings. The roof is tiled and slated. The prominent west tower was built in the mid-l4c and, like the south aisle, has an embattled parapet. The south porch is of the same period. Unhappily, the window tracery of the 13c transept has been lost and is now disfigured by brickwork of two phases which seem to date from the late-18c to early-19c. Conspicuous in the churchyard are the fine lime trees planted in about 1835. The only monument of significance is the obelisk near the east wall of the churchyard which commemorates members of the Watson Family of Sampford. Colonel Jonas Watson was a distinguished soldier who was killed in action at the siege of Cartagena in 1741. But spare a moment to look at the adjacent grave stone of William Ruffle who died in 1881, a village worthy who served Great Sampford as shopkeeper, constable, clerk and in other public offices for over half a century.

 

External details of note are a rare series of consecration crosses of varying designs around the church, an early scratch dial, now displaced and seen on a doorstep in the north wall, a benchmark and the slot for the surveyor’s bench on the south-west buttress of the tower and miscellaneous graffiti mainly in the porch. Other details of interest include the rainwater heads, the vigorous carvings on the label of the south transept and niches in the south transept and the north and west walls. The clock on the church tower was installed in l9ll to mark the coronation of King George V.

 

On entering, visitors will appreciate the impressive dimensions and architectural refinement of this handsome village church. Standing in the centre of the nave the dominant curvilinear idiom of the Gothic styling will be apparent. The nave is flanked by north and south arcaded aisles with plain two-centred arches datable to the l4c. The piers of the north arcade are quatrefoil in plan with slender engaged shafting; those of the south arcade are octagonal in plan. All of the piers have moulded bases and capitals.

 

The 14c west tower is constructed in four stages. Internally it is open to the nave under a two-centred moulded arch. There is access to the belfry but, sadly, the brick-built circular Tudor staircase was removed about fifty years ago. The carved head of a woman recovered from this staircase, although it presumably originated from elsewhere in the church, can be seen in the vestry. But the finest aspects of this church are to be seen in the early chancel which is remarkable for its size and the splendour of its architectural expression. It dates from the first decades of the l4c. This fine chancel is framed by an exceptionally large east window of five cinquefoiled lights, the curvilinear bar tracery and verticality of which enhance the powerful impact of this aspect of the building. Most interesting, and presumably deriving from the deanery status of the church, there is a series on the north and south walls of twenty-one stalls recessed under a canopied arcade with mouldings and cusping. At the east end of the south arcade there are the piscina and sedilia. The chancel arch, of the same period and sprung from the capitals of clustered shafts, shows residual traces, near the base on either side of the step, of a former stone screen which is possibly significant in view of the rare stone screens in the nearby churches of Stebbing and Great Bardfield. Note also the small blocked low window by the north side of the arch. The panels behind the altar on which the Creed, Lords Prayer and Commandments are painted were made in 1837 for the church at Danbury and brought to Great Sampford in 1894.

 

The vestry, formerly a chapel, is of great interest as a surviving major element of the previous church of the late - 13c (however when I visited this was locked). In the east wall there are good coupled windows of two trefoiled lights with two quatrefoil and sexfoil circular openings, interesting examples of pierced plate-tracery. The large brick-filled window in the south wall is of the mid-13c with good mouldings and the surviving arch and shafting in the splays. Below this window, fragments of medieval glass were found buried in the ground outside. The contemporary archway in the west wall has some intriguing carved capitals richly adorned with robust oak-leaf foliage and vibrant figures including an owl, snail, pig and a human face in a good state of preservation. One is assumed to be a representation of a ‘Green Man’ a symbolic figure of English folklore. The north wall has four quatrefoil openings. There is, under the south window, a triple gabled recess with crockets and linear moulding, pinnacles and a neat acanthus motif which was probably once a fine tomb of an important local family, perhaps a member of the de Kemesek family. It is said to have served as a fireplace in the time when the vestry housed the village school! The battened and studded oak door leading into the chancel is 16c.

 

The open church roof structures are well worth close study. The best is in the vestry which is roofed with twelve pairs of collared scissor-braced trusses supporting the steep-pitched rafters on moulded wall plates. The chancel roof is also of trussed-rafter construction of seven cants, as is that of the nave roof which also has three tie-beams which may have been installed at a later date, perhaps when, as we know from church records, the roof was repaired in the 16c. The lean-to roof of the north aisle is attractively braced with graceful curved members sprung from a good moulded wall-plate. Unfortunately, the original roof of the south aisle has been replaced by a modern structure, but three of the amusing stone corbels which supported it remain. The trussed-rafter roof of the south porch with seven cants should be noted as it rests on extremely fine early moulded plates. Visitors should not miss the intriguing carved medieval wooden head which is fastened onto the wall above the chancel arch at the north-west corner facing the nave. This appears to have been repositioned, perhaps from a figure that was once part of church statuary. On the south side in the clerestory will be seen an attractive 15c Perpendicular style rectilinear and cinquefoiled window of three ogee lights which was devised to throw light onto the former rood.

 

Originally the church would have been resplendent with a comprehensive range of wall paintings for visual instruction depicting scenes of biblical or religious significance. A few fragments survive, having been discovered during restoration work in 1979, above the arches on the walls of the north arcade. Although faint and incomplete the two remaining paintings are of interest. One represents the seven deadly sins in the form of a diagrammatic tree which is comparatively rare. The other may be of St. Christopher, a saintly figure normally positioned, as possibly here, opposite the church entrance as a reassuring gesture to the worshippers. There are traces, too, possibly of another period, that suggest a dragon was depicted which would imply an association with St. Michael to whom the church is dedicated or, possibly, St. Margaret. Traces of colour in the wall plaster of the vestry may eventually yield further paintings.

 

Worthy of note are some special features beginning with the door at the church entrance. This is thought to be contemporary with the building of the church in the early l4c and, although damaged at the base, is still a fine example and retains the original wrought iron strap-work and studding. According to expert opinion it is the most elaborate of all saltire-braced doors in Essex. The boards of which it is constructed are pegged together. The font in the south aisle has a plain moulded octagonal bowl of the 15c. Its stem is earlier and has complex decoration which combines ogee-headed panels with intricate tracery on a chamfered 14c plinth. The Victorian pews were recently detached and the nave flooring paved. The beautiful series of kneelers worked with flower motifs were recently embroidered by local people. The lovely embroidered runner on the step of the sanctuary was made in 1990 and is an exact copy of the Victorian runner it replaced.

 

It is valid to observe that St. Michael’s benefits aesthetically from the absence of monumental clutter which, although sometimes historically useful, can be detrimental to the architectural purity of the building as a whole. The only remaining monuments of antiquity in the church are the tomb slabs (Calthorp and Burrows) of the 17c and 18c in the chance]. They commemorate a family whose name persists at a local farm and another of textile merchants who lived opposite the church. There is another (Gretton) in the south aisle. The pulpit, the provenance of which is unknown, is Victorian. There are also a few notable pieces of furniture. These include a 17c desk with a writing slope and cupboard which once served the school in the church. There is also a standing cupboard or hutch of the late 16c and a 16c church chest, iron-banded with strap hinges and an interior ‘till’ which may have been built-in as a response to a Parochial Visitation of 1686 which ordered it to be provided and lockable. The modern portable altar at the east end of the north aisle was given to the church by an anonymous donor in 1991. The small bronze of the Madonna and Child is of German provenance.

 

The five church bells which were once rung for church services as well as for special village occasions like harvest and gleaning can no longer be pealed. This is because of structural weaknesses in the belfry though they are still hung on the original stocks. Nowadays one is chimed for church services, as a Sanctus bell and used to ring the hours for the clock. The first, third and fourth bells were cast by William Land in 1624; the second (which bears the Royal Arms and a medallion with a bust of Charles II) by Henry Yaxley in 1684; the fifth by John Hodson in 1664. The church plate includes an interesting early Elizabethan silver cup of 1562 with a paten cover of c1567 and another paten dated 1630. None of these is inscribed although they carry makers' marks. An electro-plated flagon of 1854 was purchased by the vicar for five guineas in 1856. The organ, installed in 1976, is said to have come from a nonconformist chapel and to have been built in c1830 by G.M. Holdich. The eagle lectern in the south aisle was placed in the church in 1909 as a tribute to the incumbency of the Rev. Robert Eustace, vicar from 1850 to 1905.

 

Almost every ancient church has a range, most of which cannot be satisfactorily explained, of markings and graffiti, ostensibly symbolic figuring, idle scratchings and numerous initials and dates. Great Sampford has a generous quota of such. Of genuine interest is a 3-men’s (or 9-men's) Morris cut into the second stall on the north side of the chancel inside the altar rail. These are gaming boards of some antiquity, the play having affinities with ludo and allegedly used to relieve the boredom of long sermons or tedious ritual. On the opposite side one of the sedilia has a set of unexplained grooves, possibly another game.

 

This guide has so far been concerned mostly with events, architecture and objects of beauty or interest. More important are the people, clergy, church officers and villagers who have worked for and worshipped in the church. They all emerge from the obscurity of the past through the church records and the village archives as personalities or in human situations which help us to share their hopes, commitment or despair. The clergy, ever since Thomas de Sampford, dean in 1163, have served the church and ministered to the people throughout the ages and struggled with the traumas of turbulent and anxious times. The churchwardens, like Richard Petytt and John Mylner in the l6c and their successors, have striven to preserve the church from decay and neglect and carried out their onerous and multifarious duties with devotion if not always with alacrity. There have been too the countless parishioners whose recurring family names fill the registers recording the joy of marriage and birth and the sadness of illness and death. They are all part of the story and the reality of the church and its life in the village. They too were familiar with the building we admire. They sat in the pews and looked upon the beauty that is now our heritage. Their responsibility has passed to successive generations, and now to us. We hope that they would have approved of this little booklet and that it will play its part in safeguarding the continuity of that inheritance.

South Burlington School District #24. Retired. Replaced by a 2014 Chevrolet Starcraft Quest for the 2013-2014 school year.

POPULATION 1841 405 / 1851 695 / 1861 1,701 / 1871 5,896 / 1881 16,859 / 1891 59,762 /

1911 78,674 / 1921 91,761 / 1931 116,803 / 1939 144,451 / 1951 154,956 / 1961 155,620 /

1971 153,425 / 1981 144,803 / 1991 151,303 / 2001 163,444

 

This image was taken from the centre of The Square looking over towards Old Christchurch Rd and Gervis Place.

 

Place your cursor over parts of the image to reveal further information.

  

A very potted history of The Square.........

 

The Square is where seven roads leading to and from all parts of the borough converge. Although not geographically at the centre of town it is at the heart of what is known as the Town Centre.

The seven roads are.....Old Christchurch Rd ,Gervis Place, Exeter Rd, Commercial Rd, Avenue Rd, Bourne Ave and Richmond Hill.

 

Two hundred years ago and beyond it was the point at which the Bourne stream was crossed, by way of a ford, by those travelling over the unspoilt heath that lay between Christchurch and Poole.

The area was frequented by smugglers who carried out their illegal goings on along this isolated section of coast through much of the 1700s and early 1800s.

From the mid 1700s a small property, Bourne House / Decoy Pond Cottage stood where Debenhams now stands, with an associated decoy pond, used for hunting and trapping wildfowl, being created along the Bourne stream where the War Memorial now stands in the Central Pleasure Gardens.

  

The Square has undergone a number of facelifts in the last 200 years since Bournemouth was officially founded in 1810 by Lewis Tregonwell. The ford was replaced by a wooden bridge in the late 1830s, then a stone one in 1849. Over time the bridge was replaced and the area enlarged resulting in the stream running underground as it flowed from the Central Pleasure Gardens into the Lower Pleasure Gardens on its way to the sea, meaning it can be crossed by thousands of people every day without anyone having to get their feet wet.

 

Not suprisingly the area was known as The Bridge but became known as The Square from the mid 1850s.

 

In 1899 a roundabout with a tall lamp post was created in the centre of The Square which survived until around WW1 when a plain oval 'roundabout', minus the lamp post, replaced it.

In 1925 a Captain Norton donated a shelter cum waiting room, adorned by a clock, that was used by tram and trolleybus passengers until 1948, when it was replaced by a large roundabout in the middle of which stood a tall pedestal with the clock from the shelter ontop.

In 1992 The Square was semi-pedestrianised with a path created across the roundabout to link the two sides, with the opening of the fully pedestrianised Square, complete with a pebble mosaic, Millenium Flame and Obscura Cafe coming in February 2000.

  

FURTHER INFORMATION ON THE ABOVE IMAGE.

 

A.

The original St Andrews Church was built from corrugated iron sheet over a wooden frame on this site in 1857, and was known as the Scotch Church. This method of construction was a relatively cheap and cheerful way of providing a variety of community buildings such as churches, scout huts and village halls, popular in Victorian times.

It was replaced by this stone building in 1872.

 

In 1888 Central Chambers, that housed the Mansion Hotel was built, which became the Empress Hotel in 1906.

Various commercial premises occupied the ground floor, most notably the Cadena Cafe, part of a national chain.

 

In 1930 the Cadena Cafe was replaced by the National and Provincial Bank who expanded their premises from next door, which they had occupied since 1879.

In 1968, after a merger, the bank became the National Westminster Bank [ Nat West ], who still occupy the buildings today.

 

The Empress Hotel closed in 1953, with the name transferring to the Osborne Hotel on Exeter Rd.

 

B.

 

This National and Provincial Bank building was built in 1879.

It was where the small wooden hut that was Robert Day's photographic studio stood from the early 1860s.

Day took many of the early images of Bournemouth.

 

The National and Provincial Bank expanded into the neighbouring Central Chambers in 1930, replacing the Cadena Cafe.

In 1968, as a result of a merger, it became the National Westminster Bank who still occupy the premises today.

 

C.

This building dates from 1881 and replaced Beckford House which was built in 1848 as the home of George Fox who originally rented the nearby Tregonwell Arms from Mrs Tregonwell in 1837, before purchasing it in 1840.

 

The pub also became the town's first post office in 1839, a function that later transferred to Beckford House.

 

The above building was replaced by the present one in 1963, and has been home to the 'Alliance and Leicester', now Santander, ever since.

 

D.

Rebbeck's Corner at the junction of Old Christchurch Rd and Gervis Place.

William Rebbeck came to Bournemouth in the 1830s as estate agent to the 'Bourne Tregonwell' estate.

 

In 1851, Rebbeck's small single storey office was built here and had an extra floor added in 1873.

The building directly behind is Gervis Villa, the Rebbeck family home.

In 1887 the office and the villa were replaced by a much larger Rebbeck's building which they occupied until 1934 when they moved to their new premises, next door to what is today the Moon In The Square pub, where they still trade as Rebbeck Brothers, although there is no longer any family involvement.

Their former premises were replaced by the current building, a shop, in 1936.

It was a Dolcis shoe shop for years and is a T Mobile store in 2011.

 

E.

The Lower Pleasure Gardens were formally laid out in 1873 after several years spent draining and preparing the land.

A relatively small area had been enclosed in 1849, opposite the Westover Villas that stood on Westover Rd where a path through the pine trees was created and called Invalids Walk. Later renamed Pine Walk it is still used today.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 25-Jul-24.

 

Named: "St. Ronan / Ronan".

 

This aircraft was delivered to ILFC International Lease Finance Corporation and leased to Aer Lingus as EI-CDH in Apr-92. It operated Aer Lingus' last Boeing 737-500 service at the end of Oct-05.

 

It was returned to the lessor in Jan-06 and leased to Pulkovo Airlines (Russia), still as EI-CDH, the same day. The aircraft was returned to the lessor in Dec-08 and stored at Southend, UK.

 

Pulkovo Airlines was re-named Rossiya - Russian Airlines and the aircraft was re-leased to them in May-09. It was returned to the lessor in Nov-12 and stored at Vilnius, Lithuania.

 

In Jan-13 it was sold to AviaAm Leasing as LY-AYZ (Lithuania) and remained stored. It was leased to SCAT Airlines (Kazakhstan) in Jun-13, still as LY-AYZ. The aircraft was re-registered UN-B3724 in Aug-18. After 32 years in service it was permanently retired at Almaty, Kazakhstan in Jan-24. Updated 25-Jul-24.

Replaced the tortoise shell with a Bakelite pickguard. Looks. . ."rigjht" to me.

replaced with the full resolution image!

 

Testshot with f/1.4

the mirror in the middle is used to align the camera perfect vertically to the paper/wall

I hate the way cellphones are replacing everything from our everyday, stationaries, watches, privacy...then again, m.facebook.com nullifies everything I ever claimed/stated :)

 

Banglamotor Traffic Crossing, cozily lit Navana Real Estate Adverts

 

SOOC

by Brooke Shaden

www.inspiritum.org/brooke-shaden.html#.UcCRt-eePTo

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 06-Apr-25.

 

Named: "Stuttgart".

 

Built as a Boeing 747-200B 'Combi' with a side cargo door, the aircraft was first flown in Nov-86 with the Boeing test registration N6038E. It was delivered to Lufthansa as D-ABZE in Jan-87. It was withdrawn from service and stored at Marana, AZ, USA in May-03.

 

The aircraft was wet-leased to Air Pullmantur (Spain) in Jul-03. The wet-lease became a dry-lease in Jan-04 when the aircraft was re-registered EC-IUA. It was returned to Lufthansa Leasing GmbH in early 2005 and stored at Marana again.

 

In Dec-05 it was leased to Air Universal (Mauritania) as 5T-AUE and returned to Lufthansa Leasing in Oct-06 when it was leased to Hellenic Imperial Airways as SX-DIE. It was wet-leased to Libyan Airlines in Jun-07 and returned to Hellenic Imperial in Apr-08 when it was re-registered SX-TIE.

 

Hellenic Imperial's AOC was cancelled by the Greek CAA in Nov-08 for three months. The aircraft was stored at Athens and eventually returned to service in May-09. It was wet-leased to Med-View Airlines (Nigeria) in Oct-09 for a Haj Pilgrimage and returned to Hellenic Imperial in Dec-09.

 

After a scheduled service to Karachi, Pakistan in Oct-11, the Pakistan Authorities declared the aircraft 'not airworthy' and it was grounded and stored at Karachi.

 

Hellenic Imperial stopped their few scheduled services the following day and operated charter flights until mid 2012 when they 'suspended operations'. SX-TIE was last noted still stored at Karachi in Jan-14. Updated, 27-Jul-22.