Rathfarnham Castle on a sunnier day.

Origins:

The earlier Anglo-Norman castle which was replaced by the present building was built on lands which were confiscated from the Eustace family of Baltinglass because of their involvement in the Second Desmond Rebellion. It defended the Pale from the Irish clans in the nearby Wicklow Mountains. It is believed the present castle was built around 1583 for Yorkshireman, Adam Loftus, then Lord Chancellor of Ireland and Protestant Archbishop of Dublin. Originally a semi-fortified and battlemented structure, extensive alterations in the 18th century give it the appearance of a Georgian house.

The castle consisted of a square building four stories high with a projecting tower at each corner, the walls of which were an average of 5 feet (1.5 m) thick. On the ground level are two vaulted apartments divided by a wall nearly 10 feet (3.0 m) thick which rises to the full height of the castle. On a level with the entrance hall are the 18th century reception rooms and above this floor the former ballroom, later converted into a chapel.

Rathfarnham was described as a "waste village" when Loftus bought it. His new castle was not long built when in 1600 it had to withstand an attack by the Wicklow clans during the Nine Years War (Ireland).

Civil war:

Archbishop Loftus left the castle to his son, Dudley and it then passed to his son Adam in 1616. During Adam's ownership, the castle came under siege in the 1641 rebellion. It was able to hold out against the Confederate army when the surrounding country was overrun. Adam Loftus opposed the treaty of cessation in order the stop the fighting between the Irish Confederates and the English Royalists. Consequently, he was imprisoned in Dublin Castle.

During the subsequent Irish Confederate Wars (1641-53), the castle changed hands several times. From 1641 to 1647, it was garrisoned by English Royalist troops. In 1647, Ormonde, commander of the Royalists in Ireland, surrendered Dublin to the English Parliament and Parliamentary troops were stationed at the castle until 1649 when a few days before the Battle of Rathmines, the castle was stormed and taken without a fight by the Royalists. However, the Roundheads re-occupied it after their victory at the Battle of Rathmines. It has also been reported that Oliver Cromwell held council there during his campaign in Ireland before going south to besiege Wexford. Adam Loftus, who recovered his castle and lands under Cromwell, sided with the Parliamentarians and was killed at the Siege of Limerick in 1651.

After the English Civil War, the Loftus family retained ownership of the castle. In 1659, Dr. Dudley Loftus, great grandson of Archbishop Loftus, took over the castle. During his lifetime, Dudley held the posts of Commissioner of Revenue, Judge Admiralty, Master in Chancery, MP for Kildare and Wicklow and MP for Bannow and Fethard. His body is interred at St. Patrick's Cathedral.

The eighteenth century:

The property then passed by marriage to Philip Wharton. The young man lost his money in the South Sea Bubble and in 1723 the castle was sold to the Right Hon. William Connolly, speaker of the Irish House of Commons for £62,000. In 1742, the castle was sold to Dr. Hoadly, Archbishop of Armagh, and on his death four years later it passed to his son-in-law Bellingham Boyle. In 1767, he sold the property to Nicholas Hume-Loftus, second Earl of Ely, a descendant of Adam Loftus, the original builder of the castle.

The castle in 1774

Nicholas died within a few years, probably as an indirect result of great hardships which he had suffered in his youth, and the estate passed to his uncle, Hon. Henry Loftus, who was created Earl of Ely in 1771. In commemoration of regaining ownership, the Loftus family constructed another entrance for the castle in the form of a Roman Triumphal Arch. The arch can still be viewed from nearby Dodder Park Road. Henry Loftus, Earl of Ely was responsible for much of the conversion of the medieval fortress into a Georgian mansion and employed renowned architects Sir William Chambers and James 'Athenian' Stuart to carry out these works. The mullioned windows were enlarged and the battlements replaced by a coping with ornamental urns. A semi-circular extension was added to the east side and an entrance porch approached by steps, on the north. The interior was decorated in accordance with the tastes of the period and leading artists, including Angelica Kauffmann were employed in the work. Writers of the period who visited the house have left extravagant descriptions of its splendour.

Henry died in 1783 and was succeeded by his nephew Charles Tottenham. He subsequently became Marquess of Ely as a reward for his vote at the time of the Union.

The nineteenth and twentieth centuries:

In 1812, the family leased the estate to the Ropers and removed their valuable possessions to Loftus Hall in Wexford. The lands and castle were then used for dairy farming and fell into disrepair. To quote a contemporary account from 1838: "Crossing the Dodder by a ford, and proceeding along its southern bank towards Rathfarnham, a splendid gateway at left, accounted among the best productions of that species of architecture in Ireland, invites the tourist to explore the once beautiful grounds of Rathfarnham Castle, but they are now all eloquently waste, the undulating hills covered with rank herbage, the rivulet stagnant and sedgy, the walks scarce traceable, the ice-houses open to the prying sun, the fish-pond clogged with weeds, while the mouldering architecture of the castle, and the crumbling, unsightly offices in its immediate vicinity,…The castle, so long the residence of the Loftus family, and still the property of the Marquis of Ely, subject, however, to a small chief rent to Mr. Conolly, is an extensive fabric,.....The great hall is entered from a terrace, by a portico of eight Doric columns, which support a dome, painted in fresco with the signs of the Zodiac and other devices. This room was ornamented with antique and modern busts, placed on pedestals of variegated marble, and has three windows of stained gloss, in one of which is an escutcheon of the Loftus arms, with quarterings finely executed. Several other apartments exhibited considerable splendour of arrangement, and contained, until lately, numerous family portraits, and a valuable collection of paintings by ancient masters. But, when it is mentioned, that this structure has been for years a public dairy, and the grounds to the extent of 300 acres (1.2 km2) converted to its uses, some notion may be formed of their altered condition.

In 1852 it was bought by the Lord Chancellor, Francis Blackburne whose family resided there for three generations. The property developers Bailey & Gibson acquired the castle in 1912 and divided up the estate. The eastern part became the Castle Golf Club, the castle and the southwestern portion were bought in 1913 by the Jesuit Order and the northwestern part was devoted to housing.

The Jesuits are an order renowned for their education and one of them; Father O'Leary S.J. constructed a seismograph. This machine could detect earth tremors and earthquakes from anywhere in the world and for a time, Rathfarnham Castle became a source of earthquake information for the national media.

To the north of the castle was a long vaulted chamber formerly known as Cromwell’s Court or Fort. This was apparently a barn or storehouse erected as part of the castle farm and had narrow loopholes in its 5-foot (1.5 m) thick walls. In 1922, it was incorporated into the new retreat house, to which it formed the ground story and its character concealed from the outside by a uniform covering of cement plaster.

Not far from the Golf Club House was an attractive little temple built of stone and brick, another relic of Lord Ely’s occupation of Rathfarnham. Although rather out of repair, if restored, it would have added much to the charm of this part of the links. Unfortunately, by decision of the committee, it was demolished in 1979.

In 1986, the Jesuits sold Rathfarnham Castle but before leaving, they removed the stained glass windows, made in the famous Harry Clarke studios, from the chapel and donated them to Tullamore Catholic Church which had been destroyed by fire in 1983. The other windows were donated to Our Lady's Hospice, Harold's Cross and Temple Street Children's Hospital, Dublin.

Preservation:

The castle was sold to Delaware Properties in 1985 and it was feared that it was facing demolition. After immense public pressure to save the building, it was purchased by the state in 1987 and was declared a National Monument. Currently, by the Office of Public Works, there is an extensive refurbishment going through the castle but it is still open to the public during the summer months (5th May - 12th October). The Castle is presented as a castle undergoing active conservation, where visitors can see, at first hand, tantalising glimpses of layers of its earlier existence uncovered during research.

WashTec SoftCare Pro Classic in white/yellow "Shell Design" with red SofTecs brushes installed in 2016, replacing a WashTec SoftCare Pro

Video - youtu.be/7E3GGgg5hnw

• Operator •

Shell

• Supplier •

WashTec UK

• Address •

Shell Petrol Station

Hitchin Road

Luton

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England

Car Wash replaced in 2026 with a brand new Karcher CW5

flic.kr/p/2rTECYQ

Hmmm. Just noticed my toes are sticking out. May be time to replace 'em.

White-bellied Sea Eagle - Panorama

The white-bellied sea eagle (Haliaeetus leucogaster), also known as the white-breasted sea eagle, is a large diurnal bird of prey in the family Accipitridae. Originally described by Johann Friedrich Gmelin in 1788, it is closely related to Sanford's sea eagle of the Solomon Islands, and the two are considered a superspecies. A distinctive bird, the adult white-bellied sea eagle has a white head, breast, under-wing coverts and tail. The upper parts are grey and the black under-wing flight feathers contrast with the white coverts. The tail is short and wedge-shaped as in all Haliaeetus species. Like many raptors, the female is slightly larger than the male, and can measure up to 90 cm (35 in) long with a wingspan of up to 2.2 m (7.2 ft), and weigh 4.5 kg (9.9 lb). Immature birds have brown plumage, which is gradually replaced by white until the age of five or six years. The call is a loud goose-like honking.

Resident from India and Sri Lanka through Southeast Asia to Australia on coasts and major waterways, the white-bellied sea eagle breeds and hunts near water, and fish form around half of its diet. Opportunistic, it consumes carrion and a wide variety of animals. Although rated as Least Concern globally, it has declined in parts of southeast Asia such as Thailand, and southeastern Australia. It is ranked as Threatened in Victoria and Vulnerable in South Australia and Tasmania. Human disturbance to its habitat is the main threat, both from direct human activity near nests which impacts on breeding success, and from removal of suitable trees for nesting. The white-bellied sea eagle is revered by indigenous people in many parts of Australia, and is the subject of various folk tales throughout its range.

The white-bellied sea eagle has a white head, rump and underparts, and dark or slate-grey back and wings. In flight, the black flight feathers on the wings are easily seen when the bird is viewed from below. The large, hooked bill is a leaden blue-grey with a darker tip, and the irides are dark brown. The cere is also lead grey. The legs and feet are yellow or grey, with long black talons (claws). Unlike those of eagles of the genus Aquila, the legs are not feathered. The sexes are similar. Males are 66–80 cm (26–31 in) long and weigh 1.8–3 kg (4.0–6.6 lb). Females are slightly larger, at 80–90 cm (31–35 in) and 2.5–4.5 kg (5.5–9.9 lb). The wingspan ranges from 1.78 to 2.2 m (5.8 to 7.2 ft). A 2004 study on 37 birds from Australia and Papua New Guinea (3 °S to 50 °S) found that birds could be sexed reliably on size, and that birds from latitudes further south were larger than those from the north. There is no seasonal variation in plumage. The moulting pattern of the white-bellied sea eagle is poorly known. It appears to take longer than a year to complete, and can be interrupted and later resumed from the point of interruption.

The wings are modified when gliding so that they rise from the body at an angle, but are closer to horizontal further along the wingspan. In silhouette, the comparatively long neck, head and beak stick out from the front almost as far as the tail does behind. For active flight, the white-bellied sea eagle alternates strong deep wing-beats with short periods of gliding.

A young white-bellied sea eagle in its first year is predominantly brown, with pale cream-streaked plumage on their head, neck, nape and rump areas. The plumage becomes more infiltrated with white until it acquires the complete adult plumage by the fourth or fifth year. The species breeds from around six years of age onwards. The lifespan is thought to be around 30 years.

The loud goose-like honking call is a familiar sound, particularly during the breeding season; pairs often honk in unison, and often carry on for some time when perched. The male's call is higher-pitched and more rapid than that of the female. Australian naturalist David Fleay observed that the call is among the loudest and furthest-carrying of all Australian bird calls, in stark contrast to the relatively quiet calls of the wedge-tailed eagle.

Adult white-bellied sea eagles are unmistakable and unlikely to be confused with any other bird. Immature birds can be confused with wedge-tailed eagles. However, the plumage of the latter is darker, the tail longer, and the legs feathered. They might also be confused with the black-breasted buzzard (Hamirostra melanosternon), but this species is much smaller, has white patches on the wings, and has a more undulating flight. In India, the Egyptian vulture has white plumage, but is smaller and has a whiter back and wings. The white tail of the white-bellied sea eagle in flight distinguishes it from other species of large eagles. In the Philippines, it can be confused with the Philippine eagle, which can be distinguished by its crest; immature white-bellied sea eagles resemble immature grey-headed fish eagles, but can be identified by their more wholly dark brown underparts and flight feathers, and wedge-shaped tail.

The white-bellied sea eagle is found regularly from Mumbai (sometimes north to Gujarat, and in the past in the Lakshadweep Islands) eastwards in India, Bangladesh, and Sri Lanka in southern Asia, through all of coastal Southeast Asia including Burma, Thailand, Malaysia, Indonesia, Indochina, the main and offshore islands of the Philippines, and southern China including Hong Kong, Hainan and Fuzhou, eastwards through New Guinea and the Bismarck Archipelago, and Australia. In the northern Solomons it is restricted to Nissan Island, and replaced elsewhere by Sanford's sea eagle. In Victoria, where it is otherwise scarce, it is locally more common at Corner Inlet and Gippsland Lakes. Similarly in South Australia, it is most abundant along the north coast of Kangaroo Island. The range extends to the islands of Bass Strait and Tasmania, and it is thought able to move between the islands and the mainland. There is one unconfirmed record from Lord Howe Island and several from New Zealand.

They are a common sight in coastal areas, but may also be seen well inland (It is reportedly seen at the Panna Tiger Reserve in central India, nearly 1,000 km (621 mi) away from the sea shore) The white-bellied sea eagle is generally sedentary and territorial, although it may travel long distances. They have been reported travelling upriver to hunt for flying foxes (Pteropus). Populations in inland Australia move around as inland bodies of water appear and then dry up. In one instance, a pair came to breed at Lake Albacutya in northwestern Victoria after the lake had been empty for 30 years. The species is easily disturbed by humans, especially when nesting, and may desert nesting sites as a result. It is found in greater numbers in areas with little or no human impact or interference.

The white-bellied sea eagle is an opportunistic carnivore and consumes a wide variety of animal prey, including carrion. It often catches a fish by flying low over the water and grasping it in its talons. It prepares for the strike by holding its feet far forward (almost under its chin) and then strikes backwards while simultaneously beating its wings to lift upwards. Generally only one foot is used to seize prey. The white-bellied sea eagle may also dive at a 45 degree angle from its perch and briefly submerge to catch fish near the water surface. While hunting over water on sunny days, it often flies directly into the sun or at right angles to it, seemingly to avoid casting shadows over the water and hence alerting potential prey.

The white-bellied sea eagle was important to different tribes of indigenous people across Australia. The guardian animal of the Wreck Bay aboriginal community, it is also the official emblem of the Booderee National Park and Botanic Gardens in the Jervis Bay Territory. The community considered localities around Booderee National Park to be connected with it. A local Sydney name was gulbi, and the bird was the totem of Colebee, the late 18th century indigenous leader of the Cadigal people. The white-bellied sea eagle is important to the Mak Mak people of the floodplains to the southwest of Darwin in the northern Territory, who recognised its connection with "good country". It is their totem and integrally connected to their land. The term Mak Mak is their name for both the species and themselves. The Umbrawarra Gorge Nature Park was a Dreaming site of the bird, in this area known as Kuna-ngarrk-ngarrk. It was similarly symbolic to the Tasmanian indigenous people—Nairanaa was one name used there.

Known as Manulab to the people of Nissan Island, the white-bellied sea eagle is considered special and killing it is forbidden. Its calls at night are said to foretell danger, and seeing a group of calling eagles flying overhead is a sign that someone has died. Local Malay folk tales tell of the white-bellied sea eagle screaming to warn the shellfish of the turning of tides, and a local name burung hamba siput translates as "slave of the shellfish". Called Kaulo in the recently extinct Aka-Bo language, the white-bellied sea eagle was held to be the ancestor of all birds in one Andaman Islands folk tale. On the Maharashtra coast, their name is kakan and its call is said to indicate the presence of fish in the sea. They sometimes nest on coconut trees. Owners of the trees destroy the nest to avoid attacks when harvesting the coconuts.

Replaces the 737 Service

Hartley is the third of the parishes that make up modern Longfield.

Situated down a long and narrow leafy lane, a modern church centre built against the west end is the fist thing you see after leaving the car park.

Inside, there are some fine wall paintings surviving, and interesting glass.

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In 1876 Hartley was described as a quiet, out of the way place with hop gardens on every hand, three or four comfortable farmhouses, a smith's forge and a few scattered cottages. The church of All Saints is mentioned as the only building of interest. The present building dates from the early 12th century and, like so many others, probably replaced one of Saxon origin. Amongst our neighbours, the churches of Fawkham, Ridley and West Kingsdown are of a similar age.

The church, which is flint with tiled roof, is a simple one comprising nave and chancel without aisles or chapels. A vestry and porch were added in the 19th century. All that remains of the Norman church are two small round-headed windows, one to the left of the porch as you enter the church, and the other in the north wall, and the impressive south door which still contains the original oak panels and wrought iron hinge work.

During the 13th century the chancel and chancel arch were rebuilt and, with the insertion of two large windows in the nave, the church took on its present shape. The only other remaining part of the medieval church is in the nave roof. Looking up, one can see the fine oak tie beams linking the north and south walls. On the top of these are three crown posts indicative of a 15th century date.

There is little in the church to remind us of the next three centuries. The parish registers should start in 1538 but the earliest register is lost. Now the registers of baptisms, marriages and burials start in 1712 and continue without a break to the present day. A Book of Remembrance was placed in the chancel in 1981 and records the names of departed loved ones.

During the last hundred years the church has undergone some necessary repairs and alterations. The east wall was rebuilt and vestry added in 1860-3. The stained glass in the south windows is of Victorian origin. The west wall and turret were rebuilt in 1892 and the porch in 1899. The bell turret, which existed in medieval times, is known to have been extensively repaired in 1750 and again in 1818. This caring work continues and the east window, which was filled with stained glass in 1898 to the memory of Adam Tait, was restored and re-ordered by the Friends of All Saints and parishioners with the generous assistance of the P & O Company in 1987.

www.fawkhamandhartley.org.uk/History/All%20Saints%20Churc...

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HARTLEY.

NEXT adjoining south-eastward lies Hartley, called in Domesday, Erclei, in the Textus Roffensis, Herdei.

This parish, which is but little known or frequented, contains about twelve hundred acres, part of which is a large wood, called Hartley-wood, containing one hundred and fifty acres, at the northern boundary of it; the soil of it is chalky, light, and much covered with flints. The church stands on the hill, round which there is no village, though here, and at Hartley-green, about a quarter of a mile northward from it, there are several stragling houses. The western part of this parish lies in the valley, called Hartley-bottom, along which the road leads to Wrotham and Trosley.

This place, at the taking the survey of Domesday, was part of the vast possessions of Odo, the great bishop of Baieux, and half-brother to the Conqueror; under the general title of whose lands it is thus described there.

Ralph Fitz Turald holds Erclei of the bishop (of Baieux.) It was taxed at one suling. The arable land is . . . . . In demesne there are 2 carucates and 9 villeins, with 6 cottagers, having 3 carucates. There are 3 servants, and wood for the pannage of 10 bogs. The whole manor was worth 3 pounds, and now 100 shillings; a certain woman held it.

In the same record, a little further on, under the same title of the bishop of 'Baieux's lands, is this entry:

Ralph Fitz Turald bolds Erclei of the bishop (of Baieux.) It was taxed at 1 suling. The arable land is half a carucate, and there are now 30 acres of arable. In demesne there is 1 carucate and 6 villeins, having half a carucate. There are 12 acres of meadow. In the time of king Edward the Confessor and afterwards, it was 40 shillings, now 4 pounds. Hunef, held it of earl Harold.

On the disgrace of the bishop of Baieux, which happened about four years after the taking this survey, all his lands and possessions became forfeited to the crown.

THE MANOR OF HARTLEY, soon after the Conqueror's reign, became part of the possessions of the noble family of Montchensie, (fn. 1) one of whom, Warine de Montchensie, was owner of it in the reign of king John. In the 37th year of king Henry III. he ob tained a charter of free-warren for this manor, and died next year, being then reputed one of the most valiant, prudent, and wealthy men in this kingdom. He left a son and heir William, and a daughter Joane, who had married William de Valence, the king's half brother. William de Montchensie, two years after, had possession granted of all his father's lands; not long after which, he took part with the discontented barons; and when the king was made prisoner at the battle of Lewes, in the 48th year of his reign, and the barons had summoned a parliament in his name, he was one of the chief of those that sat therein. (fn. 2) Notwithstanding, he was afterwards taken at Kenilworth, a little before the battle of Evesham, and his lands seized, yet he had soon after such favor shewn him, for his sister's sake, that they were freely restored to him again; and in the 6th year of king Edward I. he obtained full pardon, with other favors afterwards, among which was that of the view of frank-pledge, and the courts belonging to it in all his lands. He was killed at the siege of Drosselan-castle, in Wales, in the 17th year of that reign, leaving one daughter and sole heir, Dionisia, who was shortly afterwards married, through the king's means, to Hugh de Vere, third son of Robert, earl of Oxford, who in the 17th year of it had possession granted of the lands of her inheritance. In the 1st year of king Edward II. he was summoned to the king's coronation, as was Dionisia his wife, by whom it seems he had no issue; for on her death, in the 7th year of that reign, it was found that she died possessed of this manor of Hartley, among others, holding it of the king in capite, and that Adomar de Valence, earl of Pembroke, son of Joane and William de Valence before-mentioned, was her next heir. (fn. 3)

Aymer, earl of Pembroke, was greatly favored and employed both by king Edward I. and II. but in the 17th year of the reign of the latter, attending the queen into France, he was murdered there, in revenge, for the death of the earl of Lancaster, this earl being one of those who had passed sentence of death upon him at Pontefract two years before. (fn. 4) He left no issue, though he had three wives. Upon which John, son of John de Hastings, by Isabel his wife, the earl's sister, and John, son of John Comyn, of Badenagh, by Joane his other sister, were found to be his coheirs and next of kin, but Mary de St. Paul, his widow, surviving him, had next year for her dowry an assignation of this manor, among others. She died possessed of it in the 51st year of king Edward III. (fn. 5) Upon which it came to John de Hastings, great grandson of John de Hastings before-mentioned, who was found to be coheir, and next of kin to Aymer de Valence, earl of Pembroke.

John de Hastings before-mentioned, was then an insant, and at the coronation of king Richard II. being not quite five years old, claimed to carry the great golden spurs; and shewing sufficient evidence of his right to do that service, it was adjudged to him, and a deputy allowed him for that purpose, by reason of his non-age. He was afterwards unfortunately killed at a tournament at Woodstock, anno 13 king Richard II. (fn. 6) having married Philippa, daughter of Edmund Mortimer, earl of March, by whom he left no issue. Upon his death Reginald, lord Grey, of Ruthyn, was found to be his cousin, and next heir of the whole blood, as descended from John de Hastings and Isabel his wife, one of the sisters and heirs of Aymer de Valence, earl of Pembroke.

Philippa, countess of Pembroke, survived her husband; and having afterwards married Richard Fitzalan, earl of Arundel, (to whom she was second wife) he had this manor in dowry with her.

The earl was sined for this marriage four hundred marcs to the king, in consideration of which he was pardoned. Some time after which, observing the dangerous tendency of the times, and the implacable hatred that reigned in the king's breast against him, he retired into the country, having obtained a special dispensation from attending the parliament, or any other public employment. Notwithstanding which, the king searing him, soon afterwards got him into his power by fair words, and then sent him to prison, and quickly after brought him to his trial; and though he pleaded the king's promises and charter of pardon, he received a most severe sentence, to be drawn, hanged, quartered, &c. The rigour of which was somewhat softened, for he only lost his head at London, the king himself being a spectator of the execution. After his death his widow Philippa still kept possession of this manor, of which she was possessed at the time of her death, in the 2d year of king Henry IV. she then bearing the title of countess of Pembroke. (fn. 7)

On this, Reginald, lord Grey, of Ruthyn, became entitled to it, as next of kin, and heir of Aymer, earl of Pembroke, and as such at the coronation of king Henry IV. he carried the great golden spurs. Great quarrels arising between this Reginald, who had large possessions in Wales, and Owen Glendower, they had recourse to arms, and in the sequel Reginald was taken prisoner by the latter in Wales, and was obliged to give ten thousand marcs for his ransom; to raise which king Henry IV. in his 4th year granted licence to Robert Braybrooke, bishop of London, and others, then feoffees of several of his lordships, to fell the manor of Hertelegh, among others, towards raising that sum. (fn. 8) They sold it to John Urban, of Southfleet, who died possessed of it in the 8th year of king Henry V. (fn. 9) as did his son John in the 4th year of king Henry VI. (fn. 10) on which it came to his sister Emma Penhale, who died next year, (fn. 11) and left it to her son, and he held it in the 2d year of king Edward IV. as appears by the book of Dover in the exchequer.

In the 13th year of king Henry VII. William Cressel, esq. died possessed of the manor of Hartley, which he held of the king in capite by knight's service. (fn. 12) His son, Richard Cressel, in the beginning of the next reign, sold it to Draper; who passed it away to Ballard; and he conveyed it to William Sedley, esq. of Southfleet, at the latter end of the reign of king Edward VI. (fn. 13) in whose descendants it continued, in the same manner as the manor of Southfleet did, down to Sir Charles Sedley, bart. of Nuthall, in Nottinghamshire, who, in 1770, sold it to William Glanvill Evelyn, esq. of St. Cleres, in Ightham, the present owner of this manor.

Charity.

JOHN WALKER, esq. of Fawkham, who died in 1625, by his will bequeathed a coat, and a gown of good russet cloth, to two of the poorest men, and two of the poorest widows of this parish; to be delivered on Christmas-day yearly to each. After which they were to attend the service in the church of Fawkham, and then return to his mansion-house there, where they were to have a plentiful dinner. (fn. 14)

HARTLEY is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church is dedicated to All Saints. It is a small building, consisting of one isle and a chancel, having a pointed steeple at the west end, in which are two bells.

Among other inscriptions in this church, on the north side is a memorial for James Burrow, gent. of Kingsdown, obt. 1728, æt. 53; and for Elizabeth, his wife, daughter of John Cox, gent. of Stansted, obt. 1729; above, these arms, azure three fleurs de lis ermine impaling sable a chevron argent, between three attires of a stag fixed to the scalp of the second.

¶It is a rectory, and was formerly of the patronage of the Talbots, earls of Shrewsbury; to whom it came from their ancestor, Gilbert Talbot, who on the death of Mary de St. Paul, widow of Aymer de Valence, earl of Pembroke, in the 51st year of king Edward III. was found by inquisition to be her heir, and next of kin. It was lately in the patronage of the earl of Plymouth, (fn. 15) afterwards of the reverend Thomas Blomfield, and since of his son, Thomas Blomfield, esq. who sold his interest in it to Richard Forrest, esq. who died in 1796. Since which it has been sold by the trustees appointed by his will, to the reverend Mr. Bradley, rector of this parish, who married Mr. Forrest's daughter, and he is now owner of this advowson.

In the 15th year of king Edward I. this church was valued at twelve marcs. By virtue of the commission of enquiry, issuing out of chancery in 1650, it was returned, that Hartley was a parsonage, with a house, and eight acres of glebe land, all worth sixty pounds per annum; one master Eves enjoying it, and preaching there. (fn. 16) It is valued in the king's books at seven pounds, and the yearly tenths at fourteen shillings. It is now of the value of about two hundred guineas per annum.

www.british-history.ac.uk/survey-kent/vol2/pp452-458

Replacing an earlier scanned photo with a better version 20-Mar-18, plus Topaz DeNoise AI 13-Aug-25

Early Lufthansa CityLine livery.

First flown with the Fokker test registration PH-EXX, this aircraft was leased to DLT Deutsche Luftverkehrgesellschaft as D-AFKN in Jul-91. DLT was renamed Lufthansa CityLine in Mar-92.

It was sold to Lufthansa Leasing GmbH in Jul-92 while the lease to Lufthansa CityLine continued. The 'CityLine' titles were removed in Mar-94 although the aircraft continued to be operated by Lufthansa CityLine.

It was returned to Lufthansa Leasing in Jan-97 and leased to Contact Air in Feb-97 when it became part of 'Team Lufthansa' operated by Contact Air. It changed to Lufthansa Regional in Oct-03.

The aircraft was returned to Lufthansa Leasing in Apr-04 and sold to Air Iceland - Flugfelag Islands as TF-JMN at the end of the month. It was wet-leased to Air Baltic between Apr-09 / May-10. It was withdrawn from service and stored at Woensdrecht, Netherlands in May-17.

In Oct-17 the aircraft was sold to the Avmax Group and leased to Silverstone Air (Kenya) as 5Y-SMO a few days later. It was withdrawn from service in Nov-19 and stored at Nairobi-Wilson. Silverstone Air ceased operations in Mar-20, the aircraft was returned to the lessor and remained stored.

Silverstone Air was rebranded as Jetlite Air in Feb-21 and the lease was transferred. It was wet-leased to Saacid Air, Somalia in Aug-23. Jetlite Air appear to have morphed into DragonFly Aviation, Kenya in Nov-23.

Details are a bit sketchy, however the aircraft appears to have been sold to an unknown operator in Malawi as 7Q-SMO in May-25. Now 34 years old the aircraft appears to be still active. Updated 13-Aug-25.

View from the N of Rosendale Road railway bridge "No.2" (Herne Hill and West Dulwich, London) carrying suburban line services to and from London Bridge terminus.

The green and grey bridge has recently replaced an older one, during work carried out in the early hours of January 19th 2014. The previous bridge (1950s-1960s) replaced an even older one (1866) supported on the same cast iron columns (not visible here but see accompanying photos in this series). During the present replacement work, the columns were then also removed forever.

The railway plaque is the original one, mounted on a new concrete replacement capital. The plaque bears the coat-of-arms of the London, Brighton and South Coast Railway on the L, and of the Dulwich Estate on the R. The Dulwich Estate own, or owned, much of the land in this area, including, I assume, the land on which this bridge was built. The shield in the middle of the plaque carries the date "1866", the date of construction the original bridge, though the main span has been replaced at least twice since then. The initials "AC"on the central shield stand for Alleyn College, the former name of Dulwich College (founded 1619 by the Shakespearean actor-manager, Edward Alleyn.)

----------

ROSENDALE ROAD RAILWAY BRIDGES

There were three railway bridges over Rosendale Road, two of which still exist. They don't appear to have names, so I have numbered them arbitrarily.

"No.1" is the most northern one, close to Brockwell Park, behind the camera viewpoint. It currently carries suburban line services of the Thameslink network between Wimbledon and Sutton and central London (and beyond).

This view shows "No.2" orignally built in 1866 for the London Brighton and South Coast Railway. It rested on brick abutments and on red cast iron columns. But the girder bridge itself, and its railings, must have been younger, having apparently replaced the older, more ornate, structure some time after 1952 (compare the photo of its more ornate predecessor in Edwin Course's article, below). The original bridge was designed by Charles Barry Junior. The large sums paid by the then railway company (London, Brighton and South Coast Railway) for construction of its line across the Dulwich Estate, with other bridges matching this one, enabled the Estate to build the present main building of Dulwich College (1857-1866). There were a pair ornamental plaques on each side of the road on this N side of Rosendale Railway bridge, each on its own pilaster - four in all. Some or all of the upper parts of the older pillasters were removed and replaced by modern concrete ones, but the old plaques were retained and remounted on the new pilasters (as here, upper R). It seems that the pilasters had to be replaced by narrower ones (i.e. as measured in the direction away from the camera) to allow for the installation of the access walkway (in grey undercoat on the L) along the outside of the bridge proper.

This view also shows the site of "No.3". This bridge was demolished some time after 1966. It was very ornate in cast iron and ran across the road here, in the background immediately beyond "No.2", supported on brick abutments and cast iron columns. The eastern abutment can just be seen through the bridge in the distance (lower L) (see also notes on the picture). The bridge carried coal trains of the former London and North Western Railway into Knight's Hill Sidings and its former coal depot. The sidings included the former bridge, which was therefore much wider than "No.2". The sidings extended to the R beyond the R side of this view behind the embankment of the nearer bridge, where they are now covered by houses of the Lairdale Estate of the London Borough of Lambeth (one of these houses can be seen upper R). Although the depot was an LNWR one, the abutments for the demolished bridge actually bear plaques (not visible here) with the coat-of-arms of the London, Brighton and South Coast Railway and the Dulwich Estate, and the date "1866" - just as on "No.2". It is clear from the photo in Course's article that the original designs of both bridges also matched each other. However, an iron plaque on the bridge proper bore the date 1891.

--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...

--- Course, Edwin, 1960. The foreign goods depots of South London. Railway Magazine [vol?] (for November 1960), pp. 761-766. www.semgonline.com/RlyMag/ForeignDepotsofSthLondon.pdf

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RAILWAY BRIDGE REPLACEMENT WORK IN DULWICH & HERNE HILL, JANUARY-FEBRUARY 2014 (32/39)

This bridge, and two further sister bridges carrying the same line over neighbouring streets, had been in poor condition for some time. After a period of preparation work, the replacement work happening here began in January 2014. Two neighbouring streets, one of them a busy main road, were closed to traffic concurrently for about two weeks, and another was closed for work on the third bridge shortly afterwards. To minimise disruption to train services, the main replacement work was carried out night and day in continuous shifts over two weekends. Huge hydraulic cranes had to come from Scotland (James Jack, Ainscough) to do this engineering work because there were no cranes available nearer to London capable of handling the old and new bridges.

--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...

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for COMMUTE ROUTE set:

SERIES 1. MY USUAL ROUTE (& POINTS IN COMMON TO ALL ROUTES).

This view looks in the direction of returning to our house. (I've uploaded many other photos of this bridge replacement work, but for the 'Commute Route' set here, I have included only those that I took on the way to work.)

My standard outward commuting route:

home > (walk) > Rosendale Road > (walk) > Brockwell Park > (walk) > Herne Hill station > (National Rail suburban service) > London Victoria station > (District/Circle Line) > South Kensington > (walk) > Natural History Museum.

----------

Photo

© Darkroom Daze Creative Commons.

If you would like to use or refer to this image, please link or attribute.

ID: DSC_8701 - Version 2

+++ DISCLAIMER +++

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

Some background:

During the Second World War, the Slovak Air force was charged with the defense of Slovak airspace, and, after the invasion of Russia, provided air cover for Slovak forces fighting against the Soviet Union on the Eastern Front While engaged on the Eastern Front, Slovakia’s obsolete biplanes were replaced with German combat aircraft, including the Messerschmitt Bf 109 and the Focke Wulf Fw 190. The air force was sent back to Slovakia after combat fatigue and desertion had reduced the pilots' effectiveness. Slovak air units took part in the Slovak National Uprising against Germany from late August 1944.

The S-90’s and S-91’s service career was short, though: from 1955 Czechoslovakia became a member of the Warsaw Pact. Because of this, the Czechoslovak Air Force started to use Soviet aircraft, doctrines, and tactics, and with the purchase of equipment of Soviet origin the leftover WWII relics were soon retired. Nevertheless, both received the NATO ASCC reporting names ‘Finch A & B’, respectively. The S-90 was phased out until 1958, the slightly superior S-91 followed soon in 1960, when both were replaced by MiG-15 jet fighters.

General characteristics

Crew: 1

Length: 9.10 m (29 ft 7 in)

Wingspan: 10.51 m (34 ft 5 in)

Height: 3.95 m (12 ft 12 in)

Wing area: 18.30 m² (196.99 ft²)

Empty weight: 3.170 kg (7.010 lb)

Loaded weight: 4.400 kg (9.700 lb)

Max. takeoff weight: 4,900 kg (10,800 lb)

Powerplant:

1× Shvetsov ASh-82FNU air-cooled radial engine with a two-stage supercharger and fuel injection, rated at 1,380 kW (1,850 hp)

Performance:

Maximum speed: 685 km/h (426 mph) at 6,600 m (21,655 ft), 710 km/h (440 mph) at 37,000 ft (11,000 m)

Range: 950 km (590 mi), clean and with internal fuel only

Service ceiling: 12,000 m (39,370 ft)

Rate of climb: 758 m/min (2,487 ft/min)

Wing loading: 241 kg/m² (49.4 lb/ft²)

Power/mass: 0.29-0.33 kW/kg (0.18-0.21 hp/lb)

Armament:

4× Nudelman-Suranov NS-23 23 mm cannons with 125 RPG in the wings

Up to 1.000kg (2.202 lb) of external ordnance on three hardpoints under the fuselage and under the outer wings (rarely used)

The kit and its assembly:

Another whif inspired by someone else’s idea. This time, the model was inspired by Czech-based fellow user PantherG at whatifmodelers.com, who posted a profile of a Fw 190 A-8 in Czechoslovak Air Force markings, the Avia S-90 - the latter must have been an authentic designation, but I could not find any proof for a service use of the Fw 190 A-8 in the Czechoslovak Air Force?

Anyway, the post-WWII idea had its charm, and I liked PantherG's idea of a rather ugly livery in RLM colors. So much that I decided to build it in hardware form! But, as things evolved, I decided to add a personal twist to the model, taking the original idea one step further.

This led directly to “my” S-91: a re-engined variant of the S-90 – I found parts for a Shvetsov ASh-82 engine in my scrap box, and thought THAT could be a fine alternative…?

The basic kit is the Academy Fw-190 A-8, a solid model with some flaws (e .g. a rather clumsy landing gear), but with good fit and overall details. It is mostly built OOB, with only minor mods: The engine cowling was re-shaped with putty, two ram air scoops for the twin turbochargers were added and a chin oil cooler was mounted added. A new propeller with the typical, different radiator fan was scratched from various single parts (I assume there are He 100D, Spitfire and I-210 parts in it!).

As an additional design twist the Fw 190 fin was replaced by a leftover Me 163 donation part, making it taller and slightly larger in area. This change was not really necessary, but I wanted to change the Fw 190's classic outline a little, for a more modern and Lavochkin La-9/11-like look.

Unfortunately the model suffered from a major crash from the work bench, just before I wanted to apply decals - the fin was ripped apart. I tried to fix it, but the damage can still be recognized.

The fuselage hardpoint comes from a Hobby Boss Fw 190, but it was left empty. In the cockpit a different seat was added, as well as a Matchbox pilot figure and a scratched gun sight. Hollow steel needles were used as gun barrels on the wings.

Painting and markings:

As already mentioned, I liked the rather ugly choice of camouflage that PantherG suggested for his S-90: RLM 75 & 81 (Grauviolett & Braunviolett, yuck!) from above and RLM 76 for the lower sides. Despite the kit mods I decided to stick to PantherG's original design as much as possible - I just changed the aircraft's squadron, since I found appropriate emblems in the stash (see below). Another motivation was that I wanted to see how sick this would actually look like on a Fw 190…

I used ModelMaster Authentic enamels for the upper surfaces authentic RLM tones (2085 & 2090), and I tried the new RLM 76 from Humbrol (#247) for the lower sides.

Compared with the Modelmaster enamel, Humbrol 247 is slightly lighter and recognizably more turquise, almost like RLM 65, and close to Humbrol 128 (FS 36320). In contrast to the poor RLM 83 (Humbrol 253) which I recently used and which failed miserably, the RLM 76 paint is fine: Opaque, good to apply with a synthetic brush, dries up quickly and with an even, matt finish. I hope the horrible 253 enamel is/was just a one-off!

After basic painting, the kit received a black ink wash and some dry painting on panels for weathering and visual drama (with Humbrol 155, 140 and 127), as well as some very light dry-brushed silver on leading edges – the aircraft was supposed to look used, but not too worn. Exhaust an soot stains were also added, with grinded graphite.

All interior surfaces were painted in Extra Dark Slate Grey, as a dull alternative to RLM02.

The markings were puzzled together, according to the original profile sketch; the Czechoslovakian roundels come from KP Arado Ar 96 and Yak-23 kits. Unfortunately I did not have roundels with white outlines in appropriate size in store, but the blue alternative does not look bad at all.

The tactical code was made from single letters from TL Modellbau. The unit badge, a black bat on yellow ground (a full moon?), comes from the Bilek MiG-21PF kit. The few other stencils etc. were taken from the OOB sheet of the Academy Fw 190 kit.

So, a double tribute: first of all to Czech fellow modeler PantherG (who also inspired my German Marineflieger Super Étendard last year), and it is also a suitable contribution to a recent Group Build in memoriam of a deceased fellow user at whatifmodelers.com.

+++ DISCLAIMER +++

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

Some background:

The G.91Y was an increased-performance version of the Fiat G.91 funded by the Italian government. Based on the G.91T two-seat trainer variant, the single Bristol Orpheus turbojet engine of this aircraft was replaced by two afterburning General Electric J85 turbojets which increased thrust by 60% over the single-engine variant. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats. The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being license-manufactured in Italy.

When Poland joined NATO on 12 March 1999, the G.91Ys (18 were still in service, plus all five trainers) received another major overhaul, a new low-visibility paint scheme, and they were updated with avionics that ensured inter-operability with other NATO forces, e .g. a GPS positioning sensor in a small, dorsal hump fairing. In 2006, when deliveries of 48 F-16C/D fighters to Poland started, the G.91Ys were to be retired within 12 months. But problems with the F-16s’ operability kept the G.91Y fleet active until 2011, when all aircraft were grounded and quickly scrapped.

General characteristics:

Crew: one

Length: 11.67 m (38 ft 3.5 in)

Wingspan: 9.01 m (29 ft 6.5 in)

Height: 4.43 m (14 ft 6.3 in)

Wing area: 18.13 m² (195.149 ft²)

Empty weight: 3,900 kg (8,598 lb)

Loaded weight: 7,800 kg (17,196 lb)

Max. takeoff weight: 8,700 kg (19,180 lb)

Powerplant:

2× General Electric J85-GE-13A turbojets, 18.15 kN (4,080 lbf) each

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph, Mach 0.95) at 10,000 m (33,000 ft)

Range: 1,150 km (621 nmi, 715 mi)

Max. ferry range with drop tanks: 3,400 km (2,110 mls)

Service ceiling: 12,500 m (41,000 ft)

Rate of climb: 86.36 m/s (17,000 ft/min)

Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)

Thrust/weight: 0.47 at maximum loading

Armament:

2× 30 mm (1.18 in) DEFA cannons with 120 RPG

4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)

The kit and its assembly:

This whiffy Yankee Gina was inspired by a profile that had popped up during WWW picture search a while ago. Tracking it back, I found it to be artwork created and posted at DeviantArt by user “Jeremak-J”, depicting a G.91Y in polish markings and sporting a two-tone grey camouflage with light blue undersides and a medium waterline. I found the idea bizarre, but attractive, and, after some research, I found a small historic slot that might have made this “combo” possible.

When I recently delved through my (growing…) kit pile I came across a Matchbox G.91Y in a squashed box and with a cracked canopy – and decided to use that kit for a personal Polish variant.

The Matchbox G.91Y bears light and shadow galore. While it is IIRC the only IP kit of this aircraft, it comes with some problem areas. The fit of any major kit component is mediocre and the cockpit tub with an integral seat-thing is …unique. But the overall shape is IMHO quite good – a typical, simple Matchbox kit with a mix of (very fine) raised and engraved panel lines.

The OOB canopy could not be saved, but I was lucky to find a replacement part in the spares box – probably left over from the first G.91Y I built in the early Eighties. While the donor part had to be stripped from paint and was quite yellowed from age, it saved the kit.

It was built almost OOB, since major changes would not make sense in the context of my background story of a cheap 2nd hand purchase for an air force on a lean budget. I just added some details to the cockpit and changed the ordnance, using missile pods and iron bombs of Soviet origin (from a Kangnam/Revell Yak-38).

The exhausts were drilled open, because OOB these are just blank covers, only 0.5 mm deep! Inside, some afterburners were simulated (actually main wheels from an Arii 1:100 VF-1).

The flaps were lowered and extended, which is easy to realize on this kit.

The clumsy, molded guns were cut away, to be later replaced with free-standing, hollow steel needles.

In order to add some more exterior detail I also scratched the thin protector frames around the nozzles with thin wire.

Since the replacement canopy looked quite old and brittle, I did not dare cutting the clear part in two, so that the cockpit remained closed, despite the effort put into the interior.

A personal extra is the pair of chaff/flare dispensers on the rear fuselage, reminiscent of Su-22 installations.

Painting and markings:

The inspiring profile was nice, but I found it to be a bit fishy. The depicted tactical code format would IMHO not be plausible for the aircraft’s intended era, and roundels on the fuselage flanks would also long have gone in the Nineties. Therefore, I rather looked at real world benchmarks from the appropriate time frame for my Polish Gina’s livery, even though I wanted to stay true to the artist’s original concept, too.

One direction to add more plausibility was the scheme that Polish Su-22 fighter bombers received during their MLU, changing the typical tactical camouflage in up to four hues of green and brown into a much more subdued two tone grey livery with lighter, bluish-grey undersides, combined with toned-down markings like tactical codes in white outlines only. Some late MiG-21s also received this type of livery, and at least one Polish Fishbed instructional airframe received white low-viz national insignia.

For the paint scheme itself I used the MiG-21 pattern as benchmark (found in the Planes & Pilots MiG-21 book) and adapted it to the G.91Y as good as possible. The tones were a little difficult to define – some painting instructions recommend FS 36118 (US Gunship Grey) for the dark upper grey tone, but this is IMHO much too murky. Esp. on the Su-22s, the two upper greys show only little contrast, and the lower grey does not stand out much against the upper tones, either. On the other side, I found a picture of a real-life MiG-21U trainer in the new grey scheme, and the contrast between the grey on the upper surfaces appeared much stronger, with the light grey even having a brownish hue. Hmpf.

As a compromise I settled for FS 36173 (F-15E Dark Grey) and 36414 (Flint Grey). For the undersides I went for FS 35414 (Blue Green), which comes close to the typical Soviet underside blue, but it is brighter.

After basic painting, the kit received a light black ink wash and subtle post-shading, mostly in order to emphasize single panels, less for a true weathering effect.

The cockpit was painted in Dark Gull Grey (Humbrol 140), with a light blue dashboard and a black ejection seat. The OOB pilot was used and received an olive drab suit with a light grey helmet, modern and toned down like the aircraft itself. The landing gear as well as the air intake interior were painted in different shades of aluminum.

The decals were, as so often, puzzled together from various sources. The interesting, white-only Polish roundels come from a Mistercraft MiG-21. I also added them to the upper wing surfaces – this is AFAIK not correct, but without them I found the model to look rather bleak. Under the wings, full color insignia were used, though. The English language “Navy” markings on the fuselage might appear odd, but late MiG-21s in Polish Navy service actually had this operator designation added to their spines!

The typical, tactical four-digit code consists of markings for Italian Tornados, taken from two different Italeri sheets. The squadron emblem on the fin came from a Mistercraft Su-22, IIRC.

Most stencils were taken from the OOB sheet, some of them were replaced with white alternatives, though, in order to keep a consistent overall low-viz look.

Finally the kit was sealed with matt acrylic varnish.

An interesting result. Even though this Polish Gina is purely fictional, the model looks surprisingly convincing, and the grey low-viz livery actually suits the G.91Y well.

Will be replaced as soon as I find the time to edit :)

∞

PS: I´m halfway through with my project! (Just can´t believe it..!)

As soon as I´ll find the time (which is very hard at the moment), I´ll edit the photo above, I´ll answer to your comments and stuff. :)

Replacing an earlier scanned photo with a better version 17-Jan-21.

Named: "Empress of Hamilton". Fleet No: "731"

This aircraft was delivered to Monarch Airlines as G-DGDP in Mar-82, it was leased to Pacific Western Airlines as C-FPWE for the winter seasons of Nov-83/May-84, Nov-84/May-85 & Oct-85/Apr-86 before being sold to GECAS as G-DGDP at the end of Apr-86. It was leased to Canadian Pacific Airlines the same day. After a cabin refurbishment and repainting the aircraft entered service as C-FCPN in Jul-86. Canadian Pacific became Canadian Airlines International in Apr-87. The aircraft was sold to Pegasus Leasing in Oct-00 and leased back to CAI. In Apr-01 Canadian Airlines was merged into Air Canada. Air Canada wanted to keep their mainline fleet of Airbus A319's and A320's so in Feb-03 the B737-200's were transferred to Air Canada's new 'low-cost' subsidiary Zip Air. It didn't last and the aircraft was returned to Air Canada and the lessor in Apr-04 as N984PG and stored at Tucson, AZ, USA. It was leased to Aerolineas del Sur, Chile as CC-CJP in Dec-04. Aerolineas del Sur was merged into Air Comet Chile in Aug-07. The aircraft was returned to the lessor as N762SH in Apr-09 and leased to Peruvian Airlines as OB-1956 in Aug-10. It was broken up at Lima, Peru in 2011.

Goodrich Castle is a Norman medieval castle ruin north of the village of Goodrich in Herefordshire, England, controlling a key location between Monmouth and Ross-on-Wye. It was praised by William Wordsworth as the "noblest ruin in Herefordshire"[1] and is considered by historian Adrian Pettifer to be the "most splendid in the county, and one of the best examples of English military architecture".[2]

Goodrich Castle was probably built by Godric of Mappestone after the Norman invasion of England, initially as an earth and wooden fortification. In the middle of the 12th century the original castle was replaced with a stone keep, and was then expanded significantly during the late 13th century into a concentric structure combining luxurious living quarters with extensive defences. The success of Goodrich's design influenced many other constructions across England over the following years. It became the seat of the powerful Talbot family before falling out of favour as a residence in late Tudor times.

Held first by Parliamentary and then Royalist forces in the English Civil War of the 1640s, Goodrich was finally successfully besieged by Colonel John Birch in 1646 with the help of the huge "Roaring Meg" mortar, resulting in the subsequent slighting of the castle and its descent into ruin. At the end of the 18th century, however, Goodrich became a noted picturesque ruin and the subject of many paintings and poems; events at the castle provided the inspiration for Wordsworth's famous 1798 poem "We are Seven". By the 20th century the site was a well-known tourist location, now owned by English Heritage and open to the public.

Architecture

A castle, with a large circular tower facing the viewer, with an angular spur jutting out from the base of the tower; a metal fence is in the foreground, with green vegetation around it.

The south-eastern tower shows the characteristic right-angled "spur", designed to prevent its undermining during a siege.

Goodrich Castle stands on a high rocky sandstone outcrop overlooking the River Wye. It commands a crossing of the river, known as Walesford or Walford, Ross-on-Wye, about 26 kilometres (16 mi) from Hereford and 6.4 kilometres (4.0 mi) from Ross-on-Wye.[3] The castle guards the line of the former Roman road from Gloucester to Caerleon as it crosses from England into Wales.[4]

At the heart of the castle is an early Norman square keep of light grey sandstone, with Norman windows and pilaster buttresses.[5] Although the keep had thick walls, its relatively small size – the single chambers on each floor measure only 5.5 by 4.5 metres (18 by 15 ft) internally[6] – would have made it more useful for defence than for day-to-day living.[7] The keep originally had a first-storey door for safety, this was later turned into a window and the entrance brought down to the ground floor.[2] The keep would originally have had an earth mound built up against the base of it to protect against attack, and the stone work remains rougher in the first few courses of masonry.[7]

Around the keep is an essentially square structure guarded by three large towers, all built during the 1280s from somewhat darker sandstone.[1] On the more vulnerable southern and eastern sides of the castle, ditches 27 metres (90 ft) long and 9 metres (28 ft) deep have been cut into the rock,[8] exploiting a natural fissure.[5] These towers have large "spurs", resulting from the interface of a solid, square-based pyramid with the circular towers rising up against the walls. This feature is characteristic of castles in the Welsh Marches, including St Briavel's and Tonbridge Castle, and was intended to prevent the undermining of the towers by attackers.[9]

A castle, with a flat fronted tower facing the viewer with a stained glass window in the middle of it; a stone causeway is on the right of the picture, leading to a gateway to the right of the tower – a partially filled arch is supporting the causeway.

The gatehouse is reached by an exposed causeway covered by the barbican to the right of the picture. The chapel window can be seen in the left-hand tower.

The castle's fourth corner forms its gatehouse. Here the classic Edwardian gatehouse design has been transformed into an asymmetrical structure, with one tower much larger than the other.[10] The gatehouse included portcullises, murder-holes and a drawbridge. Beyond the gatehouse lies a large barbican, inspired by a similar design of the period at the Tower of London and possibly built by the same workmen, designed to protect the causeway leading to the gatehouse.[11] The barbican today is only half of its original height, and includes its own gate, designed to trap intruders within the inner defences.[12] The gatehouse and barbican are linked by a stone causeway.

The gatehouse's eastwards-facing tower contains the chapel, an unusual arrangement driven by a lack of space, with a recently restored east window of reset 15th-century glass designed by Nicola Hopwood, which illuminates the priest's seat, or sedile.[13] The 15th-century window frame itself replaced an even taller, earlier 13th-century window.[14] The chapel's west window is modern, and commemorates the British scientists, engineers and servicemen involved in radar development who died between 1936 and 1976.[nb 1] The altar itself is particularly old, possibly pre-dating the castle.[15]

The bailey was designed to include a number of spacious domestic buildings. These include a great hall, a solarium, kitchen, buttery and pantry,[10] with a luxuriously large number of garderobes and fireplaces.[16] The large towers provided additional accommodation.[10] The design of the domestic buildings was skilfully interlocked to support the defensive arrangements of the bailey.[16] The great hall for example, 20 by 9 metres (66 by 30 ft), was placed in the strongest position overlooking the river Wye, allowing it to benefit from multiple large windows and a huge fireplace without sacrificing defensive strength.[15] Water for the castle was originally raised from the courtyard well, but was later piped in from a spring across the valley;[17] the castle kitchens had acquired running water by the beginning of the 17th century.[1] The design of the buildings ensured that the servants and nobility were able to live separately from one another in the confined space of the castle, revolutionary at the time.[18]

Beyond the main bailey walls lies the stable block, now ruined but with a visible cobble floor.[19] The stables and the north and west sides of the castle were protected by another, smaller curtain wall, but this is now largely ruined.[20] Accounts suggest that the original stables could hold around 60 horses, although by the 17th century they had been expanded to accommodate more.[21]

History

Medieval history

11th and 12th centuries

A square stone keep dominates the picture, sat behind a patch of green grass; the keep has a doorway at ground level, with two windows irregularly placed above it.

The Great Keep replaced Godric of Mappestone's original earth and timber fortification on the site in the mid-12th century.

Goodrich Castle appears to have been in existence by 1101, when it was known as Godric's Castle, named probably after Godric of Mappestone, a local Anglo-Saxon thane and landowner mentioned in the Domesday Book of 1086.[5] Victorian historians, however, believed the castle to date back further to the pre-Norman conquest days of King Canute,[22] and the site may have been among a small number of Saxon fortifications along the Welsh border.[23] By Norman times, Goodrich formed part of the Welsh Marches, a sequence of territories granted to Norman nobles in, and alongside, Wales. Although Goodrich lay on the safer, English side of the border, the threat of raids and attacks continued throughout most of the period.[24]

During the 12th century the attitudes of the English nobility towards the Welsh began to harden; the policies of successive rulers, but especially Henry II, began to become more aggressive in the region.[25] In the mid-12th century Godric's original earth and timber fortification was dismantled and replaced by a tall but relatively small square keep built of stone,[2] sometimes known as "Macbeth's Tower".[26] The keep was designed to be secure and imposing but relatively cheap to build.[27] It is uncertain, however, precisely who was responsible for this rebuilding or the date of the work, which may have been between 1120 and 1176.[28]

At the beginning of the 12th century, the castle had passed from Godric to William Fitz Baderon, thought to be his son-in-law, and on to his son, Baderon of Monmouth, in the 1120s.[29] England descended into anarchy, however, during the 1130s as the rival factions of Stephen and his cousin the Empress Matilda vied for power. Baderon of Monmouth married Rohese de Clare, a member of the powerful de Clare family who usually supported Stephen, and there are records of Baderon having to seize Goodrich Castle during the fighting in the region, which was primarily held by supporters of Matilda.[30] Some suspect that Baderon may have therefore built the stone keep in the early years of the conflict.[2][nb 2] Stephen went on, however, to appoint Baderon's brother-in-law, Gilbert de Claire, the Earl of Pembroke, and Gilbert de Clare eventually acquired Goodrich Castle himself.[29] Gilbert's son, Richard de Clare, known as "Strongbow", succeeded him in 1148, and Richard is another candidate for the construction of the keep.[28] In 1154 Richard fell out of favour with King Henry II because of the de Clares' support for Stephen, and the castle was taken into royal hands. Some argue that the king himself may have ordered the construction of the great keep.[1]

13th and 14th centuries

Part of a castle, with a huge semi-circular arch containing two smaller Norman arches dominating the picture. Through the arches, a ruined pillar can just be made out.

The private solarium was incorporated into the defensive walls during the expansion under William de Valence.

During the following reigns of King Richard I and his brother John, the castle and manor were held by the Crown. King John, however, lost many of his lands in France which in turn deprived key English nobles of their own estates – John became concerned about possible opposition to his rule. Accordingly, in 1203 John transferred Goodrich Castle and the surrounding manor to William Marshal, Earl of Pembroke, to partially compensate him for his lost lands on the continent.[31] Marshal was a famous English knight with reputation as a heroic warrior, and he expanded Goodrich by building an additional towered curtain wall in stone, around the existing keep.[5] Marshal had to intervene to protect Goodrich Castle from Welsh attack, most famously in 1216 when he was obliged to leave Henry III's coronation feast in Gloucester to hurry back to Goodrich to reinforce the castle.[32]

Marshal's sons inherited the castle after their father's death; Marshal left the castle to his eldest son, William, who in turn gave it to his younger brother, Walter.[32] After William's death, however, Marshal's second son, Richard, took over the castle. Richard led the baronial opposition to Henry III and allied himself with the Welsh, resulting in King Henry besieging Goodrich Castle in 1233 and retaking personal control for a period.[32] Walter was eventually given Goodrich back once more, but died shortly afterwards in 1245.[33]

The castle briefly reverted to the Crown again, but in 1247 passed by marriage to William de Valence, half brother to Henry III.[34] De Valence was a French nobleman from Poitiers and a noted soldier who spent most of his life fighting in military campaigns; Henry arranged his marriage to Joan de Munchensi, one of the heiresses to the Marshal estate. The marriage made Valence immensely rich and gave him the title of Earl of Pembroke.[33]

A massive castle tower, sat on top of a rugged rock outcrop; a massive angular stone spur juts out from the base of the tower towards the viewer.

The massive south-east tower

The Welsh border situation remained unsettled however, and in the decades after 1250 security grew significantly worse, as the Welsh prince Llywelyn ap Gruffudd conducted numerous raids into English territories.[24] The Wye valley and Goodrich were particularly affected by these raids.[35]

Accordingly, William de Valence began to build a much larger castle around the original keep from the 1280s onwards, demolishing Marshal's earlier work.[35] As part of the extremely expensive construction work, Valence used oak trees drawn from several royal forests.[36] Valence was building at the same time that his nephew Edward I was constructing his major castles in the north of Wales, and the concentric castle that he built at Goodrich is both very similar in design and a rarity in England itself.[2] Valence's son, Aymer de Valence built an additional line of outer defences before his death in 1324, including the external barbican,[10] inspired by that at the Tower of London, and for which the earlier Valence barbican at Pembroke may have been an experimental forerunner.[12] The effect was an early success in converting a fortress into a major dwelling, without damaging its defensive arrangements, and influenced the later castle conversion at Berkeley.[37]

The castle then passed to Aymer's niece, Elizabeth de Comyn, a well-connected young noblewoman. By the middle of the 1320s, however, England was in the grip of the oppressive rule of the Marcher lords Hugh le Despenser the older and his son Hugh Despenser the younger, the royal favourites of King Edward II.[38] As part of a "sweeping revenge" on their rivals, especially in the Marches, the Despensers illegally seized a wide range of properties, particularly from vulnerable targets such as widows, wives whose husbands were out of favour with the king or unmarried women.[39] Upon her inheritance, Hugh le Despenser the younger promptly kidnapped Elizabeth in London and transported her to Herefordshire to be imprisoned in her own castle at Goodrich.[1] Threatened with death, Elizabeth was finally forced to sign over the castle and other lands to the Despensers in April 1325.[40] Elizabeth then married Richard Talbot, the 2nd Baron Talbot, who seized back the castle in 1326 shortly before Queen Isabella of France landed in England and deposed both the Despensers and her husband Edward II; Talbot and Elizabeth regained their legal title to the castle the following year.[41] Richard later received permission from Isabella's son Edward III to create a dungeon under the keep for holding prisoners.[42]

15th and 16th centuries

An stained glass window, with three columns and some curved pieces of glass at the top, surrounded by blackness. A blue river traces its way through the glass, surrounded by yellow, orange and red background glass.

The current stained glass window in the chapel was designed in 2000 but used 15th-century glass.

Goodrich remained the favourite home of Richard Talbot's descendants for many years. During the early years, the security situation in Wales remained of concern. Owain Glyndŵr rebelled against English rule in 1402 and Welsh forces invaded the Goodrich area in 1404 and 1405. Gilbert Talbot was responsible for fighting back the Welsh advance and securing the castle.[43] As time went on, however, the threat began to diminish. During the 15th century the Talbots considerably expanded the size of the lord's quarters in the castle[15] and provided additional accommodation for servants and retainers.[43]

The Talbots became the Earls of Shrewsbury in 1442, shortly before the Wars of the Roses in which they supported the Lancastrian faction.[10] The wars meant that the Talbots were frequently fighting elsewhere in England, and often staying at their castle in Sheffield.[36] John Talbot died in the Lancastrian defeat at Northampton in 1460, and the castle was forfeited and transferred to the Yorkist William Herbert. John's son, also called John Talbot, later made his peace with the king, however, and regained control of his lands and Goodrich Castle before his death in 1473.[44]

By the 16th century the castle was becoming less fashionable as a residence. Goodrich was too distant from London to be a useful power base, and was gradually abandoned in favour of more stylish residences,[45] Goodrich continued to be used as a judicial centre however; the antiquarian John Leland noted that some of the castle was used to hold prisoners for the local court during the 1530s, and the castle ditch was sometimes used to store confiscated cattle taken from local farmers.[46]

In 1576 Gilbert Talbot and his wife Mary stayed at Goodrich Castle and sent his father a gift of local produce, a Monmouth cap, Ross boots, and perry.[47] Gilbert Talbot died in 1616 with no male heir and Goodrich passed into the hands of Henry Grey, Earl of Kent.[44] The Greys chose not to live at Goodrich, but instead rented the castle to a series of tenants.[48]

English Civil War

Ruined foundations of buildings, some patches of ground covered in cobblestones; at the far and near ends of the foundations the stonework is built up to around a metre tall; a castle wall can be seen in the background left.

What remains of the stables, destroyed by Colonel John Birch during a night attack in May 1646

Goodrich Castle became the scene of one of the most desperate sieges during the English Civil War in the 1640s, which saw the rival factions of Parliament and the king vie for power across England. In the years before the war, there had been a resurgence of building at the castle. Richard Tyler, a local lawyer, became the tenant and constable of the castle, and during the early 1630s there had been considerable renovation work.[48]

Shortly after the outbreak of war, the Earl of Stamford, with support from Tyler, garrisoned the castle for Parliament until December 1643, when increasing Royalist pressure in the region forced his withdrawal to Gloucester.[49] The castle was then occupied by a garrison led by the Royalist Sir Henry Lingen.[50] The occupation was not peaceful, with Royalist troops burning surrounding farm buildings – Tyler himself was imprisoned by Lingen, although not before he had begun to sell off his livestock and other moveable property.[51] Some references to Goodrich Castle during this period refer to it as Guthridge Castle, a variant on the name Goodrich.[52]

As the Royalist situation deteriorated, the south-west became one of the few remaining Royalist strongholds.[53] Lingen, with 200 men and 90 horses at Goodrich Castle, conducted raids on Parliamentary forces in the region, representing a continuing challenge.[54] No action had been taken, however, to strengthen the castle's defences with more modern 17th-century earthworks, and the castle remained essentially in its medieval condition.[55]

In 1646, the Parliamentary Colonels John Birch and Robert Kyrle marched south from their successful Siege of Hereford and besieged the castle, with the aim of eliminating one of the few remaining Royalist strongholds.[50] There was some personal animosity between Lingen and Birch, and both were outspoken, impulsive men.[54] Birch's first move was to prevent further attacks from Lingen, and on 9 March he burned the weakly defended stables in a surprise night attack, driving away the Royalist horses and temporarily denying the Royalist forces' mobility.[56] Birch was unable to press home his advantage however, and over the next few months Lingen succeeded in replacing some of his horses and resumed his attacks on Parliamentary forces.[57]

A squat black mortar, the end gapped with a wooden plug on which is carved "Roaring Meg"; the mortar has wooden supports with black metal brackets.

The "Roaring Meg" mortar used against the castle in March 1646

In June, Birch returned and besieged the castle itself.[55] He found that it was too strong to be taken by direct attack, and instead began laying down trenches to allow him to bring artillery to bear on the structure.[57] Parliamentary attacks broke the pipe carrying water into the castle, and the cisterns in the courtyard were destroyed by exploding shells, forcing the garrison to depend on the older castle well.[55] With the castle still holding out, Colonel Birch built an enormous mortar called "Roaring Meg", able to fire a gunpowder-filled shell 85–90 kilograms (187–198 lb) in weight, in a local forge.[58]

Birch concentrated his efforts on the north-west tower, using his mortar against the masonry and undermining the foundations with his sappers.[59] Lingen responded with a counter-mine dug out under Parliament's own tunnel.[60] This would probably have succeeded, but Birch brought his mortar forward under the cover of darkness and launched a close-range attack on the tower, which collapsed and buried Lingen's counter-mine.[57] Down to their last four barrels of gunpowder and thirty barrels of beer, and with a direct assault now imminent, the Royalists surrendered.[61] According to tradition, the garrison left to the tune of "Sir Henry Lingen's Fancy".[26]

Despite the damage, Tyler was able to move back into his castle, which was now protected by a small Parliamentary garrison.[62] After investigation by Parliamentary agents Brown and Selden, however, the castle was slighted the following year, which rendered it impossible to defend.[63] The Countess of Kent, the new owner of the castle, was given £1,000 in damages, but chose not to rebuild the fortification as it was by then virtually uninhabitable.[26]

18th and 19th-century history

A watercolour painting, with a dark castle in the middle surrounded by dark green painting and a swirling, dark sky.

The picturesque ruins of the castle inspired many artists' work, including David Cox, who produced this watercolour in 1815.

After the Civil War, Goodrich Castle remained with the Earls of Kent until 1740, when it was sold by Henry Grey to Admiral Thomas Griffin.[64] Griffin undertook some restoration of the castle but retained it as a ruin.[1]

During the 1780s the concept of the picturesque ruin was popularised by the English clergyman William Gilpin. Goodrich Castle was one of the ruins he captured in his book Observations on the River Wye in 1782, writing that the castle was an example of the "correctly picturesque" landscape.[65] By this time, the castle was in a slow state of decay. Theodore Fielding, an early Victorian historian, noted how the "castle's situation, far from human dwellings, and the stillness which that solitude, insures to its precinct, leaves contemplation to all the solemnity, that is inspired by the sight of grandeur sinking in dignity, into decay".[66] The Regency and Victorian watercolour artists David Cox and William Callow also captured Goodrich Castle and its landscape in paint, again invoking the picturesque, romantic mood of the setting at the time.[67]

The castle was praised by William Wordsworth as the "noblest ruin in Herefordshire".[1] Wordsworth first visited Goodrich Castle in 1793, and an encounter with a little girl he met while exploring the ruins led him to write the poem We are Seven in 1798.[68] Other poets from this period were also inspired by the castle, including Henry Neele in 1827.[69]

By the 1820s, visitors could purchase an early guidebook at the site outlining the castle's history,[70] and Victorian tourists recorded being charged six-pence to wander around the castle.[71] In the early 1820s, the antiquarian Sir Samuel Rush Meyrick attempted to purchase the site, with the aim of converting the castle back into a private dwelling, but was unable to convince the owners to sell.[72] Instead, Meyrick built the neo-gothic Goodrich Court in a similar style next door, which greatly displeased Wordsworth when he returned to Goodrich in 1841 and found the view spoilt by the new building.[73][nb 3] The new bridge over the river Wye, built in 1828, and the 1873 railway line added to the number of visitors.[74][nb 4]

Goodrich Castle then passed through various hands, until in 1915 the Office of Works began discussions with its then owner, Mrs Edmund Bosanquet; large-scale collapses of parts of the north-west tower and curtain wall in 1919 contributed to Bosanquet's decision to grant the castle to the Commissioner of Works in 1920. The Commissioners began a programme of repairs to stabilise the ruin in its current state.[1]

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

The buildings on the former North London Line platforms were built in the early 1980s, when provision for passengers was very much meaner than it is now. These will all be swept away and replaced by much better facilities for the arrival of Crossrail services in 2018. The new station will comprise an island platform with two faces, capable of taking ten-car trains, and a light and spacious overline station building.

**********************************************************************

The Stratford to North Woolwich line was first opened in 1847 by the Eastern Counties Railway, at a time when the Silvertown area was undeveloped; the original route ran to the south of what is now Victoria Dock.

When Victoria Dock was constructed in the 1850s, a swingbridge was built to allow trains to cross the opening which allowed ships to enter the Dock from the Thames. However this would delay trains, so a new line was built to the north of the dock, with a station at Custom House. The original route was handed over to the Dock company, to be worked effectively as a private internal railway; although in the event of the new route being blocked the Eastern Counties Railway were permitted to use the old route free of charge.

When the adjacent Albert Dock was built in 1880 it incorporated a short-cut into Victoria Dock. Again a swingbridge was put in, but the Dock Company also put in a new tunnel, the Connaught Tunnel, to by-pass any delays. Once again the railway had the right to use the old route free of charge if the tunnel was blocked for any reason. During the 1880s short branch lines were added from Custom House to Gallions and Beckton; these little-known lines were used almost exclusively by freight, and by workers at the Docks and Beckton Gas Works. Little trace of these lines remains today.

With little other public transport in the Silvertown area, the railway did good business. However the first nail in the coffin was the construction of Silvertown Way in the 1930s; this was funded as a scheme to alleviate unemployment, and would eliminate level crossing delays for traffic heading to Victoria Dock. Trams had only ventured as far as Canning Town, but London Transport decided its trolleybuses would extend to Silvertown and North Woolwich via the new road. The heavy bombing of the Docks during the Second World War, and radical changes to the nature of trade thereafter, further contributed to the decline of the line. By the 1970s the service consisted of a half-hourly shuttle between Stratford and North Woolwich, and it looked set for closure.

However in 1979 the Greater London Council aimed to revive the line, and extended the service to Camden Road. New stations were constructed, and the existing stations were rebuilt, albeit in a very basic style with minimal facilities. In 1985 the line was electrified and incorporated into the North London Line, with trains running through from North Woolwich to Richmond.

It was the development of other railways in the area which finally killed off the North Woolwich Line. The Beckton line of the Docklands Light Railway opened in March 1994, but it was the coming of the line to King George V in December 2005 (since extended to Woolwich Arsenal) that rendered the old line redundant; services between Stratford and North Woolwich were withdrawn after 9th December the following year. Since then the route between Stratford and Canning Town has been reused by the Stratford International branch of the DLR (opened August 2011), whilst the section between Custom House and North Woolwich is being prepared for its new role as part of Crossrail's Abbey Wood line, due to open in 2018.

+++ DISCLAIMER +++

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

Some background:

Military aircraft development made huge leaps in the 50ies, and it was around 1955 that the successful, transsonic MiG-19 was to be replaced by a next generation fighter - which was to attain more than Mach 2. At that time, these speed and performance figures were terra incognita, but OKB Mikoyan tackled the official request for a new light tactical fighter, which was primarily intended to be used against high flying bombers, guided by ground radar.

General characteristics:

Crew: One

Length (incl. pitot): 16.05 m (53 ft)

Wingspan (incl. drop tanks): 8,18 m (21 ft 6 in)

Height: 3.81 m (12 ft 6 1/3 in)

Wing area: 18 m² (196,1 ft²)

Aspect ratio: 7.3:1

Empty weight: 4.820 kg (10.617 lb)

Loaded weight: 7.844 kg (17.277 lb)

Max. take-off weight: 8.625 kg (19.000 lb)

Powerplant: 1 × Tumanskiy R-11F-300 turbojet, rated at 3875 kgp (8.536 lbf) dry and 5.760 kgp (12.686 lbf) with afterburner

Performance

Maximum speed: 725 mph (1.167 km/h) at sea level, 1.190 mph (1.917km/h) at 13.000m (42.640 ft)

Combat radius: 450 km (245 nm, 280 mi)

Range: 850 ml (1.370 km)

Service ceiling: 19.000 m (62.320 ft)

Rate of climb: 38 m/s (7.480 ft/min)

Armament:

2× Nudelmann-Richter NR-30 30mm cannons with 50 RPG;

1.500 kg (3.300 lb) of payload on four external hardpoints, including:

- 2x PTB-350 wing tip drop tanks (fitted as standard)

- 2× K-13/R-3S (AA-2/"Atoll") AAMs on underwing pylons

- Alternatively, the two underwing pylons could carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre.

The kit and its assembly:

Another whif, based on vague indications that this Starfighter-like design was seriouly considered at OKB MiG in the early 50ies because there exists a (crude) desktop model which shows a MiG-21 fuselage with F-104 wings and tail. An appealing design, and a good story to tell with a model. Anyway, AFAIK the 'Ye-3' designation was never used in the MiG-21 development phase or anywhere else at OKB MiG, so I borrowed it for the kit. The NATO code 'Filbert' is also a fantasy product.

Basically, this model is a kit-bashing. It consists of a Hasegawa MiG-21F-13 fuselage with new wings. The Hasegawa kit is ancient, I guess it is from the early 70ies. It has several flaws, so it is good fodder for such a project. For example, the MiG-21 lacks any serious interior, the landing gear is not even a joke and the prominent Soviet Red Stars have been molded onto the parts as raised panel lines! The area-ruled fuselage is pretty, though, very sleek.

Much room for improvements and improvisation, though. Hence, I built a cockpit interior from scartch and added an Airfix pilot, since these figures look very Soviet. As a side benefit, the figure is rather voluminous, so it covers much of the primitive cockpit interior...

Another modification is the landing gear - I wanted to incorporate much of the aforementioned F-16's landing gear, so that new wells had to be cut into the fuselage. This turned out to be easier than expected, and I did not waste too much effort on it. The F-16 landing gear is shorter than the MiG-21's, so the Ye-3 is closer to the ground than its real world cousins.

For the new thin wings I considered at first butchering an Airfix F-104G Starfighter as donation kit, but eventually found the wings being simply too small for my taste and for what the desktop model paradigm shows. I eventually ended up with wings from an Italeri F-16, which - believe it or not - have the SAME leading and trailing edge angles as the F-104, you just have make angled cuts at the wing tips and the wing roots... I just had to cover up the original flap engravings and fit them to the fuselage. The F-16's horizontal stabilizers were taken, too, but shortened in order to match the smaller dimensions for a Starfighter-like look.

The fin was clipped on top and a new upper end created from the single MiG-21 under-fuselage stabilizer. The latter was replaced by two splayed fins, an arrangement which was featured on the original Ye-prototypes but were later replaced by the single fin.

The missiles and their launch rails are leftover pieces from my recent MiG-21G conversion (from a Hobby Master kit), they were painted orange as dummies, according to Soviet practice.

As extra equipment for a test airfcraft, a small camera pod (based on real life picture of other MiG prototypes and test aircraft) was added under the front fuselage - for recording live missile launch tests.

Painting:

I wanted, according to the background story, keep this a prototype aircraft. Unfortunately, this means that I'd be limited to a natural metal finish - and I hate such surfaces, because they are a great challenge, esp. with the manual brush technique I use...

But I tried to make the best of it and painted the model with a plethora of metal tones - ranging from Testors/Model Master Metallizer (Polished Aluminum, Polished Steel, Titanium, Exhaust) through Humbrol enamels (Aluminum, Gun Metal, Chrome Silver) up to Revell Aqua Acryllics (Aluminum). Additionally, some service flaps were painted in light grey (Humbrol 64), the nose cone (which would have been a metal piece, not a plastic radome) was painted in Humbrol 140.

The kit also received a wash with black ink - not to make it look worn, but to add to a "metallic" look with more contrast at edges and raised panel lines. To enhance this metallic look further, the kit received a treatment with a 'graphite rubbing'.

To make the machine look even more interesting (but not out of style), I added some phototheodolyte calibration markings on fuselage and fin: simple, black stripes, but, again, based on real test aircraft of that era. Additionally, "31 Blue" received four stars under the cockpit as mission markers - not for shot-down aircraft, but for successful live missile launches.

After the decals were applied - puzzled together from the scrap box and several aftermarket sheets for Russian/Soviet aircraft - everything was sealed under a coat of semi-matte acryllic varnish (Tamiya TS-79).

In the end a rather simple conversion, but quite effective and convincing. I think that this potential MiG-21 layout does not look out of place - but there certainly were reasons why the thin, unswept wings did not make it to the hardware stage at OKB MiG...

After almost ANOTHER year of visitng this store, they have FINALLY taken the site to store sign that was hanging from the ceiling, cut the "restrooms" tag from the bottom, and placed the sign OVER the Layaway sign...finally...

+++ DISCLAIMER +++

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

Some background:

No. 19 Squadron of the Royal Flying Corps was formed on 1 September 1915, from members of No. 5 Squadron, at Castle Bromwich training on a variety of aircraft before being deployed to France in July 1916 flying Royal Aircraft Factory B.E.12 and re-equipping with the more suitable French-built SPAD S.VIIs. From November 1917, the squadron started to receive Sopwith Dolphins to replace its SPADs, it being fully equipped with the Dolphin during January 1918, flying its first operational patrol with the new fighter on 3 February. In 1917, the squadron was re-equipped with Sopwith Dolphins, flying escort duties.

After their introduction in mid-1945, the Spitfire LF.16’s service with RAF No. 19 Squadron was only short and lasted only several months. In October 1946, the unit moved again, from Northumberland southward to RAF Wittering at the boundary between Cambridgeshire and Northamptonshire. There, the Spitfires were retired or handed over to RAuxAF units. NR 761 was handed over to No. 614 (County of Glamorgan) Squadron where it served until July 1950 (replaced with D. H. Vampires), and No. 19 (F) Squadron converted to the de Havilland Hornet Mk. I, which were operated for about five years until January 1951 when the Squadron received their first jet aircraft, the Gloster Meteor F.4.

General characteristics:

Crew: one pilot

Length: 31 ft 2 in (9,55 m)

Wingspan: 32 ft ½ in (9,93 m)

Height: 11 ft 5 in (3.86 m)

Wing area: 242.1 sqft (22.48 m²)

Airfoil: NACA 2209.4(tip)

Empty weight: 5,065 lb (2,297 kg)

Loaded weight: 6,622 lb (3,000 kg)

Max. takeoff weight: 8,731 lb (3,946 kg)

Powerplant:

1× Rolls-Royce Merlin 266 liquid-cooled V12 engine with a two speed, two-stage supercharger,

rated at 1.470 hp (1.096 kW) at 9.250 ft (2.820 m), maximum output of 1.710 hp (1,276 kW),

driving a 4 blade constant speed Rotol airscrew with Jablo or Hydulignum wood blades

Performance:

Maximum speed: 415 mph, (364 kn, 669 km/h)

Combat radius: 411 mi (360 nmi, 662 km)

Ferry range: 1,135 mi (991 nmi, 1,827 km)

Service ceiling: 40,500 ft (13,265 m)

Rate of climb: 2,600 ft/min (13.2 m/s)

Wing loading: 27.35 lb/sqft (133.5 kg/m²)

Power/mass: 0.22 hp/lb (0.36 kW/kg)

Armament:

2x 20mm Hispano Mk II cannon (120 RPG)

2x 0.5 in (12,7 mm) Browning machine guns (250 RPG)

Three hardpoints (1 ventral, 1 under each outer wing) for up to 1.000 lb (454 kg)

The kit and its assembly:

My submission for the 2022 “One Week” Group build at whatifmodellers.com, a tactical choice. This is what would at warthunder.com be called a “semi-authentic” whif. The inspiration came when I found a leftover decal sheet from the classic Matchbox P-51D/K Mustang kit, which offers the famous and pretty ‘Dooleybird’ KM 272 as a painting option from May 1945. I wondered how long the aircraft had carried this bright livery, and eventually found out that RAF No. 19 Squadron operated the Mustang only for a couple of months after the end of WWII, replaced by Spitfire LF.16s. This became the simple concept for this whif: what would such a Spitfire have looked like?

For the kit I went for Heller’s venerable Spitfire LF.16 kit: it is pretty cheap and still a decent representation of the last Merlin-powered type, despite some flaws. I also was happy that I could build the model basically OOB, without major modifications, saving time for the short group build period of just nine days for the model itself and the pictures. However, the Heller kit has its weaknesses: surface details are raised (yet quite fine), the cockpit interior is complete with bulkheads and a separate seat, but highly simplified. The same goes for the landing gear wells and the radiators: they are molded into the main parts. Detail freaks will certainly wrinkle their noses, but for the kit’s typical price it’s O.K. and there are certainly worse Spitfire kits in 1:72 around!

A fundamental problem, though: The overall material thickness is rather poor, what causes troubles when you glue the fuselage halves together and when inserting the wing section into its respective hull opening: aligning and simply attaching everything is hazardous, the wings are later so wobbly that their seams frequently break up!

The main landing gear is also very flimsy, and why the mold designers decided to use only half of the already tiny locator pins as attachment points is beyond my understanding. The legs are so wobbly that they hardly hold the model up – I had to support them with superglue.

Nevertheless, the kit was built totally OOB, I just implanted a styrene tube adapter for the propeller with a longer axis.

Painting and markings:

This was quite challenging, and I have the impression that the original RAF KM 272 and its livery are just as elusive and speculative as Indian Air Force C992, a MiG-21FL that carried a spectacular tiger stripe livery – often offered as a painting option in kits or depicted in artwork, but these are only based on blurry b/w pictures that do not reveal the aircraft’s actual colors and do not show details like the underside. The ‘Dooleybird’ seems to be a similar affair, and the more you try to find out about the aircraft, the more controversial the details become – esp. under the light that the aircraft apparently operated only for a couple of months in this livery in peacetime, so there cannot have been many variations.

For instance: what’s the color of the anti-glare panel? US-style olive drab or black? Or was it even dark blue? And how would this translate onto a later Spitfire? The cheatline under the anti-glare panel is controversial, too: Matchbox and some others depict it as dark blue (reflecting the white-and-blue spinner and the checkered collar behind it, No. 19 Squadron’s unit colors), while Airfix offers deep yellow with its recent 1:48 kit. Well, I do not believe in the latter, because a b/w picture of KM 272 at Airfix’ website that is used as reference for the model(!) shows the cheatlines in a relatively dark color, while the yellow wing leading edges are much lighter. Even when you consider different angles and light reflections of the respective areaa, I do not buy the yellow trim on the fuselage – so I stuck with the blue, which IMHO also looks better and more plausible. I coupled this with a black anti-glare panel; typical post-war Spitfires did not feature such a panel at all and were all-silver, but to replicate KM 272’s looks on the different airframe I kept it. As s side benefit, the dark panel stretches the Spitfire LF.16’s elegant lines with its low rear section even further.

Another dubious detail: the color of the codes. The Matchbox kit shows them in black, but roundel blue could have been an option, too. And even the ‘Dooleybird’ tag in red is not 100% certain: I have found an aftermarket decal sheet that shows it in blue! The more you look, the more confused you get… :-/

Painting started with an overall coat with a tone called “White Aluminum” from the rattle can, which yields a nice metallic shine. The cockpit was, typical for late WWII RAF aircraft, painted in a very dark grey (Revell 09 Anthracite), with dry-brushed details in a slightly lighter grey – but the cockpit is so tight that hardly anything can be discerned. The interior of the landing gear wells and of the radiators was painted with Humbrol 56 (Aluminum Dope), a more greyish silver tone.

The blue on the spinner and for the cheatlines is probably “Oxford Blue” (Humbrol 104), the same as the color used on the roundels, but I used a slightly lighter mix with some Humbrol 25, in an attempt to match the print color from the decals.

As mentioned above, the anti-glare panel became deep black. Since the contrast between the black and the blue was very weak I experimented with a white 0.5 mm demarcation line between the colors, but that looked weird and reduced the contrast even more, so that I eventually stuck to the original (Matchbox) design.

To liven up the silver airframe the fabric-covered surfaces on the tail were painted with Humbrol 56, too, and single panels all over the hull were painted with Revell 99 (Aluminum) for a light contrast. Then the model received a light black ink washing to emphasize the recessed surface details (esp. around the rudders/flaps), and some light post-panel-shading with Humbrol 27001 (Matt Aluminum Metallizer), slightly lighter than the overall White Aluminum, was done for an even more “uneven” surface.

The decals came next, and this took some improvisation. Roundels were, after some consideration, taken from the Matchbox sheet – even though these left me uncertain, too. These are still Type C roundels from the WWII period, but they are shown with a bright red that was AFAIK officially introduced in 1947 with the post-war Type D roundels? Or did KM 272 still use wartime “Identification Red (dull)“? I decided to stick with the brighter option, even if it was wrong, because it matches the aircraft’s overall rather bright complexion, and this is a what-if model, after all.

Fitting the checkered collar behind the propeller was quite challenging – from former builds of the Matchbox ‘Dooleybird’ many years ago I remembered that the decals already did not fit well around the original kit’s front end, and despite carrying a Merlin, too, the Spitfire’s cowling is quite different from the Mustang’s. To have more flexibility, I trimmed down the carrier film and cut each half of the ring into four segments and tried to apply them evenly – not perfect, but I think that I could not expect more.

The yellow ID markings on the outer wings’ leading edges were created with decal sheet material – again I was uncertain how long these would have been worn after WWII? KM 272 still had them, a successor one year later maybe not – but I kept them, too, to stay close to the original ‘Dooleybird’ and for the additional color on the airframe.

The serial number of this Spitfire, NR 761, is fictional and was AFAIK not assigned to an active RAF aircraft. To give the Spitfire a post-war look I decided to use a more modern font: all serial numbers on the fuselage and under the wings were created with material for respective decals from an Xtradecal BAC Lightning sheet. As an adaptation to the different underwing space due to the radiators I placed the large code letters in two lines instead of just one (as seen on KM 272, where the codes extend over the landing gear covers).

The tactical code on the flanks was created with single black 8 mm DIN font letters from TL Modellbau, which is similar to the RAF font but slightly bolder. Again, I was not certain how long the WWII practice with a pair of unit letters and a single letter for the individual aircraft had been kept by RAF units – but RAF Tempests in Europe were marked this way until at least mid-1946, and overseas even until 1949.

Once the decals were in place, the model received a light rubbing with graphite to apply an additional metallic shine and to emphasize the raised panel lines. Slightly more graphite was added behind the exhaust stubs. Finally, the model was sealed with semi-gloss acrylic varnish (Italeri), except for the anti-glare panel and the propeller blades, which became matt.

A project with many question marks – despite the simple idea and the alleged short building time. However, despite some twists and turns, the result looks very attractive, the fictional ‘Dooleybird’ successor is a real eye-catcher, esp. when you expect a Mustang at first glance behind the masquerade. 😉 Besides, I have plans to build the real ‘Dooleybird’ in 1:72, too, but based on the Academy P-51D/K and with some detail improvements to better match the real aircraft (which had, for instance, uncuffed propeller blades).

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Goodrich Castle is a Norman medieval castle ruin north of the village of Goodrich in Herefordshire, England, controlling a key location between Monmouth and Ross-on-Wye. It was praised by William Wordsworth as the "noblest ruin in Herefordshire"[1] and is considered by historian Adrian Pettifer to be the "most splendid in the county, and one of the best examples of English military architecture".[2]

Goodrich Castle was probably built by Godric of Mappestone after the Norman invasion of England, initially as an earth and wooden fortification. In the middle of the 12th century the original castle was replaced with a stone keep, and was then expanded significantly during the late 13th century into a concentric structure combining luxurious living quarters with extensive defences. The success of Goodrich's design influenced many other constructions across England over the following years. It became the seat of the powerful Talbot family before falling out of favour as a residence in late Tudor times.

Held first by Parliamentary and then Royalist forces in the English Civil War of the 1640s, Goodrich was finally successfully besieged by Colonel John Birch in 1646 with the help of the huge "Roaring Meg" mortar, resulting in the subsequent slighting of the castle and its descent into ruin. At the end of the 18th century, however, Goodrich became a noted picturesque ruin and the subject of many paintings and poems; events at the castle provided the inspiration for Wordsworth's famous 1798 poem "We are Seven". By the 20th century the site was a well-known tourist location, now owned by English Heritage and open to the public.

Architecture

A castle, with a large circular tower facing the viewer, with an angular spur jutting out from the base of the tower; a metal fence is in the foreground, with green vegetation around it.

The south-eastern tower shows the characteristic right-angled "spur", designed to prevent its undermining during a siege.

Goodrich Castle stands on a high rocky sandstone outcrop overlooking the River Wye. It commands a crossing of the river, known as Walesford or Walford, Ross-on-Wye, about 26 kilometres (16 mi) from Hereford and 6.4 kilometres (4.0 mi) from Ross-on-Wye.[3] The castle guards the line of the former Roman road from Gloucester to Caerleon as it crosses from England into Wales.[4]

At the heart of the castle is an early Norman square keep of light grey sandstone, with Norman windows and pilaster buttresses.[5] Although the keep had thick walls, its relatively small size – the single chambers on each floor measure only 5.5 by 4.5 metres (18 by 15 ft) internally[6] – would have made it more useful for defence than for day-to-day living.[7] The keep originally had a first-storey door for safety, this was later turned into a window and the entrance brought down to the ground floor.[2] The keep would originally have had an earth mound built up against the base of it to protect against attack, and the stone work remains rougher in the first few courses of masonry.[7]

Around the keep is an essentially square structure guarded by three large towers, all built during the 1280s from somewhat darker sandstone.[1] On the more vulnerable southern and eastern sides of the castle, ditches 27 metres (90 ft) long and 9 metres (28 ft) deep have been cut into the rock,[8] exploiting a natural fissure.[5] These towers have large "spurs", resulting from the interface of a solid, square-based pyramid with the circular towers rising up against the walls. This feature is characteristic of castles in the Welsh Marches, including St Briavel's and Tonbridge Castle, and was intended to prevent the undermining of the towers by attackers.[9]

A castle, with a flat fronted tower facing the viewer with a stained glass window in the middle of it; a stone causeway is on the right of the picture, leading to a gateway to the right of the tower – a partially filled arch is supporting the causeway.

The gatehouse is reached by an exposed causeway covered by the barbican to the right of the picture. The chapel window can be seen in the left-hand tower.

The castle's fourth corner forms its gatehouse. Here the classic Edwardian gatehouse design has been transformed into an asymmetrical structure, with one tower much larger than the other.[10] The gatehouse included portcullises, murder-holes and a drawbridge. Beyond the gatehouse lies a large barbican, inspired by a similar design of the period at the Tower of London and possibly built by the same workmen, designed to protect the causeway leading to the gatehouse.[11] The barbican today is only half of its original height, and includes its own gate, designed to trap intruders within the inner defences.[12] The gatehouse and barbican are linked by a stone causeway.

The gatehouse's eastwards-facing tower contains the chapel, an unusual arrangement driven by a lack of space, with a recently restored east window of reset 15th-century glass designed by Nicola Hopwood, which illuminates the priest's seat, or sedile.[13] The 15th-century window frame itself replaced an even taller, earlier 13th-century window.[14] The chapel's west window is modern, and commemorates the British scientists, engineers and servicemen involved in radar development who died between 1936 and 1976.[nb 1] The altar itself is particularly old, possibly pre-dating the castle.[15]

The bailey was designed to include a number of spacious domestic buildings. These include a great hall, a solarium, kitchen, buttery and pantry,[10] with a luxuriously large number of garderobes and fireplaces.[16] The large towers provided additional accommodation.[10] The design of the domestic buildings was skilfully interlocked to support the defensive arrangements of the bailey.[16] The great hall for example, 20 by 9 metres (66 by 30 ft), was placed in the strongest position overlooking the river Wye, allowing it to benefit from multiple large windows and a huge fireplace without sacrificing defensive strength.[15] Water for the castle was originally raised from the courtyard well, but was later piped in from a spring across the valley;[17] the castle kitchens had acquired running water by the beginning of the 17th century.[1] The design of the buildings ensured that the servants and nobility were able to live separately from one another in the confined space of the castle, revolutionary at the time.[18]

Beyond the main bailey walls lies the stable block, now ruined but with a visible cobble floor.[19] The stables and the north and west sides of the castle were protected by another, smaller curtain wall, but this is now largely ruined.[20] Accounts suggest that the original stables could hold around 60 horses, although by the 17th century they had been expanded to accommodate more.[21]

History

Medieval history

11th and 12th centuries

A square stone keep dominates the picture, sat behind a patch of green grass; the keep has a doorway at ground level, with two windows irregularly placed above it.

The Great Keep replaced Godric of Mappestone's original earth and timber fortification on the site in the mid-12th century.

Goodrich Castle appears to have been in existence by 1101, when it was known as Godric's Castle, named probably after Godric of Mappestone, a local Anglo-Saxon thane and landowner mentioned in the Domesday Book of 1086.[5] Victorian historians, however, believed the castle to date back further to the pre-Norman conquest days of King Canute,[22] and the site may have been among a small number of Saxon fortifications along the Welsh border.[23] By Norman times, Goodrich formed part of the Welsh Marches, a sequence of territories granted to Norman nobles in, and alongside, Wales. Although Goodrich lay on the safer, English side of the border, the threat of raids and attacks continued throughout most of the period.[24]

During the 12th century the attitudes of the English nobility towards the Welsh began to harden; the policies of successive rulers, but especially Henry II, began to become more aggressive in the region.[25] In the mid-12th century Godric's original earth and timber fortification was dismantled and replaced by a tall but relatively small square keep built of stone,[2] sometimes known as "Macbeth's Tower".[26] The keep was designed to be secure and imposing but relatively cheap to build.[27] It is uncertain, however, precisely who was responsible for this rebuilding or the date of the work, which may have been between 1120 and 1176.[28]

At the beginning of the 12th century, the castle had passed from Godric to William Fitz Baderon, thought to be his son-in-law, and on to his son, Baderon of Monmouth, in the 1120s.[29] England descended into anarchy, however, during the 1130s as the rival factions of Stephen and his cousin the Empress Matilda vied for power. Baderon of Monmouth married Rohese de Clare, a member of the powerful de Clare family who usually supported Stephen, and there are records of Baderon having to seize Goodrich Castle during the fighting in the region, which was primarily held by supporters of Matilda.[30] Some suspect that Baderon may have therefore built the stone keep in the early years of the conflict.[2][nb 2] Stephen went on, however, to appoint Baderon's brother-in-law, Gilbert de Claire, the Earl of Pembroke, and Gilbert de Clare eventually acquired Goodrich Castle himself.[29] Gilbert's son, Richard de Clare, known as "Strongbow", succeeded him in 1148, and Richard is another candidate for the construction of the keep.[28] In 1154 Richard fell out of favour with King Henry II because of the de Clares' support for Stephen, and the castle was taken into royal hands. Some argue that the king himself may have ordered the construction of the great keep.[1]

13th and 14th centuries

Part of a castle, with a huge semi-circular arch containing two smaller Norman arches dominating the picture. Through the arches, a ruined pillar can just be made out.

The private solarium was incorporated into the defensive walls during the expansion under William de Valence.

During the following reigns of King Richard I and his brother John, the castle and manor were held by the Crown. King John, however, lost many of his lands in France which in turn deprived key English nobles of their own estates – John became concerned about possible opposition to his rule. Accordingly, in 1203 John transferred Goodrich Castle and the surrounding manor to William Marshal, Earl of Pembroke, to partially compensate him for his lost lands on the continent.[31] Marshal was a famous English knight with reputation as a heroic warrior, and he expanded Goodrich by building an additional towered curtain wall in stone, around the existing keep.[5] Marshal had to intervene to protect Goodrich Castle from Welsh attack, most famously in 1216 when he was obliged to leave Henry III's coronation feast in Gloucester to hurry back to Goodrich to reinforce the castle.[32]

Marshal's sons inherited the castle after their father's death; Marshal left the castle to his eldest son, William, who in turn gave it to his younger brother, Walter.[32] After William's death, however, Marshal's second son, Richard, took over the castle. Richard led the baronial opposition to Henry III and allied himself with the Welsh, resulting in King Henry besieging Goodrich Castle in 1233 and retaking personal control for a period.[32] Walter was eventually given Goodrich back once more, but died shortly afterwards in 1245.[33]

The castle briefly reverted to the Crown again, but in 1247 passed by marriage to William de Valence, half brother to Henry III.[34] De Valence was a French nobleman from Poitiers and a noted soldier who spent most of his life fighting in military campaigns; Henry arranged his marriage to Joan de Munchensi, one of the heiresses to the Marshal estate. The marriage made Valence immensely rich and gave him the title of Earl of Pembroke.[33]

A massive castle tower, sat on top of a rugged rock outcrop; a massive angular stone spur juts out from the base of the tower towards the viewer.

The massive south-east tower

The Welsh border situation remained unsettled however, and in the decades after 1250 security grew significantly worse, as the Welsh prince Llywelyn ap Gruffudd conducted numerous raids into English territories.[24] The Wye valley and Goodrich were particularly affected by these raids.[35]

Accordingly, William de Valence began to build a much larger castle around the original keep from the 1280s onwards, demolishing Marshal's earlier work.[35] As part of the extremely expensive construction work, Valence used oak trees drawn from several royal forests.[36] Valence was building at the same time that his nephew Edward I was constructing his major castles in the north of Wales, and the concentric castle that he built at Goodrich is both very similar in design and a rarity in England itself.[2] Valence's son, Aymer de Valence built an additional line of outer defences before his death in 1324, including the external barbican,[10] inspired by that at the Tower of London, and for which the earlier Valence barbican at Pembroke may have been an experimental forerunner.[12] The effect was an early success in converting a fortress into a major dwelling, without damaging its defensive arrangements, and influenced the later castle conversion at Berkeley.[37]

The castle then passed to Aymer's niece, Elizabeth de Comyn, a well-connected young noblewoman. By the middle of the 1320s, however, England was in the grip of the oppressive rule of the Marcher lords Hugh le Despenser the older and his son Hugh Despenser the younger, the royal favourites of King Edward II.[38] As part of a "sweeping revenge" on their rivals, especially in the Marches, the Despensers illegally seized a wide range of properties, particularly from vulnerable targets such as widows, wives whose husbands were out of favour with the king or unmarried women.[39] Upon her inheritance, Hugh le Despenser the younger promptly kidnapped Elizabeth in London and transported her to Herefordshire to be imprisoned in her own castle at Goodrich.[1] Threatened with death, Elizabeth was finally forced to sign over the castle and other lands to the Despensers in April 1325.[40] Elizabeth then married Richard Talbot, the 2nd Baron Talbot, who seized back the castle in 1326 shortly before Queen Isabella of France landed in England and deposed both the Despensers and her husband Edward II; Talbot and Elizabeth regained their legal title to the castle the following year.[41] Richard later received permission from Isabella's son Edward III to create a dungeon under the keep for holding prisoners.[42]

15th and 16th centuries

An stained glass window, with three columns and some curved pieces of glass at the top, surrounded by blackness. A blue river traces its way through the glass, surrounded by yellow, orange and red background glass.

The current stained glass window in the chapel was designed in 2000 but used 15th-century glass.

Goodrich remained the favourite home of Richard Talbot's descendants for many years. During the early years, the security situation in Wales remained of concern. Owain Glyndŵr rebelled against English rule in 1402 and Welsh forces invaded the Goodrich area in 1404 and 1405. Gilbert Talbot was responsible for fighting back the Welsh advance and securing the castle.[43] As time went on, however, the threat began to diminish. During the 15th century the Talbots considerably expanded the size of the lord's quarters in the castle[15] and provided additional accommodation for servants and retainers.[43]

The Talbots became the Earls of Shrewsbury in 1442, shortly before the Wars of the Roses in which they supported the Lancastrian faction.[10] The wars meant that the Talbots were frequently fighting elsewhere in England, and often staying at their castle in Sheffield.[36] John Talbot died in the Lancastrian defeat at Northampton in 1460, and the castle was forfeited and transferred to the Yorkist William Herbert. John's son, also called John Talbot, later made his peace with the king, however, and regained control of his lands and Goodrich Castle before his death in 1473.[44]

By the 16th century the castle was becoming less fashionable as a residence. Goodrich was too distant from London to be a useful power base, and was gradually abandoned in favour of more stylish residences,[45] Goodrich continued to be used as a judicial centre however; the antiquarian John Leland noted that some of the castle was used to hold prisoners for the local court during the 1530s, and the castle ditch was sometimes used to store confiscated cattle taken from local farmers.[46]

In 1576 Gilbert Talbot and his wife Mary stayed at Goodrich Castle and sent his father a gift of local produce, a Monmouth cap, Ross boots, and perry.[47] Gilbert Talbot died in 1616 with no male heir and Goodrich passed into the hands of Henry Grey, Earl of Kent.[44] The Greys chose not to live at Goodrich, but instead rented the castle to a series of tenants.[48]

English Civil War

Ruined foundations of buildings, some patches of ground covered in cobblestones; at the far and near ends of the foundations the stonework is built up to around a metre tall; a castle wall can be seen in the background left.

What remains of the stables, destroyed by Colonel John Birch during a night attack in May 1646

Goodrich Castle became the scene of one of the most desperate sieges during the English Civil War in the 1640s, which saw the rival factions of Parliament and the king vie for power across England. In the years before the war, there had been a resurgence of building at the castle. Richard Tyler, a local lawyer, became the tenant and constable of the castle, and during the early 1630s there had been considerable renovation work.[48]

Shortly after the outbreak of war, the Earl of Stamford, with support from Tyler, garrisoned the castle for Parliament until December 1643, when increasing Royalist pressure in the region forced his withdrawal to Gloucester.[49] The castle was then occupied by a garrison led by the Royalist Sir Henry Lingen.[50] The occupation was not peaceful, with Royalist troops burning surrounding farm buildings – Tyler himself was imprisoned by Lingen, although not before he had begun to sell off his livestock and other moveable property.[51] Some references to Goodrich Castle during this period refer to it as Guthridge Castle, a variant on the name Goodrich.[52]

As the Royalist situation deteriorated, the south-west became one of the few remaining Royalist strongholds.[53] Lingen, with 200 men and 90 horses at Goodrich Castle, conducted raids on Parliamentary forces in the region, representing a continuing challenge.[54] No action had been taken, however, to strengthen the castle's defences with more modern 17th-century earthworks, and the castle remained essentially in its medieval condition.[55]

In 1646, the Parliamentary Colonels John Birch and Robert Kyrle marched south from their successful Siege of Hereford and besieged the castle, with the aim of eliminating one of the few remaining Royalist strongholds.[50] There was some personal animosity between Lingen and Birch, and both were outspoken, impulsive men.[54] Birch's first move was to prevent further attacks from Lingen, and on 9 March he burned the weakly defended stables in a surprise night attack, driving away the Royalist horses and temporarily denying the Royalist forces' mobility.[56] Birch was unable to press home his advantage however, and over the next few months Lingen succeeded in replacing some of his horses and resumed his attacks on Parliamentary forces.[57]

A squat black mortar, the end gapped with a wooden plug on which is carved "Roaring Meg"; the mortar has wooden supports with black metal brackets.

The "Roaring Meg" mortar used against the castle in March 1646

In June, Birch returned and besieged the castle itself.[55] He found that it was too strong to be taken by direct attack, and instead began laying down trenches to allow him to bring artillery to bear on the structure.[57] Parliamentary attacks broke the pipe carrying water into the castle, and the cisterns in the courtyard were destroyed by exploding shells, forcing the garrison to depend on the older castle well.[55] With the castle still holding out, Colonel Birch built an enormous mortar called "Roaring Meg", able to fire a gunpowder-filled shell 85–90 kilograms (187–198 lb) in weight, in a local forge.[58]

Birch concentrated his efforts on the north-west tower, using his mortar against the masonry and undermining the foundations with his sappers.[59] Lingen responded with a counter-mine dug out under Parliament's own tunnel.[60] This would probably have succeeded, but Birch brought his mortar forward under the cover of darkness and launched a close-range attack on the tower, which collapsed and buried Lingen's counter-mine.[57] Down to their last four barrels of gunpowder and thirty barrels of beer, and with a direct assault now imminent, the Royalists surrendered.[61] According to tradition, the garrison left to the tune of "Sir Henry Lingen's Fancy".[26]

Despite the damage, Tyler was able to move back into his castle, which was now protected by a small Parliamentary garrison.[62] After investigation by Parliamentary agents Brown and Selden, however, the castle was slighted the following year, which rendered it impossible to defend.[63] The Countess of Kent, the new owner of the castle, was given £1,000 in damages, but chose not to rebuild the fortification as it was by then virtually uninhabitable.[26]

18th and 19th-century history

A watercolour painting, with a dark castle in the middle surrounded by dark green painting and a swirling, dark sky.

The picturesque ruins of the castle inspired many artists' work, including David Cox, who produced this watercolour in 1815.

After the Civil War, Goodrich Castle remained with the Earls of Kent until 1740, when it was sold by Henry Grey to Admiral Thomas Griffin.[64] Griffin undertook some restoration of the castle but retained it as a ruin.[1]

During the 1780s the concept of the picturesque ruin was popularised by the English clergyman William Gilpin. Goodrich Castle was one of the ruins he captured in his book Observations on the River Wye in 1782, writing that the castle was an example of the "correctly picturesque" landscape.[65] By this time, the castle was in a slow state of decay. Theodore Fielding, an early Victorian historian, noted how the "castle's situation, far from human dwellings, and the stillness which that solitude, insures to its precinct, leaves contemplation to all the solemnity, that is inspired by the sight of grandeur sinking in dignity, into decay".[66] The Regency and Victorian watercolour artists David Cox and William Callow also captured Goodrich Castle and its landscape in paint, again invoking the picturesque, romantic mood of the setting at the time.[67]

The castle was praised by William Wordsworth as the "noblest ruin in Herefordshire".[1] Wordsworth first visited Goodrich Castle in 1793, and an encounter with a little girl he met while exploring the ruins led him to write the poem We are Seven in 1798.[68] Other poets from this period were also inspired by the castle, including Henry Neele in 1827.[69]

By the 1820s, visitors could purchase an early guidebook at the site outlining the castle's history,[70] and Victorian tourists recorded being charged six-pence to wander around the castle.[71] In the early 1820s, the antiquarian Sir Samuel Rush Meyrick attempted to purchase the site, with the aim of converting the castle back into a private dwelling, but was unable to convince the owners to sell.[72] Instead, Meyrick built the neo-gothic Goodrich Court in a similar style next door, which greatly displeased Wordsworth when he returned to Goodrich in 1841 and found the view spoilt by the new building.[73][nb 3] The new bridge over the river Wye, built in 1828, and the 1873 railway line added to the number of visitors.[74][nb 4]

Goodrich Castle then passed through various hands, until in 1915 the Office of Works began discussions with its then owner, Mrs Edmund Bosanquet; large-scale collapses of parts of the north-west tower and curtain wall in 1919 contributed to Bosanquet's decision to grant the castle to the Commissioner of Works in 1920. The Commissioners began a programme of repairs to stabilise the ruin in its current state.[1]

I have been through the village many times, but not found the church ope, but after driving by recently, I saw the west porch door open, so found a place to park nearby.

The church stands on high ground over the village's famous ford, and beside what was once the high road, but is still busy.

The porch is underneath the tower on the west end of the church, and upon entering the building is filled with light. The pews have been replaced by modern seating, an there is a fairly new alter, but the apse is clean and light.

A couple were visiting from up north, and were delighted to have met another visitor, especially one who has visited close to 350 Kentish churches.

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Sitting on high ground above the famous ford, this is a light and well cared for church. Saxon in origin, but with a character now of the thirteenth century, it is currently (2005) being reordered to make it more adaptable. Already the north aisle is not part of the church but proposals to remove pews and change the layout will result in an even more flexible space. The finest part of the church is the south transept - with its very tall lancet windows and modern altar.

www.kentchurches.info/church.asp?p=Eynsford

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EYNSFORD.

SOUTHWARD from Farningham lies Eynsford, sometimes written Aynsford, so named from a noted ford here over the river Darent.

THIS PARISH extends about four miles from east to west, and about three miles from north to south; on the north side it reaches almost up to the village of Farningham, near to which stood the antient mansion of Sibell's; and towards the west, over the hills, by Wested-farm and the obscure and little known hamlet of Crockenhill, both within its bounds, among a quantity of woodlands. The soil is in general chalky, except towards the west, where there is some strong heavy land. The village of Eynsford, through the eastern part of which the high road leads from Dartford through Farningham, and hence towards Sevenoke, is situated near the south-west bounds of the parish, in the valley on the banks of the Darent; over it there is a bridge here, repaired at the public charge of the county. At the north end of the village, near the river, are the remains of Eynsford castle, (fn. 1) and at the south end of it the church; beyond which this parish extends southward, on the chalk hills, a mile and an half; where, near the boundaries of it, is Afton lodge.

THIS PLACE was given to Christ church, in. Canterbury, in the time of archbishop Dunstan, who came to the see in 950, by a certain rich man, named Ælphege; after whose death one Leossune, who had married the widow of Eadric, Elphege's nephew, retained this land as his own, notwithstanding this devise of it. Upon which the trial of it was appointed at Ærhede, before Uulsi, the priest seir-man, or judge of the county, in presence of archbishop Dunstan, the parties themselves, the bishops of London and Rochester, and a multitude of lay people; and there, in the presence of the whole assembly, the archbishop taking the crossin his hand, made his oath upon the book of the ecclesiastical laws to the scir-man, who then took it to the king's use, as Leossune himself refused to receive it, that the right use of these lands was to Christ church; and as a farther confirmation of it to future times, it had the ratification of a thousand of the choicest men out of Suthex, Westsex, Middlesex, and Eastsex, who took their oaths also on the cross to the truth of it after him. (fn. 2)

At the time of taking the general survey of Domesday, Eynesford was held of the archbishop of Canterbury, by knight's service, and accordingly it is thus entered, under the general title of Terra Militum Archiepi, in that record.

Ralph Fitz Unspac holds Ensford of the archbishop. It was taxed at six suling. The arable land is. In demesne there are five carucates and 29 villeins, with nine borders, having 15 carucates. There are 2 churches and nine servants, and two mills of 43 shillings, and 29 acres of meadow; wood for the pannage of 20 hogs. In the time of king Edward the Confessor it was worth 16 pound, and now it is worth 20 pounds.—Of this manor Richard de Tonebridge holds as much wood as 20 bogs may go out from, and one mill of five shillings, and one fishery in this lowy.

In the reign of king Henry II. a family of the name of Eynsford was in the possession of this place, one of whom. William de Eynesford, was sheriff of London in that reign. (fn. 3) They bore for their arms, A fretty ermine, which coat is carved on the roof of the cloisters, at Canterbury. William de Eynesford, whether the same as above mentioned does not appear, held the MANOR and CASTLE of Eynsford of the archbishop, at which time archbishop Becket, having given the church of Eynsford to one Laurence, William de Eynesford dispossessed him of it, for which he was excommunicated by the archbishop, which offended the king exceedingly; (fn. 4) another of the same name possessed this manor and castle in the 12th and 13th years of king John. (fn. 5) In the reign of king Edward I. this estate was become the property of the family of Criol, in the 21st year of which, as appears by the Tower records, John de Criol and Ralph de Sandwich claimed the privileges of a manor here; Nicholas de Criol, a descendant of this John, died possessed of it, anno 3 king Richard II. (fn. 6) after which it passed by sale to the Zouches, of Harringworth. William Zouche died possessed of it in the 5th year of that reign, and left three sons, Sir William le Zouche of Braunfield, Edmund. and Thomas; which last and this castle and manor, of which he was possessed at his death, anno 6 king Henry IV. (fn. 7) After which it passed into the name of Chaworth; and Elizabeth, wife of William Chaworth, was found to die possessed of it in the 17th year of king Henry VII. Soon after which, it was conveyed by sale to Sir Percival Hart, of the body of Henry VIII. His son, Sir George Hart, died anno 22 queen Elizabeth possessed of this castle and manor, with the mill, called Garsmill, holding them of the king, as of his manor of Otford, by knights service; (fn. 8) since which they have descended in the same manner that Lullingstone has, to Sir John Dixon Dyke, bart. the present possessor of them.

There are large ruins still remaining of Eynsford castle. The walls, which are built of squared flint, are near four feet thick, being entire for near forty feet in height. The circuit of these walls are of a very irregular form, and contain about three quarters of an acre of ground, in the middle of them is a strong keep or dungeon. It stands at a small distance eastward from the river Darent, between which and the castle, as well as for the same space about it, there is much rubbish and foundations of buildings, and there are remains of a broad moat round it, now quite dry.

Many lands in Eynsford are held of this manor by annual quit rents. A constable is chosen at the court leet, held for it, for the liberty of Eynsford, which extends over the parish of Eynsford, and great part of the south side of Farningham-street.

SOUTH-COURT is a manor here, which was antiently part of the estate of the family of Eynesford, already mentioned, and was formerly parcel of Eynsford-castle. John de St. Clere possessed this manor in the 20th year of king Edward III. at which time he paid aid for it. In the reign of king Henry VII. it was come into the name of Dinham; and John Dinham died possessed of the manor of South-court, with its appurtenances, in Eynsford, which he held of the archibshop, as of his manor of Otford, by knights service, in the 17th of king Henry VIII. (fn. 9) From Dinham it passed by sale to Sir Thomas Wyatt of Allington-castle, from which family it was sold to Hart; and Sir John Hart, son and heir of Sir Percival Hart, knight of the body to king Henry VIII. (fn. 10) died possessed of it in the 22d year of queen Elizabeth, holding it of the queen, as of her manor of Otford, by knight service.

Since this unity of possession, the style of these manors has been, the castle and manor of Eynsford cum Southcourt; by which title they have descended, in the same manor as Lullingstone, to Sir John Dixon Dyke, bart. the present possessor of them.

The MANOR of ORKESDEN, the mansion of which is now called, by corruption, Aston-LODGE, was antiently possessed by a family, who took their surname from their residence here. William de Orkesden, in the 12th and 13th years of king John's reign held half a knight's see in Eynsford, by knight's service of the archbishop. He was one of the Recognitores Magna Assise, or justices of the Great Assize. (fn. 11)

In the reign of king Edward III. Reginald de Cobham was become possessed of this manor; in the 14th year of which he obtained a charter of free warren in all the demesne lands within his lordship of Orkesdenne; and in the next year he obtained licence to castellate his house here. He was son of Reginald de Cobham, who was son of John de Cobham of Cobham, by his second wife, Joane, daughter of Hugh de Nevill. (fn. 12)

This Reginald de Cobham was a great warrior; and in the 18th year of king Edward III. was constituted admiral of the king's fleet, from the Thames mouth westward. In the 20th of king Edward III. he paid aid for one quarter of a see in Orkesden, which he held of William de Eynesford, as of his manor of Eynsford. He died of the pestilence in the 35th year of that reign possessed of this manor, leaving Regihald his son and heir, and Joane his wife, daughter of Sir Maurice de Berkeley surviving, who possessed this manor at her death, anno 43 king Edward III. (fn. 13) Her son, Reginald, was lord of Sterborough, castle, in Surry, from whence this branch of the Cobhams was henceforward called, Cobhams of Sterborough-castle. (fn. 14)

His grandson, Sir Thomas Cobham, left a sole daughter and heir, Anne, who carried this manor in marriage to Sir Edward Borough, who survived him, and died possessed of it in the 20th year of king Henry VIII. then holding it of the lord Zouche, as of his manor of Eynsford, by knights service. (fn. 15)

Thomas, their son and heir, was summoned to parliament, as lord borough, anno 21 Henry VIII. He left Thomas his son and heir, who bequeathed this manor of Orkesden to his youngest son, Sir William Borough; and he, in the beginning of queen Elizabeth's reign, passed it away by sale to Francis Sandbache, esq. who sold it to John Lennard, esq. custos brevium of the court of common-pleas, who purchased it for his second son, Samuel Lennard, who was afterwards knighted, and was of West Wickham, in this county. On his death, in 1618, he was succeeded here by his son, Sir Stephen Lennard, who was created a baronet in 1642; he sold it to Richard Duke, esq. from whom it passed to Nathaniel Tench, esq. who died in 1710, and was buried at Low Leyton, in Essex. His only surviving son, Fither Tench, was created a baronet in 1715. (fn. 16) and died possessed of Orkesden manor in 1736; soon after which it was conveyed by sale to Percival Hart. esq. of Lullingstone, whose grandson, Sir John Dixon Dyke, bart. is the present owner of it.

Many lands in Eynsford, Lullingstone, and Sevenoke, are held of this manor by small annual quit rents.

On the western side of this parish, next to St. Mary Cray, lies the HAMLET of CROCKENHILL, which, as appears by a writ, Ad quod damnum, brought against the prioress of Dartford, in the 11th year of king Edward IV. was in the possession of that prioress and convent; with whom it staid till their suppression, in the reign of king Henry VIII. when their lands and revenues were surrendered into the king's hands; all which were confirmed to him and his successors by the general words of the act of the 31st of his reign, the year after which the king granted to Percival Hart, esq. among other premises, the manor of Crekenhill, alias Crokenhill, with its appurtenances, to hold of him in capite by knights service. (fn. 17) His son, Sir George Hart, of Lullingstone, died possessed of it, being then stiled Crockenhill, alias Court-hawe, in the 22d year of queen Elizabeth, holding it by the above tenure. Since which it has descended, in the same manner as the rest of his estates in this parish, to Sir John Dixon Dyke, bart. the present possessor of it.

This manor pays a yearly fee-farm rent to the crown of eleven shillings and five-pence.

LITTLE-MOTE and PETHAM-COURT are two manors, situated at the two opposite sides of this parish; the former being at the north east corner of it, near Farningham; and the latter at the north-west corner of it, near adjoining to Crokenhill and St. Mary Cray. These manors were, for many generations, part of the possessions of the family of Sibell, who resided at a mansion, called after them Sibell's, situated in Little or Lower Mote, and bore for their arms, Argent, a tiger gules, viewing himself in a glass or mirror, azure. Their estate here was much increased in the reign of king Henry VIII. by one of them marrying the female heir of Cowdale. These Cowdales bore for their arms, Argent, a chevron gules between three cows heads caboshed sable; which coat, both impaled and quartured with Sybill, Philipott says was remaining in the mansion here, both in painted glass and carved work, in his time. (fn. 18)

One of this family, John Sibell, died in the 17th year of queen Elizabeth, possessed of these estates, and also of the demesne lands of the manor of Hiltes bury; all which were held of the manor of Eynsford. He left an only daughter and heir, Elizabeth, and Jane his wife surviving, who held these estates for her life, and afterwards married Francis Hart, esq.

Elizabeth Sibell, the daughter, in the 24th year of queen Elizabeth, married Robert Bosevile, esq. afterwards knighted, the younger brother of Henry Bosevile of Bradborne, and son of Ralph Bosevile, of that place, clerk of the court of wards; and he, on her mother's death, became, in her right, possessed of Sibell's, with the manors of Littlemote and Petham. His descendant, Sir Thomas Bosevile, was of Littlemote, and had been a colonel in the king's army, and knighted by king Charles I. at Durham, in May 1642. He died the next year, and was buried in St. Mary's church, Oxford. (fn. 19) By Sarah, his wife, who afterwards married Col. Richard Crimes, he had a son, Thomas, who possessed these manors and Sibell's on his father's death. He married Elizabeth, only daughter of Sir Francis Wyat, of Boxleyabbey, and died in 1660, leaving an only daughter and heir, Margaretta, who carried the manor of Petham-court in marriage to Sir Robert Marsham, bart. of Bushey-hall, in Hertfordshire; and his great grand son, the Right Hon. Charles Marsham, lord Romney, is the present possessor of it.

But the manor of Littlemote, with Sibell's, became the property of Sir Henry Bosevile, who died in 1702, (fn. 20) without issue, and devised this manor and estate to his kinsman, Robert Bosevile, esq. of Staffordshire, whose family was originally of Ardesley, in Yorkshire, in the reign of queen Elizabeth, a younger branch of them settled in Kent, at Bradborne, in Sevenoke, and here at Eynsford; and a younger branch of these again in Staffordshire; they bore for their arms, Argent, a fess lozengy gules, in chief three bears heads erased sable.

His son of the same name, in the year 1755, sold it, in several parcels, to different persons, since which it has been of no consequence worth mentioning, and the old mansion of Sibell's has been pulled down some years ago, and two tenements have been erected on the scite of it.

Charities.

PERCIVAL HART, esq. gave by will, for the benefit of the poor, an annuity out of lands, vested in Sir John Dyke, bart. and of the annual produce of 2l.

AN UNKNOWN PERSON gave for the like use, a house, let by the parish to Philip Weller, and of the annual value of 4l.

SIR ANTHONY ROPER and . . . . . . . . HATCLIFF, esq. (as is supposed) gave for the benefit of the same, lands and houses in Greenwich, the rents to be divided, to the parish of Farningham threefifths, to Horton Kirkby one-fifth, and to this parish of Eynsford one-fifth, the annual produce being to this parish, on an average, 7l.

EYNSFORD is in the ECCLESIASTICAL JURISDICTION OF THE diocese of Rochester, and being a peculiar of the archbishop, it is as such in the deanry of Shoreham. The church, which is dedicated to St. Martin, is situated at the south-east end of the village.

It seems from the form of it to be one of our early Norman structures, and coeval with the castle. It is built in the form of a cross, with two large wings or side chancels; that on the south side belonged to the Sibell's, and afterwards to the Bosevile's, many of whom lie buried in it, several of whose gravestones and inscriptions are now so covered with fifth and rubbish that they are illegible; and the place itself, through continued neglect, is hastening to a total ruin. The north chancel is kept in good repair, and is filled with pews and a neat vestry room. In this chancel, according to Weever, was a stone, on which was engraved, in wondrous antique characters, Ici gis. la famme de la Roberg de Eckisford, perhaps it may have been so spelt for Einesford, or one of his mistakes for it, and if so, this chancel might belong to the Eynesfords, lords of this manor and castle; the stone is now hid by the wooden flooring over it. At the west end of the church is a spire steeple, underneath which is a curious circular door way of Saxon or very early Norman architecture. (fn. 21)

Among other monuments and inscriptions in this church, in the chancel, a gravestone, arms, a lion passant guardant, in chief three stirrups, for George Gifford, esq. obt. 1704, æt. 85; another for Thomas Gifford, esq. obt. 1705, æt. 59. In the chancel, on the south side of the church, a gravestone for lady Sarah Bosevile, wife of Col. Richard Crimes, obt. 1660; another for Tho. Bosevile, esq. of Littlemote, in Eynsford, only son of Sir Thomas Bosevile; he married Elizabeth, only daughter of Sir Francis Wiat of Boxley-abbey, by whom he left Margaretta, his sole daughter and heir; obt. 1660; another, arms, five lozenges in fess, in chief three bears heads erased, impaling two bends engrailed, and a canton, for Sir Henry Bosevile, of Littlemote, and dame Mary his wife; she died 1693, he died 1702. On the south wall, a monument with the above arms, for Mrs. Margaret Bosevile, only daughter and heir of Sir Henry Bosevile, of Littlemote, ob. 1682, æt. 26. (fn. 22)

William de Eynesford, lord of this parish, gave the church of Eynsford to the monks o Christ-church, in Canterbury, when he became a monk there; which was confirmed by William de Enysford, his grandson. (fn. 23) Archbishop Richard, in the reign of king Henry II. appropriated this church to the almonry of Christ church. (fn. 24) In the time of Stephen Langton, archbishop of Canterbury, there was a dispute, whether the church of Farningham was a chapel to the church of Eynsford or not ?

In consequence of which, the archbishop, by his decree, made with the consent of all parties in 1225, ordained, that the rector of Eynsford and his successors, should possess entirely the whole church of Eynsford, with all its tythes, as well great as small, houses, lands, gardens, and all other things belonging to it, which the rector of it was wont to have before; and that the almoner of Christ-church, and not the monks, should possess, to the use of the almonry, the chapel of Farningham, with its appurtenauces, &c. belonging to it, as is therein mentioned; and that the rector of this church of Eynsford should, on a vacancy, present to the vicarage of this church; and that further than this, neither should intermeddle, or claim a right in the above premisess. (fn. 25)

Thus this rectory became a fine cure, the parson of this church from that time having presented to the vicarage, the incumbent of which has had the cure of souls, in which situation the rectory still remains, being esteemed as a donative of the patronage of the archbishop of Canterbury.

In the 15th year of king Edward I. this church was valued at thirty marcs. (fn. 26) In 1575, Henry Withers, clerk, parson of the parish church and benefice of Eynsford, leased this rectory to Thomas Dunmoll, yeoman, at 12l. 6s. 8d. per annum. In 1633, John Gifford, D. D. rector, let the same to Thomas Gifford, his son, at forty pounds per annum rent.

By virtue of the commission of enquiry into the value of church livings, in 1650, issuing out of chancery, it was returned, that Eynsford was a donative, with a house, and one hundred acres of glebe, and the great tythes, worth altogether one hundred and ten pounds per annum, then in the possession of George Gifford, esq. that the vicarage had a house, but no glebe land, and was worth thirty-five pounds per annum, one master Heriot enjoying it, and preaching there. (fn. 27)

Francis Porter, rector in 1674, let to George Gifford, esq. of Pennis, this rectory, or parsonage of forty pounds per annum, and of twenty pounds to the vicar, Edward Tilson, which last sum is mentioned to be an augmentation made in pursuance of the king's letters recommendatory, which lease was confirmed in 1707, in pursuance of like letters of queen Anne.

¶George Gifford, esq. of Pennis, continued lessee till his death, in 1704, when his interest in it devolved to his son, Thomas Gifford, who died the next year, and left three daughters and coheirs, viz. Margaret, married to Thomas Petley; Mary to John Selby, and Jane to Finch Umsrey; this parsonage being let by them at one hundred and forty-five pounds per annum.

The interest of this lease passed by sale from them to Percival Hart, esq. of Lullingstone, whose grandson, Sir John Dixon Dyke, bart. a few years ago, suffered the lease to expire.

The rectory of Eynsford is valued in the king's books at 12l. 16s. 8d. and the yearly tenths at 1l. 5s. 8d. the vicarage at twelve pounds, and the tenths at 1l. 4s. (fn. 28)

www.british-history.ac.uk/survey-kent/vol2/pp527-539

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

Some background:

On 27th November 1940, Moldova followed closely behind its neighbor and protector, Romania, and joined the Axis Powers. Now eligible for German military equipment, the Royal Moldovan Air Force sought to update its inventory with German types and gain access to German training. In January 1941 an agreement was reached that enabled both; by then, German troops had already entered Moldova to “secure the border [with the Socialist Union] from Red aggression.”

(Background and model inspired by fellow modeler comrade harps at whatifmodelers.com)

General characteristics:

Crew: One

Length: 8.95 m (29 ft 7 in)

Wingspan: 9.925 m (32 ft 6 in)

Height: 2.60 m (8 ft 2 in)

Wing area: 16.05 m² (173.3 ft²)

Empty weight: 2,247 kg (5,893 lb)

Loaded weight: 3,148 kg (6,940 lb)

Max. take-off weight: 3,400 kg (7,495 lb)

Powerplant:

1× DB 601 E V12 engine, rated at 1,350 PS (1,332 hp, 993 kW), driving a VDM 9-12010 propeller

Performance:

Maximum speed: 659 km/h (410 mph) at 6,200 m (20,341 ft)

Cruise speed: 590 km/h (365 mph) at 6,000 m (19,680 ft)

Range: 850 km (528 mi) with internal fuel only

Service ceiling: 12,000 m (39,370 ft)

Rate of climb: 17.0 m/s (3,345 ft/min)

Wing loading: 196 kg/m² (40 lb/ft²)

Power/mass: 344 W/kg (0.21 hp/lb)

Armament:

2× 7.92 mm (.312 in) MG 17s with 500 RPG in the upper cowling

1× 20 mm Mauser MG 151/20 with 200 RPG, firing through the propeller hub (Motorkanone)

Underfuselage hardpoint for 1× 250 kg (551 lb) bomb, 4× 50 kg (110 lb) bombs

or 1× 300-litre (79 US gal) drop tank

The kit and its assembly:

A simple, quick build, and effectively the use of leftover material for which I had lacked an idea so far. The kit, the Heller Bf 109F, had been resting very low in the pile for ages, since I had bought it years ago with no real plan – it had just been dead cheap…

Well, this build is more or less a tribute to another modeler’s idea, comrade harps from whatifmodelers.com, who came up with a Moldovan Bf 109E and a respective background story. After all, the Russian Liberation Army (ROA) also operated German aircraft like the Bf 109G, so the idea was not as weird as it might seem at first. I liked the idea of an overlooked Moldovan operator very much, and since I had a surplus set of Moldovan Air Force markings, too…

Concerning the kit and the build, I must admit that I got what I paid for. The Bf 109 F is one of the (really) weak Heller kits: It’s basically of simple construction, like many other Heller kits of its era (1972), but there are some crisp offerings that are still impressive today and a pleasant build. The Bf 109 F is not one of these, though, it reminds me a lot of the “soft” Airfix kits of that time. You get lots of raised rivets and a minimal cockpit interior. The landing gear struts are just a pair of bare, L-shaped stilts. Nothing really fits, esp. the wing/fuselage intersection is questionable, and everything appears somewhat rounded-off. Ugh!

Anyway, I wanted a quick build with focus on the livery, so I did not invest too much effort into improvements. But some things were nevertheless changed, for the better, I hope:

· Foamed plastics inside of the air intakes as radiator bath dummies (& sight blockers)

· Flaps were lowered, for a more lively look

· The main landing gear struts and covers and the tail wheel were replaced (Hobby Boss Bf 109)

· The propeller received a metal axis and an adapter tube in the fuselage

In considered a 300l drop tank under the fuselage, too, but the Bf 109 F is so beautiful and clean, I left it away. No distractions in this case.

Painting and markings:

Since the Bf 109 F base remained untouched, livery and exotic markings make this a whif. I added in my complemented background the idea that withdrawn German aircraft from Northern Africa were transferred to the Eastern Front, matching Heller’s kit of a tropicalized Bf 109 F variant. This is not as fantastic as the idea might sound, such transfers frequently happened within the Luftwaffe at that time.

The livery was to “tell” this story, and I wanted to visualize the rushed period of time between the aircraft’s arrival at the Russian Front from Northern Africa and its immediate employment in Moldovan hands.

Consequentially, the livery would be based on standard German desert colors, but with the former operator’s markings painted over, and an additional makeshift camouflage and markings of the new operator and Axis forces tactical markings in the Eastern TO around late 1941 applied on top. Sounds complicated – but it’s the logical translation of the made-up background, and I think that such a concept makes a whif more convincing than just putting some obscure markings on an off-the-rack kit.

The original German scheme consists of a uniform RLM 79 (Sandbraun) on the upper surfaces and RLM 78 (Himmelblau) from below, with a hard, wavy medium height waterline. I just added some RLM 80 (Olivgrün) blotches to the upper surfaces, a typical field modification in Northern Africa. All RLM tones are enamels from Modelmaster’s Authentic line. Wing tips, propeller spinner and a ring on the cowling right behind it became initially white, because these original markings were to be barely visible on the finished kit.

The next step was to paint over the former German and African TO markings. This would probably have been done by German field crews, so I used RLM 76 (newly introduced in late 1941) and classic all-round RLM 02 for this task. With these tones, a virtual/non-existent white fuselage band was painted over, too. As a weird twist, the propeller boss remained white, though, somewhat reflecting the aircraft’s tactical code.

The new yellow ID markings (wing tip and engine undersides (both painted with Revell 310) and fuselage band (decal) were added at this stage, too. This already created a rather shaggy look. The red rudder is not a tactical marking – it is just a replacement part (basically painted with Humbrol 180), another weird color detail.

Finally, the new Moldovan operator’s markings were added. Since the desert camouflage is rather light, a darker makeshift camouflage was retrofitted. Many upper areas, mostly where the underlying RLM 79 was still visible, were crudely painted over with mottles and streaks in a tone I found in literature, called “Romanian Air Force Dark Green”, which is supposed to be close to classic US Olive Drab.

I used highly diluted Humbrol 108, unevenly applied with a short and hard brush, in an attempt to create a finish that looks as if different 1:72 mechanics had hastily overpainted the aircraft by hand, area by area. This final layer was taken down on the flanks into the RLM 78, as well as over the already overpainted former markings and onto the red replacement rudder, too.

In a final step, after the kit had been treated with a light black ink wash in order to emphasize contrast, the surfaces and esp. the leading edges as well as the cockpit area received a wet sanding treatment, lightening up again the final, dark camouflage and revealing the raised surface details of the Heller kit here and there.

Then the Moldovan markings were applied. The distinct roundels come from a Begemot MiG-29 decal set, the tactical code number comes from a Lend Lease P-40 in Soviet service (Trumpeter kit). On the fin, a flash in blue, yellow and red was added at the tip, too – these come from an Italeri HS 129, IIRC. I could not resist them due to the fact that the colors match up so well with the roundels and add another nice detail to the Bf 109! The yellow fuselage band comes from a Matchbox Me 262 kit, and a few stencils (e.g. the typical gasoline warning markings) were added, too, but not many. The decals also received another light sanding treatment for weathering, and, here and there, some very light dry-brushing with light grey (Revell 75) was done in order to simulate dust and more wear.

Finally the kit was sealed with matt acrylic varnish and some gun and exhaust soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.

What started as a quick build eventually became a complex operation – trying to improve the weak kit was one thing, but the multi-layer livery also took some time and effort. The result cannot be called “pretty”, but I think the extra work paid out. The fictional Moldovan Bf 109 F looks really …different, especially in the BW beauty shots, the aircraft looks pretty convincing.

Some notes on replacing a newer Getrag 260 with an older one, on a BMW E30 3 series or E28 5 series.

Here, the original transmission was in a 1986 325es. I assume that it was original to that car. It would not go into fourth gear, necessitating replacement.

The older replacement transmission going into this 325es could've been out of an e 30 or e 28.

Original transmission part number stamps:

Front half of case: 260.0.1270.90 ( 260 0 1270 90 )

Rear half of case: 260.0.1060.91 (260 0 1060 91 )

Date stamp inside bellhousing: 85/86

Replacement transmission part number stamps:

Front half of case: 260.0.1270.90 ( 260 0 1270 90 )

Rear half of case: 260.0.1060.90 ( 260 0 1060 90 )

Date stamp inside bellhousing: 83/84

So far as I can tell the external dimensions are the same. This includes the stud spacing for the slave cylinder. Stud spacing at output shaft flange was the same but different design.

The difference between the two is the mounting for the shift platform. At first, I thought that perhaps I could use metal bow P/N 25 11 2 225 369 as bolt-on workaround. It was not a bolt-on solution. It required bending, grinding, washers and fabricating spacers to fit. Even the shift rod had to be ground.

In the end, it works acceptably but I can feel a slight difference in the position of the shifter. I have played with reversing/adjusting all components of the shifter linkage to some benefit. I may have gotten better results if I had spent more time getting my fabricated solution more exactly aligned to replicate the original position of the shift platform connection.

Conclusion: swapping out a newer Getrag 260 and replacing it with an older was is doable, but enough of a PITA that given the choice I would happily pay more for the correct used transmission, or sourced the correct shifter platform and related parts.

Other notes:

Removing the output shaft flange nut was very difficult. It took a full two minutes of torching and an impact wrench to get it off. The vibration collar around the flange was char-broiled at this point so I've done without it. I haven't noticed any more vibration as a result. Also, complicating this swap was the build date of car (5/86). This corresponds with a mid-year changeover of design affecting the clutch, the shifter platform, and the guibo. While I knew that I had the newer style of shifter platform, I had to buy one of each clutch kit and guibo. I can't remember if the clutch and guibo ended up being the newer or older design; the point is that the reality of what was on the car did not correspond exactly to the month stated in the parts catalog.

Buildings demolished and replaced.

See SLV for more views of this site in 1967. See locale on Google Maps

Author / Creator: Peter Wille 1931-1971 photographer.

Contributor(s): M Nankervis

Copyright status: This work is in copyright

Terms of use: Use of this work allowed provided the creator and SLV acknowledged.

No known copyright restrictions apply.

Identifier(s): Accession no: H91.244/3999

Series / Collection: Peter Wille collection of architectural slides

Link to online item: handle.slv.vic.gov.au/10381/362242

Link to this record: search.slv.vic.gov.au/MAIN:Everything:SLV_VOYAGER1700561

Out Of Service Christ Primus C150 in silver with black sensotex brushes installed in 2006, replacing a Karcher CWP8000

Video - youtu.be/lbOScEeOdBk

• Operator •

MFG (Motor Fuel Group)

• Supplier •

Wilcomatic

• Address •

Morrisons Petrol Station

Oakley Road

Corby

NN18 8LH

England

Car Wash replaced in 2025 with a Christ Centus C164T

flic.kr/p/2rECNjC

Replacing an earlier scanned slide with a better version 07-Feb-16.

InterCity Airlines, leased from & operated by Guernsey Airlines.

First flown as G-14-3068 with Short Brothers & Harland, the aircraft was leased to Inter City Airlines in Apr-81 as G-BITV. It was sub-leased to BAF British Air Ferries in Aug-83 and repossessed by Short Brothers in Nov-83. It was leased to Air Ecosse the following month. In Mar-85 it was sub-leased to Brymon Airways, returning to Air Ecosse in Sep-85. It was returned to Short Brothers in Sep-86 and then leased, short-term, to Syd-Aero between Oct/Dec-86. In May-87 it was leased to Connectair and operated on behalf of British Caledonian Commuter/Caledonian Link. Returning to Short Brothers in Jan-89, it was re-registered G-OGIL and leased to Gill Air the following month. On 10-Jul-92 the aircraft was damaged beyond repair at Newcastle during a taxiing accident. Gill Air bought it from the Insurers in Oct-92 and it was used for spares. The remains were later preserved at the North East Aircraft Museum, Sunderland, UK.

Note: The aircraft taxied into a vehicle and a hangar at Gill Air's base at Newcastle, UK, striking another Shorts 330, G-BIFH. The aircraft was damaged beyond repair.

I also have a photo of this aircraft in Connectair/Caledonian Link livery at www.flickr.com/photos/kenfielding/13889820193

Retouched to replace my wikipedia photo of her

Replacing an earlier digital photo with a better version 13-Feb-25.

Another 'lessor-owned' aircraft with a long and mostly sad history. It was first flown in Mar-93 with the Airbus test registration F-WWIE.

Originally ordered by 'GPA Airbus A320', they cancelled the order and the aircraft was delivered to GATX/CL Air Leasing and leased to LACSA Costa Rica as N486GX in Jun-93. But not for long.

It was returned to the lessor in Jan-94 and transferred to GATX/CL Air NV as PH-GCX in Feb-94. It was leased to Air Inter (France) as F-GJVX the same day. Air Inter was renamed Air Inter Europe in Jan-96 and the aircraft was returned to the lessor in May-97.

It was leased to a new Spanish company, BCM Airlines in Jun-97, retaining it's French registration. BCM ceased operations in Oct-97 (see note below), the aircraft returned to the lessor and was stored.

In Apr-98 it was leased to Volare Airlines (Italy), still with it's French registration. They ceased operations in Nov-04. The aircraft returned to the lessor and was stored at Bordeaux, France.

It was leased to Thomas Cook Airlines - Belgium as OO-TCM in Apr-05 and returned to the lessor in Feb-08. It was immediately leased to Aerolineas Argentinas as LV-BNZ and delivered to Buenos Aries-EZE.

However, it never entered service and was stored until it was returned to the lessor as N420BV in Dec-08 and stored at Goodyear, AZ, USA. It changed lessors twice white it was stored and was eventually leased to Strategic Airlines Europe (a small Australian company with big ideas and very little finance!) as F-GSTS in Aug-09.

Their French AOC was withdrawn in Oct-10, they ceased operations, the aircraft was returned to the lessor and stored at Brussels, Belgium. Strategic Airlines Europe started up again in Apr-11, this time in Luxembourg. They leased the aircraft again, now registered LX-STC.

They were no more successful the second time than they had been previously and ceased operations in Oct-12. The aircraft was returned to AeroTurbine Inc and re-registered N271AT in Nov-12. It was permanently retired at Goodyear, AZ, USA and the registration was cancelled in Mar-13.

Note: BCM Airlines was named after the initials of it's owner 'Bartolome Cursach Mas'. The airline only lasted for the summer of 1997 and ceased operations in Oct-97. Two of their four ex A320's formed the basis of Iberworld.

The plot on the corner of Christchurch Rd and Spurgeon Rd was occupied by by the Clarence Park Motor Works as early as 1911, with the site retaining an association with servicing the needs of the local motoring community, ending its days as a petrol station, until being replaced by a Tesco Express store in 2006.

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A [ very ] potted history of Pokesdown......

Prior to 1810 there was no town of Bournemouth. All that lay between Poole and Christchurch, themselves not the large towns they are today, was unspoilt heathland with the more fertile land of the Stour Valley to the north and east that had supported small farming communities such as Wick, Iford, Holdenhurst, Throop, Muccleshell and Ensbury for centuries.

Although these communities were centred on the individual villages, farms and smallholdings would have been scattered across the surrounding area, an example being Pokesdown Farm which, along with a few cottages for farm workers, stood on the very edge of the heath where it began to slope down on the sides of the Stour Valley overlooking Iford and Wick.

Most of the farms, smallholdings and associated cottages came and went without being recorded on maps although Pokesdown Farm is one of the few exceptions, its origins are a little lost in the mists of time, some claim to have traced it back to 1580 although it was certainly there in the 1660s.

In 1766 when Edmond Bott had a large home called Stourfield House built at Pokesdown [ see seperate images and set for further info ] which at the time would have been in the middle of nowhere and perhaps a very unlikely place to want to build a house.

Stourfield House would no doubt have been a catalyst for more development at Pokesdown if only in the form of cottages for those drawn there by the employment opportunities such a relatively large house and grounds would bring to an impoverished rural community. It is likely that the former Pokesdown Farm morphed into Stourfield Farm in connection with the house.

The last two remaining old thatched cottages, known as 'Lily of the Valley Cottages' and being at least 200 years old, were demolished in the latter 1960s when Appletree Close was created, and with their passing went the last ties with the area's rural past.

The building of Stourfield House predates the official birth of Bournemouth in 1810 by some 44 years and except for the modest Bourne Tregonwell estate that remained all but unknown to the outside world, the first notable development to take place, and what really sparked the development of the town of Bournemouth was Sir George Gervis' 'Marine Village of Bourne' in the mid to late 1830s.

As Bournemouth began to expand around the mouth of the Bourne Stream in today's town centre the community of Pokesdown also continued to grow.

Bournemouth expanded its boundaries to take in neighbouring areas such as the fledgling Boscombe in 1876 and Westbourne in 1884 but Pokesdown, that had a chapel built in 1835, followed by a church, a couple of pubs, two blacksmiths, two schools, laundries and, in 1886 , a railway station, and who's population had grown from 171 in 1861, 867 in 1871 to almost 4500 in 1893, became an urban district that allowed it to govern itself on a local level but ultimately Pokesdown became part of the fast expanding Bournemouth in 1901.

Originally Pokesdown covered a larger area than it does today, reaching to the coast and a lot further into Boscombe. Twenty first century Pokesdown is a densely built up area with busy main roads and side streets clogged with parked cars, a problem that blights the modern world.

Stood outside Pokesdown Station with our back to the entrance i suppose we'd class Pokesdown as covering Christchurch Rd to the right towards Boscombe up to the junction with Parkwood Rd, Christchurch Rd to the left going over the railway bridge and along to the brow of what is called Pokesdown Hill that actually runs through an area that prefers to call itself Boscombe East on its way to Iford, and Seabourne Rd opposite until it meets Southbourne Grove.

The area boasts an interesting variety of architecture but has seen some buildings replaced by blocks of flats and tenement houses which is understandable if older properties, though full of character, don't meet the needs of modern society. It's a problem that needs to be managed carefully and is by no means one unique to Bournemouth and is being experienced across the country.

At the time of writing some traders and residents are involved in promoting Pokesdown as Bournemouth's 'vintage quarter'. a destination for independent shops as well as those offering a wider range of goods and services, in a bid to raise the area's profile.

The green on the corner of Christchurch Rd and Seabourne Rd next to the Seabournes Pub and directly opposite the railway station is being transformed with borders of flowers and an information board that highlights the area's history, with the aid of a £22,000 Lottery grant..

FURTHER READING.

www.pokesdown.org/history/PokesdownPast/04_Village_Starts...

Click on the 'history' tag to read J A Young's 'Pokesdown's Past'.

Pokesdown and Neighbourhood 1895 - 1910. A memoir by E G Wills A Bournemouth Local Studies Publication.

MS Stena Superfast X:

MS Stena Superfast X is a fast ropax ferry in service between Holyhead in the UK and Dublin in Ireland for Stena Line. She replaced Stena Nordica on the route in March 2015. The ferry was refurbished in Gdańsk, Poland for her new service and was returned to her original design before her SeaFrance career and looks identical to her sisters Stena Superfast VII & VIII. Before November 2014 she operated between Dover and Calais for DFDS Seaways France and between 2008 and 2012 for SeaFrance.

Concept and construction:

The Superfast X was the last ship in a series of four identical ice classed fast ferries built by HDW for Superfast Ferries' new Baltic Sea services. She was launched on 18 November 2000.

Service history:

The Superfast X entered service for Superfast Ferries on 27 February 2002 on the Hanko–Rostock route. She remained on that route until 19 April 2002, when she was laid up in Kiel at HDW. On 17 May 2002, she re-entered service, on the Rosyth–Zeebrugge route. In January and February 2004, the Superfast X was rebuilt at Fosen Mekaniske Verksted, Fosen, Norway with additional passenger berths.

On 7 August 2006, Superfast Ferries announced it had sold the Superfast X to Veolia Transport for Euro 112 million.

The ship was delivered to her new owners on 12 February 2007 and renamed Jean Nicoli.

In March 2007, the Jean Nicoli made crossings from Le Havre to Marseille, carrying cars on board. During April the same year, she was chartered to COTUNAV for traffic from Italy and France to Tunisia.

At the end of April she was laid up, initially at La Seyne, later at Marseille.

From 8 September until 2 October 2007 she was chartered to ANEK Lines for service on its Patras–Corfu–Igoumenitsa–Venice route.

On 27 December 2007, the ship was sold to SeaFrance.

In the beginning of April 2008, the Jean Nicoli was delivered to SeaFrance and renamed SeaFrance Molière.

On 3 April 2008, she left Marseille for Arno Dunkerque for rebuilding into a short distance ferry.

After transfer to the leasing company Sarl Poquelin Bail, she entered service with SeaFrance in freight only operation on 19 August 2008 and began passenger service on 1 September 2008.

From 16 November 2011, she was laid up, initially at Dunkerque, due to the commercial court ordering that Seafrance be liquidated, and, following its sale, at Tilbury in England.

In October 2012, DFDS chartered the ship to be used on its Dover–Dunkerque crossing.

During a short refit by Arno at Dunkerque she was renamed Dieppe Seaways and returned to the French registry. She re-entered service on 7 November though, following a change of plan, on the Dover-Calais route.

On 1 May 2014, the Dieppe Seaways suffered a fire from an overheated boiler in the engine room as she approached Dover from Calais. All 316 passengers disembarked safely on arrival. However, in responding to the fire, seven crew members and three firefighters were injured with flash burns.

At the end of her charter to DFDS Seaways in November 2014, Stena Line took possession of the vessel returning her to her original name, albeit with a Stena prefix, and sending her for an extensive refit to return the cargo arrangements to their original configuration and refurbish the interiors similar to sisterships MS Stena Superfast VII and MS Stena Superfast VIII operating on the Cairnryan (Loch Ryan) to Belfast route.

After refit the ship replaced MS Stena Nordica (which itself is being chartered to DFDS Seaways to take up the timetable Stena Superfast X previous operated) on the Holyhead–Dublin Port route on 9 March 2015.

Stena Superfast X substantially increased the freight and passenger capacity on the route and coincided with the withdrawal of the Stena HSS service to Dún Laoghaire.

en.wikipedia.org/wiki/MS_Stena_Superfast_X

Replacing an earlier scanned photo with a better version.

“Cherry blossom stone” (9 mm across) - pinite (= muscovite mica replacing intergrown cordierite-indialite) from Kameoka, west of Kyoto, Kyoto Prefecture, southwestern Honshu Island, southern Japan. The small, central, hexagonal structure represents where indialite used to be. The “petals” of the cherry blossom flower (= the 6 wedge-shaped masses surrounding the center hexagon) represent where cordierite used to be.

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One of the most famous & visually intriguing geologic materials collected in Japan is the cherry blossom stone. These interesting structures have a complex geologic history.

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What are they now?

Cherry blossom stones are relatively small, subhexagonal-shaped masses of fine-grained muscovite mica that show a flower-like pattern in transverse cross-section.

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What did they used to be?

The muscovite mica is not the original material making up these structures. Before the growth of muscovite mica, these were complex intergrowths of six cordierite crystals and one indialite crystal. So, cherry blossom stones represent muscovite mica replacing cordierite-indialite (muscovite pseudomorphs after cordierite-indialite). Such complex pseudomorphs have been referred to as pinite.

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What is the host rock?

Cherry blossom stones are hosted in a matrix of hornfels, a fine-grained, contact metamorphic rock. Hornfels form by intense alteration (heating & chemical alteration) of shales by nearby lava or magma.

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How did they form?

The hornfels host rocks were originally fine-grained siliciclastic sedimentary rocks (shales) of the Tamba Group (Triassic-Jurassic-lowermost Cretaceous). In the mid-Cretaceous (early Cenomanian Stage, ~98 m.y.), underground igneous activity resulted in granites and granodiorite intrusions altering the shales into hornfels by contact metamorphism. These hornfels had decent-sized masses of intergrown cordierite-indialite.

Indialite is a magnesium aluminosilicate mineral (Mg2Al4Si5O18). Cordierite is an iron magnesium aluminosilicate mineral ((Fe,Mg)2Al4Si5O18). The subhexagonal-shaped masses of cordierite-indialite in the hornfels consist of seven individual crystals. At the center of each mass is a dumbbell-shaped indialite crystal - very narrow at the center, and relatively wide at the ends (look at the varying sizes of the center hexagon in the cherry blossom stones in this photo album). Surrounding the indialite crystal are six prism-shaped cordierite crystals. They are widest at the center of each cherry blossom stone and narrowest at the ends.

A second metamorphic event altered the cordierite-indialite masses. Hydrothermal metamorphism resulted in fine-grained muscovite mica replacing the original minerals.

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Much info. from:

Rakovan et al. (2006) - Sakura Ishi (cherry blossom stones): mica pseudomorphs of complex cordierite-indialite intergrowths from Kameoka, Kyoto Prefecture, Japan. in Minerals from Japan. Rocks & Minerals Reprint 2006: 31-39.

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

***** Selected for sale in the GETTY IMAGES COLLECTION on March 1st 2016

CREATIVE RF gty.im/507554922 MOMENT OPEN COLLECTION**

This photograph became my 1,781st frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

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This photograph was taken in the magic of The Golden Hour around Sunrise, (Sunrise was at precisely 07:39am), at an altitude of Three metres, at 07:44am on Thursday January 28th 2016 off Botany Road and Marine Drive, on the sandy shoreline of Botany Bay in Broadstairs, Kent, England.

I set off at 05:00am on a clear morning, the moon and the stars out to dazzle in temperatures around five degrees, on a pleanst hour and half long journey to enjoy a lovely sunrise. The seven bays in Broadstairs consist of: (From south to north) Dumpton Gap, Louisa Bay, Viking Bay, Stone Bay, Joss Bay, Kingsgate Bay and Botany Bay.

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Nikon D800 200mm 1/3200s f/5.6 iso640 RAW (14Bit) Nikon back focus button enabled. AF-C Continuous point focus with 3-D tracking. Manual exposure. Matrix metering. Auto white balance. Nikon AF Fine tune set to +6.

Nikkor AF-S 200-500mm f/5.6E ED VR. Power UP 95mm HD UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 51d 23m 18.63s

LONGITUDE: E 1d 26m 19.33s

ALTITUDE: 3.0m

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 27.81MB

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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

+++ DISCLAIMER +++

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

Some background:

The Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.

The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.

The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)

Height: 8 ft 1 1/2 in (2.48 m)

Wing area: 150 sq ft (13.9 m2)

Empty weight: 2,848 lb (1,292 kg)

Loaded weight: 5,400 lb (2,448 kg)

Powerplant:

2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each

Performance:

Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)

Never exceed speed: 518 mph (450 knots, 834 km/h)

Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)

Stall speed: 69 mph (60 knots, 111 km/hr)

Endurance: 2.5 hr

Service ceiling: 30,000 ft (9,145 m)

Rate of climb: 1,900 ft/min (9.7 m/s)

Armament:

2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)

2x optional wing tip tanks

The kit and its assembly:

The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!

The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).

A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.

The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:

- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane

- The tail booms and fins come from a Revell Focke Wulf Flitzer

- The stabilizer was created from two Hobby Boss He 162 tail elements

- Propellers come from a vintage, box scale Revell Convair Tradewind

- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’

- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts

- The main wheels are bigger, from a Matchbox Folland Gnat

Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.

The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.

Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...

Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?

Painting and markings:

I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.

The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.

The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.

An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)

Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!

I also decided to convert a lot of Amazon Prime trucks into ice cream trucks with electric swing arm stop signs like on school buses and the current yellow trapezoid Children Slow Crossing warning blades that word "CHILDREN SLOW CROSSING" to replace all of the older ice cream trucks that still have the old red trapezoid Children Slow Crossing warning blades that word "IF-SAFE STOP THEN-GO". All of the older ice cream trucks that still have the old former red trapezoid children slow crossing warning blade that word "IF-SAFE STOP THEN-GO" will all be torn apart and have their pieces be used as new McDonald's PlayPlace play equipments replacing the dangerous crawl tubes and ball pits since McDonald's also has been making safety improvements to their PlayPlaces by using better play equipments seen athttps://playtime.com/showcases/towers/mcdonalds-playplace-solutions/ replacing the nasty dangerous crawl tubes and ball pits and some of the newer McDonald's PlayPlaces like the epic one in Orlando has arcade games. The Amazon Prime Trucks that are converted into Ice Cream Trucks will go to Mister Softee, Wholesale Clubs such as Costco and BJ's, and other ice cream truck service on safety updates on ice cream trucks. But there will always be brick and mortar stores in real life and Due to that New Jersey was the slowest on phasing out the bad old outdated red trapezoid Children slow crossing warning blades that word IF-SAFE STOP THEN-GO because of some mean teachers at school forcing some ice cream trucks to keep their red trapezoid and made a bad and mean-spirited law of ice cream trucks requiring those bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely confusing to people who are death, color blind, can't read or don't speak English in some of New Jersey, I hereby MOST Amazon warehouses in New Jersey to all be converted into Blue's Clues Handy Dandy Notebook prop replica manufacturing plants and convert most Amazon prime trucks in New Jersey into better and safe updated ice cream trucks with the good awesome current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and School bus stop signs which are octagon shape for the state of New Jersey to also include disabled people in the future too and tear apart the last remaining of the ice cream trucks with the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO and recycle all of them into brand new Blue's Clues Handy Dandy notebook prop replicas and reuse the arm the bad old outdated red trapezoid Children Slow crossing warning blades that word IF-SAFE STOP THEN-GO for the brand new stop signs of the new school buses of the future.

Going to be a bigger job, thought I could get away with replacing the fronts but three rotten posts means starting again. Wore my Nora Dolomits sockless all day, 16,244 steps, 11 hours!

+++ DISCLAIMER +++

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

Some background:

The Aero L-39 Albatros is a high-performance jet trainer aircraft developed in Czechoslovakia to meet requirements for a "C-39" (C for cvičný – trainer) during the 1960s to replace the L-29 Delfín as the main training aircraft. It was the first of the second-generation jet trainers, and the first turbofan-powered trainer produced.

The machines served faithfully until 2003, when the fleet was completely retired, the airframes having expended their structural lifetime, only 28+04 having been lost prematurely in 1996 due to a bird collision, though. The retirement was further promoted by the fact that the German defense budget had been massively reduced after the end of the Cold War, and as one of the consequences the Naval Air Arm was about to lose its offensive elements, e.g. the complete Tornado fleet.

General characteristics:

Crew: 2 (even though frequently operated by only a single pilot in the front seat)

Length: 12.13 m (39 ft 9½ in)

Wingspan: 9.46 m (31 ft 0½ in)

Height: 4.77 m (15 ft 7¾ in)

Wing area: 18.8 m² (202 ft²)

Wing loading: 250.0 kg/m² (51.3 lb/ft²)

Thrust/weight: 0.37

Airfoil: NACA 64A012 mod

Empty weight: 3,455 kg (7,617 lb)

Max. take-off weight: 5,275 kg (11.618 lbs.)

Powerplant:

1× Garrett TFE731-2-2N turbofan, 15.57 kN (3,500 lbf)

Performance:

Maximum speed: 750 km/h (405 knots, 466 mph) at 5,000 m (16,400 ft)

Never exceed speed: Mach 0.80 (609 mph, 980 km/h)

Range: 1.300 km (593 nmi, 683 mi) on internal fuel

2.000 km, (944 nmi, 1,087 mi) ferry range with drop tanks

Endurance: 2 hr 50 min (internal fuel), 4 hr 30 min (internal and external fuel)

Service ceiling: 11,000 m (36,100 ft)

Rate of climb: 21 m/s (4,130 ft/min)

Climb to 5,000 m (16,400 ft): 5 min

Take-off roll: 530 m (1,740 ft)

Landing roll: 650 m (2,140 ft)

Armament:

4x underwing hardpoints for up to 2.425 lb (1.100 kg) of weapons,

including bombs, rocket pods, gun pods, a five-camera reconnaissance pod, or two fuel drop-tanks

The kit and its assembly:

Maybe the final contribution for the 2016 “In the Navy” Group Build at whatifmodelers.com – issued through the GB’s deadline extension by two weeks into September. :D

This is another idea/build I had on the long idea list, with the kit already stashed away long time ago and basically all other ingredients at hand, too. Again, the GB was a good trigger to dig out the parts and finally start the target tug project.

The kit is the Eduard Aero L-39ZA Albatros (Weekend edition, without PE parts or masks): a nice and simple offering with good detail and engraved panel lines. But for a modern mould (from 2002, AFAIK) I am amazed that it features some avoidable weak points like massive (and poorly fitting) wing trailing edges or sinkholes in the (massive!) wing tip tanks or above the exhaust? But, nevertheless, it’s probably the best L-39 around at the moment.

As a side note, the completely closed landing gear wells appear like a flaw, too, but this detail is correct: the real aircraft encloses its wheel-wells when the undercarriage is extended! Looks very clean.

The kit was mostly built OOB, I just replaced the election seats and mounted an aerial target pod. Originally, this was to be the TDU-10B "Dart" from Hasegawa’s "Aircraft Weapons: IV" set, since it was used by the Luftwaffe, too - and finally a good use for that huge kite! The whole target pod package was placed under the port wing’s inner pylon, while an original Albatros drop tank was placed on the other side.

Painting and markings:

The more interesting part of the build. The German Marineflieger, as well as the Luftwaffe, experimented a lot with different and sometimes exotic and complex camouflage schemes during the late 70ies and in the 80ies. And while the late low-viz Luftwaffe machines looked similar, almost each type carried its own scheme and colors, in some cases there were even alternative patterns with the same tones.

For the L-39 I used the definitive Westland Sea King scheme as benchmark (Norm '87), which were (until today) painted with all-over blotches of RAL 7030 (Steingrau), 7009 (Grüngrau) and 7012 (Basaltgrau) – the latter two tones are hard to differentiate. I used Revell acrylics, since the authentic tones are available.

For some color contrast and the aircraft’s supportive role I added orange hi-viz markings on the wings and the tail. These were made from generic decal sheet from TL Modellbau. This works very well and is less hazardous than trying to paint these markings, with an extra coat of white primer and probably a rather uneven finish through brush application.

As standard procedure, the kit received a thinned black ink wash, emphasizing the engraved panel lines, and some panel shading with lighter tones of the basic camouflage colors.

The cockpit was painted in Dark Gull Gray and a greenish blue-gray (instead of the original Soviet non-fatigue teal), with black ejection seats. The air intake interior and the inside of the main landing gear covers became Chromate Yellow.

The winch pod became white, for some contrast, while the target was painted with dayglow orange on a yellow primer base. The counterweight drop tank received, as a remnant of the aircraft’s origins, the type’s NVA camouflage in Ochre and Olive Drab with a pale gray underside (Humbrol 83, 155 and 129, respectively). Looks odd and adds diversity. :D

The Luftwaffe markings were puzzled together from various sheets, primarily from a Tornado aftermarket sheet. Most stencils came from the Eduard OOB sheet. Finally the kit was sealed with a coat of matt acrylic varnish.

REPLACED: Some quality improvements necessary for larger printing, and a less panoramic crop.

I got up early today (Wednesday 9/26) and went out on the beach at the north end of Pea Island just below the bridge. If you walk out a ways there is a jetty with a remote automated weather station on it.

I got these out there just before the sun came up.

Another one that looks like HDR, but the light was just right to capture it as a single image.

Olympus OM-D E-M5 and M.Zuiko 9-18mm f/4-5.6 lens and 32x ND filter.

Please visit the Entropic Remnants website or my Entropic Remnants blog -- THANKS!

UPDATE: I've printed this at 36x24 inches on metallic paper and it's hanging in my living room and it's lovely as a large print. One of my favorite landscapes I've taken with the OM-D E-M5.

The Palais Theatre, on the corner of the Lower Esplanade and Cavell Street in the seaside Melbourne suburb of St Kilda, was constructed in 1927 as the Palais Pictures, a picture theatre, to a design by prominent Sydney based theatre and cinema architect, Henry E. White. It was built on leased Crown land for the American entrepreneurs, Herman, Harold and Leon Phillips, who had previously established Luna Park in 1912 and the St Kilda Palais de Danse in 1913.

The Palais Pictures building replaced an earlier Palais Pictures designed by American architect Walter Burley Griffin (1876 – 1937) which was commenced in 1920 and destroyed by fire in 1926, just before its opening. It was designed to seat up to 3000 patrons and incorporated generous backstage facilities and a broad proscenium. Like its predecessor, the form of the new Palais Pictures conformed to that of the adjacent Palais de Danse, with the adoption of a curved, aircraft hangar-type structure.

The Palais Theatre is a free-standing, rendered, concrete encased steel frame building, with brick infill walls. The roof is a two level, shallow-curved corrugated iron roof, supported on steel trusses. Extensive use was made of steel framing, with the dress circle cantilevered from a steel frame, to minimise the number of columns required in the auditorium.

The design of the Palais Theatre is highly eclectic in style, and reflects a wide range of influences, some relating to the local St Kilda context, others to broad developments in architectural thinking of the day, and still others that are specific to cinema and theatre design. The highly visible side and rear facades of the free-standing building have minimal decoration, placing emphasis on the front facade. Conceived as a signboard, the central section of this main facade incorporates a large descriptive sign on a curved, rendered parapet. Domed towers flank the facade in a similar manner to the Luna Park entrance and the Palais de Danse facade.

Wanting to convey a sense of modernity, Henry White stated that he adopted no particular style in the design of the Palais Pictures building. He used Baroque, Modern Gothic and Neoclassical elements to heighten the perceived emotional effect of the cinema interior on an audience. Henry White’s interest in Modern Gothic design was combined with a striking Spanish-Baroque influence in the detailing, leaving the interior described at times as Spanish, French and Oriental. The Palais Theatre has a large, double-height entrance foyer with giant order columns, and two sweeping staircases to the dress circle foyer above. Walls are decorated with a disc-like surface pattern and columns have a scagliola finish. Two open wells in the upper foyer, a rectangular one over the lower foyer and an elliptical one over the back stalls, are an important aspect of the design.

The Palais Theatre is one of the few theatres with a foyer in the true sense of the word. The Paris Opera House was the first theatre to include fireplaces on its landings. The French word for fire is “feu”, and it was this that led for the landings to be subsequently known as foyers. The Palais Theatre has two Rococo style fireplaces located on the first level foyer. They have imitation plaster logs that were fired by gas to create an atmosphere of cosy warmth for patrons. The internal early or original decorative scheme of the Palais Theatre, designed mainly by Melbourne firm A. E. Higgins, is still substantially intact. The interior of the Palais Theatre is adorned by a variety of lighting, including candelabras, wall lamps and illuminated glazed panels. The lighting is either part of the A. E. Higgins decorative scheme or is part of a suite of light fittings manufactured especially for the Palais Theatre by Victoria's pre-eminent manufacturer of lighting and hardware, William Bedford Pty Ltd. Some of the William Bedford light fittings are now located off-site. A switchboard located in the dome originally controlled the lighting in the theatre. In addition to the light fittings, the building retains many other carefully resolved original or early design features including: illuminated glass directional signs to the ladies and gentlemen's cloakrooms; illuminated exit signs; tip-up theatre seating, associated foot warmers and attendant piping; arm chair style seating and carved timber benches; wall-mounted usher's seating; stage curtains and wall and door drapes; and moulded spotlight housings. The Palais Theatre also contains an array of original and early service equipment and some remnants of orchestra pit balustrading that contributes to an understanding of how the theatre originally operated. The carved benches located on the first floor foyer, made especially by a Melbourne furniture manufacturer, were created for the original Walter Burley Griffin building of 1920, which was far more Art Deco in style.

After World War II some alterations were made to the building to enable large live performances. The Palais Theatre subsequently became home to the Elizabethan Theatre Trust's ballet and opera seasons, and home to the Melbourne Film Festival from 1962 to 1981. In 1973 the outdoor promenade to the upper foyer was infilled across the front facade, significantly altering the building's external appearance. Affected by the opening of the Arts Centre theatres in the 1980s, the use of the Palais Theatre became sporadic, and it has been used largely as a live music venue since this time.

The Palais Theatre is of historical significance for its association with the development of St Kilda as an important seaside resort and as an integral part of the St Kilda foreshore entertainment complex. Its vast scale and solid construction reflect the confidence in the location and the medium of film, by the 1920s. The Palais Theatre is of historical significance for its continuous association with a major form of popular entertainment in the twentieth century. This includes its original association with American entrepreneurs, the Phillips brothers, and its continued operation through the 1960s-1980s when many other amusements in the vicinity were closed, demolished or burnt down.

Replacing leaking rooflights.

I just replaced a CRT TV in the bedroom with a more discreet flat-panel, resulting in less power consumption and noise/hum. Having a TV in the bedroom was already a contentious topic with my wife- but she sees the benefits of what a Media Center can do.

We actually rarely use this system for TV other than in the morning when we're watching the news. More regularly I use it for listening to music, and more recently, Podcasts in the morning.

Some mornings when our son wakes up cranky, I put on a photo slideshow or home movie for him here to watch while he's drinking his morning bottle. He really seems to like it.

And yes, this picture made me realize we need to hang more pictures on the walls ;)

Replacing an earlier scanned 6"x4" print with a better version 10-Apr-22 (DeNoise AI).

'Lufthansa Express' titles

Named: "Emden".

First flown with the Airbus test registration F-WWCE, this aircraft was delivered to Lufthansa as D-AIDD in Mar-89. It was leased to Hapag-Lloyd in May-04. Hapag-Lloyd was renamed Hapagfly in Apr-05.

It was returned to Lufthansa in Nov-05 and stored at Bournemouth, UK. The aircraft was sold to a lessor in Feb-06 and was due to be leased to Eagle Aviation (France) as F-GTIA. However the lease fell through and it was sold to Blue Airways (Kyrgyzstan - surprise!) as EX-31088 in Mar-06.

It was officially wet-leased to Mahan Air (Iran) in Jan-07. The aircraft was sold to Mahan Air as EP-MHO in Apr-08. It was permanently retired at Kerman, Iran in Jul-20 after 31 years in service. It's due to be preserved at Kerman. Updated 10-Apr-22.

Kintai Fish Ponds - Birders paradise

The purpose of this project is to replace the aging Route 703 bridge over Rowanty Creek in Dinwiddie County with a new structure on the existing alignment. The current bridge was built in 1938.(Photo by Trevor Wrayton, VDOT)

Replaced the shadow and added a checkered flag.

Though the US Navy reconsidered its decision to retire the AD Skyraider after the Korean War, it was still a piston-engined attack aircraft designed during World War II, while the Navy preferred going to a modern, all-jet attack/fighter fleet. To supplement and then replace the AD, the Navy issued a requirement for a jet attack fighter weighing no more than 48,000 pounds, capable of carrying tactical nuclear weapons, and with a speed of at least 550 miles an hour. The Navy was not surprised when Douglas’ chief designer, Edward Heinemann, submitted a proposal for a delta-winged, light attack jet—they were surprised to find that it met all of the requirements, yet weighed in at only 23,000 pounds, less than half the required weight. It was also so small that it did not need folding wings to fit on aircraft carrier elevators. Heinemann deliberately omitted as much weight as possible to bring the aircraft in under weight, and subsequently, at a lower unit cost than anticipated. One part of this effort was external structural ribbing for the rudder; this “temporary” solution would be used on every aircraft produced.

Heinemann’s design was quickly ordered by the Navy as the A4D Skyhawk. The first A4D-1 flew in June 1952, with deliveries to the fleet beginning in 1956. Pilots used to the increasingly larger and more powerful aircraft the US Navy fielded in the late 1950s, such as the F3H Demon and F4H Phantom II, were surprised at the diminutive A4D, which looked toylike on the decks of Forrestal-class supercarriers. It quickly earned the nicknames “Tinkertoy Bomber,” “Scooter,” and “Heinemann’s Hot Rod.”

The Skyhawk—redesignated A-4 in 1962—also quickly gained a reputation for reliability and nimbleness. Despite its small size, it could carry its own weight in bombs and still turn inside anything in the inventory, even the purpose-built F-8 Crusader fighter. For this reason, the Navy began assigning A-4C Skyhawks as “emergency fighter” detachments to Essex-class antisubmarine carriers, as these ships, still equipped with World War II-era hydraulic catapults and limited in deck space, could not carry the more modern F-4. Besides their internal 20mm cannon, A-4s could also carry up to four Sidewinder missiles.

It would be in the Vietnam War that the A-4 would prove its worth. Besides its large bombload and superb manuverability, the Skyhawk was also found to be able to take considerable punishment. Several A-4s returned to their carriers missing pieces of rudder or with holes shot through the wings. At the beginning of American involvement, the Navy began replacing the older A-4C “short-nose” models with the improved A-4E, which added a fifth hardpoint and a longer nose with more advanced avionics; this was quickly supplemented by the A-4F, which added a dorsal hump with still more avionics and ECM equipment.

Until the A-7 Corsair II began arriving in the fleet in the late 1960s, the A-4 represented the backbone of naval light attack units, operating alongside the A-6 Intruder in striking targets throughout Southeast Asia. On land, A-4s served with Marine Corps units, and proved so reliable and well-liked that the Marines decided not to use the A-7 at all. The Skyhawk also proved itself to be adaptable to other missions: A-4s carried out the US Navy’s first precision strike mission, a 1967 attack on the Hanoi thermal powerplant with AGM-62 Walleye missiles, and also served as Wild Weasel/Iron Hand suppression of enemy air defense aircraft, armed with AGM-45 Shrikes.

Though they were slower than the F-4 and F-8, and lacked the A-6’s ability to fly in the worst of inclement weather, the Skyhawk was not defenseless against enemy MiGs: it was the only American aircraft that could turn with a MiG-17 if it was “clean” of bombs, and only one A-4 was lost to enemy aircraft during the Vietnam War. In turn, one A-4, piloted by Lieutenant Commander Ted Schwartz, shot down a MiG-17 with Zuni rockets in 1967. Skyhawks would drop the first and last bombs of US Navy aircraft in the Vietnam War, and flew more sorties than any other naval aircraft—and paid a commensurate price: 362 Skyhawks were shot down or lost in accidents during the war, the most of any one type. Two A-4 pilots won the Medal of Honor during Vietnam, James Stockdale and Michael Estocin, the latter posthumously; longtime prisoner of war Everett Alvarez Jr. was also an A-4 pilot, as was fellow POW and later Presidential candidate, John McCain.

The A-4’s story did not end with Vietnam. Recognizing its superb manueverability, the US Navy began building adversary units with Skyhawks simulating the MiG-17 as part of the Top Gun program, beginning in 1969. These stripped down “Mongoose” A-4s proved to be a match even against far more advanced F-14 Tomcats and F-18 Hornets, and A-4s remained in the adversary role until 1998. Alongside these aircraft, the Navy used two-seat TA-4J Skyhawks as advanced trainers until 2003, while Marine units continued to use the penultimate A-4M Skyhawk in the light attack role until after the First Gulf War in 1991; Marine OA-4M “fast FAC” forward air control aircraft flew as late as 1998. The TA-4J was replaced by the T-45 Goshawk; there has never truly been a replacement for the A-4E adversaries and A-4M light attack aircraft, though the AV-8B Harrier supplemented them.

While Vietnam was the last war for American Skyhawks, foreign users would put the aircraft to further use. Israel would use their A-4H/Ns in the Yom Kippur War with heavy casualties, due to more advanced Egyptian and Syrian air defenses; better luck was had in the Lebanon War of 1982. Argentina’s A-4B/Qs saw extensive service over the Falklands in 1982, impressing even their British adversaries with hair-raising low-level bomb runs against British ships in San Carlos Water: though the Argentine aircraft took severe punishment from Fleet Air Arm Sea Harriers, they also sank or damaged five ships. Finally, Kuwait used their A-4KU Skyhawks from the beginning of the First Gulf War.

Overall, 2960 A-4s were produced and flew with the air arms of eleven nations; Argentina, Israel, Brazil, and Singapore still fly them—Brazil’s A-4s still fly from carriers, while Singapore’s A-4SUs are extensively upgraded with turbofan engines and F-16 radar. Still others survive as government contract aggressor aircraft, or in private hands, while many are preserved in museums.

This A-4 was a mystery. I didn't photograph the tail, so I couldn't find a Bureau Number for the aircraft. Luckily, the great folks at the A-4 Skyhawk Variants page on Facebook were able to track it down: this is BuNo 150581...which not only never served with the Blue Angels, it's not even a A-4F--it's an A-4C. It still has an amazing story.

Delivered to the US Navy's VA-86 ("Sidewinders") aboard the USS Lexington in 1962, it would go on to serve with VA-43 ("Challengers") and VA-125 ("Rough Raiders") among others; with VA-86, it may have seen service during the Cuban Missile Crisis. In 1967, it was transferred to VSF-1 ("War Eagles"), which provided self-defense detachments to CVS antisubmarine carriers. (I was pretty excited when I learned this, as VSF-1 was on my dad's carrier, USS Yorktown--but this aircraft doesn't seem to have ever served aboard the Yorktown.) After one last stop with VC-1 at NAS Barbers Point, Hawaii, 150581 was retired in 1971.

However, its saga wasn't over yet. In 1983, 150581 was sold to the Malaysian Air Force, possibly as a parts source for its A-4 fleet. By 2000, it was back in the United States, where it was registered as N235AT in 2003. 150581 was restored in Blue Angels colors and put on display at the Ontario Aviation Museum in Ontario, Oregon, but was sold to the Legacy Air Museum in Rexburg, Idaho in 2013, where I saw it in June 2020.

Whew!

Some background:

The MBR-04 series were the first combat-ready Destroids and the most successful land-combat weapon Destroids that were built with OverTechnology of Macross. The abbreviation MBR (Main Battle Robot) indicates the model was developed as a walking humanoid weapon emphasizing the heavy armor firepower of an artillery combat vehicle, designed to replace mainline battle tanks. The Type 04 series was developed jointly by Viggers and Chrauler. Unlike the variable fighters, which had to be designed to accommodate transformation mechanisms, the MBR series featured a structure with a large capacity that allowed plenty of room for machinery and armor.

A short-range sub-variant, under the project handle "Cheyenne", was developed in 2010, too, but it was only produced in small number for evaluation purposes. It was based on the Defender's structure, but it carried a different armament, consisting of a pair of 37 mm six-barrel gatling guns plus AMM-1 missiles, and a more clutter-resistant radar system against fast and low-flying targets. The Cheyenne was intended as a complementary aerial defense unit, but the results from field tests were not convincing, so that the project was mothballed. However, in 2012 the concept was developed further into the ADR-04-Mk.XI "Manticore", which was fully tailored to the short-range defense role.

General characteristics:

Equipment Type: aerial defense robot, series 04

Government: U.N. Spacy

Manufacturer: Viggers/Chrauler

Introduction: March 2009

Accommodation: 1 pilot

Dimensions:

Height 11.37 meters (overall)

10.73 meters (w/o surveillance radar antenna)

Length 4.48 meters (hull only)

7.85 meters (guns forward)

Width 8.6 meters

Mass: 27.1 metric tons

Power Plant:

Kranss-Maffai MT828 thermonuclear reactor, output rated at 2800 shp;

plus an auxiliary GE EM10T fuel power generator, output rated at 510 kW

Propulsion:

2x thrust nozzles mounted in the lower back region, allowing the capability to perform jumps,

plus several vernier nozzles around the hull for Zero-G manoeuvers

Performance:

Max. walking speed: 72 kph when fully loaded

Design features:

- Detachable weapons bay (attaches to the main body via two main locks);

- Type 966 PFG Contraves radar and fire control set (a.k.a. Contraves II)

with respective heat exchanger on the upper back

- Rotating surveillance antenna for full 360° air space coverage

- Optical sensor unit equipped with four camera eyes, moving along a vertical slit,

protected by a polarized light shield;

- Capable of performing Zero-G manoeuvers via 16 x thrust nozzles (mounted around the hull);

- Reactor radiator with exhaust ports in the rear;

- Cockpit can be separated from the body in an emergency (only the cockpit block is recovered);

- Option pack featuring missiles or enlarged ammunition bays;

Armament:

2x Erlikon 78mm liquid-cooled high-speed 2-barrel automatic cannon with 200 rounds each,

mounted as arms

The kit and its assembly:

A kind of nostalgia trip, because my first ever mecha kit I bought and built in the Eighties was this 1:100 Destroid Defender! It still exists, even though only as a re-built model, and I thought that it was about time to build another, “better” one, to complete my collection of canonical Macross Destroids.

With this objective, the vintage kit was built basically OOB, just with some detail enhancements. The biggest structural change is a new hip joint arrangement, made from steel wire. It allows a more or less flexible 3D posture of the legs, for a more dynamic “walking” pose, and the resulting gaps were filled with paper tissue drenched in white glue and acrylic paint.

A more cosmetic change concerns the Defender’s optical sensor array on its “head”. OOB it just consists of a wide “slit” with a square window – very basic, but that’s how the defender is depicted in the TV series. However, I have a Macross artbook with original design sketches from Studio Nue, which reveal more details of this arrangement, and these include a kind of louvre that covers the mobile sensor array’s guide rails, and the sensor array itself consists of several smaller optical units – the relatively new 1:72 Defender from WAVE features these details, too, but the old 1:72 Defender from Arii (and later Bandai) also only has a red box, even though under a clear cover, which is IMHO dubious, though. The louvres were created from hemispherical styrene profile bits, the sensor array was scratched with a front wheel from an 1:100 VF-1 and more styrene bits.

The guns/arms were taken OOB, but I reduced the opening at the shoulder (and with it the angle the arms can be swiveled) with styrene profile material, which also hides the foo fit of the shoulder halves that hold the guns and a reinforcement styrene plate inside of them.

While I could have enlarged the ammunition boxes on the Defender’s shoulders (they are extended backwards), I left them in the original and OOB configuration. Another hull mod I eventually did not carry out were clear replacements for the molded searchlights. Having some visible depth and true clear covers would have been nice, but then I doubted the benefits vs. the mess their integration into the body would mean, so that I went for a simple paint solution (see below).

A final cosmetic modification tried to improve the look of the shanks – but it did not help much. On the Defender, there are two continuous ridges that run across the lower legs. This is a molding simplification and wrong because the Defender (and all other 04-Series chassis’) only features the ends of the ridges.

I tried to sand the inner sections away, but upon gluing the parts finally together I realized that the fit of these parts is abysmal, and PSRing on the resulting concave surface between the leftover humps was a nightmare. Did not work well, and it looks poor.

With this in mind, a general word about the Arii 1:100 Destroids with the Series 04 chassis: there are three kits (Defender, Tomahawk and Phalanx), and you’d expect that these used the same lower body just with different torsos. But that’s not the case – they are all different, and the Defender is certainly the worst version, with its odd “toe” construction, the continuous ridges and the horrible fit of the lower leg halves as well as the shoulders that hold the stub arms. The Tomahawk is better, but also challenging, and IMHO, when you are only looking for the lower body section, the Phalanx is the best kit or the trio.

Painting and markings:

This Defender was supposed to remain canonical and close to the OOB finish, so this became a simple affair.

All Macross Destroids tend to carry a uniform livery, and esp. the Tomahawk/Defender/Phalanx family is kept in murky/dull tones of green, brown and ochre: unpretentious "mud movers".

The Defender appears to carry an overall olive drab livery, and I settled on RAL 7008 (Khakigrau), which is - according to the RAL color list - supposed to be a shade of grey, but it comes out as a dull, yellowish green-brown.

This tone was applied overall from a rattle can, and the few contrast sections like the ammunition boxes or the dust guards of the knee joints were painted with NATO olive green (RAL 6014, Gelboliv, Revell 46). The hull was later treated with Modelmaster Olive Drab (FS 34087), which adds a more greenish hue to the basic paint.

The kit received a thorough black ink washing, then some dry-brushing with Humbrol 72 (Khaki Drill) was applied. The decals came next, taken from the OOB sheet, plus four decals for those vernier thrusters that had not been molded into the kit’s surface. The only change is a different piece of “nose art” on the left leg, replacing the original, rather small decal. It actually belongs to a Czech AF MiG-21MF (one of the two famous Fishbeds from Pardubice in 1989, aircraft “1114”) and filled the bumpy area over the lower leg’s seam (see above) well – a kind of visual distraction from the PSR mess underneath...

Finally, the kit was sealed with matt acrylic varnish, its major sub-assemblies put together. The optical sensors received lenses with clear paint over a silver base. The large searchlights were painted, too, with a silver base plus white and clear blue reflections on top, covered with a generous coat of Humbrol’s Clearfix to mimic a clear, glossy cover.

After final assembly, some mineral pigments were dusted onto the model’s lower areas with a soft, big brush.

I knew that the Defender was trouble, but esp. the legs turned out to be horrible to build. However, the small cosmetic changes really improve the model’s look, and I am quite happy with the result.