View allAll Photos Tagged replace
Metrobus Scania OmniCity 6963 (YP58UGD) is seen at Purley Station on Rail Replacement.
This "new" OmniCity is part of a batch of 25 cascaded from Brighton and Hove to replace all of its 53 reg OmniDekka's, leaving former Orpington vehicles 6938 and 6939 as the only OmniDekka's in the fleet.
New to Brighton and Hove as 704
Added the Mamiya Sekor Macro C 80mm f4, partly to replace the compact 80mm f2.8. Think the f2.8 lens has focusing issue at infinity. Not sure if it's due to the drop or even before that. I suspect it's when I first got the M645 Super setup. It's relatively cheap and I always have back focus issues. I just kept going till I found a way to get focused shots.
It's only until recently when I shot a whole roll with M645 and the f2.8 lens and found all the focus at infinity shots were blur. I remembered focus at infinity with the 45mm and 150mm lens are sharp, be it handheld or on tripod (so it’s not camera bodies issue as well). Then saw this listing of 80mm Macro at about USD110. Much cheaper than the f2.8 lens and trying out the same lens might not be as interesting as trying macro on this setup. So I decided to acquire it though I am trying very well to limit my GAS now. Now I just have to confirm that the macro lens is sharp on focus at infinity and the rest I will explore slowly.
Recently, I have also started to find product ad or brochure of the film cameras I own. Felt my Canon Selphy a bit under utilized (ordering photobooks for my kids photos now as it's easier to manage in the long run). So, I printed postcard size of product photos and started collecting them.
The last time I shot with M39 lens on the mirrorless was probably 2 years ago. Find that it's not easy and feel they are not compatible or not really meant to be used together. Anyway, I have also bought a M39 to NEX adapter some time ago (not sure why). Yet to test whether the adapter works. Decided to try with the Canon M39 lens this time. Initially, I tried with the 35mm f2. At 1m away, it's much wider than 35mm. So switching to the 50mm f1.4 which I feel gives about 35mm angle of view. For this lens, I prefer to use aperture narrower than f2.8 or the 8 that I commonly use. At least it's able to show the 4 different lens which is what I want to record.
Replacing an earlier scanned photo with a better version. 28-May-14.
Leased from and operated by Tower Air from May-98 for 12 months.
Govia Thameslink's class 387 Electrostar dual voltage electric multiple unit (EMU) number 387121 comprised of coaches 421121, 422121, 423121 and 424121 with Thameslink branding works 1H66 from Bedford to Beckenham Junction on 3 September 2015. Class 387 EMUs are being temporarily used on this Thameslink route as an interim measure to replace class 319 EMUs that were transferred to Northern Rail. It is said that use of Class 387s will continue until the delayed class 700 EMU contract is delivered at which point the class 387 EMUs will be transferred to First Great Western. 387121 was built by Bombardier Transportation (previously ADtranz) being assembled at Litchurch Lane Works, Derby and entered service on 26 February 2015.
The full diagram for the two units on this day may have been;
2W84...01:16.....Three Bridges to Bedford
5G84....03:46...Bedford to Bedford CS
5G04....04:34...Bedford CS to Bedford
1W03....04:46...Bedford to Brighton
1W14......07:48...Brighton to Bedford
2W31.....10:40....Bedford to Three Bridges
2W38....13:14.....Three Bridges to Bedford
1H66......15:40...Bedford to Beckenham Junction
1G79......17:30....Beckenham Junction to Bedford
1W61......19:26....Bedford to Brighton
1W72.....22:30...Brighton to Bedford
5G72.....01:28....Bedford to Bedford CS
According to Realtime Trains the route and timings were;
Bedford [BDM] 2.................1540.........................1540........................RT
Bedford South Junction....1542 1/2...................1541 1/2..................RT
Flitwick Junction.................1548 1/2...................1548........................RT
Flitwick [FLT] 1......................1549 1/2/1550........1548 3/4/1550......RT
Harlington [HLN] 1...............1553 1/2/1554........1553 1/2/1554.......RT
Leagrave Junction..............1557 1/2...................1557 3/4.................RT
Luton North Junction.........1602.........................1601 1/2..................RT
Luton [LUT] 1........................1603/1604...............1602 3/4/1604......RT
Luton Airport Parkway 1....1606/1606 1/2........1606/1606 3/4......RT
Harpenden [HPD] 1.............1611/1612..................1611 1/2/1612 1/4....RT
Harpenden Junction..........1612 1/2....................1613.........................RT
St Albans [SAC] 1.................1617/1618.................1617/1618................RT
R. Redland Roadstone.......1622.........................1621.........................RT
Radlett [RDT] 1.....................1623.........................1622........................RT
Radlett Junction..................1623 1/2...................1622 1/2..................1E
Elstree&Borehamwood.....1625.........................1625........................RT
Mill Hill Broadway 3............1627.........................1626 3/4................RT
Silkstream Junction............1628 1/2...................1627 3/4.................RT
Hendon [HEN] 3..................1629.........................1628 3/4.................RT
Brent Curve Junction.........1630.........................1629........................RT
Cricklewood Curve Jn.......1631..........................1629 1/2..................1E
Cricklewood [CRI] 3...........1631..........................1629 3/4.................1E
Cricklewood South Jn.......1631 1/2....................1629 3/4.................1E
W. Hampstead Nth Jn........1632 1/2...................1631..........................1E
W. H'stead Thameslink......1632 1/2...................1632........................RT
West Hampstead Sth Jn...1633.........................1632 1/2.................RT
Carlton Road Junction.......1634 1/2...................1634........................RT
Kentish Town Junction......1635.........................1634 1/2..................RT
Kentish Town [KTN] 1.........1635 1/2...................1635 1/2.................RT
Dock JunctionNorth...........1637.........................1636.........................1E
St Pancras International....1638 1/2/1640 1/2..1638/1640.............RT
Farringdon [ZFD] 3.............1644 1/2/1645 1/2..1643/1645..............RT
City Thameslink [CTK] 2....1648/1649...............1647/1650...............1L
London Blackfriars 1...........1651/1652................1650/1652.............RT
Elephant & Castle 4............1655/1656...............1655/1656.............RT
Loughborough Junction...1659 1/2/1700........1659 1/4/1701 1/4...1L
Herne Hill [HNH] 4..............1704/1706...............1704/1710...............4L
Sydenham Hill [SYH]..........1710/1710 1/2...........1714/1715................4L
Kent House [KTH] 3............1715/1715 1/2...........1720 1/4/1721 1/4..5L
Beckenham Junction 4.....1718..........................1723 1/4..................5L
Christiana Mall, Rts. 1/7 & I-95; opened with the mall in 1978, converting to the Macy's name in 1986. Now one of two original anchors still standing along with JC Penney; the Wanamakers/ Hecht's/ Lord & Taylor was demolished and replaced with Nordstrom, and the Strawbridge's was replaced with Target.
Eagle Speedster (2011) Engine 4700cc S6
Entrant: Eagle E-types
Eagle E-types have been leading restorers of E Type Jaguars since formation in 1982 based in Sussex, under owner and managing director Henry Pearman.
Selling original E Types, E Types that have been completly restored to clients specification. And the Eagle Speedster & GT Coupe.
The Eagle Speedster is based on the E Type with every part replaced or upgraded. Designed by Paul Brace the Speedster is 100% bespoke. Its deseemed all aluminium body produced by R.S Panels of Nuneaton, it has its own purpose designed wrap around and the floor panels lowered to create an ultra low profile.
Powered by a 4.7 litre Jaguar based engine developed by Eagle and coupled to an Eagle five speed gearbox.
The car weighing just 1008 kgs.
This current edition is referred to as Black Cognac as a technical homeage to 12 aluminium Lightweight E Types of 1963.
Shot at The Goodwood Festival of Speed 01:07:2011 Ref 76-204
Please do not forget to visit the Flag Counter on the link below to record a visit from your country. So far 53 countries (last new country Luxembourg and 32 US states last new State Michigan) Last new overseas visitor Canada last new US state visitor New York State
Buick revived the Roadmaster name for a B-body station wagon in 1991, replacing the Estate Wagon in the lineup. Using the 115.9-inch (2,940 mm) wheelbase that was introduced for the 1977 model year, the wagon was called the Roadmaster Estate Wagon. A sedan joined the wagon for 1992, with its own distinct sheet metal, although it shared parts with other full-size GM models. The Roadmaster Estate was a badge engineered Chevrolet Caprice Estate (also sold as the Oldsmobile Custom Cruiser) the three variants differing mainly in grille design and trim. It was slightly larger than the all-new Buick Park Avenue in 1991.
Simulated woodgrain side and back panels (made of vinyl) were standard on the Roadmaster Estate, although a delete option (WB4 wood delete) was available for credit. The "Vista Roof", a fixed sunroof over the second-row seats that was not available on the Caprice, was standard as well. The Roadmaster Estate could seat up to eight with an optional third-row seat. All these wagons initially used Chevrolet's 5.0 L small-block V8, but both Buicks used the larger 5.7 L version from 1992.
From 1994–1996, the Roadmaster, like all B-Body variants, began utilizing the iron head version of the Gen II LT1 V8, its 350 c.i/5.7 liters producing 260 hp (194 kW) and 335 lb·ft (454 N·m) of torque. The switch from the Gen I TBI 5.7L V8 was due to increasing standards for emissions and fuel economy that the aging Gen I could no longer meet. This motor was shared with the Impala SS of the same era and was related to the 4.3 L/265 c.i. L99 V8 that was the base motor for the Chevrolet Caprice, and varied mainly from the F body and Corvette applications by:
A) using iron heads rather than aluminum (specified by police departments for durability and utilized throughout the B-Body line) B) a milder cam that produced a better torque curve for the heavy B-Bodies. C) various intake silencers used to make the engine more palatable to the luxury market and/or pass drive-by noise standards. D) Two bolt main journal bearing caps (also true with the F-body LT1 engines, but not the Corvette).
The Roadmaster was only delivered with the 5.7 L LT1, however, and such cars can be detected visually by a factory-installed stainless steel dual exhaust. The interior of the LT1 cars are distinguished by utilizing analog gauges rather than digital. However, unlike its stablemates, the 9C1 Caprice and Impala SS the Roadmaster was limited to 108 mph (174 km/h) due to the factory-fitted tires not being rated to run the 140 mph (230 km/h) plus the 9C1 and SS were capable of. The engine returns 17 mpg-US (14 L/100 km; 20 mpg-imp) city/25 mpg-US (9.4 L/100 km; 30 mpg-imp) highway for a 4,200 lb (1,900 kg) full-sized car (4500 lb for the wagon), up 1 mpg-US city from the previous version.
The transmission from 1994–96 was changed from the 'analog' 700R4/4L60 to the electronically controlled version of the same, the 4L60E.
Ordered with the towing package, the 94-96 Roadmaster was advertised to tow up to 5000 pounds, although the Estate Wagon owner's manual extended that to 7,000 lbs when using a weight distributing hitch, dual sway controls, increasing the rear tire pressure to 35 psi and disabling the Electronic Level Control. The tow package added 2.93 gears and a limited slip differential, heavy duty cooling system including oil and transmission coolers, and a factory installed self leveling rear suspension consisting of air shocks, a height sensor between the rear axle and body and an on-board air compressor. The most distinctive feature was the combination of one conventional fan driven mechanically from the engine alongside of one electric fan, offset to the left (non-towpack cars came with two electric fans).
GM discontinued both the Roadmaster sedan and the Roadmaster Estate in 1996, ending production on December 13 of that year. This was blamed on the smaller but more expensive and luxurious Park Avenue growing in size; the Roadmaster trim levels never exceeded that of the smaller but still full-sized Buick LeSabre, as this enabled the Park Avenue to remain as Buick's flagship car. Interestingly, both the Park Avenue and LaSabre were front-engine front-wheel drive cars, in contrast to the Roadmaster's front-engine rear-wheel drive layout. Another reason was largely a response to the SUV craze, as the Arlington, Texas factory where the assembly line that specialized in RWD cars were built was converted to truck and SUV production. Along with the discontinuation of the related Cadillac Fleetwood and Chevrolet Caprice, this signalled the end of General Motors' production of rear-wheel drive, full-size cars. When discontinued, the Roadmaster Estate and the similar Chevrolet Caprice wagon brought up the end of the era of the full-size family station wagon.
Canada's prime minister from 1993–2003, the Right Honourable Jean Chretien, was driven in armoured Buick Roadmasters during his term of office
[Text from Wikipedia]
en.wikipedia.org/wiki/Buick_Roadmaster
This Lego miniland scale 1992 Buick Roadmaster Estate has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 81st Build Challenge, - "Generation Gap" - a challenge to build a vehicle or group of vehicles which represent a car line that has existed in more than one generation.This model complements the 1950 Buick Roadmaster Estate posted recently.
By mistake I ended up in West Malling, but it was a good thing, as the village is chocolate box pretty, and the church very fine indeed. The only church I visited that had no wardens to welcome (I think, sorry if I have mis-remembered). Anyway, a fine church, amazing coat of arms, and glad I visited.
--------------------------------------------------
A story of all's well that ends well. A Norman tower and thirteenth-century chancel are linked by a twentieth-century nave that had in its turn replaced one erected to replace its medieval predecessor in the eighteenth century! The west window and those in the south aisle are by C.E. Kempe and Co. Ltd, and of special note is the one depicting the Three Kings. On the south side of the chancel, backing on to a medieval lean-to vestry, is the splendid tomb of Sir Robert Brett (d. 1620), which has recently been restored. The colours are superb and show how churches must have looked when these monuments were new. In the north aisle is a large painting of the Last Supper by Francis Slater, the eighteenth-century artist who painted the ceilings of nearby Mereworth Castle. Hanging on the front of the west gallery are the outstanding Royal Arms of James II, of carved and painted wood. The twentieth-century rebuilding of the church was financed by the sale of an Elizabethan stoneware jug (now in the British Museum), the transaction being recorded on an inscribed stone in the north porch.
www.kentchurches.info/church.asp?p=West+Malling
--------------------------------------------
WESTWARD from East Malling lies the town and parish of West Malling, now most commonly called Town Malling.
It is written in Domesday, MALLENGETIS, and in the Textus Roffensis, MELLINGES. In many deeds after the conquest, it is stiled MILLINGES PARVA, to distinguish it from East Malling, then the larger and more noted village of the two.
The town and parish of West Malling, excepting the borough of St. Leonard, which is under the jurisdiction of the constables of the hundred of Larkfield, is under the jurisdiction of its own constables, of which there are two chosen yearly.
THE PARISH of Town Malling, as it is usually called, is situated equally pleasant and healthy. It lies on high ground, and though dry is well watered, the soil of it being in the northern part a sand, the rest of it a loam, covering the quarry rock, which is very fertile, as has been frequently noticed before in the like situations. The high road from London through Wrotham to Maidstone, at the twenty-ninth mile stone leads along the northern boundaries of the parish, being called in king Edmund's grant of this place to the bishop of Rochester, the military way, no doubt from its having been used as such by the Romans, southward of it the ground gently rising; at less than a quarter of a mile's distance is the town of Malling, which is well built, having many genteel houses in it, the streets of a handsome width, and well paved. At the east end of it is the abbey, to which the approach is by a venerable antient gateway. Although the house itself was almost all of it pulled down and rebuilt by Mr. Honywood, yet many of the antient buildings and offices be longing to it are still remaining, and are made use of as such at present. A handsome tower of the church, the front of which is decorated with intersecting arches and zig-zag ornaments, similar to those on the west front of Rochester cathedral, built by the same founder, bishop Gundulph, is still remaining, as is an antient chapel or oratory, now made use of as a dwellinghouse.
From the foundations discovered in levelling the ground by Mr. Honywood, it appears, that this abbey consisted of two quadrangles or courts, with cloysters, and a spacious hall; and that the church had another tower, of the like size to that now standing. The burying-place seems to have been on the south side of the church, as in digging there, great quantities of human bones have been thrown up, and two stone coffins with skeletons in them, the lids of them had no inscriptions on them, but were ornamented each with a cross, having a quaterfoil pierced at the upper end, the stem of which was crossed more than once with foliage, several rings and trinkets, and some old coins have likewise been found at different times in cleaning away the rubbish.
Over the west end of the grand gateway, which stands at the entrance into the precinct of the abbey from the town, at the west end of the building, there is carved in stone, a heart distilling drops of blood, and on the other side, in a shield, Ermine, a crozier in bend sinister, on a chief three annulets.
In the meadows above the gardens, are large square excavations still visible, where the fish ponds of the aunnery formerly were.
The precinct of this monastery is washed by a rivulet of excellent clear water, which rising in the hamlet of St. Leonard, runs by the house, and through the gardens of it, whence gushing through the wall with a cascade, it crosses the road towards the Rev. Mr. Brooke's gardens. There is a view of this abbey in its present state published by Mr. Grose, in his Antiquities of England.
Near the abbey gate there is a good house, with a large garden, canal, and pleasure grounds, behind it, reaching down to the London road. It has been many years the residence of the Brooke's, from whom it passed by the will of Joseph Brooke, esq. who died in 1792, after the decease of his widow in 1796, to the Rev. John Kenward Shaw, brother of Sir John Gregory Shaw, bart. who has since, in pursuance of the above will, and by the king's licence, taken the name of Brooke, and now resides in it. A little further westward there is a very antient stone building, called the Old Gaol, having narrow gothic windows, and the walls of great thickness. It is reported to have been the prison belonging to the abbey, and is now used as an oast for the drying of hops. About the middle of the street stands the church, and a little distance from it a good house, late the residence of Benjamin Hubble, esq. whose family have been inhabitants of this town for some length of time, several of them lying buried in this church. He died in 1780, leaving his widow, sister of Richard Savage, esq. of Boughton Monchelsea, surviving, and two daughters, his coheirs, one of whom having married Thomas Augustus Douce, esq. he now resides in it; further southward is the hamlet of St. Leonard, now making part of the town, and called St. Leonard's-street, in which is an antient seat, some years ago the residence of Charles Stewart, esq. whose father admiral Stewart purchased it of judge Twisden. This district had once a cell in it, belonging to the abbey, with a chapel. It was given at the time the manor and church was to it, as has been already mentioned. The whole of it has been long since desecrated, and in ruins; the square tower of the chapel which stands in the next field south-west from the late Mr. Stewart's house, is all that remains of it. It was purchased by him some years ago, of Sir John Honywood, in exchange for other premises near the abbey, and is now made use of as a stowage for hops. Mr. Stewart died in 1780, and was buried near his father in this church, and he was succeeded here by the hon. admiral John Forbes, who lately died posfessed of it. A market is held in the principal highstreet every Saturday, which is plentifully supplied and well frequented. There are three fairs, which are held by the alteration of the stile on August 12, October 2, and November 17, yearly, for horses, cattle, toys, &c. The whole town is excellently well watered with fine springs, which having supplied the town and abbey, collect themselves into one stream, and passing northward through Mr. Brooke's grounds, cross the high Maidstone road, and runs from thence into the Addington brook, just above Leyborne mill.
About half a mile south-east from the abbey there is a good modern-built house, called New Barne, which formerly belonged to Mr. Alchin, from whom it passed to Graham, the present possessor, who resides in it.
Above St. Leonard's street is the high road from Teston over East-Malling-heath, and through this parish to Offham, southward of which this parish extends into the large tract of coppice woods which reach to West Peckham and Mereworth.
Dr. William Briggs, an eminent physician, resided at the latter end of the last century at Town Malling, where he died, Sept. 1704, æt. 64, and was buried in this church, He was a great traveller into foreign countries, and was greatly esteemed for his skill in his profession, as well as for his learning, of which the several writings he published are sufficient testimonies. He was physician in ordinary to king William, and to St. Thomas's hospital, and bore his arms, Gules, three bars gemelles, or, a canton sable. (fn. 1)
THIS PLACE was given, about the year 945, by Edmund, king of the Angles and of Mercia, to Burhric, bishop of Rochester, by the description of a small portion of his land, called Meallingas, containing three plough lands; and he granted it to him, for the good of his soul, in perpetual inheritance, in augmentation of the revenues of his monastery of St. Andrew, with all its rights, liberties, members, and appurtenances, and this he did with the consent of his nobles and princes, whose names were subscribed to it. After the names of king Edmund, Edred his brother, and Eadgife his mother, are those of the archbishops and bishops, and then that of Ælgifu, the king's concubine, Ego Ælgifu Concubina Regis affui, and after her the dukes, &c. The bounds of this land are thus described in Saxon, viz. from the south part of it to the king's plaine, and from thence to the bounds of the parish of Offaham, and thence to the military way, and so along the said way over Lilleburne to the bounds of the parish of Est Meallinges, and so directly southward from the east of the cross or gallows to the broad way towards the south, in a direct line along the said way to the king's plaine. To which the king added certain denberies for the pannage of hogs.
This land did not continue long in the possession of the church of Rochester, being wrested from it in the time of the Danish wars; and when William the Conqueror had attained the crown, he gave it to Odo, bishop of Baieux, his half brother, from whom it was recovered, together with the church of Mallinges, in the solemn assembly of the whole county held on this occasion, by the king's command, at Pinenden heath, in 1076, by archbishop Lanfrance, who afterward restored it to bishop Gundulph, and the church of St. Andrew; which gift was confirmed by archbishops Anselm and Boniface. (fn. 2)
In the survey of Domesday, taken about four years afterwards, this manor is thus described, under the general title of the bishop of Rochester's lands:
The same bishop (of Rochester) holds Mellingetes, it was taxed, in the time of king Edward the Confessor, at three sulings, and now at one and an half. The arable land is three carucates. In demesne there is one, and five villeins, with fix borderers, having two carucates. There is a church, and one mill of two shillings, wood for the pannage of twenty hogs. In the time of king Edward the Confessor, and afterwards, it was worth forty shillings, and now four pounds.
Bishop Gundulph, in the 4th year of the reign of king William Rufus, anno 1090, having founded an abbey of Benedictine nuns in this parish, to the honor of the Virgin Mary, gave this manor and church to it, with other possessions for the endowment of it; (fn. 3) and although it was, about one hundred years after its being first erected, with the adjoining village, destroyed by fire, yet it was again soon afterwards re-edified, and continued to increase in a flourishing state.
In the 7th year of king Edward I. anno 1278, the abbess of Malling claimed sundry liberties in this parish, by grant from king Henry III. and a market weekly throughout the year on a Saturday and Wednesday; and she claimed by grant from king John to have warren in all her lands at Malling, by grant from king Henry, from time beyond memory; and to have fairs in the parish on the eve, day, and morrow of St. Matthew the apostle, and the like on the eve, and day of St. Leonard, and the like on the eve, and day of St. Peter, ad vincula.
By which, and such like favours granted to it, this place, which at the first foundation of the monastery was plain fields, and almost without an inhabitant, became notwithstanding its former calamity mentioned before, exceedingly populous from the numbers who flocked to it from all parts, who building themselves houses here, increased the village to a large size, well suited for trade, to the no small emolument of the nuns; whence it soon lost its name of Malling Parva, which was for some time transferred to the neighbouring parish of East Malling, as appears by some grants, &c. of this time, and king Edward III. (fn. 4)
In the 15th year of king Edward I. the temporalities of the abbess of Malling in this parish and East Malling were valued at forty-five pounds.
There was an annual pension of ten pounds of wax, and one boar, paid by the abbess to the bishop of Rochester, as an acknowledgment of her subjection to that see.
In the year 1321, the bishop of Rochester, at the king's request, to whom the nuns had made a complaint, that their monastery was ruined by the bad management of their abbess, sister of Bartholomew de Badlesmere, visited it, and heard the complaints against her; in consequence of which she resigned, and the lady Agnes de Leyborne, was chosen in her room. Three years after which she died, and the bishop, at the unanimous request of the nuns, appointed Lora de Retling abbess here, though much against his will, knowing her to be very ignorant, and unfit for the office. However, he inhibited her giving a corredy to her maid servant, as had been the custom, and sequestered their common seal, inhibiting her from using it without his licence.
A great pestilence raging in the year 1348, the bishop made two abbesses here, who presently died; nor were there more than four nuns professed, and four not professed, remaining in this monastery; and he com mitted the custody of the spirituals and temporals to two of them, as there was not a proper person for the office of abbess.
In the year 1493, anno 9 Henry VII. Joane Moone was abbess of this monastery. (fn. 5)
This abbey was surrendered into the king's hands, with all its possessions, (fn. 6) among which were the manors of East and West Malling, with the precincts of Ewell and Parrock annexed to the latter, by Margaret Vernon, abbess, and the convent of it, in the 30th year of king Henry VIII. at which time it was valued at 245l. 10s. 2½d. annual rent, according to Speed, and 218l. 4s. 2½d. clear value, according to Dugdale, and there was granted to the abbess a pension of forty pounds yearly, and to eleven nuns from 31. 6s. 8d. down to 2l. 13s. 4d. yearly pensions, each for their lives.
After which that king, by his letters patent, in his 31st year, granted and sold, in exchange, among other premises, to Thomas Cranmer, archbishop of Canterbury, the scite of the abbey, with the precinct and circuit of it, and the manors of West Malling, Ewell, and Parocke, and the parsonage of West Malling, late appropriate to it, excepting to the king all advowsons, presentations, &c. to hold by knight's service, at the yearly rent therein mentioned; and as the king was entitled to the tenths of these premises, he discharged the archbishop of them, and all other outgoings whatsoever, except the rent therein mentioned. Which grant was in consequence of an indenture made between the king and the archbishop, inrolled in the Augmentation-office.
These manors and premises were again exchanged with the crown in the beginning of the reign of queen Elizabeth, in the 12th year of which she granted them in lease to Sir Henry Brooke, alias Cobham, fifth son of Sir George Brooke, lord Cobham; after which they were held by the same possessors, as the manor of East Malling before described, till at length, after the death of Sir Robert Brett, anno 1621, king James granted the manor of West, alias Town Malling, with the precinct of Ewell annexed, the scite of the late monastery, with the house, buildings, and ground within the precinct of it with all their appurtenances, late parcel of the possessions of the late monastery, in fee, to John Rayney, esq. which was further confirmed to Sir John Rayney, his eldest son, in the 2d year of king Charles I. He was of Wrothamplace, in this neighbourhood, and was created a baronet of Nova Scotia, in 1641, and his son of the same name, about the time of the restoration, conveyed these premises to Isaac Honywood, gent. of Hampsted, Middlesex, who was the only son of Edward, third son of Sir Thomas Honywood, of Elmsted, ancestor likewise of the present Sir John Honywood, of Elmsted, baronet, and he continued to bear the same coat of arms; whose second son, Isaac Honywood, esq. of Hampsted, succeeded him in this manor and estate. Frazer Honywood, esq. of Hampsted and London, his only son and heir, rebuilt the abbey house of Malling in the antient gothic taste, at a very great expence, making it one of the seats of his residence, and having thus greatly improved it, he died possessed of this seat and manor, with the estate belonging to it, in 1764, leaving no issue by his wife, the daughter of Abraham Atkins, of Clapham. He gave them, as well as the rest of his estates here and elsewhere, by will, to his kinsman, Sir John Honywood, bart. of Elmsted, and his heirs male, with divers remainders over to the family of Honywood. Sir John Honywood, bart. is since deceased, and his grandson of the same name is the present owner of this manor, with the precinct of Ewell annexed, and the seat of Malling abbey, with the lands and appurtenances in this parish belonging to it, but Mr. Foote resides in it.
The family of Say antiently possessed THE MANOR of CLEMENTS IN EWELL, in this parish. Geoffry de Say held it in the 7th year of king Edward II. as half a knight's fee. His son, Geoffry de Say, paid aid for it in the 20th year of king Edward III. as half a knight's fee, which John at Forde held before in Ewell, in Malling, of the bishop of Rochester. This manor was afterwards in the name of Coveney, (fn. 7) and in the latter end of king Henry VIII. it was in the possession of Mr. William Fowle. Since which it has sunk into such obscurity, that neither the scite nor the owners of it can be traced out even by the most diligent enquiries.
CHARITIES.
THERE is a lecture founded in this church of a sermon every fortnight, on the Saturday; two of the preachers to be the ministers of East and West Malling, who are to be paid 10s. for every sermon they preach; the other preachers are appointed at the will of the trustees.
FRANCIS TRESSE, gent. of this town, who died in 1632, by his will gave a piece of land, and 40l. towards the building of a free school in this parish; and he charged one of his houses in Town Malling with the sum of 13s. 4d. per annum, for the keeping of it in repair; and appointed that four principal freeholders of this parish should be trustees for the execution of this part of his will for ever. This school was accordingly erected, and was made use of for the teaching of boys writing and arithmetic. The charity is veisted in the minister and tour substantial freehold inhabitants, and the estate out of which it is paid in Mr. Robert Sutton, of this parish, but there being no master, the school-house is at present let to the late master's widow at 2gs. perannum, which with the 13s. 4d. is applied towards the maintaining of the building. He also gave two silver cups for the use of the holy communion, and 6s. 8d. payable yearly out of a piece of land, called Cousin's Plat, now vested in Mary Brome, widow.
SIR ROBERT BRETT, by will in 1620, gave land sufficient to pay yearly 10s. per week, to be bestowed in bread and meat to twenty poor persons, or else to be distributed in money to them. His executors accordingly conveyed lands in Tewksbury, in Gloucestershire, for this purpose, which is now vested in lord Romney, and twenty-three others, trustees, of the annual produce of 26l. but of late years the annual produce has been but 19l. 14s.
TOWN MALLING is within the ECCLESIASTICAL JURIDISCTION of the diocese of Rochester, and gives name to the deanry of Malling, in which it is situated.
The church, which is a handsome building, with an elegant spire steeple, is dedicated to St. Mary.
At the latter end of the year 1778, some of the main pillars of the body of it giving way, the whole roof of it fell in, leaving only the steeple and chancel at the two extremities of it standing. It has since been repaired, and thoroughly finished by a brief, which was obtained for that purpose.
The church of West Malling was given, with the manor, to the church of Rochester, by king Edmund, in 945; and having afterwards been taken from it, was again restored by archbishop Lanfranc to bishop Gundulph, in the time of the Conqueror, who gave it to the monastery here, at his foundation of it, and this gift was confirmed by several succeeding kings, archbishops of Canterbury, bishops of Rochester, &c. as has been already mentioned.
It was appropriated to the abbess and convent by bishop Gundulph, at the time it was given to them; which appropriation was specially confirmed by Simon, archbishop of Canterbury, in the year 1351.
In the reign of king Edward III. great discutes arising between the abbess and nuns of this monastery, and Robert de Beulton, perpetual vicar of this church, especially concerning the receiving of the tithes of flax and hemp, and the payment of archidiaconal procurations, they were at last settled by Hamo, bishop of Rochester, who in the year 1339, decreed, that, saving the due and accustomed portion of the prebend of the great mass in the conventual church of Malling, and the portion of the vicar, as undermentioned, the religious should take all tithes of corn within the parish, and all oblations and obventions belonging to their conventual church, and the cell of St. Leonard; and that they should not be bound to pay to the vicar the tithes of their hay, woods, or mills. And whereas the bishop was informed, and it was allowed, that the above-mentioned prebendary, and other domestics, serving in the monastery, or in the houses of the prebendary, or perpetual chaplain, celebrating for the dead, as also the brothers and sisters, and other persons dwelling in the monastery, or house of the prebendary, who, when they were without the monastery and houses, were not housekeepers in the parish, were wont to receive the sacraments and sacramentals, in life and in death, and to be buried there, if they happened to die within the monastery or houses, unless by chance they chose to be buried elsewhere; in which case, the religious had the first mass for the body before them, in their monastery, and received all the oblations then and there made, so that no portion was left for the vicar of the parish church. And further, that the prebendary for the time being had been used to receive antiently, and to that time, in part of the portion due to him, all the great and small tithes of the demesne lands of the religious, and of the food of their cattle, and also the great tithes arising from many of the crofts of their tenants situated in the said parish, and also the small tithes of his house, and of the house and land of the perpetual chaplain aforesaid, and all the predial tithes arising from the houses or messuages, curtilages and gardens, late of Thomas atte Shoppe and William Cake, in the street, called Holirode-strete, of this parish of Malling, situated above the house of the prebendary; and of all the houses, messuages, curtilages, and gardens whatsoever, from thence towards the east and north in Holirode-street, and in the street, called Tan-street, as far as the end of the parish of Malling on that side; and that the religious and prebendary had possessed all and singular the premises aforesaid, in certain distinct portions, peaceably and without contradiction, from the time beyond memory. (fn. 8)
The bishop, therefore, that none of the premises should be altered, decreed, saving all and every matter as aforesaid, that the vicar should receive for his portion all other small tithes, oblations, obventions and profits belonging to the parish church more especially, viz. the tithe of herbage, silva cedua, apples, pears, flax, hemp, wool, milk, cheese, calves, lambs, pigs, pidgeons, geese, ducks, bees, eggs, merchandizings, fowlings, fishings, swans, pulse, and other fruits, and also of corn growing in orchards or gardens, as he had-been accustomed to receive them.
¶And that the vicar should also receive the personal tithes of the inhabitants of the houses or messuages of Thomas atte Shoppe and William Cake, and of others, inhabiting in the houses or messuages situated in the streets, called Holirode-strete and Tan-strete, and the oblations due and accustomed to the parish church, and should administer ecclesiastical rights to them, and should have the burial of them in the parish church; and that the vicar should have for his habitation, as assigned to him by the religious, the dwelling with its precinct, which the vicar then inhabited, and his predecessors used to inhabit, which he should repair at his own expence, and preserve in a decent state, and should pay the yearly rents and services, due and accustomed from thence; all which the bishop adjudged to be a sufficient portion for the vicar for the time being. And he further decreed, that the vicar should cause the books to be bound, the vestments to be washed; and the same, and the rest of the ornaments of the parish church, which belonged to the religious to find, as often as need should require, to be repaired, and should cause them to be safely and honestly kept; and that he should provide and find bread, wine, processional tapers, and other lights necessary and accustomed in the chancel, the necessary and accustomed ministers, rochets, surplices, napkins, unconsecrated vessels, basons, and also green rushes to strow the church, if they had been so accustomed, and did not belong to the parishioners to find; and that he should pay the dues to the bishop, and the archidiaconal procurations, and that the vicar should acknowledge and undergo, according to the rate of the taxation of his portion as under-mentioned, all ordinaries and extraordinaries, which, although it might amount to five marcs, being near the moiety of the value of the whole church, according to the estimation then had, he decreed should remain according to the antient taxation of it, as often as burthens of this kind were to be borne, and paid from small benefices. And he decreed, that the religious should acknowledge and undergo all and singular other burthens happening to the parish church, by reason of their portion, which he estimated at twelve marcs, according to the antient taxation of it, notwithstanding this assignation, which was made with the consent of both parties, and which by his episcopal authority, he corroborated and confirmed, &c. and that it might not be called in doubt in future times, or be litigated, he had caused it to be entered in his register, and to be reduced into three different writings, of which he decreed one to remain in the hands of the religious, another in the hands of the vicar, and the third in the hands of the prebendary aforesaid, to perpetuate the memory of it, and had caused it to be authenticated with his seal, &c.
This parsonage, prebend, and the advowson of the vicarage, were, on the dissolution of the abbey in the 30th year of king Henry VIII. surrendered into the king's hands. After which the king, next year, granted this parsonage, with the manor of West Malling, and other premises, to Thomas Cranmer, archbishop of Canterbury, to hold by knight's service, at the yearly rent therein mentioned. After which it passed, with the manor of West Malling, in a like succession of ownership, down to Sir John Rayney, bart. who sold these premises, about the time of the restoration, to judge Twisden, and his descendant, Sir John Papillon Twisden, bart. is the present possessor of this parsonage, and the advowson of the vicarage of West or Town Malling.
The vicarage is valued in the king's books at ten pounds, and the yearly tenths at one pound.
Replacing an earlier scanned photo with a better version 22-Nov-21 (DeNoise AI).
This aircraft was delivered new to Channel Airways in Mar-69 as G-AWKJ. It was leased to BUA British United Airways in Apr-69 and returned to Channel Airways at the end of the summer season in Oct-69.
At the end of Feb-72, Channel Airways ceased trading and the aircraft was returned to the British Aircraft Corporation and stored. In Jan-74 it was re-registered G-BIII and sold to Air Hanson Helicopters who fitted it out for their VIP Charter operation.
Obviously it wasn't terribly lucrative and in Jul-74 it was sold to the Philippine Government as RP-C1. In May-85 it was sold to Bryan Aviation and returned to the UK as G-NIII. It was stored at Manchester, UK, and remained there.
In Nov-86 it was sold to Okada Air, Nigeria, however it remained stored until Sep-87 when it became 5N-AYV. It operated for Okada Air for another 10 years until it was retired and stored at Benin City, Nigeria in Dec-97. It was eventually broken up.
I also have a photo of this aircraft with British United as G-AWKJ taken in May-69, see...
Replacing your old full bed headboard with the new model may be part of your house renovation. This is common, as people sometimes can be bored of their home decoration or interior design look. It is not so difficult to design your new full bed headboard, or you can even utilize your used doors...
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]
Nice to see something decent one of 2017 good purchases replaces the old coaches previously allocated to this route seen here in Durham on National Express Service 480 to Newcastle
© All rights reserved. Images are copyrighted to myself. Photographs lifted from my photostream and being reused elsewhere without my permission or being credited, will not be tolerated and the user will be blocked and reported immediately
Replacing an earlier digital photo with a better version 21-Apr-23.
Fitted with blended winglets.
First flown in Feb-02 with the Boeing test registration N1786B, this aircraft was re-registered N6055X for some Boeing test flights in early Mar-02. It was delivered to GECAS and leased to Excel Airways as G-XLAF in Mar-02.
It was wet leased to Air Europa (Spain) between Nov-02/Apr-03. The aircraft was wet-leased to Ryanair between Nov-03/Mar-04. It was fitted with blended winglets in Apr-06. In Nov-06 Excel Airways was renamed XL Airways UK.
The aircraft was leased to Sunwing Airlines (Canada) as C-GOAF in Dec-06. It was sub-leased back to XL Airways UK, operated by Sunwing, in May-07 and returned to Sunwing in Nov-07 for the winter season.
It was again sub-leased back to XL Airways UK in May-08. XL Airways UK ceased operations in Sep-08 and Sunwing returned the aircraft to the lessor the following day.
It was initially stored at Lasham, UK and re-registered N29883 in Oct-08. In Mar-09 the aircraft was leased to Garuda Indonesia Airlines as PK-GEI. It was returned to the lessor in Jun-16 and was leased to Sriwijaya Airways as PK-CMT the following month.
The aircraft was withdrawn from service and stored at Jakarta-CGK in Jun-20 due to the COVID-19 Pandemic and financial problems relating to non-payment of maintenance and leasing charges. It was permanently retired and broken up at Jakarta-CGK, Indonesia in Jul-22. Updated 21-Apr-23.
+++ 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 Messerschmitt Me 709 was a derivate of the unsuccessful German World War II Me 309 fighter project and its short-lived Zwilling descendant, the Me 609 which joined two fuselages of the Me 309 fighter prototype together to form a heavy fighter. The Me 609 project was initiated in response to a 1941 Reich Air Ministry requirement for a new Zerstörer (heavy fighter) to replace the Bf 110 in a minimum time and with minimum new parts.
In the Me 609 development phase, Messerschmitt had actually contemplated numerous twin-boom adaptations of its Bf 109 line including the Bf 109Z (which joined two Bf 109s) and the Me 409 (which used two Me 209-II aircraft). When it became clear that the Me 609 would not be cleared for service due to the progress in jet fighter development, the program was shelved - but quickly revived in 1943 when the high hopes in the jet engines were disappointed.
When it became clear that no jet fighter with a true dogfight capability would be in service on short notice, the RLM called for a high speed interceptor against high flying USAF bombers and their long range fighter escorts. The fast De Havilland Mosquito was another threat which was hard to counter with the existing types in service. A top speed of more than 750 km/h was requested, as well as a high rate of climb and a high agility for close combat. The fighter should also be easy to build and use many proven components in order to get it into service as quickly as possible.
Messerschmitt’s resulting Me 709 was basically a redesigned Me 309/609, since it was clear that only a twin-engined aircraft could meet the RLM requirements. Instead of two joined Me 309 fuselages with a new center wing section into which the two inboard wheels of the landing gear would retract, the Me 709 used a pull/push layout, very similar to the Fokker D-XXIII fighter. Main reason for this decision was the attempt to minimize drag and keep overall dimensions as compact as possible, offering only a small target. Easy single engine handling and high roll rate due to the weight masses centered along the longitudinal axis were another benefit of the concept. Additionally, the impressive results of the Dornier Do 335 development had additional influence. From this project, the Me 709's ejection seat (using pressurized air) and a mechanism to blow off the tail propeller fins in a case of emergency were incorporated.
The Me 709 kept the Me 309's tricycle undercarriage, even though the main wheels now retracted inwards into the center wing sections. The slender tail booms contained two separate radiator baths, the gun armament above them and fuel tanks. Additional tanks were located in the inner wing sections, before and aft the landing gear wells, as well as under the cockpit, where the Me 309 originally had its retractable radiator mounted. The tail booms were connected by a single horizontal stabilizer, taken straight from the Me 609. The second engine behind the pressurized cockpit (also taken from the Me 309) caused a considerable CG shift aft, so that the Me 309’s original wing main spar had to be moved backwards by almost 4' – but since the original radiator had been deleted, this caused no big problem and actually improved the field of view for the pilot.
Initially, two fighter versions of the Me 709 were planned, both single seaters and differing mainly in the outer wing sections. The 'A' series would be a highly agile fighter for medium to low heights, with a secondary use as fighter bomber for close air support. Armament was projected with four lightweight 30 mm MK 108 cannons, but since these highly effective guns were reserved for other projects like the Me 262, two of the guns were substituted with the heavier (but also more powerful) MK 103 cannons, or all four guns would be replaced by 20mm MG 151/20 cannons. The 'B' series would have a longer wing span (+3,6m/11 ft 9½ in) and reduced/lighter armament (only two MG 151/20), optimized for high altitude interceptions and reconnaissance.
An additional projected version, the Me 709 'C', would be outfitted as a fast bomber, with a semi-recessed 1.000kg bomb under the fuselage, provisions for additional lighter bombs under the tail booms, paired with the reduced gun armament and the longer wing span from the B version, but with additional fuel in integral tanks in the outer wing sections.
Two prototypes of the A and B version each were quickly assembled from existing Me 309 airframes, first flight tests took place in October 1944. Initially, the Me 709s were equipped with the Daimler-Benz DB 603G engine, but later use of the Jumo 213 engine with 2.000 hp and more was envisaged, pushing the top speed beyond 500mph/800km/h .
Flight tests were successful, even though the A fighter lacked directional stability and the high altitude B fighter would offer no real advantage compared to the simpler, single-engined Focke Wulf Ta 152. In January 1945, the RLM decided consequently to drop the B version, but the Me 709 A was to be developed further. Five additional pre-production airframes (A-0 series) were ordered and delivered until April 1945. These new machines featured, among other detail improvements, a recognizable dihedral to the outer wing sections, which also carried drooped wing tips. This proved to be a successful measure to improve stability, but the Me 709 A remained a rather nervous plane that constantly called for an attentive pilot. In this guise, the Me 709 A-1 was cleared and ordered for production. Delivery of the first serial machines took place in June 1945, and they were mainly used for home defense.
Several equipment packages (‘Rüstsätze’) were quickly developed and added to field machines. They would allow the carriage of various external loads, e .g. an ETC for a single max. 1.000kg bomb under the fuselage (R1), 2× 300l drop tanks on hardpoints under the tail booms (R2) or wooden racks with 2× 12 unguided R4M missiles under the outer wings (R3). After an initial batch of forty A-1 aircraft, R1 and R2 were incorporated into series production, which then became, with several other equipment changes, the A-2 main series. Almost all older models were brought to this standard within a few months, even though the gun armament differed considerably between individual aircraft.
All in all, a total of 243 Me 709 were built, all of them A series aircraft. By the time designs were being ironed out, the revolutionary Me 262 and Ar 234 turbojets and the introduction of more potent and reliable jet engines like the Heinkel-Hirth HeS 011 negated the need for further piston-engined fighter design and stopped further development of the Me 709.
Me 709 A-2, general characteristics:
Crew: 1
Length: 36 ft 1 in (11.01 m)
Wingspan: 40 ft 6½ in (12.38 m)
Height: 11 ft 11 in (3.64 m)
Wing area: 221.72 ft² (20.68 m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 760 km/h (472 mph) at 6.400m (21.000 ft)
Range: 620 mi (840 km ) with internal fuel only
Service ceiling: 36,000 ft (10.970 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine: 2× Daimler-Benz DB 603G inverted V-12 liquid-cooled piston engine, 1,287 kW (1,726 hp) each
Armament: Varied, but typically four cannons in the front of the tail booms. Typically, 2× 30 mm (1.18 in) MK 103 cannons with 50 RPG and 2× 30 mm (1.18 in) MK 108 cannons with 110 RPG were fitted; additionally up to 1.000 kg of external loads, including bombs, drop tanks and R4M unguided missiles.
The kit and its assembly
This what-if was inspired by a picture of a very similar model I found a while ago in the WWW, and I found the idea of a push/pull Me 109 derivate very attractive. Why not? When I thought about how to realize such a model with as little effort as possible, I came across HUMA's Me 609 kit - and this basically offered anything necessary, bare the tail booms. These were quickly gathered from the spare box: they come from a Fw 189 (Airfix) and were cut just behind the wings’ trailing edge. Still a bit thick, but the idea of using the front as radiator intakes is a neat solution which also frees the fuselage from the bulky cooler tub of the Me 309.
Originally I wanted to incorporate the original outer wings of HUMA's Me 609 (which are 100% Me 309 wings - you even have to close the landing gear bays by yourself to use them in the original kit!), but found the wing span to become much too big for my conversion – they inspired the ‘B’ version, though. Anyway, I was lucky that I found a pair of He 162 wings in the scrap box, leftover pieces from my Ki-53 whif. They fit nicely in size and design, and this way the ‘A’ version was born.
Almost anything in my Me 709 build comes from the HUMA kit, but it took some putty work to put some of the parts together. Esp. melding the additional rearward-facing engine with the shortened Me 309 fuselage was tricky. Another challenge was to moving the inner wing sections backwards – the original single part had to be cut in half, so that the original intersections did not fit anymore.
.As a side note: Fit and detail of the HUMA kit is rather poor, and the material is rather waxy. O.K., it is a small company, with limited production runs. But for the fact that this kit has been around for so long, quality standards of the late 70ies are IMHO hard to accept. Best thing about the kit is the injected clear canopy… Good that I got the kit rather cheap - if I had to build it OOB, I'd be really disappointed!
Further modifications include the closure of the original radiator bath under the fuselage, and the rear engine (cut away from the leftover second fuselage) needed some serious surgery, including the closure of the landing gear bay under the engine. The rear exhausts had to be built from scratch, since the rear engine's exhaust would face forwards (they are molded onto the fuselage) and also obstruct the attachment area to the forward fuselage.
Painting and markings
For this plane, a typical late German WWII paint scheme was intended, and I settled for a late Bf 109 G livery in RLM 81/82/76 (Braunviolett, Dunkelgrün and Lichtblau), with a wavy but clear demarcation between upper and lower sides and a few, sharp blotches along the flanks. Testors/Model Master paints were used with authentic RLM tones (Testors 2090 and 2091 for above, Humbrol 128 below). In s second step, these colors were lightened/bleached through dry-brushing with slightly lighter tones (Humbrol 155 and 116 on top sides, Testors 2086 below). Additionally, a light black ink wash was applied in order to emphasize details and panel lines, and I added some patches with RLM 76 and 02 which are to represent areas where older markings had been painted over in a hurry. All trim tabs were painted in red brown (Humbrol 100), the spinners were painted 2/3 black, 1/3 white, a typical Me 109 F/G/K design.
For squadron markings, I wanted to have something authentic. The red and blue bands around the tail booms are typical late war ID markings, they belong to the 7th Jagdstaffel (JG. 7). Furthermore, the yellow horizontal bar marks the machine as being part of the 2nd group (which organizationally comprises 2nd, 6th, 10th squadron etc.).
The simple black chevron with white outlines on the central fuselage shows that the pilot is the Group's Second-in-Command (Gruppenadjutant), I christened him Ferdinand Walgenbach, totally fictional and with no real person in mind. As an officer’s personal ride, the plane consequently carries no further tactical code, e .g. a number in the group’s color. The small "A" in the chevron (obscured by exhaust dirt) is a personal addition of the pilot - not unusual among officers' markings. The Luftwaffe had a complicated system, didn’t they?
Bands and squadron markings were puzzled together from various TL Modellbau decal sheets from Germany, very good stuff for individual conversions and of high printing quality.
Another side note: The "Planes & Pilots" book series from France is a very good reference and inspiration here, as well as for squadron markings.
In the end, the result looks less spectacular than expected?
Metal replacement toning (Wiki)
Metal replacement toners replace the metallic silver, through a series of chemical reactions, with a ferrocyanide salt of a transition metal. Some metals, such as platinum or gold can protect the image. Others, such as iron (blue toner) or copper (red toner) may reduce the lifetime of the image.[citation needed]
Metal replacement toning with gold alone results in a blue-black tone. It is often combined with a sepia toner to produce a more attractive orange-red tone. The archival Gold Protective Solution (GP-1) formula uses a 1% gold chloride stock solution with sodium or potassium thiocyanate.[7] It is sometimes used to split tone photographs previously toned in selenium for artistic purposes.[8]
olive longmore photo attributed to athol smhith ~ olive was a member of our camera club in late 80's early 90's? ~ these works entrusted to a club member ~ olive worked nearby athol, he needed a model urgently to test a new paper/process ~ the process, I believe, as described above.
The last time I saw Paris ~ (dees: the setting described below is, I imagine, where the above pic shot)
www.theage.com.au/news/arts/the-last-time-i-saw-paris/200...
"Beauty 1950s"
All photographs by Athol Smith. Courtesy of The Estate of Athol Shmith.
Advertisement
Advertisement
The Paris end of Collins Street, to Michael Shmith, meant heady days of photography, glamour and models.
THE PARIS END OF Collins Street has now passed into folklore, but when I was growing up in Collins Street, where Athol Shmith, with his brother Clive and sister Verna ran, or tried to run, the family photographic business, Paris was "over there", even further away than the moon, and hardly synonymous with 1950s Melbourne. The studio at No. 125, on the first floor of a building called, with a flourish, Rue de la Paix, between Russell and Exhibition streets, bustled with regular parades of models, who were always in a hurry, as well as a steady stream of dignitaries, who were less so.
As a lissome and lingerie-clad model, or perhaps the former Prime Minister Sir Robert Menzies, prepared in the dressing room for their three-metre walk up the corridor to the studio, I, a gangling Wesley boy, could often be found next door, spread over the chaise longue in the reception room in front of Verna's curiously circular information desk, doing my homework or, more than likely, reading some filthy comic.
Although my father and I lived in South Yarra, we spent most of our time in Collins Street, although we never called it that. Every day after school I would catch the tram along St Kilda Road into the city, hop off outside the Manchester Unity Building and walk up Collins Street hill, swinging my Gladstone bag, in which reposed various textbooks, displaced pencils, and a fossilised banana. Up the right-hand side of the hill I went. Past Regent Walk, with the legendary soda fountain, Hillier's, on the corner (I can still taste the marshmallow sauce with the chocolate nut sundaes), and Tim the Toyman down the end, on the right. Past the Plaza, which housed the tripartite projection-system known as Cinerama (after three hours of watching roller-coasters jolting up and down and across the always slightly mismatched screens, one emerged with an eye at each temple, like Marty Feldman's) and past the Regent, the Metro Collins Street, the T&G Building (with the opulent Russell Collins restaurant in the basement, which had real automatic doors, triggered by breaking a light beam between two short brass poles). Then over Russell Street, past a couple of classic buildings and to a narrow, three-storey block with a bow-windowed dress shop at the front.
The door to the studio was to the left, and it squealed like someone under mild torture, gaining your entrance along a narrow passage at the end of which was a small lift, which took longer to convey you to the first floor than the stairs took to climb and quite often rested between floors. You always took the stairs. They could also be treacherous: once, Isaac Stern, going upstairs to have his portrait taken, collided with uncle Clive on his way down; Isaac's Stradivarius, snug in its case, was only slightly jostled, but it was enough to turn Stern paler than a unboiled bagel. This did not affect the portrait of this wonderful musician, who is playing his violin with eyes closed in the rapturous pose of a Chagall angel.
Comments and faves
dees-image (12 hours ago)
Olive (Jo) married Fax Bonnar of Scott Bonnar Lawmowers fame ~ they
retired to Victor Harbor, they were regular faces at the post office where
two members of the South Coast Camera Club "worked" ~ Olive gave a
*lecture/talk about photographing animals (her speciality), she also
attended meetings of our club occasionally.
* her talk and showing of her prints was at the TAFE rooms (then located
in Ocean Court, Ocean St., VH).
NameScott Bonnar Ltd
TitleYour guide to better turf maintenance, with Scott Bonnar equipment
Dates/Publication Details Thebarton, S. Aust. : Scott Bonnar, [197-?]
onkel_wart (6 hours ago)
you should do a bw of this old scan
Robert Lesti (21 minutes ago)
Very beautiful retro-look.
★
Robert Lesti added this photo to his favorites. (21 minutes ago)
dees-image (15 minutes ago)
,,, Yay, so retro looking because it was taken by one of Oz's leading photographers over 50 years ago! ..
Built between 1879 and 1882, this American Florentine Revival-style building was the former royal palace for the Kingdom of Hawaii, designed by Thomas J. Baker, Charles J. Wall, and Isaac Moore for King David Kalākaua. The palace was the home of the monarchs of the Kingdom of Hawaii between 1882 and 1893, the executive building of the provisional government and Republic of Hawaii from 1893 until 1898, the capitol building of the Territory of Hawaii from 1898 until 1959, and the capitol building of the State of Hawaii from 1959 until 1969. During its time as a territorial and state capitol, the building was altered and renovated, removing or neglecting several original features, enclosing parts of the lanais that encircle the building’s exterior, adding additional office space outside of the building’s original footprint, and replacing some of the original windows with french doors. The building replaced an earlier ‘Iolani Palace, a western-style structure with elements reminiscent of the Greek Revival style and Creole cottages in the United States, which stood on the same site, and was built in 1844-45. The earlier palace was an aliʻi, which featured no sleeping quarters, but included a dining room, throne room, and a reception room, being only about ⅓ the size of the present building. The previous building had similarities to the present structure, including a raised lanai wrapping around the entire structure, with a hipped roof, a doric colonnade, large windows, and separate homes on the grounds where the royal family lived and slept. By 1874, when King David Kalākaua ascended to power, the original palace, built of wood was in poor condition, and in 1879, the building was demolished and construction began on the present palace. Inspired by knowledge of European royal palaces and architecture, the palace features four corner towers and towers on the front and rear facades, which all feature mansard roofs topped with cornices and cresting, arched double-hung windows, quoins, decorative relief panels, circular medallions on the arched and circular roof dormers, and flagpoles atop each mansard roof. Between the towers and on the second and third floors of the front and rear towers are lanais on the first and second floors of each side of the building, with staircases to the entrances on the front and rear at the foot of the towers, corinthian columns supporting arches, decorative balustrades, iron railings on the second floor, large windows and door openings with decorative trim surrounds, decorative tile floors, decorative ceilings, a cornice above, and a decorative railing wrapping the base of the building’s large low-slope and hipped roof. Underneath the lanais and enclosed spaces of the second and third floors of the palace is the basement, which is surrounded by a light well, with access provided to exterior entrances on the sides of the building via staircases. Inside, the palace has a layout with large rooms on either side of a central hallway on the first and second floors, which are linked via a large grand staircase, with the first floor hallway known as the Grand Hall. On one side of the Grand Hall is the throne room, taking up the entirety of this part of the first floor, with a dressing room behind the thrones, while on the other side of the Grand Hall is the Blue Room, a reception hall, and the State Dining Room, with a bathroom, and butler’s pantry between the State Dining Room and the Grand Hall. On the second floor, the hallway features a ceiling with two decorative medallions on either side of a central stained glass dome, with the room where Queen Liliʻuokalani was imprisoned for 9 months following the second of the Wilcox rebellions in 1895 sitting on the ocean-facing side of this end of the building, with a restroom and closet between this room and the Queen’s Bedroom. All bedrooms on this floor are linked via diagonal hallways to the second floor rooms in the corner towers, which are utilized as small sitting rooms. On the opposite side of the hallway is the King’s Bedroom, King’s Office, and Music Room, as well as an additional bathroom. In the basement, the building is split by two hallways that intersect at the base of the basement stairs, running between the building’s service areas, including the kitchen, as well as administrative offices for the Kingdom of Hawaii, with most of the space now mostly housing exhibits and display cases. The interior of the building features extensive detailing and decoration that was restored after the building ceased being utilized as the State Capitol in 1969, including grand carved and reproduction staircases and balusters, decorative plaster ceilings with medallions, decorative crown moulding, carved wood doors and trim, wood floors, bathrooms with built-in water closets, sinks, bathtubs, and showers, period appropriate light fixtures, as well as period and reproduction furnishings and pieces of art that were in the building during the Kingdom of Hawaii period. The palace was designated as a National Historic Landmark in 1962, and was listed on the National Register of Historic Places in 1966. Following the completion of the Hawaii State capitol in 1969, a 9-year restoration program was carried out on the palace, with the palace opening in 1978 as a museum, run by the nonprofit organization Friends of ʻIolani Palace, that preserves the structure and tells the story of the Hawaiian Royal family who once resided and ruled from the palace, as well as allowing for visitors to admire the beautiful restored and preserved details of the interior and exterior of the building. On January 17, 1993, a vigil was held on the grounds of the palace, commemorating the 100th anniversary of the overthrow of the Kingdom of Hawaii by a group consisting of primarily white American businessmen, deposing the monarchy that had ruled the kingdom from 1795 until 1893. The grounds of the palace features restored landscaping intended to show what the palace looked like at the time of its completion, and the relocated ‘Iolani Barracks that once stood on the present site of the present state capitol, which now sits to the northeast of the main palace. The building is the only former royal Palace in the United States, and sits in the middle of park-like grounds surrounded by state, federal, and local government buildings in the heart of Downtown Honolulu.
Replacing an earlier scanned photo with a better version 10-Jul-19, plus Topaz DeNoise AI 07-Feb-25.
Air Europa, leased from / operated by Excel Airways in a hybrid c/scheme during the 2002/03 winter season.
First flown in Feb-02 with the Boeing test registration N1786B, this aircraft was re-registered N6055X for some Boeing test flights in early Mar-02. It was delivered to GECAS and leased to Excel Airways as G-XLAF in Mar-02.
It was wet leased to Air Europa (Spain) between Nov-02/Apr-03. The aircraft was wet-leased to Ryanair between Nov-03/Mar-04. It was fitted with blended winglets in Apr-06. In Nov-06 Excel Airways was renamed XL Airways UK.
The aircraft was leased to Sunwing Airlines (Canada) as C-GOAF in Dec-06. It was sub-leased back to XL Airways UK, operated by Sunwing, in May-07 and returned to Sunwing in Nov-07 for the winter season.
It was again sub-leased back to XL Airways UK in May-08. XL Airways UK ceased operations in Sep-08 and Sunwing returned the aircraft to the lessor the following day. It was initially stored at Lasham, UK and re-registered N29883 in Oct-08.
In Mar-09 the aircraft was leased to Garuda Indonesia Airlines as PK-GEI. It was returned to the lessor in Jun-16 and was leased to Sriwijaya Airways, Indonesia as PK-CMT the following month. It was stored at Jakarta-CGK, Indonesia in Jun-20 due to a combination of the COVID-19 Pandemic coupled with financial problems.
The aircraft never returned to service and was permanently retired. It was broken-up at Jakarta-CGK in Jul-22.
I recently broke my Class of 1984 Texas A&M Aggie Ring and had to have it replaced with a new one. The new one is still a Class of ’84 ring, but it is of the newer one-piece cast design specification that all Texas Aggie Rings have been manufactured to since 1998. So, in effect, it is a 2014 ring with my old class year on it. (I’ll refer to it as the 2014 ring throughout this text).
While enjoying a wonderful Mason Jar full of Maker’s Mark at my favorite dive bar on the Jersey Shore, I was looking at my new ring (she’s a beautiful thing) and a Class of 1942 A&M College of Texas ring that I purchased from an estate sale a couple of years ago. The Class of ’42 ring apparently was never worn by the Texas Aggie who purchased it. I did the research on him (his name is inside the ring) and he won some very distinguished awards during WW II. He survived the war in Europe and died an old man in the early 2000s. The old ring is way too small for ANY of my fingers so I wear it occasionally on a leather cord around my neck.
While examining my new (2014) model Aggie Ring and the “experienced” 1942 Aggie Ring, I was taken back by the vast number of differences there are in the design of the two rings. There are many!!! I then went online and found out a few facts that helped to explain why the rings are so different:
1) My original Class of 1984 Aggie Ring (and the new 2014 replacement for it) were manufactured by Balfour Corporation of Austin, Texas which has been the sole manufacturer of Aggie rings since 1949.
2) My older Aggie decorated combat veteran’s ring from the Class of 1942 was manufactured by Josten’s Ring Division headquartered in Owatonna, Minnesota which was the sole manufacturer of Texas A&M Rings from 1940 to 1948.
As the two companies aren’t connected, it stands to reason that when Balfour Corporation was awarded the contract, their designer would have had to make new patterns for the A&M ring. Over the years, Balfour has continued to modify the “patterns” that are used to cast the Aggie rings.
While I’m sure I’m missing some of the differences in the two Aggie rings, here are some things that immediately jumped out at me while I was casually observing the two rings next to each other.
Beginning with the ring crest:
1) The large oval around the eagle and inner art is much more prominent on the Balfour 2014 model than the older Jostens one. In fact it’s almost sharp to the touch and stands up way above the crest content. The oval on the 1942 Jostens model is much lower (almost even with the eagle) and smoother. The only way I can explain the tactile feel of the difference between the two would be that the 2014 oval band feels like the top of a beer can while the band on the 1942 ring feels like the smooth bottom of a beer can. The 2014 ring is more of a long oval while the 1942 oval is more round as typical of most older college class rings. If I were to need to punch anyone in the face with one of these rings on, I’d definitely wear the Balfour model as that sharp edge on the oval could definitely do more damage to a human skull than the smooth edge on the older ring.
2) The text font on the two rings are totally different. While both rings use a serif font, the font on the 1942 ring is easier to read and not as harsh as the font on the 2014 ring. The font on the 2014 ring almost seems to be cast in a “false perspective” as if it were designed on a computer. The ampersand “&” on the 1942 ring is clearly distinguishable as such while the ampersand on the 2014 ring in the “A&M” is almost unrecognizable as that character and looks more like the cousin of a “6” or a “B.”
3) The class year on the 1942 ring is set in a font that is low and wide and blends into the background of the crest quite well. The 2014 ring class year is a bit harsh and tall. It almost looks like a sans-serif font and is so set apart from the art on the rest of the crest that it looks like the class year was added as an afterthought.
4) The shield in front of the eagle on both of the rings are very different. While both have 13 stripes in the shield that refer to the 13 original states and symbolize the intense patriotism of graduates and undergraduates of A&M and five stars in the shield refer to phases of development of the student; mind or intellect, body, spiritual attainment, emotional poise, and integrity of character, the aspect ratio and size of the two shields are completely different. The shield on the 1942 ring is much smaller and looks how a shield was depicted in artwork I have seen from the 1800s and early 1900s. The shield on the 1942 ring has five stars with the center of the five stars larger than the two stars on either side of it. The 2014 ring has a much taller and larger shield which unfortunately, obscures much more of the body of the eagle. Also, the stars on the newer ring are all of the same size and are almost distinguishable as stars. They almost look like “dots.”
5) The eagle which stands for agility and power is vastly different on the two different rings. The 1942 ring eagle’s head, while smaller than the one on the 2014 ring rises much higher in the crest and is more easily identifiable as an eagle than the one on the 2014 ring. The eagle’s wings on the 1942 ring are much higher on the crest and show distinctly three layers of the eagle’s wings while the wings on the 2014 ring are almost two dimensional at the bottom of the crest and an observer really has to look hard to distinguish any detail. The eagle on the 1942 ring is clearly perched on a rock and you can quite easily see its feet and talons. On the 2014 ring, I can’t really make out the eagle’s feet because of the size of the class year font and the larger shield. It “might” be perched on a branch, but I can’t really tell. It definitely isn’t on a large rock like it is on the 1942 ring. You can even seek the belly of the eagle on the 1942 ring. [Look at the photos of the two crests and note how significant the difference is between the two eagles and shields on the different rings!]
Moving on to the side of the ring with the Great Seal of the Republic (State) of Texas which includes the five-pointed star surrounded by a wreath of olive or laurel leaves symbolizing the strength to fight joined at the bottom by a circled ribbon indicating the necessity of joining the two traits to accomplish one’s ambition to serve [the military and the Republic of Texas.]:
1) The two “Lone Stars of Texas” on both rings are virtually identical. The olive / laurel leaves on the 1942 ring are more defined and not as obscured with other embellishment as the 2014 ring. The background behind the “Lone Star” on the 1942 ring is plain and simple which makes the star stand out more than on the 2014 ring where there are all sorts of indeterminate lines behind the star which tend to detract from it.
2) The ribbon tying the two pieces of vegetation on the 1942 ring is more “three dimensional” where the one on the 2014 ring looks just like a series of lines.
3) The American flag on the left of the wreath of the 1942 ring is much easier to identify. While you can only see three stars on the flag and even though they are much smaller on the older ring, they are much sharper than the ones on the 2014 ring which look more like three “dots” or even a raised triangle.
4) The “chevrons” at the bottom of the crest are of different proportions on the two rings. The 1942 ring having proportions more like one would have seen on military rank back in the 1800s/1900s.
The other side of the ring includes an artillery cannon, a saber, and an infantry rifle which allow us to remember that the men of the Republic of Texas fought for their land and are determined to defend the Republic.
1) This side of the ring is were both the 1942 ring and the 2014 ring are the most similar with only minor variations. One of note is that the 2014 ring correctly shows the opening on the cannon where the fuze would have been inserted while the 1942 ring omits this detail.
2) The cannon on the 1942 ring is in better proportion to a real cannon and looks slightly better than the cannon on the 2014 ring.
3) The “Lone Star” on the Texas flag is bigger on the 2014 ring which I like better than the smaller one on the 1942 ring while the stars on the 1942 ring US flag are more recognizable as stars than their counterparts on the 2014 ring.
4) There are minor differences between the rifle and saber on both rings, but they are trivial in nature.
The “holes” or pits on the bottom of the ring which any Aggie can tell you stand for “certain individuals who went to Texas University” are effectively identical.
Finally, the inside of the ring:
1) Both rings contain a mark indicating the gold content of the ring and the manufacturer’s symbol. The Balfour ring has “Balfour” spelled out and some additional letters and numbers that have no meaning to myself.
2) The inscribed name of the owner is in different places on the two rings. On the 1942 ring, the name inscription starts at the area that is effectively directly behind the top of the cannon and continues down towards the bottom of the left side of the ring. The 2014 ring inscribed owner’s name is centered underneath the crest so that the owner’s middle initial is effectively underneath the shield. The font on the 2014 ring is much larger than the font on the 1942 ring and a bit “rough.” The font on the 1942 ring is very smooth and formal. Almost reminiscent of old calling cards.
Either way, both rings work their “Aggie Magic” and I consider myself lucky to have more than one!!!
- Replaced the fragment of trans-green with a carefully-cut semicircle of glow-in-the-dark ABS from a grenade launcher
- Smoothed and polished a few rough parts
- Painted, except for the grip
Photographer: Ed Nicoll (Forbes Alexander Collection)
Posted with kind permission of SRPS
A Westinghouse M3 Entrance Exit Panel which was commissioned on 21st Match 1977 replacing the original panel dating from 6th September 1964.
The box closed on 19th April 1991 when control passed to Tyneside IECC.
Replacing an earlier digital pghoto with a better version 24-Dec-19.
Suffering from some heat shimmer...
Originally built as Boeing 747-243B/M Combi with a side cargo door, this aircraft was capable of carrying both passengers and cargo in the main cabin. It was delivered to Alitalia as I-DEMC in Nov-80. It was sold to a lessor in Feb-94, converted to full freighter configuration and leased back to Alitalia Cargo. It was sold back to Alitalia in Sep-04. The aircraft was due to be leased to Belgian Cargo operator 'Cargo B' in Oct-07 but the lease was cancelled. It was sold to Adventar Ltd and leased to Air Bridge Cargo/Volga-Dnepr Airlines as VP-BIB in Oct-04. The aircraft was returned to the lessor in May-08 and stored at Chateauroux, France. It was leased to Southern Air (USA) as N795SA in Sep-08. It was sold to Air Mobility Inc in Jan-09 while the lease to Southern Air continued. It was permanently retired and stored at Mojave, CA, USA in Oct-10 after 30 years service. It was last noted still at Mojave in Oct-13.
Rear shows the walk-through body.
Hazmat 1 is a 2016 Seagrave Marauder II Heavy rescue/hazmat apparatus that will replace the 2014 Pierce Velocity.
Technical specs:
2016 Seagrave Marauder II Heavy Rescue/Hazmat
Chemical analysis lab
MSDS handbooks
CO monitors
Level A and B entry suits
Testing equipment and meters
GC/MS (Gas chromatography/ Mass Spectrum) portable unit for immediate identification of unknown substance
Leak kits for chlorine and other dangerous chemicals
Sparkless power-tools
Decon equipment
Oil Absorbents
Recovery drums
Emulsifiers
Immersion suits
FDCB is proud to present the heart of the Hazardous Materials Team! Larger than its single-axle predecessor, this beast now carries all the department's Hazmat equipment that used to be stored in the station. This apparatus can also serve as a command center, and the walk-through rescue box allows firefighters to dress for the appropriate situation.
Staffed by 8
Captain/ Incident commander
Engineer/ Safety Officer
3x Firefighter/ Hazmat Specialist
3x Firefighter/ Hazmat Specialist/ CBRNE (Chemical, Biological, Radiological, Nuclear, and Explosives) specialist
Credits:
Denver HAMER 1
Seattle Hazmat 1
Newberg, OR Engine 20
FDNY Hazmat 1
+++ 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 Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor.
The aircraft reached operational service in May 1950 with Air Defense Command, replacing the propeller-driven North American F-82 Twin Mustang in the all-weather interceptor role. The F-94 was the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.
The initial production model was the F-94A, which entered operational service in May 1950. Its armament consisted of four 0.50 in (12.7 mm) M3 Browning machine guns mounted in the fuselage with the muzzles exiting under the radome. Two 165 US Gallon (1,204 litre) drop tanks, as carried by the F-80 and T-33, were carried on the wingtips. Alternatively, these could be replaced by a pair of 1,000 lb (454 kg) bombs under the wings, giving the aircraft a secondary fighter bomber capability. 109 were produced.
The subsequent F-94B, which entered service in January 1951, was outwardly virtually identical to the F-94A. The Allison J33 turbojet had a number of modifications made, though, which made it a very reliable engine. The pilot was provided with a more roomy cockpit and the canopy was replaced by a canopy with a bow frame in the center between the two crew members, as well as a new Instrument Landing System (ILS). 356 of these were built.
The following F-94C was extensively modified and initially designated F-97, but it was ultimately decided to treat it as a new version of the F-94. USAF interest was lukewarm, since aircraft technology developed at a fast pace in the Fifties, so Lockheed funded development themselves, converting two F-94B airframes to YF-94C prototypes for evaluation.
To improve performance, a completely new, much thinner wing was fitted, along with a swept tail surface. The J33 engine was replaced with a more powerful Pratt & Whitney J48, a license-built version of the afterburning Rolls-Royce Tay, which produced a dry thrust of 6,350 pounds-force (28.2 kN) and approximately 8,750 pounds-force (38.9 kN) with afterburning.
The fire control system was upgraded to the Hughes E-5 with an AN/APG-40 radar in a modified nose with an enlarged radome. The guns were removed and replaced with an all-rocket armament, which was – at that time – regarded as more effective against high-flying, subsonic bomber formations. The internal armament consisted of four flip-up panels in a ring around the nose, each containing six rockets. External pods on the wings augmented the offensive ordnance to 48 projectiles. Operational service began with six squadrons by May 1954.
According to test pilot Tony LeVier, the F-94C was capable of supersonic flight, but Lockheed felt that the straight wing limited the airframe's potential, esp. with the uprated engine. Besides, the earlier F-94 variants already saw the end of their relatively brief operational life, already being replaced in the mid-1950s by the Northrop F-89 Scorpion and North American F-86D Sabre interceptor aircraft in front-line service and relegated to National Guard service. Therefore, Lockheed launched another update program for the F-94 in 1953, again as a private venture.
The resulting F-94E (the F-94D was a proposed fighter bomber variant which made it to prototype staus) was another, evolutionary modification of the basic concept, which, in the meantime, had almost nothing left in common with its F-80/T-33 ancestry.
It was based on the F-94C, most obvious change was the introduction of swept wings for supersonic capability in level flight. This change also necessitated other aerodynamic adjustments, including a new, deeper fin with increased area and a modified landing gear that would better cope with the increased AUW.
Under the hood, the F-94E was constructed around the new Hughes MG-3 fire control system, similar to the early F-102, but kept the AN/APG-40, even though it was coupled with an enlarged antenna. The respective new radome now covered the complete nose cross section. Furthermore, the F-94 E introduced innovations like a Texas Instruments infrared search/tracking system (IRST), which allowed passive tracking of heat emissions, mounted in a canoe fairing under the nose, passive radar warning receivers, transponders as well as backup artificial horizons.
With this improved equipment the interceptor was now able to deploy semi-active radar homing GAR-1s and/or infrared GAR-2s (later re-designated AIM-4A/B Falcon), operating at day and night as well as under harsh weather conditions.
All missiles were carried externally on underwing pylons. Beside the original main wet hardpoints outside the landing gear (typically a pair of 165 US Gallon (1,204 litre) drop tank, that were carried on the wing tips on the former versions), two additional pairs of lighter pylons were added under the wing roots and the outer wings.
Typically, a pair of SARH- and IR-guided AIM-4s were carried, one per pylon, plus a pair of drop tanks. Alternatively, the F-94E could carry up to 4.000 lb (1,816 kg) of ordnance, including up to six streamlined pods, each holding nineteen 2 ¾” in (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets. Any internal armament was deleted.
The F-94E's new wings allowed a top speed of 687mph at sea level and a top speed of 693 mph (1,115 km/h) at height – compared with the F-94C’s 640 mph (556 kn, 1,030 km/h) a rather mild improvement. But the enlarged wing area resulted in a considerably improved rate of climb as well as good maneuverability at height. The F-94E's performance was overall on par with the F-86D, with the benefit of a second crew member, while its weapon capability was comparable with the much bigger (but slower) F-89.
Both of these types were already introduced, so the Air Force's interest was, once more, less than enthusiastic. Eventually the F-94's proven resilience to harsh climate conditions, esp. in the Far North, earned Lockheed in 1955 a production contract for 72 F-94Es for interceptor squadrons based in Alaska, New Foundland, Greenland and Iceland.
These production machines arrived to the Northern theatre of operations in summer 1956 and featured an improved weapon capability: on the wet wing hardpoints, a pair of MB-1 Genie (formerly known as ‘Ding Dong’ missile, later re-coded AIR-2) nuclear unguided rockets could be carried.
For the missile pylons under the wing roots, twin launch rails were introduced so that the F-94E could theoretically carry a total of up to eight AIM-4 missiles, even though the wet pylons were typically occupied with the drop tanks and only two pairs of AIM-4A and B were carried under the wing roots. The J48 engine was slightly uprated, too: the F-94E’s P-9 variant delivered now 6,650 lbf (29.5 kN) dry thrust and 10,640 lbf (47.3 kN) at full afterburner.
Keflavik Airport, Iceland, although controlled by Military Air Transport Service (MATS), was the first base to be equipped with F-94Es as part of the 82d Fighter-Interceptor Squadron in early 1957, where the machines replaced F-94Bs and F-89Cs.
The type was popular among the crews, because it coupled a relatively high agility (compared with the F-89 Scorpion) with the psychological benefit of a two men crew, not to be underestimated during operations in the Far North as well as over open water.
The F-94's career didn't last long, though, the aircraft soon became outdated. The last F-94E was already retired from USAF front-line service in November 1962, only three years after the last F-94C Starfires were phased out of ANG service. Eventually, the fighters were replaced by the F-101, F-102 and the F-106.
General characteristics:
Crew: 2
Length: 44 ft 11 in (13.71 m)
Wingspan: 39 ft 10 in (12.16 m)
Height: 14 ft 6 in (4.43 m)
Wing area: 313.4 sq ft (29.11 m²)
Empty weight: 12,708 lb (5,764 kg)
Loaded weight: 18,300 lb (8,300 kg)
Max. takeoff weight: 24,184 lb (10,970 kg)
Powerplant:
1× Pratt & Whitney J48-P-9 turbojet, rated at 6,650 lbf (29.5 kN) dry thrust
and 10,640 lbf (47.3 kN) at full afterburner.
Performance:
Maximum speed: 693 mph (1,115 km/h) at height and in level flight
Range: 805 mi (700 nmi, 1,300 km) in combat configuration with four AAMs and two drop tanks
Ferry range: 1,275 mi (1,100 nmi, 2,050 km)
Service ceiling: 51,400 ft (15,670 m)
Rate of climb: 12,150 ft/min (61.7 m/s)
Wing loading: 78.6 lb/ft² (384 kg/m²)
Thrust/weight: 0.48
Armament:
Six underwing pylons for a mix of AIM-4 Falcon AAMs (IR- and SARH-guided),
pods with unguided 19× 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets,
a pair of 165 gal. drop tanks or a pair of unguided nuclear MB-1 Genie air-to-air missiles
The kit and its assembly:
Another entry for the Cold War GB at whatifmodelers.com. This build was originally inspired by profiles of a P-80/F-86 hybrid, and respective kitbashings from other modelers. An elegant, though fictional, aircraft! Nevertheless, I wanted to build one, too, and take the original idea a step further. So I chose the F-94 as an ingredient for the kit mix – a rather overlooked aircraft, and getting hands on a donation kit took some time, since there are not many options.
I wanted to use the F-94C as starting point, which is already considerably different from the F-80/T-33. Adding swept wings (from a Hobby Boss F-86F, with larger “6-3” wings) changed this look even more. So much that I decided to modify the fin, which did not look appropriate anymore.
The fin and the spine’s rear end was replaced with the fin of a Kangnam/Revell Yak-38. In order to unify shapes and make the donation less obvious, the Yak-38 fin’s characteristic, pointed tip was clipped and replaced by a more conventional design, scratched from a piece of 1.5mm styrene sheet. In the wake of this modification, the round elevator tips were clipped, too.
Using the F-94’s landing gear wells as benchmarks, the F-86 wings (which had to be cut off of the Hobby Boss kit’s integral, lower fuselage part) were sanded into shape and simply glued into a proper position.
This worked so well that a completely new and plausible main landing gear installation was created. As a consequence, I used the F-86’s landing gear struts - they are much better detailed than the Emhar F-94C’s parts. The front wheel strut (it’s a single piece) was transplanted too, even though the suspension was switched 180°.
The Emhar F-94C’s cockpit is pretty good (esp. the seats) and were taken OOB. I just covered some gaps in the cockpit walls and under the windscreen with paper tissue, soaked with white glue.
The nose was replaced by a bigger radome, taken from an Armstrong Whitworth Meteor NF.14 (Matchbox kit). Its diameter and shape fit almost perfectly onto the F-94C’s front end, and the result reminds a lot of the EF-94C photo reconnaissance test aircraft! Under the nose, a shallow fairing for the IR sensor was added, and all four air brakes were mounted in open position.
The underwing pylons come from the scrap box (one pair from an Airfix A-1 Skyraider, another from an ESCI Kamow Ka-34 ‘Hokum’ which also provide the launch rails for the ordnance). The drop tanks come probably from an Italeri F-16 (not certain) while the four AIM-4s come from a Hasegawa USAF air-to-air weapons set.
Painting and markings:
This was supposed to become a classic USAF aircraft of the late Fifties, since the F-94 had never been exported. I was actually tempted to add Red Stars, though, because the overall shape has a certain Soviet look to it - esp. the nose, which reminds a lot of the contemporary Yak-25 interceptor?
But the original USAF idea won, with an all-metal finish. In order to brighten things up I chose a squadron that served with the Northeast or Alaskan Air Command, which added orange-red high-viz markings to wings and fuselage.
The NMF sections were primed with a base coat of Revell’s acrylic Aluminum. On top of that, single panels and details were painted with Alu Plate and Steel Metallizer from Modelmaster.
The International Orange markings were created with Humbrol 132, slightly shaded with orange (Humbrol 18).
Part of the nose section and the spine were painted in ADC Grey (FS 16473, Modelmaster), just for some diversity. Cockpit interior and landing gear wells received a coat of US Cockpit Green (Humbrol 226), while the interior of the air brakes was painted in Zinc Primer (Humbrol 81), according to pictures of operational F-94s.
The landing gear struts and the inside of their covers became Aluminum (Humbrol 56). The anti glare panel in front of the cockpit was done with dark olive drab (Humbrol 66), the radome flat black and weathered with wet-in-wet streaks of sand brown.
Operational F-94s show serious weathering on their di-electric noses, so this detail was taken over to the kit. Other weathering with paint, beyond a basic black ink wash and some shading on the orange areas, was not done.
The drop tanks were painted with Steel Metallizer, for a different metallic shade from the fuselage, and the AIM-4’s received a typical outfit in white and bright red with different seeker heads.
Primary decals come from a Heller F-94B kit, which have the benefit of a silver background – even though this does not match 100% with the paint. Squadron markings come from an Xtradecal F-102 sheet, tailored to the kit. Most stencils come from the Emhar OOB sheet, plus some more from the aforementioned F-102 sheet.
After some soot stains around the exhaust were added with graphite, the kit was sealed under a coat of semi-glossy acrylic varnish. The anti glare panel and the radome were kept matt, though.
A pretty result. Mixing parts from a Shooting Star and a Sabre (a Shooting Sabre, perhaps?) results in a very elegant aircraft. And while the F-94 lost much of its original, elegant appeal, the combo still works with this later interceptor variant of the F-80. Very plausible, IMHO.
Railway Gazette reported on the 16th December 2016 that the leaders of the Liverpool City Region Combined Authority had givene the go-ahead for a £460m project to replace the Merseyrail suburban electric multiple-unit fleet. This includes the selection of Stadler to supply a fleet of 52 trainsets for entry into service from the end of 2020. Contracts are expected to be signed in early 2017.
‘This is a once in a generation opportunity for custom-built trains that will be safer and carry more people more quickly’, said Chair of the combined authority and Mayor of Liverpool Joe Anderson. ‘Unusually, these trains will be owned by us locally, meaning we can make sure the trains are exactly what passengers want and that they are ready for our future plans.’
The project is being financed from a reserve fund which had been established for the purpose, as well as loans which the combined authority is to secure from sources including the European Investment Bank. Transport authority Merseytravel will own the trains and lease them to the operating concessionaire, which will be paid a lower operating fee to account for the expected increase in revenue and lower running costs.
The fleet renewal programme also includes power supply, track, and station upgrades and refurbishment of the Kirkdale and Birkenhead North depots. The reduced journey times and better reliability means the decision has been made to order 52 EMUs to replace the current fleet of 59 trains.
The first EMU is scheduled to be delivered in summer 2019 for several months of testing ahead of the delivery of series-built trains by the end of 2020. A new timetable will be introduced in 2021 once the existing Class 507 and 508 units dating from the 1970s have been withdrawn; the new trains’ better acceleration and braking is expected to enable Hunt’s Cross – Southport journey times to be reduced by 9 min.
The 65 m long four-car EMUs will have the same number of seats as the existing three-car sets, but will be 4 m longer with wide through gangways to provide an increase in standing space. This will increase total capacity per EMU from 303 to 486 passengers.
There will be a mix of airline and facing seats, with more space for bicycles, pushchairs and persons with reduced mobility. The train body will be designed specifically for the Merseyrail network, with lower floors and a sliding step to provide near-level access.
There will be a passenger intercom and CCTV linked to the driver and control room. The doors will be illuminated red, amber and green inside and out to show when they are opening or closing and when it is safe to board and alight.
At 99 tonnes, the EMUs will be lighter than the current 105 tonne trains, and energy consumption is expected to be 20% lower, including regenerative braking; options for energy storage are to be studied.
The 750 V DC third-rail EMUs will be capable of conversion to dual-voltage operation for use on 25 kV 50 Hz lines with a view to serving Skelmersdale, Warrington and Wrexham in the longer term.
The trains will be equipped for driver controlled operation, which the combined authority said was ‘put forward by all bidders’ as way to meet the requirements of a report into a fatal incident in 2011. The driver will be responsible for opening and closing the doors and for train dispatch, eliminating the need for guards. Roving customer service roles will be created, with staff available to assist passengers ‘at key locations and times’. There will be fewer customer service roles than guards positions, and while the combined authority envisages there will be natural wastage over the next four years, it has endorsed proposal to guarantee continued employment for all guards currently permanently employed.
‘In an ideal world we’d like to have a second member of staff on every train to ensure the highest level of customer service, but there aren’t the resources to do that’, said Councillor Liam Robinson, Chair of the Merseytravel Committee. ‘Some guards will have the opportunity to be employed in a new on-board customer service role and others will be able to take advantage of other redeployment opportunities, all on the same terms and conditions as now.’
The contract came in slightly over budget (£460m vs target of £400m)
52 units, slightly over the tender requirement of 50 but a reduction from current fleet of 59 (increased reliability and faster journey speeds anticipated to compensate)
65m versus tender specification of 60m to allow doubling up, though that wasn't expected to be normal operating practise just for event strengthening (3m longer than current 62m fleet) and they have significantly higher capacity (60%) from being a wide aisle articulated design.
No mention of earlier proposed fleet extension options, the tender called for 60 options on top of original 50
99 tonnes, 6 tonnes lighter than existing trains and 20% more energy efficient.
DOO but with driver aides such as radar to detect obstructions and people standing too close.
The single doors in the end cars appear to be to allow them to work in multiples without having to extend the platforms. By having a single door in the middle of the car the front and or back could potentially overhang the platform ends to provide a capacity uplift without the additional infrastructure costs.
Images- Merseytravel/Stadler.
Replaced all four. Luggage runs smoother and quieter than the stock wheels. Thicker rubber.
My DIY Project
cross section: Pinus stem
magnification: 100x
Triarch quadruple stain
Berkshire Community College Bioscience Image Library
During the first year of growth the cutinized epidermis is replaced by protective growth of cork rich periderm. The outer periderm consists of layers of cork cells, the phellem, which produces waterproofing suberin. Cork cells are dead at maturity. Deep to the phellem is a living layer of cork cambium or phellogen and beneath that, layers of cork parenchyma or phelloderm. Many cells in the periderm contain dark staining tannins.
The cortex is divided into a thin outer hypodermis of lignified sclerenchyma cells and thicker inner cortex of thin walled parenchyma cells containing chloroplasts.
Conspicuous resin ducts are found in the cortex, primary and secondary xylem, but rarely the pith. The ducts are surrounded by secretory parenchyma that produces resins and many toxic terpenes including the turpentines. This antiseptic material solidifies when exposed to air, acting to seal wounds, to protect the plant from fungi, insect and bacterial infection and to discourage herbivores. Some secretory cells enlarge into dark staining tyloses that block the resin dusts.ng tyloses.
Visit the BCC Bioscience Image featuring the Microscopic World of Plants. www.berkshirecc.edu/biologyimages
Technical Questions:bioimagesoer@gmail.com
Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.
The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.
The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.
In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.
Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.
In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.
In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.
The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.
In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.
With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.
At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.
In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.
Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.
The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.
—————————————————————————
ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL
Heritage Category: Listed Building
Grade: I
List Entry Number: 1371308
National Grid Reference: NU 18685 13574
Details
This list entry was subject to a Minor Amendment on 05/10/2011
NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330
Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School
GV I
Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.
Listing NGR: NU1863413479
historicengland.org.uk/listing/the-list/list-entry/137130...
—————————————————————————
ALNWICK CASTLE
Heritage Category: Park and Garden
Grade: I
List Entry Number: 1001041
National Grid Reference: NU1739315366, NU2254414560
Details
Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.
Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).
NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.
HISTORIC DEVELOPMENT
In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.
Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).
In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).
Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.
Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.
Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.
During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.
As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.
Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.
SUMMARY DESCRIPTION
Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.
The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.
To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.
A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.
Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.
The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).
The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.
The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.
Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:
Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]
Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).
Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.
The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.
The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.
REFERENCES
Note: There is a wealth of material about this site. The key references are cited below.
The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)
Description written: August 2000 Resgister Inspector: KC Edited: June 2003
historicengland.org.uk/listing/the-list/list-entry/100104...
See also:-
Experimental piece for Beyond Beyond with Kim Klassen. The canola field is Kim's photo. The sky replacement is mine. Additional texture by Kim Klassen.
New to West Riding's Selby depot, Leyland Olympian CWR513Y was sold by Arriva to OR Jones on Anglesey in order to replace VRs
Stratford Square Mall opened on March 9, 1981 as was developed by Urban Investments. The original anchors were Marshall Fields, Carson Pirie Scott, Wieboldts and Montgomery Ward. In 1984, Main Street department store which was owned by Federated opened as the 5th Anchor.In 1987, Wieboldt's went out of business and was replaced by JCPenney the next year In 1991, Sears was added as the 6th Anchor. A renovation was made in 1998 to remove the old fountains and replace them with stores like FYE and add a smaller fountain. In 2002, the property was sold to General Growth Properties and during the same time Montgomery Ward went out and was replaced by Burlington. Shoppers sawed this as things to come and left. In 2005, General Growth Properties sold the mall to Feldman Mall Properties and added Century Theaters, Red Robin and removed the fountain for a carousel which the carousel has relocated since. In 2014, JCPenney closed and Round 1 Entertainment opened. Macy's closed in 2017 and Carson's closed in 2018 leaving Sears, Kohl's and Burlington left. This mall is my favorite due to the skylights, food court, the amount of anchors, entertainment options and making the second floor useful to go to by putting the movie theater up there. The mall is currently owned by StreetMac LLC out of Northbrook, Illinois. The mall is still has people going to it and it's busy on weekend afternoons which is always nice to see.
PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO
Vienna, around 1740
Ke 6201/1912
In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.
Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).
Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.
1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.
Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.
PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN
Wien, um 1740
Ke 6201/1912
Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.
Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).
Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.
1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.
Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.