Replacing the front valve cover gasket is very easy. Simply

1. Remove the valve cover,

2. Clean it,

3. Insert a new gasket into the grove along the valve cover rim,

4. Apply RTV sealant at the corners of the gasket,

5. Reinstall the valve cover, making sure the gasket is seated properly.

The rear valve cover, however, requires several more steps for removal, which are described below.

E82

Bonhams : the Zoute Sale

Sold for € 57.500

Zoute Grand Prix 2017

Knokke - Zoute

België - Belgium

October 2017

Introduced in 2004, the 1-Series replaced the 3-Series Compact as the entry-level platform in BMW's line-up, sharing many components with the contemporary (E90) 3-Series. Three- and five-door hatchbacks, a two-door convertible and similar coupé were offered, the latter providing the basis for the high-performance 1M model. Developed by BMW Motorsport and announced in December 2010, the 1M coupé used a tuned version of the N54 twin-turbocharged 3.0-litre straight-six engine producing 335bhp, which was delivered to the road via a six-speed manual gearbox and electronic limited-slip differential. Unusually, there was no optional paddle-shift semi-automatic transmission, making the 1M something of a rarity among modern-day supercars, not that that bothered traditionalists used to shifting gears manually.

With its front engine/rear drive layout, traditional sports car handling, and colossal amounts of low-down torque, the 1M was enthusiastically received, particularly by those who felt that BMW's image had become diluted by too many SUVs; indeed, Top Gear's Richard Hammond voted the BMW 1M his 'Car of the Year 2011'. Autocar quoted a 0-60mph time of 4.6 seconds, while the 1M's top speed was limited to 155mph. Production of this critically acclaimed, limited edition model ceased at the end of 2012, cementing the 1M's relative exclusivity and future interest among collectors.

Discerning members of the latter fraternity will recognise the exceptional quality of this pampered example, which has covered fewer than 2,000 kilometres in the hands of its sole owner and is presented in pristine condition. The 1M was collected in November 2011 by the vendor directly from BMW Welt in Munich, and taken to his home on the back of a pickup truck, because he did not want any snow, salt or other impurities to contaminate his beautiful new car.

As one would expect of such a fastidious owner, the vendor has treated his 1M with great care, driving it only in good weather in order to preserve it in 'as new' condition, and keeping it in a humidity controlled garage. All oil changes and other maintenance tasks have been carried out at the recommended service intervals. The paintwork is as it left the factory, showing no scratches or marks from the car wash as it has only been cleaned with de-mineralised water without using any detergents, sponges, or rags.

All parts are like new: the wheel rims show no blemishes, brake discs and callipers show no corrosion, and the headlights and body are free of stone chips. A cover has always been used on the driver's seat to protect it, while the steering wheel has only ever been gripped by gloved hands. The driver's side floor mat has been protected by a towel, and Alcantara interior trim never touched with bare hands. The passenger seat has rarely been used and the rear seats never used; indeed, the entire interior is like new. The engine bay is similarly spotless, and the under-body as clean as it was the day the car left the factory.

Replaced the B&W with the colour version to, well, add a bit of colour :)

1985 - Gay Pride March - Manhattan

9/2009 - Replaced with a better resolution scan of the original negative

Replacing a buffer on a mark 3 coach at Wembley depot.

In the 1890s members of the parish of St. John's Church discussed the prospects of replacing the wooden church they used for worship, that was erected in 1868, with a more substantial structure, but no definite action was taken. The proposal was afterwards revived on various occasions, but it was not until the early 1930s that a preliminary sketch plan of a new building was prepared. However, in the Great Depression era, finance held the project up until 1936, when a definite move was made to erect a new Anglican Church on a site in Downey Street on the same block as the rectory.

The St John’s Anglican Church that we see today on Downey Street, Alexandra, opposite the State Offices, is the result. Plans for a notable improvement in local church architecture were prepared by Mr. L. R. Williams of Melbourne, and a contract awarded to Mr. George. A. Payne of Alexandra. The new church is built in Spanish Mission style and is constructed of the 1930s wonder building material; concrete. The current church building, which has a stuccoed treatment to its walls, is a notable landmark in the town because of its elegant lines, its elongated shape and the very tall belfry that stands above the single and double-storey buildings in its immediate vicinity. It has architectural features typical of the Spanish Mission style, including; groups of narrow arched windows, ornamental grillework over some of the windows, decorative parapets on the belfry, a hipped roof and Spanish style tiles. Together with interior furnishings, St John’s Anglican Church cost about £2,400.00.

Many pieces of the church’s furnishings, windows and supporting structures were gifts from the generous local community. The memorial gates leading onto the street were given by Mr. and Mrs. George. A. Payne in memory of their mothers – Mrs. Phoebe J. Payne and Mrs. M. A. Haning. Mr. George A. Payne also generously donated over £100.00 in order to provide for a more expensive terracotta tiled roof, instead of the cheaper alternative iron roof, which was provided for in the contract. The tiles give added beauty to the building. The pulpit, altar, and choir rails are outstanding examples of local craftsmanship, and are made from Ruoak timber obtained from the Rubicon forest close by. Mrs. G. Hall, contributed the cost of the pulpit, and the late Mr. Gordon Payne, the altar and rails. Both were dedicated to memory of their parents, the late Mr. and Mrs. G. Payne, of "Summerview," Messrs. Clark and Pearce provided and fixed the dado. The ladies' club supplied the carpet. Mr. G. Sapsford paid for the choir stall, which was dedicated to memory of his mother, the late Mrs. Mary Jane Payne. A Miss Magee had a stained glass window dedicated to the memory of her brothers and sister. A Mr. George A. Payne's family also dedicated a stained glass window, in memory of their mother, Phoebe J. Payne. Mr. E. Trenerry donated a prayer desk and seat. Mr. G. Grant donated a credence table. Miss L. Maddox donated a set of communion cruets. Mrs. Melville gave a pedestal and Mr. and Mrs. J. F. Webb dedicated a pedestal to the memory of their daughter Winifred.

St John’s Anglican Church was dedicated on a Saturday afternoon in 1937 by the Bishop of Wangaratta, the Right Rev. J. S. Hart, in the presence of over 350 people, who came from near and far to take part in an historic event of great in interest to the Anglican community around Alexandra. At 2.30 p.m. the choir and members of the clergy marched round the building, singing the hymn, "Through all the changing scenes of life." At the main entrance the Bishop was presented with a petition, on behalf of the congregation, praying that the building be dedicated. After prayers had been said the Bishop blessed the baptismal font, pulpit and altar, and dedicated the pulpit and altar. The church and various gifts were also dedicated, and the Bishop, in his address, said the old structure had outlived its usefulness, and now the people had given a beautiful present to the glory of God in a new church After referring to preliminary steps taken by the Rev, L. G. Ball, the Bishop said that under the able guidance of the present rector, the Rev. Douglas Blake, the work had been planned and carried out. The rector had the real gift of leadership, combined with common sense and artistic taste. The architect had given of his best, and the contractor had realised his dream of building a worthy structure. The visiting clergy included two former rectors – Cannons Scott and Rowed, the Revs. Robertson and Brown (Violet Town and Mansfield respectively) and Mr. Purbrick, Registrar of the Diocese. All present were afterwards entertained by the ladies in the church hall, where a bountiful supply of refreshments was provided.

The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.

Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.

White-bellied Sea Eagle

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

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

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

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

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

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

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

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

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

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

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

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

Kumari, or Kumari Devi, or Living Goddess - Nepal is the tradition of worshiping young pre-pubescent girls as manifestations of the divine female energy or devi in Hindu religious traditions. The word Kumari, derived from Sanskrit Kaumarya meaning "virgin", means young unmarried girls in Nepali and some Indian languages.

In Nepal a Kumari is a pre-pubescent girl selected from the Shakya caste or Bajracharya clan of the Nepalese Newari community. The Kumari is revered and worshiped by some of the country's Hindus as well as the Nepali Buddhists, though not the Tibetan Buddhists. While there are several Kumaris throughout Nepal, with some cities having several, the best known is the Royal Kumari of Kathmandu, and she lives in the Kumari Ghar, a palace in the center of the city. The selection process for her is especially rigorous. The current Royal Kumari, Matina Shakya, aged four, was installed in October 2008 by the Maoist government that replaced the monarchy. Unika Bajracharya, selected April 2014, as the Kumari of Patan is the second most important living goddess.

In Nepal a Kumari is generally chosen for one day and worshipped accordingly on certain festivals like Navaratri or Durga Puja. In Kathmandu Valley this is a particularly prevalent practice.

In Nepal, a Kumari is believed to be the incarnation of Taleju, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury are also causes for loss of deity.

PHILOSOPHY AND SCRIPTURES

The worship of the goddess in a young girl represents the worship of divine consciousness spread all over the creation. As the supreme goddess is thought to have manifested this entire cosmos out of her womb, she exists equally in animate as well as inanimate objects. While worship of an idol represents the worship and recognition of supreme through inanimate materials, worship of a human represents veneration and recognition of the same supreme in conscious beings.

In the Shakta text Devi Mahatmyam or Chandi, the goddess is said to have declared that she resides in all female living beings in this universe. The entire ritual of Kumari is based on this verse. But while worshiping a goddess, only a young girl is chosen over a mature woman because of their inherent purity and chastity.

Hindu scriptures like the Jñanarnava Rudrayamala tantra assign names to a Kumari depending on her age. A one-year-old girl is called Sandhya, a two-year-old girl is called Sarasvati, a child of three years of age is called Tridhamurti, on her fourth year she is Kalika, on fifth she is Subhaga, on sixth she is Uma, on her seventh year she is called Malini. An eight-year-old girl is called Kubjika, on the ninth year she is Kaalasandarbha, on reaching tenth year she is Aparajita, on eleventh she is Rudrani, on twelfth year she is named Bhairavi, on thirteenth she is Mahalakshmi, on fourteenth she is Pithanayika, on fifteenth she is Kshetragya, and on sixteen years of her age she is Ambika.

In Nepal, Kumaris are worshiped only for a day; these names are assigned only while the ritual lasts, often a few hours. Usually one cannot be a Kumari beyond sixteen years of age due to menarche.

The main target of a Kumari puja is to realize the potential divinity in every human being, mostly female. A Hindu spiritual aspirant sees the universal consciousness of humanity.

HISTORY IN NEPAL

Whilst the veneration of a living Kumari in Nepal is relatively recent, dating only from the 17th century, the tradition of Kumari-Puja, or virgin worship, has been around for much longer. There is evidence of virgin worship taking place in Nepal for more than 2,300 years. It appears to have taken hold in Nepal in the 6th century. There is written evidence describing the selection, ornamentation and worship of the Kumari dating from the 13th century CE.

There are several legends telling of how the current tradition of the Kumari began. Most of the legends, however, tell of King Jayaprakash Malla, the last Nepalese king of the Malla Dynasty (12th–17th century CE). According to the most popular legend, a red serpent approached the king's chambers late one night as he played tripasa, a dice game, with the goddess Taleju. The goddess came along every night to play the game, with the condition that the king refrain from telling anyone about their meetings.

But one night the king's wife followed him to his chamber in order to find out who the king was meeting so often. The king's wife saw Taleju and the goddess was angered. She told the king that, if he wants to see her again or have her protect his country, he'd have to search for her among the Newari (Shakya) community of ratnawali, as she would be incarnated as a little girl among them. Hoping to make amends with his patroness, King Jayaprakash Malla left the palace in search of the young girl who was possessed by Taleju's spirit.

Similarly, there is another story about the disappearance of Taleju. Some believe that the goddess visited king Trailokya Malla every night in the human form. Like other legendary stories, the king and the goddess played tripasa (dice) while discussing about the welfare of the country. However, one night king Trailokya Malla made sexual advances towards the goddess Taleju. As a result,the goddess in rage stopped visiting the palace. The king in regret worshipped and pleaded for her return. Finally, the goddess agreed to appear in the body of the virgin girl from the Shakya family.

Even today, a mother's dream of a red serpent is believed to be a portent of the elevation of her daughter to the position of Royal Kumari. And each year, the Nepalese King seeks the blessing of the Royal Kumari at the festival of Indra Jatra. This tradition has changed recently with the country becoming the youngest republic of the world. This year the president of Nepal sought Kumari's blessing instead.

A variation of this and other legends names King Gunkam Dev, a 12th-century ancestor of King Jayaprakash Malla, as the main character rather than Jayaprakash Malla.

A third variation of the legend says that during the reign of King Jayaprakash Malla, a young girl was banished from the city because it was feared that she was possessed by the goddess Durga. When the queen learned of the young girl's fate, she became enraged and insisted that the king fetch the girl and install her as the living incarnation of Durga.

SELECTION PROCESS

Once Taleju has left the sitting Kumari, there is a frenzy of activity to find her successor. Some have compared the selection process to the process used in nearby Tibet to find the reincarnations of Tulkus, such as the Dalai Lama or the Panchen Lama. The selection process is conducted by five senior Buddhist Vajracharya priests, the Panch Buddha, the Bada Guruju or Chief Royal Priest, Achajau the priest of Taleju and the royal astrologer. The King and other religious leaders that might know of eligible candidates are also informed that a search is underway.

Eligible girls are Buddhists from the Newar Shakya caste (the clan to which the Buddha belonged) of silver and goldsmiths. She must be in excellent health, never have shed blood or been afflicted by any diseases, be without blemish and must not have yet lost any teeth. Girls who pass these basic eligibility requirements are examined for the battis lakshanas, or 'thirty-two perfections' of a goddess. Some of these are poetically listed as such:

A neck like a conch shell

A body like a banyan tree

Eyelashes like a cow

Thighs like a deer

Chest like a lion

Voice soft and clear as a duck's

In addition to this, her hair and eyes should be very black, she should have dainty hands and feet, small and well-recessed sexual organs and a set of twenty teeth.

The girl is also observed for signs of serenity and fearlessness and her horoscope is examined to ensure that it is complementary to the King's. It is important that there not be any conflicts as she must confirm the King's legitimacy each year of her divinity. Her family is also scrutinized to ensure its piety and devotion to the King.

Once the priests have chosen a candidate, she must undergo yet more rigorous tests to ensure that she indeed possesses the qualities necessary to be the living vessel of Durga. Her greatest test comes during the Hindu festival of Dashain. On the kalratri, or 'black night', 108 buffaloes and goats are sacrificed to the goddess Kali. The young candidate is taken into the Taleju temple and released into the courtyard, where the severed heads of the animals are illuminated by candlelight and masked men are dancing about. If the candidate truly possesses the qualities of Taleju, she shows no fear during this experience. If she does, another candidate is brought in to attempt the same thing.

As a final test, the living goddess must spend a night alone in a room among the heads of ritually slaughtered goats and buffaloes without showing fear. The fearless candidate has proven that she has the serenity and the fearlessness that typifies the goddess who is to inhabit her. After passing all other tests, the final test is that she must be able to pick out the personal belongings of the previous Kumari from an assortment of things laid out before her. If she is able to do so, there is no remaining doubt that she is the chosen one.

There are claims contrary to the commonly believed ritual and screening process, however. The ex-Royal Kumari Rashmila Shakya states in her autobiography From Goddess to Mortal (2005) that this has nothing to do with the selection process, but rather is a ritual the Royal Kumari goes through each year, and that there are no men dancing around in masks trying to scare her, and that at most there are only a dozen or so decapitated animal heads in the scary room test. She also describes the requisite physical examination of each Kumari as neither intimate nor rigorous.

Once the Kumari is chosen, she must be purified so that she can be an unblemished vessel for Taleju. She is taken by the priests to undergo a number of secret Tantric rituals to cleanse her body and spirit of her past experiences. Once these rituals are completed, Taleju enters her and she is presented as the new Kumari. She is dressed and made up as a Kumari and then leaves the Taleju temple and walks across the square on a white cloth to the Kumari Ghar that will be her home for the duration of her divinity.

LIFE OF THE ROYAL KUMARI

Once the chosen girl completes the Tantric purification rites and crosses from the temple on a white cloth to the Kumari Ghar to assume her throne, her life takes on an entirely new character. She will leave her palace only on ceremonial occasions. Her family will visit her rarely, and then only in a formal capacity. Her playmates will be drawn from a narrow pool of Newari children from her caste, usually the children of her caretakers. She will always be dressed in red, wear her hair in a topknot and have the agni chakchuu or "fire eye" painted on her forehead as a symbol of her special powers of perception.

The Royal Kumari's new life is vastly different from the one to which she has been accustomed in her short life. Whilst her life is now free of material troubles, she has ceremonial duties to carry out. Although she is not ordered about, she is expected to behave as befits a goddess. She has shown the correct qualities during the selection process and her continued serenity is of paramount importance; an ill-tempered goddess is believed to portend bad tidings for those petitioning her.

The Kumari's walk across the Durbar Square is the last time her feet will touch the ground until such time as the goddess departs from her body. From now on, when she ventures outside of her palace, she will be carried or transported in her golden palanquin. Her feet, like all of her, are now sacred. Petitioners will touch them, hoping to receive respite from troubles and illnesses. The King himself will kiss them each year when he comes to seek her blessing. She will never wear shoes; if her feet are covered at all, they will be covered with red stockings.

The power of the Kumari is perceived to be so strong that even a glimpse of her is believed to bring good fortune. Crowds of people wait below the Kumari's window in the Kumari Chowk, or courtyard, of her palace, hoping that she will pass by the latticed windows on the third floor and glance down at them. Even though her irregular appearances last only a few seconds, the atmosphere in the courtyard is charged with devotion and awe when they do occur.

The more fortunate, or better connected, petitioners visit the Kumari in her chambers where she sits upon a gilded lion throne. Many of those visiting her are people suffering from blood or menstrual disorders since the Kumari is believed to have special power over such illnesses. She is also visited by bureaucrats and other government officials. Petitioners customarily bring gifts and food offerings to the Kumari, who receives them in silence. Upon arrival, she offers them her feet to touch or kiss as an act of devotion. During these audiences, the Kumari is closely watched and her actions interpreted as a prediction of the petitioners lives', for example as follows:

Crying or loud laughter: Serious illness or death

Weeping or rubbing eyes: Imminent death

Trembling: Imprisonment

Hand clapping: Reason to fear the King

Picking at food offerings: Financial losses

If the Kumari remains silent and impassive throughout the audience, her devotees leave elated. This is the sign that their wishes have been granted.

Many people attend to the Kumari's needs. These people are known as the Kumarimi and are headed by the (patron). Their job is very difficult. They must attend to the Kumari's every need and desire whilst giving her instruction in her ceremonial duties. Whilst they cannot directly order her to do anything, they must guide her through her life. They are responsible for bathing her, dressing her and attending to her makeup as well as preparing her for her visitors and for ceremonial occasions.

Traditionally, the Kumari received no education as she was widely considered to be omniscient. However, modernization has made it necessary for her to have an education once she re-enters mortal life. Kumaris are now allowed to attend public schools, and have a life inside the classroom that is no different from that of other students. While many kumaris, such as the Kumari of Bhaktapur, attend school, others, such as the main kumari in Kathmandu, receive their education through private tutors.

Similarly, her limited playmates must learn to respect her. Since her every wish must be granted, they must learn to surrender to her whatever they have that she may want and to defer to her wishes in what games to play or activities to engage in.

FORMER KUMARIS

Popular superstition says that a man who marries a Kumari is doomed to die within six months by coughing up blood.[citation needed] In reality, however, it seems that most Kumaris do eventually marry. All of the living former Kumaris with exception of the youngest ones have married, albeit at a significantly older age than the average marriage age for girls in Nepal.

CONTROVERY

On July 3, 2007, Sajani Shakya was removed from her position as Kumari of Bhaktapur after visiting the US to attend the release of the movie Living Goddess at Silverdocs the American Film Institute/Discovery Channel documentary festival in downtown Silver Spring, Maryland, USA. The visit, according to the elders, had tainted her purity.[5] A couple of weeks later, temple authorities at Sajani Shakya's home town recanted their previous statement and said that she would not be stripped of her title because she was willing to undergo a "cleansing" ceremony to remove any sins she might have committed while traveling.

WIKIPEDIA

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

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

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

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

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

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

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EYNSFORD.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Charities.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Replacing an earlier scanned photo with a better version 03-Mar-19.

Qantas Airlink operated by National Jet Systems

First flown in Feb-91 with the British Aerospace test registration G-6-184, it was re-registered G-BTKC in Apr-91. It was leased to Alisarda (Italy) in May-19. Alisarda was renamed Meridiana SpA in Sep-91 and the aircraft was re-registered I-FLRV in Oct-91. It was returned to Trident Aviation Leasing Services (Jersey) Ltd as G-BTKC in Jul-94. It was leased to National Jet Systems (Australia) as VH-NJJ and sub-leased to Qantas Airlink in Aug-94. Airlink later became QantasLink. The aircraft was returned to National Jet Systems in Nov-05 and was due to be leased to Asian Spirit Airlines in early 2006 but the lease wasn't taken up and it was stored at Adelaide, Australia. It was ferried to Exeter, UK, in Nov-06 and returned to Trident Aviation Leasing Services (Jersey) Ltd as G-BTKC. The aircraft was leased to Eurowings as D-AEWF in Apr-07 and operated on behalf of Lufthansa Regional. It was returned to Trident Aviation as G-BTKC in May-10. It was stored until it was leased to Star Peru as OB-1964-T in Feb-11. The aircraft was eventually permanently retired and broken up (no dates available). Updated (Mar-19).

+++ DISCLAIMER +++

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

Some Background:

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, replacing the propeller-driven North American F-82 Twin Mustang in this role. The system was designed to overtake the F-80 in terms of performance, but more so to intercept the new high-level Soviet bombers capable of nuclear attacks on America and her Allies - in particular, the new Tupelov Tu-4. The F-94 was furthermore 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.

For better handling and less drag esp. at low altitude, the F-94B’s large Fletcher type wingtip tanks were frequently replaced with smaller ones with about half capacity. It also became common practice to operate the RF-94Bs with only a crew of one, and from 1960 on the RF-94B was, thanks to its second seat, more and more used as a trainer before pilots mounted more potent reconnaissance aircraft like the RF-101 Voodoo, which eventually replaced the RF-94B in ANG service. The last RF-94B was phased out in 1968, and, unlike the RF-84F, it was not operated by any foreign air force.

General characteristics:

Crew: 2 (but frequently operated by a single pilot)

Length: 43 ft 4 3/4 in (13.25 m)

Wingspan (with tip tanks): 40 ft 9 1/2 in (12.45 m)

Height: 12 ft. 2 (3.73 m)

Wing area: 234' 8" sq ft (29.11 m²)

Empty weight: 10,064 lb (4,570 kg)

Loaded weight: 15,330 lb (6,960 kg)

Max. takeoff weight: 24,184 lb (10,970 kg)

Powerplant:

1× Allison J33-A-33 turbojet, rated at 4,600 lbf (20.4 kN) continuous thrust,

5,400 lbf (24 kN) with water injection and 6,000 lbf (26.6 kN) thrust with afterburner

Performance:

Maximum speed: 630 mph (1,014 km/h) at height and in level flight

Range: 930 mi (813 nmi, 1,500 km) in combat configuration with two drop tanks

Ferry range: 1,457 mi (1,275 nmi, 2,345 km)

Service ceiling: 42,750 ft (14,000 m)

Rate of climb: 6,858 ft/min (34.9 m/s)

Wing loading: 57.4 lb/ft² (384 kg/m²)

Thrust/weight: 0.48

Armament:

No internal guns; 2x 165 US Gallon (1,204 liter) drop tanks on the wing tips and…

2x underwing hardpoints for two additional 165 US Gallon (1,204 liter) ferry tanks

or bombs of up to 1.000 lb (454 kg) caliber each, plus…

2x optional (rarely fitted) pods on the wings’ leading edges with either a pair of 0.5" (12.7 mm)

machine guns or twelve 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets each

The kit and its assembly:

This project was originally earmarked as a submission for the 2021 “Reconnaissance & Surveillance” group build at whatifmodellers.com, in the form of a Heller F-94B with a new nose section. The inspiration behind this build was the real-world EF-94C (s/n 50-963): a solitary conversion with a bulbous camera nose. However, the EF-94C was not a reconnaissance aircraft but rather a chase plane/camera ship for the Air Research and Development Command, hence its unusual designation with the suffix “E”, standing for “Exempt” instead of the more appropriate “R” for a dedicated recce aircraft. There also was another EF-94C, but this was a totally different kind of aircraft: an ejection seat testbed.

I had a surplus Heller F-94B kit in The Stash™ and it was built almost completely OOB and did – except for some sinkholes and standard PSR work – not pose any problem. In fact, the old Heller Starfire model is IMHO a pretty good representation of the aircraft. O.K., its age might show, but almost anything you could ask for at 1:72 scale is there, including a decent, detailed cockpit.

The biggest change was the new camera nose, and it was scratched from an unlikely donor part: it consists of a Matchbox B-17G tail gunner station, slimmed down by the gunner station glazing's width at the seam in the middle, and this "sandwich" was furthermore turned upside down. Getting the transitional sections right took lots of PSR, though, and I added some styrene profiles to integrate the new nose into the rest of the hull. It was unintentional, but the new nose profile reminds a lot of a RF-101 recce Voodoo, and there's, with the straight wings, a very F-89ish look to the aircraft now? There's also something F2H-2ish about the outlines?

The large original wing tip tanks were cut off and replaced with smaller alternatives from a Hasegawa A-37. Because it was easy to realize on this kit I lowered the flaps, together with open ventral air brakes. The cockpit was taken OOB, I just modified the work station on the rear seat and replaced the rubber sight protector for the WSO with two screens for a camera operator. Finally, the one-piece cockpit glazing was cut into two parts to present the model with an open canopy.

Painting and markings:

This was a tough decision: either an NMF finish (the natural first choice), an overall light grey anti-corrosive coat of paint, both with relatively colorful unit markings, or camouflage. The USAF’s earlier RF-80As carried a unique scheme in olive drab/neutral grey with a medium waterline, but that would look rather vintage on the F-94. I decided that some tactical camouflage would make most sense on this kind of aircraft and eventually settled for the USAF’s SEA scheme with reduced tactical markings, which – after some field tests and improvisations in Vietnam – became standardized and was officially introduced to USAF aircraft around 1965 as well as to ANG units.

Even though I had already built a camouflaged F-94 some time ago (a Hellenic aircraft in worn SEA colors), I settled for this route. The basic colors (FS 30219, 34227, 34279 and 36622) all came from Humbrol (118, 117, 116 and 28, respectively), and for the pattern I adapted the paint scheme of the USAF’s probably only T-33 in SEA colors: a trainer based on Iceland during the Seventies and available as a markings option in one of the Special Hobby 1:32 T-33 kits. The low waterline received a wavy shape, inspired by an early ANG RF-101 in SEA camouflage I came across in a book. The new SEA scheme was apparently applied with a lot of enthusiasm and properness when it was brand new, but this quickly vaned. As an extra, the wing tip tanks received black anti-glare sections on their inner faces and a black anti-glare panel was added in front of the windscreen - a decal from a T-33 aftermarket sheet. Beyond a black ink wash the model received some subtle panel post-shading, but rather to emphasize surface details than for serious weathering.

The cockpit became very dark grey (Revell 06) while the landing gear wells were kept in zinc chromate green primer (Humbrol 80, Grass Green), with bright red (Humbrol 60, Matt Red) cover interiors and struts and wheels in aluminum (Humbrol 56). The interior of the flaps and the ventral air brakes became red, too.

The decals/markings came from a Special Hobby 1:72 F-86H; there’s a dedicated ANG boxing of the kit that comes with an optional camouflaged aircraft of the NY ANG, the least unit to operate the “Sabre Hog” during the Seventies. Since this 138th TFS formerly operated the F-94A/B, it was a perfect option for the RF-94B! I just used a different Bu. No. code on the fin, taken from a PrintScale A/T-37 set, and most stencils were perocured from the scrap box.

After a final light treatment with graphite around the afterburner for a more metallic shine of the iron metallic (Revell 97) underneath, the kit was sealed with a coat of matt acrylic varnish (Italeri).

A camouflaged F-94 is an unusual sight, but it works very well. The new/longer nose considerably changes the aircraft's profile, and even though the change is massive, the "Crocodile" looks surprisingly plausible, if not believable! And, despite the long nose, the aircraft looks pretty sleek, especially in the air.

Replacing a RapidRide bus on the D Line

many many years ago sewerage pipes of houses were made of metal. using a metal grinder we slowly cut off the old rusted pipes in preparation for the new installation of the modern plastic pipes . here are some images of this moment

Replacing an earlier scanned slide with a better version 16-Jan-15, plus Topaz DeNoise AI 03-Jun-23.

A bit of 'clutter' on this one... I think the car is a Vauxhall Velox (perhaps, or maybe a Victor?), and the van (a Morris ?).

First flown with the Bristol Aeroplane Company test registration G-18-161, this aircraft was delivered new to the Pakistan Air Force in May-54 as S4409.

It was bought by British United Airways as G-ARSA in Jul-61, presumably for spares for BUAF. It was stored at Southend in Aug-61 until it was finally broken up in Sep-68.

Note: I don't remember taking this in 1961. In fact I don't remember visiting Southend until Sep-63

Candid street shot , Les Gets France.

One Man and His Dog (1976 to present) is a television series in the United Kingdom featuring sheepdog trials, originally presented by Phil Drabble, with commentary by Eric Halsall and, later, by Ray Ollerenshaw. In 1994, Robin Page replaced Drabble as the main presenter. Gus Dermody took over as commentator. At its peak, in the early 1980s, it attracted audiences in excess of eight million.

The last regular series aired in 1999; however, the same year also saw the first of a series of Christmas specials, which continued annually until 2011, which have been contested by teams of shepherds from the four nations of England, Scotland, Wales and Ireland, in the three categories of Singles, Brace and Young Handlers. Dermody has remained as a commentator ever since. The main hosts have been Clarissa Dickson Wright, followed by Ben Fogle with co-host Shauna Lowry, and Kate Humble. Matt Baker joined the programme as a co-commentator (alongside Dermody) in 2006, and additionally became the main host in 2011. In 2012, the show was broadcast in two parts (the first of which was shown live) in September, and Baker was joined as a main presenter by Michaela Strachan.

In July 2013, it was announced that One Man and His Dog is to have a new home on BBC One, as part of rural affairs show Countryfile.

This looks more like a Wolf to me!

Replacing an earlier scanned photo with a better version 28-Mar-17.

Enlarged from well beyond the range of the 200mm lens I had at the time, so it's a bit grainy.

A modern Vera Art puzzle. What a shame it lost its original colors! It probably would have been easier with a distinction between the greens and blues.

The cut follows the color cutouts quite precisely, particularly adapting to the artist's brushstrokes.

The puzzle is very difficult to assemble; it's the hardest I've had to do for a 500-piece puzzle.

We reconstructed one piece (see note on the photo).

Vlaminck used pure colors straight from the tubes. The goal was to convey a raw energy.

The painting, originally titled "Partie de campagne à Bougival," was painted in 1905.

The kit and its assembly:

This Powered Armor model from the Japanese Dorvack TV series was motivated (but not inspired) by a canonical PAC-48G “Doldian” kit that I had built before. The idea of an “up-gunned” version, with the help of several aftermarket ingredients, had already lingered for some time, and I had already stashed away appropriate parts the project. And now the time was right to collect mojo and tackle it!

This PA is not canonical but was created in the spirit of the “Hyper Dorvack” conversions that eventually found their way into kit form: basic PA kits with additional sprues/parts and also as vehicle sets. The PAC-48 as starting point is apparently a heavy infantry support variant within the wide range of Powered Armors in the Dorvack universe, and all variants have the right arm more or less replaced with a heavy weapon, too big for a hand-held weapon, even for the big PA-36, and ranging from a missile launcher, a twin laser or a three-barrel gun-thing.

I always wanted to outfit a PA with a gatling gun, and my first attempts were a PA-58N with a light minigun in the forearm many years ago and a more recent, large PA-36 with a hand-held three-barrel weapon, taken from a Kotobukiya M.S.G. set.

However, the concept still had literal growth potential, even more so because Kotobukiya also offers a full-fledged six-barrel gatling gun in another M.S.G. set – a MASSIVE weapon, too big to be hand-held by any PA, and there would also be the problem of a realistic ammunition supply…

The only potential carried was IMHO the PA-48, and I had hunted down an original Gunze-Sangyo PAC-48G from the early Eighties as basis for this conversion. Even though the Dorvack PAs are rather simple kits, they need some skill. The parts do not fit THAT well, you need PSR almost everywhere, and the PAC-48 kit has some inherent weak spots like the lower legs and their integrated jet nozzles in the heels. These parts just do not fit well.

While the end result looks dramatic and massive, not too much was actually changed. The most obvious modification is the massive gun installation on the right arm. The Kotobukiya Gatling gun is in so far funny because it contains a small clockwork that actually drives the barrels(!). A nice detail, but it occupies all of the internal space of the gun, so that a modification of its housing was limited. On the housing’s left side, the PA’s original arm ball joint was integrated.

The ammunition supply issue was solved through a drum magazine, mounted on top of the gun’s housing – a leftover piece from another Kotobukiya M.S.G. set (which also contains a flexible ammunition belt). It was placed high enough to allow the clockwork mechanism to be winded up with a well-hidden knob underneath, and the drum’s placement prevents the gun from becoming wider (a detail I do not like about the PAC-48G, the layout with the box mounted on the side just makes little sense).

The gun barrels were, after an initial dry-fitting, reduced in length by about 2 cm, because the original gun would have been too long to be plausible, shifting the CoG (too far) forward and making the PA’s movement rather cumbersome. To protect the barrels and offer the pilot a stabilizing handle, a suitable construction was scratched and attached under the gun barrels.

Strangely, the PAC-48’s hull took the big gun installation almost without a problem, with enough space underneath so that the waist guards could still be fitted and the gun would remain movable in two dimensions. I just cut away a bit from the PA hull’s rear flank to make space for the drum magazine, so that the gun arm could be turned outwards a little more.

Some changes were made to the hull, too. One is a new visor section on the helmet, scratched from a leftover gun bay cover from a 1:100 Destroid Spartan from Macross (Arii kit), outfitted with new, recessed optical units and blended into the hull with lots of PSR. I wanted this converted PA to look taller and more massive, visually balancing its big gun, and I think this worked well.

Another change into the same direction was the replacement of the OOB air intake scoop on the back. It was cut away and replaced with what actually is a Gundam-style rocket thruster exhaust, taken from a third Kotobukiya M.S.G. set. Mounted horizontally and “the wrong way around” it now serves as a dust filter for the internal jump jet engines. The more massive and edgier look matches the new helmet design well, contributing to an overall more tank-like look.

Other minor changes include a different left hand, taken from a PA-36 kit and with the fingers bent into shape to hold the gun handle, and I added louvres to the jump jet’s main exhaust orifice, simply created from styrene profiles. A cable connects the gun with the hull, and I mounted four smoke dischargers (at least that’s what they are supposed to be) as a defensive measure onto the left shoulder, intended to hide the forward-facing vertical surface in that spot.

Painting and markings:

This took a while to develop. Many PAs in the Dorvack TV series are colorful, but there are also camouflaged specimen and in the TV series many animated PAs sport simple and subdued paint schemes. Since the big gun is so prominent and adds a purposeful look to the model, I went for rather restrained colors, but I also did not want a disruptive paint scheme that “hides” the gun and the conversions. So, I took some inspiration from the PAs that appear on TV (but of which no kits exist) with clear canopies: they typically wear beige/greenish liveries, and I adopted this concept for the PAC-48M. I also had modern U.S. Army vehicles in all-over sand camouflage in mind.

Keeping things as simple as possible, I gave the parts an overall coat with RAL 1019 (Graubeige) from the rattle can, a dull sand tone that comes close to RAF “Hemp”. This color also matches well with the subdued OOB tactical markings in gold and black, for a very consistent look.

Initially I just wanted to set the helmet section apart with a darker color, but eventually went for a three-tone livery that refers to the more colorful PAs’ style but still works as a kind of camouflage.

The two other tones became RAL 7013 (Braungrau, Revell 46, a brownish German version of NATO Olive Drab) on the helmet section and the jump jet exhausts, and RAL 7003 (Moosgrau, Revell 45, a greenish tone very close to RLM 02) for the lower left arm and the legs as well as for the jump jet exhaust fairing. This is, esp. the Revell 45, not very far away from the Graubeige base, and I think that the result looks interesting because it still works as a camouflage, despite the ornamental/decorative nature of the pattern? The PAs “chest box” was painted in white, the only detail with higher color contrast. The ball joints were painted in a dark silver tone (Revell 91). Fingers and details on the feet were painted with Revell 09 (Anthracite).

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAM-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work, e .g on the feet or the optical units, which were laid out in silver, then painted out with clear, light blue paint and filled with Clearfix, the PA received a thorough weathering with water colors in brown, grey and reddish hues. Finally, the model was sealed with matt acrylic varnish overall and I gave the PA a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet.

A lot of aftermarket ingredients were integrated into this PA conversion, plus some minor scratched modifications. But the overall look is pretty conclusive: I wanted a gatling gun-armed heavy support variant, and this is what the PA-48M looks like. Thanks to the simple livery and the subdued markings, it has an overall military look and feel, but that’s not bad – after all, the TV series where the PAs come from is – apart from being science fiction and animated – pretty “realistic”, and this PA would blend in well.

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

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

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

Original transmission part number stamps:

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

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

Date stamp inside bellhousing: 85/86

Replacement transmission part number stamps:

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

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

Date stamp inside bellhousing: 83/84

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

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

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

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

Other notes:

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

The church today dates from the late 15th century, although it replaced an earlier building.

It is thought that the original church was ruined after the sack of the town in 1461. However, other churches were little damaged, so a more likely reason is that it was neglected by the nuns who owned it at the time.

The present church was built in the 1480s.

There is a western tower, clerestoried nave with north and south aisles which clasp the tower, chancel with north and south chapels, and south porch. The church is built in limestone ashlar with lead roofs.

Externally, the nave and chancel have embattled parapets, the windows are late Perpendicular.

The tower is of four stages and has an embattled parapet with pinnacles. A spire was intended but never built. The tower is very similar to that of Saint John's church nearby.

The south porch has two storeys, the upper one is now a Chapel, accessible by a narrow spiral stairway.

It is probable that the plan of the nave follows that of the earlier building, as the aisles are fairly narrow.

They have arcades of four bays with slim piers and angel corbels holding shields with the Arms of 15th century Bishops of Lincoln. The north aisle at its eastern end terminates at a 19th century arch which was built when the Burghley Chapel was extended.

There was a western Gallery in the nave until the late 19th century.

The font is octagonal with a window tracery design, from the early 14th century, and is probably from the earlier church.

The chancel was altered with the installation of the tomb of William Cecil in 1598. The north chapel was extended to accommodate his monument.

The chancel arch has remains of entrances to a Rood screen which was probably removed in the late 16th century.

In 1865 the Burghley Chapel was extended on its north side and a further arch was inserted at the eastern end of the north aisle which blocked the entrance to the Rood loft stairway.

The south Chapel is occupied by the organ, but originally housed the Guild of St Martin.

The church has three large monuments, the largest is that to William Cecil, Lord Burghley (1520-1598), once described as "one of the finest examples of its kind in existence", probably by Cornelius Cure. William's parent's monument is located nearby. There is also a large monument to John Cecil, fifth Earl of Exeter and his wife, of white marble with semi-reclining and standing figures either side.

There are numerous other wall tablets throughout the church.

The church was refurbished in 1844 by Edward Browning, and has low box pews in the nave. There are further box pews and choir stalls in the chancel which also has geometric patterned tiles.

There are five windows containing reset mediaeval glass including much from Tattershall church. The windows were assembled by Peckitt of York in 1759/60, with several incorporating rather garish patterned glass. The east window is of five lights with reset glass from the second half of the 15th century and Shields from the 16th century.

The organ is a two manual by Bevington from circa 1889.

PGR bought and repaited a pile of old 62' insulated boxcars from Tropicana to haul canned food between Faribault, MN and California. As of late 2009, the graffiti covered fleet is getting retired and replaced with pool cars.

During 1916 the British born Australian architect Walter Richmond Butler (1864 – 1949) designed a new Anglican Mission to Seamen to be built on an oddly shaped triangular block of land at 717 Flinders Street on the outskirts of the Melbourne central city grid, to replace smaller premises located in adjoining Siddeley Street, which had been resumed by the Harbour Trust during wharf extensions.

The Missions to Seamen buildings, built on reinforced concrete footings, are in rendered brick with tiled roofs. Walter Butler designed the complex using an eclectic mixture of styles, one of which was the Spanish Mission Revival which had become a prevalent style on the west coast of America, especially in California and New Mexico during the 1890s. The style revived the architectural legacy of Spanish colonialism of the Eighteenth Century and the associated Franciscan missions. The revival of the style is explicit in the Mission’s small, yet charming chapel with its rough-hewn timber trusses, in the bell tower with its pinnacles and turret surmounted by a rustic cross and in the monastic-like courtyard, which today still provides a peaceful retreat from the noisy world just beyond the Missions to Seamen’s doorstep. The chapel also features many gifts donated by members of the Harbour Trust and Ladies’ Harbour Lights Guild, including an appropriately themed pulpit in the shape of a ship's prow and two sanctuary chairs decorated with carved Australian floral motifs. Some of the stained glass windows in the chapel depict stories and scenes associated with the sea intermixed with those Biblical scenes more commonly found in such places of worship.

The adjoining Mission to Seamen’s administration, residential and recreational building shows the influence of English domestic Arts and Crafts architecture, with its projecting gable, pepper pot chimneys and three adjoining oriel windows. The lobby, with its appropriately nautically inspired stained glass windows, features a large mariner's compass inlaid in the terrazzo floor. Built-in timber cupboards, wardrobes, paneling and studded doors throughout the buildings evoke a ship's cabin.

Walter Butler, architect to the Anglican Diocese in Melbourne, had come to Australia with an intimate knowledge and experience of the Arts and Crafts movement and continued to use the style in his residential designs of the 1920s. The main hall has a reinforced concrete vaulted ceiling. Lady Stanley, wife of the Mission's patron, Governor Sir Arthur Lyulph Stanley, laid the foundation stone of the complex in November 1916. The buildings were financed partly by a compensation payment from the Harbour Trust of £8,500.00 and £3,000.00 from local merchants and shipping firms. The Ladies' Harbour Lights Guild raised over £800.00 for the chapel. Most of the complex was completed by late 1917 whilst the Pantheon-like gymnasium with oculus was finished soon afterwards. The substantially intact interiors, including extensive use of wall paneling in Tasmanian hardwood, form an integral part of the overall design.

The Missions to Seamen buildings are architecturally significant as a milestone in the early introduction of the Spanish Mission style to Melbourne. The style was to later find widespread popularity in the suburbs of Melbourne. The choice of Spanish Mission directly refers to the Christian purpose of the complex. The Missions to Seamen buildings are unusual for combining two distinct architectural styles, for they also reflect the imitation of English domestic architecture, the Arts and Crafts movement. Walter Butler was one of the most prominent and progressive architects of the period and the complex is one of his most unusual and distinctive works.

The Missions to Seamen buildings have historical and social significance as tangible evidence of prevailing concerns for the religious, moral, and social welfare of seafarers throughout most of the Nineteenth and Twentieth Centuries. The complex has a long association with the Missions to Seamen, an organisation formed to look after the welfare of seafarers, both officers and sailors, men "of all nationalities". It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Reverend Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobsons Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. In 1905 the Reverend Alfred Gurney Goldsmith arrived at the behest of the London Seamen's Mission to establish a city mission for sailors working on the river wharves and docks. The building reflects the diverse role played by the Mission with its chapel, hall and stage, billiards room, reading room, dining room, officers' and men’s quarters, chaplain's residence, and gymnasium. It is still in use to this day under the jurisdiction of a small, but passionate group of workers, providing a welcome place of refuge to seamen visiting the Port of Melbourne.

Walter Butler was considered an architect of great talent, and many of his clients were wealthy pastoralists and businessmen. His country-house designs are numerous and include “Blackwood” (1891) near Penshurst, for R. B. Ritchie, “Wangarella” (1894) near Deniliquin, New South Wales, for Thomas Millear, and “Newminster Park” (1901) near Camperdown, for A. S. Chirnside. Equally distinguished large houses were designed for the newly established Melbourne suburbs: “Warrawee” (1906) in Toorak, for A. Rutter Clark; “Thanes” (1907) in Kooyong, for F. Wallach; “Kamillaroi” (1907) for Baron Clive Baillieu, and extensions to “Edzell” (1917) for George Russell, both in St Georges Road, Toorak. These are all fine examples of picturesque gabled houses in the domestic Queen Anne Revival genre. Walter Butler was also involved with domestic designs using a modified classical vocabulary, as in his remodelling of “Billilla” (1905) in Brighton, for W. Weatherley, which incorporates panels of flat-leafed foliage. Walter Butler also regarded himself as a garden architect.

As architect to the diocese of Melbourne from 1895, he designed the extensions to “Bishopscourt” (1902) in East Melbourne. His other church work includes St Albans (1899) in Armadale, the Wangaratta Cathedral (1907), and the colourful porch and tower to Christ Church (c.1910) in Benalla. For the Union Bank of Australia he designed many branch banks and was also associated with several tall city buildings in the heart of Melbourne’s central business district such as Collins House (1910) and the exceptionally fine Queensland Insurance Building (1911). For Dame Nellie Melba Butler designed the Italianate lodge and gatehouse at “Coombe Cottage” (1925) at Coldstream.

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

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

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

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

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

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

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

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

Replacing an earlier scanned 6"x4" print with a better version 30-Dec-14, plus Topaz DeNoise AI 31-Mar-23.

This aircraft was delivered to Bavaria Fluggesellschaft as D-BIBI in May-64. It was sold back to Handley Page Aircraft as G-AVPN in Jun-67 and leased to Itavia as I-TIVB the following month. Itavia bought it in Jul-70.

It was sold to BIA British Island Airways as G-AVPN in Jul-73 and BIA was merged into AirUK in Jan-80. It was wet-leased to 'Skyguard' in Aug-85 and returned to AirUK in Sep-85. In Feb-86 the aircraft was sold to Nordic Oil Services and leased to Business Air Centre.

In Mar-86 it was sub-leased to Euroair Transport and returned to Business Air Centre in Sep-86. The aircraft was returned to Nordic Oil Services in Aug-87 and stored at Norwich, UK.

It was leased to British Air Ferries as a small package freighter in Nov-89 and then sold to Channel Express Air Services in Nov-91. It was sold to The Dart Group PLC (owners of Channel Express and later Jet2.com) in Feb-92 and leased back to Channel Express.

After 33 years in service the aircraft was permanently retired at Bournemouth, UK in Jul-97. It was donated to the Yorkshire Air Museum in Oct-97 and placed on display at Elvington, Yorkshire. I was advised in Apr-19 that over the intervening years the airfame had suffered from extensive corrosion and at that time only the nose section survived.

Replacing an earlier digital photo with a better version 26-Oct-19.

Named: "Corvo".

First flown with the Airbus test registrationF-WWII, this aircraft was delivered to ILFC International Lease Finance Corporation and leased to SATA International / Air Ascores as CS-TKK in Mar-05. SATA International was renamed Azores Airlines in Jan-16. The aircraft was withdrawn from service and stored at Paderborn, German in Dec-18 (I've no idea why, it was only 13 years old). Stored, updated (Oct-19).

Defective French PiP breast implant patients protest at private clinic - London, 14.01.2012

Around 60 breast implant patients gathered outside The Harley Medical Group (THMG) premises on Harley Street on 14.01.2012 to protest against the clinic's refusal to replace, free of charge, any of the 13,900 faulty French-manufactured PIP (Poly Implant Prothese) silicone implants bought and surgically implanted into women by THMG which were filled with substandard industrial-grade silicone provided by German chemicals supplier Brenntag to save money, and which allegedly are more prone to rupture and leak than proper surgical-grade implants.

Brenntag rejected accusations of negligence on Friday 13th January after a report it could face legal action over its role as silicone supplier to PIP, and has claimed the bulk silicone-gel it provided was clearly marked as unsuitable for use in implants.

The French government has advised the 30,000 women in France who have the implants to have them removed due to concerns they might rupture. Governments in several other countries, such as Britain and Brazil, have asked women to visit their doctors for checks, but as yet the NHS in Britain is not offering to remove the PiP implants, despite the risk of rupture and health risks caused by leaking silicone.

A French investigating judge visited PIP offices earlier in January as part of a probe into the death of a woman from cancer, which could lead to charges of involuntary homicide against the firm. French authorities ordered the company to withdraw its breast implants from the market in March 2010.

The average cost of a breast-augmentation proceedure from The Harley Medical Group is, like most of the very profitable high-end cosmetic surgery companies in and around Harley Street, somewhere in the region of £4,500 ( 5,450), and if this is accurate then Harley Street Medical has made somewhere in the region of £58.5 million ( 70.8 million) from fitting toxic PiP implants. The company issued a statement this week claiming that if they replaced the sub-standard implants for free they would go out of business, and the responsibility should fall on the NHS or PiP - who manufactured the lower-priced implants - to clean up the mess, but the demonstrators are angrily demanding that the private clinics foot the bill.

Several women at the protest still have leaking PiP implants in their breasts and are suffering a wide range of serious symptoms, but cannot afford to pay the same cosmetic surgeon to remove them, let alone replace them. This kind of luxury surgery is a once-in-a-lifetime purchase fore many women, and they are angered that their lives have been put at risk by cost-cutting, and that the culprits are attempting to walk away from the whole matter, leaving the UK taxpayer to foot the bill.

PIP implants were banned in France in 2010, with the French government advising 30,000 women to have their implants removed, but thus far the British government has offered very limited help to British patients, choosing instead to broadcast a public information video on national TV networks this weekend downplaying the risks, with Secretary of State for Health Andrew Lansley saying in press briefings that he expects private medical companies who have fitted the French implants to "step up to their responsibilities".

All photos © 2012 Pete Riches

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In the future, all Fast Food restaurants will limit their drive-thrus to two vehicles at a time and all fast food drive-thrus will include electric stop sign gates to warn drivers that the drive-thru is at its limited capacity and this will help to save the environment and reduce litter and keep the whole world nice and clean and fast food restaurants like McDonald's will have more dinning tables and will have arcade games in the playplaces in the future which is the 1997 My McDonald's rebrand to limit down the drive-thrus too stop from pollution and everybody who uses drive-thrus must wait until they get to their designated areas to eat their food instead of eating in the vehicles for safety and that will be the new law for the future. Pear-shaped wrecking balls MUST BE BANNED and NEVER EVER get restored and revived in the future and Pear-shaped Wrecking Balls also MUST GET BURNED INTO ASHES AND GET SHATTERED INTO TINY PIECES and get replaced by new modern spherical wrecking balls forever because pear-shaped wrecking balls are trash and very ineffective and makes people upset. This is why Tom and Jerry: The Movie (1992) MUST BE BANNED and NEVER EVER get revived in the future I am glad the new Tom and Jerry movie that is coming out this year is replacing the old Tom and Jerry Movie from 1992 which is the movie this pear-shaped wrecking ball that destroyed a good house is from this movie which abused Blue's Clues Steve Fans. Tom and Jerry: The Movie (1992) MUST BE BANNED never ever get revived in the future because Tom and Jerry: The Movie (1992) does have an upsetting unrealistic house demolition with an old fashioned pear-shaped wrecking ball destroying a beautiful old fashioned living house because of it being decades old ruining nostalgia and ruining my golden toddlerhood and abused many Blue's Clues Steve fans making them think the wrecking ball destroyed the handy dandy notebooks which we all love because the destroyed house at the beginning of Tom and Jerry: The Movie (1992) does look slightly identical to the Blue's Clues House and now even the destroyed Handy Dandy Notebooks are getting mended back together. So I hereby Tom and Jerry: The Movie (1992) to BE BANNED FOREVER due to abusing Blue's Clues Steve Fans like me. Tom and Jerry: The Movie MUST BE BANNED because it has an unrealistic house demolition with a very bad old fashioned wrecking ball that upsets people so bad and abused many Blue's Clues Steve Fans and some bratts were getting bad advice from this movie with convience taking over good old fashioned traditional stuff is the exaggerated house demolition in 1992's Tom and Jerry the movie with a pear-shaped wrecking ball destroying the beautiful old fashioned living house and replacing it with a garage full of ice cream trucks with the bad old outdated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which is extremely mean-spirited and is a yield sign that says stop which is extremely wrong and confusing to people who are deaf, color blind, can't read, or don't speak English. Also old fashined traditional stuff are extremely important not just conviences and even polluting andhaving Eastern cottontail rabbits extinct. Good thing I am making safety collaborations by updating all ice cream trucks to all have the current updated yellow trapezoid children slow crossing warning blades that word children slow crossing and or school bus swing arm stop signs which are octagon shaped especially I know for a fact in all traffic signs the shape is the most important not just the word and color especially in all stop signs the octagon shape is the most important not just the word and color.

. Similar to modern Simpsons (seasons 19 and Later) 1992's Tom and Jerry the movie is another bad media showing convience taking over good important traditional stuff with a pear-shaped wrecking ball destroying a beautiful old fashioned living house and replace the house with convient high rise appartment building with a garage full of ice cream trucks with the bad old oudated confusing misleading red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO which was mean-spirited and ruining my golden toddlerhood. In the 2000s, Warner Bros reviving 1992's Tom and Jerry the movie and and selling too many DVD copies of that movie surpassing Corduroy the Bear and his buttons was all McDonald's corporation and Bogen Communication's fault because the super size at McDonald's was brainwashing many people by reviving the bad old 1992 Tom and Jerry movie and popularizing Bogen Multicom 2000 and their mean spirited bell tones that are haunted chimes that don't sound like a bell at all scaring off kids especially kids with autism and making them not want to go to school and abandoning my golden toddler stuff like Corduroy the Bear with two buttons on his green corduroy overalls but good thing I am undoing all of the bad influence the super size gave us by restoring my golden toddlerhood, safety improvements, kindness improvements, reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that corduroy the bear does have two buttons on his green corduroy overalls forever and bringing back all nostalgic inducing stuff like green chalkboards and electric mechanical wall bells etc and create a nostalgic inducing future. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation. The reality is that demolition are based on how bad the building is damaged not on how old the building is like in 1992's Tom and Jerry the movie.

Replaced the plastic OEM skid plate with the beefy one from JNS Engineering. Just handling it, you know it is quality kit. In contrast, the stocker already had a crack in one of the mount point.

Now I don't need to fear driving off curbs any more. :-)

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

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

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

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

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

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

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

Replacing an earlier digital photo with a better version 07-Mar-24.

Named: "Evelthon".

A very early A320 (c/n 035), this aircraft was first flown with the Airbus test registration F-WWDX and was delivered to Cyprus Airways as 5B-DAU in Jun-89.

It was wet-leased to Conair of Scandinavia between Apr/May-91, again in Jul-91 and briefly in Aug-91 (for a week!). The aircraft was retired in Jan-09 after 20 years in service.

It was sold the same month to Aircraft Solutions LLC and stored at Walnut Ridge, AR, USA. Last noted still there in Sep-10 it was broken up by the end of the year.

Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.

In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.

In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.

The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.

The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.

Replacing the alternator while on the camp site

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Replacing an earlier scanned photo with a better version 25-Dec-24.

Leased from Lauda Air and operated for Lufthansa by Condor Flugdienst with this 'colour reversal' tail livery.

This aircraft was delivered to Lauda Air as OE-LAZ in Aug-99. Lauda Air was taken over by Austrian Airlines in Dec-00 but continued to operate as a separate entity until it was officially merged into Austrian in Apr-05.

The aircraft was leased to Lufthansa in Mar-03 and repainted in full 'Star Alliance' livery. It was re-registered D-ABUW in Apr-03 and operated for Lufthansa by Condor Flugdienst.

It was returned to Lauda Air on Oct-04 and they were merged into Austrian Airlines in Apr-05 and initially operated ex Lauda charter services. Blended Winglets were added in May-09.

In Jul-12 after a number of strikes in various areas, Austrian transferred all its aircraft to Tyrolean Airways and staff had to re-apply for positions with Tyrolean. The airline continued to operate as Austrian Airlines with additional small 'Operated by Tyrolean Airways' titles.

.In Mar-15 a new labour agreement was signed with the Unions and Tyrolean Airways was re-integrated into Austrian Airlines. Now 25 years old the aircraft continues in service. Updated 25-Dec-24.

Beginning in the 1960s, defense cuts and the contracting of the British Empire “east of Suez” led to the retirement of the Royal Navy’s once-significant fleet of carriers, and the cancellation of the CVA-01 class meant to replace them. This left the RN without a true means of power projection, especially since the RN also lacked surface ships heavier than a light cruiser. Before the last of the RN carriers, HMS Ark Royal, was decommissioned, however, the Fleet Air Arm had already been considering a replacement of the deHavilland Sea Vixen strike fighter with a version of the Hawker-Siddeley Kestrel, which would later evolve into the Harrier. Since the Kestrel/Harrier used thrust-vectoring to give it V/STOL capability, this would allow the FAA to keep a fixed-wing component while still allowing the retirement of the Ark Royal. With the Harrier now available, the RN planned three light carriers, the Invincible-class, to operate both them and helicopters; to avoid the notice of Ministry of Defense budget cuts, they were disguised as “through-deck cruisers.”

Since the FAA would need a more advanced aircraft than either the basic Harrier GR.1 or ground attack specialized GR.3, British Aerospace, which had absorbed Hawker-Siddeley, made a number of changes to the basic Harrier design. The Sea Harrier FRS.1 had an entirely new nose section, with a raised cockpit and bubble canopy for better all-around vision, necessary in a dogfight, since the Sea Harriers would also have to defend a task force as well as undertake strike missions. The nose was also larger and longer than the “bottlenose” GR.3, to accommodate the Ferranti Blue Fox radar, needed to guide Sea Eagle antiship missiles, the Sea Harrier’s other role. Some aluminum parts were replaced by steel to better resist corrosion at sea.

The first Sea Harrier FRS.1 entered service in 1978, going to sea aboard both the purpose-built “Harrier carrier” HMS Invincible in 1981, and the World War II-era light carrier HMS Hermes, which had been retained until the rest of the Invincibles could come on line. The Blue Fox radar left a little to be desired, but since the only air-to-air missile available to the Sea Harrier was the AIM-9 Sidewinder heat-seeker, this was not deemed to be a problem, especially as the Sea Harriers would be equipped with the all-aspect AIM-9L. Both carriers were fitted with “ski-jumps” at the end of the flight deck, which allowed the Sea Harriers to take off with full warloads—something not possible using strictly hover mode.

The Sea Harrier would get its first test much sooner than anticipated, however, when Argentina invaded the Falkland Islands in 1982. With the demise of Britain’s fleet carriers, the Sea Harriers were the only fixed-wing aircraft available to defend the task force heading to reclaim the islands. Despite not being really designed for the job it assumed, the Sea Harrier did exceptionally well, shooting down 20 Argentine fighters for no air-to-air losses. While this was initially attributed to the Sea Harrier’s V/STOL capability, in actuality it was due to the superior training of British pilots, the Sea Harrier’s small size, and the fact that the Argentinians were fighting at the edge of their range.

Despite this, the Sea Harrier was obviously in need of upgrading if it was going to continue in the fleet defense role. After the end of the war, the FAA embarked on upgrading the Sea Harrier FRS.2 in 1988, later redesignating it the FA.2. This replaced the Blue Fox with the far superior Blue Vixen, which allowed the FA.2 to carry the AIM-120 AMRAAM, though it wouldn’t be until 1993 that the AMRAAM reached the FAA. Avionics were also upgraded and an improved ECM package fitted. This allowed the Sea Harrier to finally maximize its potential as a fleet defense fighter.

In the end, however, the Sea Harrier would never get a chance to do this, at least in British service. Though seeing action over Bosnia and Serbia in 1995 and 1999, the MoD decided to retire the Sea Harrier beginning in 2002. The FAA had already ordered the F-35B Lightning II to replace the Sea Harrier in 2012, and the MoD, despite protests from the FAA, saw no reason to perform a necessary mid-life upgrade for an aircraft to be retired. This may have proven premature, as the F-35 has since been pushed back to 2016, leaving the FAA jointly flying RAF Harrier GR.9s, which lack the ability to carry AMRAAMs; the Harrier force was retired completely due to budget cuts in 2009. The only other nation to fly the Sea Harrier is India, which acquired 25 Sea Harrier FRS.1s in 1983. These aircraft are being upgraded to carry the Rafael Derby AAM, but though India expressed interest in acquiring second-hand Sea Harrier FA.2s, this fell through due to India buying the MiG-29K Fulcrum for use on full-size carriers and the US being unwilling to supply India with the AMRAAM.

I'd wanted to do a "Shar" for awhile, and I was happy to see that the Minicraft Sea Harrier came with the colors for the aircraft I wanted to build: XZ457, better known as "Black 14." This aircraft was flown by two pilots during the Falklands War who scored three kills (two Mirage IIIs and a single A-4); two of those kills belonged to Flight Lieutenant David Morgan. Morgan was a RAF Harrier pilot seconded to the Fleet Air Arm, who lacked enough Harrier pilots. Morgan's three victories would make him the top scoring pilot of the war. XZ457 survived the war, was upgraded to FA.2 standard, and was retired in 1995. It is today preserved at the Boscombe Down Aviation Collection.

The Sea Harriers at the Falklands were painted overall gunship gray, to better hide them against the sea; this scheme earned them the moniker "Black Death" from their Argentine counterparts. All other markings were removed or toned down to better hide the aircraft as well, and to keep the Argentinians guessing as to how many Sea Harriers the RN had. It is equipped with two AIM-9L Sidewinders. Aside from some decal shine, I liked how this turned out.

Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.

In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.

In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.

The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.

The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.

A moldy 1957 Mercury, at Big M Auto Dismantlers in Williams, California. Visit the set page for more information.

Night, 120 second exposure. Deep shade, natural and red-gelled flashlight.

Reprocessed and replaced, July 2024.

CHÁN !!!!!

Đi học thì mong hè

HÈ rồi thì lại mong đi học (:|

chán thế=)

Julie Strain HEAVY METAL 2000 F.A.K.K. Fantasy Figure...

Shot with my Cell Phone Camera is a lot of fun!

It won't replace my Canon 40D, for sure, but it is fun and Quick.

Julie Strain HEAVY METAL 2000 F.A.K.K.2 was a Tower Records Exclusive. Featuring Regular (red outfit), ~ Camera Phone

The acronym F.A.K.K. (Federation Assigned Ketogenic Kilzone) is a universal warning to all Federation deep space navigators.

It indicates an extreme bio-hazard to all carbon-based life forms, from simple one-cell organisms to complex sentient life.

F.A.K.K. 2 indicates a bio-hazard exponentially more dangerous, an area where life enters and only death remains. F.A.K.K. 2 is also the name of a world so sublime, with a secret so great, that only the most terrifying classification could keep the spoilers away.

F.A.K.K. 2 is now a woman who has assumed the name of the world she cherished, when that name alone could no longer protect her tranquil paradise from greed, cruelty and annihilation.

With vengeance in her soul, love in her heart and two fully automatic, 4-barreled blasters in her hands, F.A.K.K. 2 is a ravishing avenger on a deadly mission.

A steel-eyed huntress and expert warrior. F.A.K.K. 2 fights with a single purpose.

She will not rest until she's freed her sister from the ruthless, power-hungry monster who abducted her when he ravaged their majestic planet and stole its greatest secret.

Lord Tyler - Ruthless, evil and sadistic, he discovers the key to universal rule on the F.A.K.K. 2 home world.

After destroying all of the innocents there, he sets out to fulfill his every twisted desire!

Replacing an earlier digital upload with a better version 21-Jun-19.

Taken just a few months before the BKK airport code was transferred from Don Muang to the new Bangkok airport at Suvarnabhumi. Don Muang was re-coded DMK.

With additional 'www.srilankan.aero' web address.

First flown with the Airbus test registration F-WWYP, this aircraft was delivered to SriLankan Airlines as 4R-ALD in Jan-00. It was sold to a lessor on delivery and leased back to SriLankan Airlines. The aircraft was removed from service in Oct-19 and ferried to St. Athan, Wales, UK in Nov-19 for storage. It was re-registered OE-IKV in Dec-19 and permanently retired. Updated (Dec-19)

Royal New Zealand Air Force (RNZAF) NZ948 (NZ1087) North American Harvard MKIII c/n 88-16326. Display identity: NZ948. RNZAF rego no. NZ1087. Ex-RAF EZ331.

The distinctive growl of the North American Harvard was a familiar sound in the skies above Christchurch for over three decades. Reserved for advanced single-engine flying training during World War Two, the Harvard later became the RNZAF’s principal initial pilot training aircraft.

Developed in the mid-1930s, the Harvard was designed specifically as an advanced pilot trainer that had all the attributes, and much of the equipment, of an operational combat aircraft. The rapid increase in the need for training aircraft early in World War Two, both in the United States and in Britain, led to large orders being placed for the Harvard.

105 Harvards were allocated to the RNZAF as part of the Empire Air Training Scheme in December 1939 and began arriving in March 1941. A further delivery in May 1941 saw a total of 60 aircraft in service with No. 1 Service Flying Training School (SFTS) at Wigram and No. 2 SFTS at Woodbourne. A third shipment in early 1942 went to No. 3 SFTS at Ohakea. Further aircraft were obtained to replace those lost in accidents. In all, the RNZAF operated 202 Harvards from 1941 to 1977 in a broad range of training and communication roles.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FURTHER READING.

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

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

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

Replace the blue parts.

Clementine: Avrei voluto che fossi rimasto.

Joel: E io vorrei averlo fatto. Ora vorrei essere rimasto. Vorrei aver fatto molte cose. Vorrei... vorrei essere rimasto. Davvero.

Clementine: Tornai subito di sotto, ma non c'eri!

Joel: Ero uscito, me n'ero andato via.

Clementine: Perché?

Joel: Non lo so! Ero come un bambino spaventato e... era una cosa più grande di me. Non lo so...

Clementine: Avevi paura?!

Joel: Sì... pensavo che l'avessi capito.

In the 1890s members of the parish of St. John's Church discussed the prospects of replacing the wooden church they used for worship, that was erected in 1868, with a more substantial structure, but no definite action was taken. The proposal was afterwards revived on various occasions, but it was not until the early 1930s that a preliminary sketch plan of a new building was prepared. However, in the Great Depression era, finance held the project up until 1936, when a definite move was made to erect a new Anglican Church on a site in Downey Street on the same block as the rectory.

The St John’s Anglican Church that we see today on Downey Street, Alexandra, opposite the State Offices, is the result. Plans for a notable improvement in local church architecture were prepared by Mr. L. R. Williams of Melbourne, and a contract awarded to Mr. George. A. Payne of Alexandra. The new church is built in Spanish Mission style and is constructed of the 1930s wonder building material; concrete. The current church building, which has a stuccoed treatment to its walls, is a notable landmark in the town because of its elegant lines, its elongated shape and the very tall belfry that stands above the single and double-storey buildings in its immediate vicinity. It has architectural features typical of the Spanish Mission style, including; groups of narrow arched windows, ornamental grillework over some of the windows, decorative parapets on the belfry, a hipped roof and Spanish style tiles. Together with interior furnishings, St John’s Anglican Church cost about £2,400.00.

Many pieces of the church’s furnishings, windows and supporting structures were gifts from the generous local community. The memorial gates leading onto the street were given by Mr. and Mrs. George. A. Payne in memory of their mothers – Mrs. Phoebe J. Payne and Mrs. M. A. Haning. Mr. George A. Payne also generously donated over £100.00 in order to provide for a more expensive terracotta tiled roof, instead of the cheaper alternative iron roof, which was provided for in the contract. The tiles give added beauty to the building. The pulpit, altar, and choir rails are outstanding examples of local craftsmanship, and are made from Ruoak timber obtained from the Rubicon forest close by. Mrs. G. Hall, contributed the cost of the pulpit, and the late Mr. Gordon Payne, the altar and rails. Both were dedicated to memory of their parents, the late Mr. and Mrs. G. Payne, of "Summerview," Messrs. Clark and Pearce provided and fixed the dado. The ladies' club supplied the carpet. Mr. G. Sapsford paid for the choir stall, which was dedicated to memory of his mother, the late Mrs. Mary Jane Payne. A Miss Magee had a stained glass window dedicated to the memory of her brothers and sister. A Mr. George A. Payne's family also dedicated a stained glass window, in memory of their mother, Phoebe J. Payne. Mr. E. Trenerry donated a prayer desk and seat. Mr. G. Grant donated a credence table. Miss L. Maddox donated a set of communion cruets. Mrs. Melville gave a pedestal and Mr. and Mrs. J. F. Webb dedicated a pedestal to the memory of their daughter Winifred.

St John’s Anglican Church was dedicated on a Saturday afternoon in 1937 by the Bishop of Wangaratta, the Right Rev. J. S. Hart, in the presence of over 350 people, who came from near and far to take part in an historic event of great in interest to the Anglican community around Alexandra. At 2.30 p.m. the choir and members of the clergy marched round the building, singing the hymn, "Through all the changing scenes of life." At the main entrance the Bishop was presented with a petition, on behalf of the congregation, praying that the building be dedicated. After prayers had been said the Bishop blessed the baptismal font, pulpit and altar, and dedicated the pulpit and altar. The church and various gifts were also dedicated, and the Bishop, in his address, said the old structure had outlived its usefulness, and now the people had given a beautiful present to the glory of God in a new church After referring to preliminary steps taken by the Rev, L. G. Ball, the Bishop said that under the able guidance of the present rector, the Rev. Douglas Blake, the work had been planned and carried out. The rector had the real gift of leadership, combined with common sense and artistic taste. The architect had given of his best, and the contractor had realised his dream of building a worthy structure. The visiting clergy included two former rectors – Cannons Scott and Rowed, the Revs. Robertson and Brown (Violet Town and Mansfield respectively) and Mr. Purbrick, Registrar of the Diocese. All present were afterwards entertained by the ladies in the church hall, where a bountiful supply of refreshments was provided.

The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.

Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.