The Saint-Aignan church owes its name to the Bishop of Orleans around 400 , when a pre-Romanesque church already stood there, later replaced by other buildings which suffered fires in the 12th century , then in 1262 . Saint-Aignan was the parish of the counts of Blois and Chartres .

 

The primitive church and the Gothic vestige

Tradition makes the 5th century church erected by Aignan d'Orléans , of which nothing remains, the burial place of the saint . Enclosed between the now disappeared castle of the counts of Chartres and the rampart rebuilt in the 9th century , it became the first parish church of the city in the Late Middle Ages and remains the oldest.

 

It was rebuilt in the 14th century in the Gothic style , as evidenced by the main portal, the only vestige of that time. Its modesty is related to the narrowness of the network of alleys of the time. The terrace which opens to the south covers the old cemetery. The bedside is then extended on the top of the rampart, which is no longer useful.

 

The current building

The crypt, well lit by windows that open onto the rue Saint-Pierre below, dates from the end of the 15th century but the current building dates from the beginning of the 16th century . In the last flamboyant exercises (profiles of the pillars, decorations of the eardrums) the antique-style small columns typical of the Renaissance are essential . The small portal of the north aisle bears the date of 1541 . The architect is perhaps the same as that of the Sainte-Foy church , partially destroyed during the Revolution . His vault project for the nave , whose columns were to carry thewarheads , was cancelled.

 

The turret on the left dates from the 16th and 17th centuries . It is connected to the main building by a flying buttress carrying a staircase which dates from the project of 1541. The abutments planned for the other flying buttresses remain on the exterior facades without use. The gallery on the second floor was only erected in 1625 , under Louis XIII . We are satisfied with a wooden shingle to cover the nave and a triforium for the aisles .

 

Nationalized during the Revolution , the church was generously converted into a military hospital . It escaped the insults of the Terror by imprisoning it and then was resold for a few assignats to an entrepreneur, who used it as a fodder store, which saved it from being cut up.

 

The Restoration returned it to worship in 1822 . In 1869 , the interior painting, polychrome frescoes in the romantic style, was entrusted to a collaborator of Eugène Viollet-le-Duc , Émile Boeswillwald .

 

Aignan or Agnan (Latin: Anianus) (358–453), seventh Bishop of Orléans, France, assisted Roman general Flavius Aetius in the defense of the city against Attila the Hun in 451. He is known as Saint Aignan.

 

Life

Aignan of Orléans (or Anianus) was born about 358 in Vienne in the Dauphiné to a family probably of Roman origin, who had fled the control of the Arian Goths in their homeland of Hungary. His brother Leonianus became an abbot, and is commemorated in the Gallican martyrology on 16 November.

 

As a young man, he retired to a hermitage he had built for himself near that city, to live a life of prayer and penance. He then went to Orléans to study under by Bishop Euvertius. Under the direction of Euvertius, he prepared for the priesthood, and after ordination was appointed Abbot of the monastery of Saint Laurence outside the city walls. Later he was promoted to coadjutor Bishop of Orléans.

 

Upon the death of Euvertius, Aignan became bishop of Orléans. It was customary on the installation of the bishop for the city to release prisoners. Agrippinus, the governor of the city, refused to release them despite Bishop Aignan's request; but falling ill, immediately set them at liberty.

 

Aignan is credited with doing much to save his city from Attila's hordes, who had avoided Paris. Though advanced in age, he helped the populace prepare to defend themselves and traveled to Arles to ask the Roman general Aetius to intervene. Aignan died about 453 at the age of ninety-five. His remains were buried in the church of Saint-Pierre-aux-Bœufs, in Orléans. They were later moved to the Monastery of Saint Lawrence. Some were burned by the Huguenots in 1562, but the rest are in a carved wood shrine in the Church of Saint Aignan, Orléans.

 

Siege of Orléans

Attila crossed the Rhine early in 451 with his followers and a large number of allies, sacking Divodurum (now Metz) on 7 April. His path can be traced through the hagiographies written to commemorate various bishops: Nicasius of Rheims was slaughtered before the altar of his church in Reims; Servatius of Tongeren is alleged to have saved Tongeren with his prayers, as Genevieve is to have saved Paris. Lupus, bishop of Troyes, is also credited with saving his city by meeting Attila in person.

 

Several ancient sources, in particular Sidonius Apollinaris and the Vita Aniani describe him as one of the main architects of the defense of Aurelianum (the former name of Orléans) against the Hun king Attila in 451 with the help of Ætius, a Roman general, whom he had first convinced to join the city.

 

Attila's army had reached Aurelianum (modern Orleans, France) before June. This siege is confirmed by the account of the Vita S. Aniani and in the later account of Gregory of Tours. However, the inhabitants of Aurelianum shut their gates against the advancing invaders, and Attila began to besiege the city. After four days of heavy rain, Attila began his final assault on 14 June, which was broken due to the approach of the Roman coalition.

 

A text, exhibited in the collegiate church of Saint-Aignan in Orléans, based on sources from the 5th and 6th centuries states that faced with the lack of civil authorities, the old bishop Aignan organized the defense. During the siege he invited the inhabitants to pray to God to give them the strength to resist. At the same time, he left for Arles where the Roman patrician Ætius lived in order to convince him to intervene with his legions. While the inhabitants were waiting to be massacred, the Roman vanguard arrived, and the Huns withdrew. It was the beginning of their retreat. They were pursued and defeated near Troyes at the Battle of the Catalaunian Plains.

 

Every day, Aignan climbed to the top of a tower to scan the horizon and warn of a possible return of the Huns.

 

Legend

Saint Aignan contributed through prayer and his skill as a negotiator to save the city of Orléans, in 451, from total destruction by the Huns (who had just destroyed Divodurum, with its inhabitants). A local legend tells that, during the siege of the city of Orléans by the Huns, the relief troops of the Roman general Ætius were late in arriving. Saint Aignan invoked heaven by throwing a handful of sand from the Loire from the top of the ramparts... Each grain turned into a wasp and a cloud of stings managed to put the barbarians to flight. Then Attila decided not to attack the city and to bypass it.

 

Veneration

According to Gregory of Tours, there was a basilica with a shrine to Anianus sometime before 587. Gregory calls it the basilica sancti Aniani. A monastery dedicated to Anianus existed in the first half of the 7th century. According to the Chronicle of Fredegar, written in the middle of the century, the shrine of Anianus was comparable in importance to that of Saint Martin of Tours.

 

In the 11th century, King Robert II of France decided to build an abbey and an abbey church, including a crypt containing the relics of Saint Aignan. This crypt, reworked in the 14th century, is one of the largest in France, but the sculpted capitals from the 11th century remain. In the 1070s, an anonymous monk of Saint-Aignan composed the Miracula sancti Aniani, a collection of stories of miracles performed by Anianus.

 

Aignan is honoured in the Roman Martyrology, and the Paris Breviary. He is one of the patron saints of the city of Orléans, somewhat supplanted almost a thousand years later and in rather similar circumstances, by Joan of Arc. Saint Aignan will be chosen as protector of the city and the diocese of Orleans, in memory of his courage and his trust in God. Nowadays, many places in France bear his name, because he was considered a savior at the time.

 

Iconography

Saint Aignan is represented in art as praying on the top of the walls of Orléans.

 

Customs

In the 19th and 20th centuries, the Saint Aignan Fair (17 November), also known as the Pig Fair, was held on the square still known as the Saint Aignan cloister, located alongside the current Saint Aignan collegiate church. In reality, this event dates back several centuries (it already existed in the 18th century) and was an important fair and festival. The tradition is to give children a gingerbread pig on which their name is written with a sugar line. It was coupled with the Tree Fair, which still exists.

 

Legacy

A Saint-Aignan chapel was built in the 12th century, in 1116, on the Île de la Cité in Paris, close to Notre-Dame Cathedral. This construction is due to Étienne de Garlande, dean of the chapter of the collegiate church of Saint-Aignan in Orléans and chancellor of Louis VI the Fat. The remains of this site can still be seen in the walls of 19 rue des Ursins.

 

He also has a church named after him in Saint-Agnan in Moselle: the church of Saint-Agnan. A church of Saint-Aignan in Ruffey-sur-Seille (Jura), where he is represented by three large paintings (17th and 19th century). Another church of Saint-Aignan exists in the Atlantic Pyrenees at Ramous, as well as at Ivoy-le-Pré dating from the 13th century. A church of Saint-Aignan, built on an ancient spring, also exists in Épeigné-les-Bois (Indre-et-Loire). The church of the commune of Lacquy (Landes) is dedicated to Saint Aignan since the 10th century. The painter Ulpiano Checa y Sanz realized in 1900 a fresco representing Saint Aignan.

 

The parish church of Saint Aignan in Tonnerre, Yonne, given by Count Guillaume de Nevers II in 1089 to the young abbey of Molesme, is considered to be the mother church of the future parishes of the city (Saint-Pierre 1148 and Notre-Dame 1164).

+++ DISCLAIMER +++

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

 

Some background:

The Gloster Meteor was the first British jet fighter and the Allies' first operational jet aircraft during the Second World War. The Meteor's development was heavily reliant on its ground-breaking turbojet engines, pioneered by Sir Frank Whittle and his company, Power Jets Ltd. Development of the aircraft itself began in 1940, although work on the engines had been underway since 1936. The Meteor first flew in 1943 and commenced operations in 1944 with the RAF.

 

Several major variants of the Meteor incorporated technological advances during the 1940s and 1950s. In order to replace the increasingly-obsolete de Havilland Mosquito as a night fighter, the Meteor was adapted to serve in the role as an interim aircraft. The new night fighter was designed to specification F.24/48 for a two seat, twin-engine, night fighter capable of intercepting contemporary bombers.

 

Gloster had initially proposed a night fighter design to meet the Air Ministry specification for the Mosquito replacement, based on the two-seater trainer variant of the Meteor, with the pilot in the front seat and the navigator in the rear. Once accepted however, work on the project was swiftly transferred to Armstrong Whitworth to perform both the detailed design process and production of the type; the first prototype flew on 31 May 1950.

 

Although based on the T.7 twin-seater, the night fighter used the fuselage and tail of the F.8 and the longer wings of the F.3. An extended nose contained the AI Mk 10 Air Intercept radar (the 1940s Westinghouse SCR-720). As a consequence the 20 mm cannons had to be moved from the fuselage flanks into the wings, outboard of the engines. A ventral fuel tank and wing mounted drop tanks completed the Armstrong Whitworth Meteor NF.11.

As radar technology developed, a new Meteor night fighter was developed to use the improved US-built APS-21 system. The NF.12 first flew on 21 April 1953. It was similar to the NF 11 but had a nose section 17 inches (43.2 cm) longer; the fin was enlarged to compensate for the greater keel area of the enlarged nose and to counter the airframe reaction to the "wig-wag" scan of the radar which affected the gunsight.

 

An anti-tramp motor operating on the rudder was fitted midway up the front leading edge of the fin. The NF.12 also had the new Rolls-Royce Derwent 9 engines and the wings were reinforced to handle the new engine. Deliveries of the NF.12 started in 1953, with the type entering squadron service in early 1954. The NF.12 was also exported, e. g. to Belgium, France or Denmark. In RAF service, however, the type was already replaced over 1958–59.

 

The final Meteor night fighter was the NF.14 (The NF.13 was a tropicalized variant of the NF.11, which served in Egypt, Syria and Israel). First flown on 23 October 1953, the NF.14 was based on the NF.12 but had an even longer nose, extended by a further 17 inches to accommodate new equipment, and a larger bubble canopy to replace the framed T.7 version.

 

Just 100 NF.14s were built; they first entered service in February 1954 beginning with RAF No. 25 Squadron and were being gradually replaced as early as 1956 with the Gloster Javelin. Overseas, they remained in service a little longer, serving with No. 60 Squadron at Tengah, Singapore, until 1961.

 

With only few flying hours on the clock several NF.14 were earmarked for being revamped and offered for export. 14 of these aircraft stayed in the UK, though, and were converted to training aircraft as NF(T).14 and given to No. 2 Air Navigation School on RAF Thorney Island where they served until 1965.

 

But some of the young NF.14s In 1955 Sweden ordered 22 of these surplus machines as replacement for its obsolete J30 (Mosquito NF.30) fleet that had entered service in 1948 and which was already due to be phased out. The Meteors were allocated only intended to act as stopgaps, though, just as in RAF service, while the Saab J32 Lansen (specifically its dedicated, radar-equipped all-weather fighter variant ‘B’) was still under development.

 

The batch of revamped Meteor NF.14s was gradually delivered and allocated to F 17 at Kallinge and F 21 at Luleå, starting in late 1956 when the first retired RAF aircraft trickled back to Armstrong Whitworth, and the last one was handed over to the Flygvapnet in mid-1957. In Swedish service the Meteor NF.14 received the domestic designation J31 (‘Jakt’). The machines differed only slightly from the RAF NF.14, main armament remained the four 20mm cannons in the wings. The external tanks were kept, too, in order to provide a sufficient range for patrol flights.

 

The J31s career was short and unspectacular, though. When the J32B finally reached the fighter units in 1958, the Swedish Meteors were gradually replaced and retired. Six machines were kept for radar operator training, and in this second line role six machines eventually served until 1965.

Strangely, none of the Swedish J31 Meteors were converted to target tugs. Instead Sweden bought several retired Meteors (T.7 and NF.11) from Denmark and used these aircraft with civil registrations through Svenska Flygtjanst as target tugs.

 

General characteristics:

Crew: 2

Length: Length: 51 ft 4 in (15.65 m)

Wingspan: Span: 43ft

Height: 13 ft 11 in (4.2 m)

Wing area: 350 ft² (32.52 m²)

Empty weight: 12.620 lb (5.725 kg)

Loaded weight: 21.200 lb (9.625 kg)

 

Powerplant:

2× Rolls-Royce Derwent 9 engines, rated at 3.800lb/16,9kN each

 

Performance:

Maximum speed: 585mph (511 knots, 942 km/h, Mach 0.8) at 10.000 ft (3.050 m)

Range: 875 mi (765 nmi, 1.408 km)

Service ceiling: 43,000 ft (13,100 m)

Rate of climb: 5,800ft/min at sea level

Wing loading: 44.9 lb/ft² (218.97 kg/m²)

Thrust/weight: 0.45

  

Armament:

4× 20 mm British Hispano Mk. V cannons in the outer wings

  

The kit and its assembly:

This whif is another tribute to fellow user SPINNERS at whatifmodelers.com who came up with a CG simulation of a Meteor NF.14 in Swedish colors. This looked VERY plausible - see the respective screenshots. I had a Matchbox/Revell Gloster Meteor NF.11, 12 and 14 night fighter in the pile without a real plan – until now!

SPINNERS’ screenshots basically became the design benchmark for my build, even though my hardware differs a bit in scheme and markings in order to match the narrow, historic slot for this whif.

 

Concerning the Matchbox kit there’s not much to say. It’s a simple kit that has been re-boxed several times and is also offered through Hannants under the Xtrakit brand. Fit is mediocre, how to mount the landing gear is up to the modeler, the cockpit is intended for pygmies (even though with nice dahsboard and radar equipment), you get several sink holes, and the fine, raised panels more or less disappear due to the unavoidable and extensive putty work all over the thing.

Since we have a NF.14 here, the kit was built OOB with the respective option parts. Even the belly and drop tanks are standard, only two pilot figures were added for the photo shooting.

 

Calling it J31 is a bit of a double, since the 31 had already been used for the Spitfire PR.19 photo reconnaissance variant, domestically called S31 (for ‘Spaning’). Therefore the J31 was theoretically ‘free’, even though not really correct. ;)

  

Painting and markings:

Basically, no surprises here, too, even though mimicking Swedish Air Force colors is a rather tricky task for the ambitious modeler. Especially the "mörk olivgrön/mörkblå/blågrå" scheme from the late 50ies is described with very contradictive suggestions concerning the tones to use, I even found “Blue Angel Blue” (FS 15050!) as serious paint suggestion from Hasegawa.

The colors themselves obviously varied considerably under light conditions and weathering influences: the blue could turn grey or even into a kind of turquoise, and depending on light and perspective the blue tone would even appear like a dull, very dark grey (think WWII German tank grey). The green, on the other side, also ranges from a dark green (FS 34079 is frequently suggested, but IMHO too "green") to a very dark olive drab, and in real life the tone could turn into an almost brownish khaki drab when thoroughly weathered. Much room for interpretation and speculation, even consulting pics of museum and service aircraft did not yield anything conclusive and consistent.

 

Well, I tried to find a compromise for the upper sides' basic colors for the and settled for Humbrol 163 (Extra Dark Slate Grey, it has that olive drab, reddish touch) and 77 (Navy Blue, which is discernable as a deep, greenish blue; Humbrol 123 is also often suggested, e. g. through Heller, but it’s IMHO too dark), while I used Model Master's "French Dark Grey Blue" (an authentic WWII tone; it is much less 'dark' than you'd expect) for the undersurfaces.

The authentic tone for the lower sides is supposed to be FS 36173 (US Neutral Grey), and pics from museum aircraft (e. g. close-ups from an J32E at the Linköping Swedish Air Force Museum) confirm that. But I think that the pure/original tone is much too dark for a 1:72 scale model kit. Pictures of real service aircraft rather appear like a pale bluish-grey, almost like RLM76?

 

The pattern itself was adapted from a late Saab J32 instead of SPINNERS’ RAF scheme with modified colors.

 

After basic painting the Meteor received serious dry-painting on the upper surfaces in order to create a worn and bleached look, e. g. with Humbrol 86 & 155 on the green, with Revell 79 and Humbrol 230 (PRU Blue!) on the blue as well as some "Italian Light Blue Grey" from Modelmaster on the lower surfaces. A black ink wash was also added to emphasize panel lines and other small details.

 

In order to add some color variation I painted the drop tanks in Aluminum. The radome was painted in satin black, the landing gear and the air intakes in various Aluminum shades. The cockpit was painted in very dark grey (Humbrol 184) with some medium grey dry painting. Gauges and instruments were added with black clear paint.

 

Roundels and tactical codes mostly come from an RBD aftermarket sheet from Sweden (great stuff!), which features many options for about a dozen J32 aircraft from all of the type's career. Most stencils come from the Matchbox sheet, though.

The red radome band is personal even though authentic addition. These nose colors were common practice in the Swedish Air Force, matching the tail letter code in earlier times that would indicate the aircraft's division (red for 1st, yellow for 2nd and blue for 3rd), even though this code would disappear with the change to individual aircraft numbers on the fin around 1960.

 

Finally, the kit was sealed with a coat of matt varnish.

  

Well, “Röd Niklas” is not a spectacular or complicated whif, rather just a color variant - realised in eactly one week from sprues to pics. But the Swedish colors and markings suit the Meteor SO well that it deserved to be taken to the hardware stage, at least as a 1:72 model kit. :D

 

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 04-May-24. (very yellowed negative!).

 

British European was just becoming 'FlyBe'

 

First flown with the British Aerospace test registration G-11-128, this aircraft was leased to Thai Airways International as HS-TBK in Apr-89. It returned to British Aerospace as G-BTJT in Apr-91.

 

It was briefly re-registered G-6-212 in 1992 before being leased to Jersey European Airways in May-93. Jersey European bought it in Sep-96. The aircraft was wet leased to British Regional Airlines for a month between Sep / Oct-98.

 

In Oct-98 it was wet leased to Flightline (UK) and returned to Jersey European in Dec-98. British Regional wet-leased it again in Dec-98 and operated it on behalf of British Airways.

It returned to Jersey European in Sep-99.

 

It was immediately leased to CityJet, operating on behalf of Air France, and returned to Jersey European in Feb-00. Jersey European was renamed British European Airways in Jun-00 and then FlyBe Airlines in Jul-02. The aircraft was permanently retired at Exeter, UK in Apr-08. It was broken up there in Jun-10. Updated 04-May-24.

  

2014 Gore Aussie Muscle Mania Car Show (12-4-14)

 

GTR-XU1

 

Overview:

The Giant Killer GTR XU1 was the work of Harry Firth and the Holden engineers with parts availability and price in mind. The cost to do a home grown six cylinder with after market and factory bits was going to be about half the cost of going the American V8 way. What they achieved was an amazing little car that in 186 cid form with it's triple stromberg 150CD carbs and the twin branch headers had a claimed output of 160 bhp. The Aussie 4 speed (M21) which was special in it's design replaced the weaker Opel units, they were also given heavy duty radiators. After proving that it was a competitive race car the 186ci it was replaced by the newly developed 202ci and the carbs were increased in size to the 175CD's along with larger valves, ported head with combustion chamber modifacations, revised camshaft, roller rockers, lighter flywheel (approx 20 pounds) and larger exhaust system. That was where the XU1 was going to end for the XU2 V8 was well under way until it was terminated which forced Harry Firths team to produce the ultimate six cylinder Holden race car, these cars at Bathurst were putting out in excess of 240 bhp (twin throat webber carbs). Just 150 Bathurst Specials were built with random engine numbers from JP 386598 to JP 404176, the public were never told of these but were given to dealers to pass them on to the right type of person. The unmistakable signs of an original 1973 Bathurst Model are, extra stiffening down the centre tunnel and braces under the front guards, these bodies were intended for the V8 version, the XU-2.

 

The Reason:

The history of the GTR XU-1 really began with the GTS 350 Monaro. The Monaro, as good as it was, was going to be expensive to build into a good handling, braking and power-to-weight race car. It would also have to source it's parts from GM in America which would make things even more expensive and against GM company rules about racing so it was decided to build a home-grown light weight car that used easily acquired parts! This way it could be hidden as a sports alternative to the family cars. GM in America was dead against any involvment in racing and frowned on even the suggestion of a team to do this.

 

The Beginning of a legend:

The first car was built early 1970 and raced in the sports sedan class by Anthony (Tony) Roberts under the guise of the HDT with a 186ci engine it had a small chamber blueprinted 161ci head to increase compression, and had triple Stromberg carburettors. HDT (Holden Dealer Team) was a group of dealerships who banded together to race the cars that they sold in the showrooms. GM-H did not back racing officially but did decide to build a Torana and called it 'GTR XU-1' which they released to the public on 19th August 1970 so enough would sell to allow it race under the homolagation rules. The price for these cars was just A$3148 which made it an easily acquired race car for many privateers.

 

Racing begins:

 

The XU-1 was not an instant success on the track and a lot work went into the handling and steering of the early cars which had understeer. A balance between tyres, shocks and springs sorted this out without going beyond the rules. Harry Firth who was snapped up by HDT after working for the Ford racing team saw the Torana as a potent racing machine. He also saw a young man in a Monaro GTS 350 that could be moulded into a sensational driver, Peter Brock. Sandown saw the first race of the now named GTR XU-1 in the annual September 250 mile race, Ford also debuted it's new GT Falcon, so a lot of interest was developed in the meeting of these two brand new cars. The fastest XU-1 which was driven by Colin Bond was four seconds a lap slower than the fastest GT and could only manage 6th position on the grid. The Falcon's were dominating the race but one by one fell by the wayside with mostly engine failures and when the chequered flag dropped the XU-1 of Colin Bond finished in second place, one lap down from Alan Moffats Falcon and in front of Norm Beechey's Valiant Pacer with Peter Brock in fourth.

 

Bathurst 1970:

Bathurst 1970 saw 12 Torana XU-1's, 3 were from the HDT in which Colin Bond had one to himself, Peter Brock and Bob Morris paired in another plus the pairing of Women drivers Christine Cole(later Gibson) and Sandra Bennett. The other makes were represented well with 14 GT Falcons and 6 Valiant Pacers among others. Just before the race CAMS (Confederation

of Australian Motor Sport) allowed some adjustments to the XU-1 to help it become competitve. Some of these adjustments included a revised camshaft profile (specifications bottom of this page), new axle tube baffles, modified clutch & pressure plate, modified rear suspensionbump stops, front suspension alignment settings, baffling in the fuel tank, front guard lips were rolled to allow for wider front tires and wheel spacers.

Practice: The fastest Torana was the HDT car of Colin Bond with a best lap of 2:54s which put him in fourth spot on the grid with Alan Moffat taking pole some 5 seconds quicker. During the practice sessions many of the Falcons suffered engine problems and the Torana's were running reliably so the feeling was high that the Falcons could breakdown during the running and allow the reliable cars in!

Race day: And they're off with Bond in hot pursuit of Moffat up the hill, over the top and Bond is sitting on Moffat's exhaust, then down Conrod Straight where the big Falcon could stretch it's legs until the end where the big car took some stopping and Bond dived in front under brakes. Going along the front straight the crowd gave a huge cheer of approval to the little Torana, the dice between Bond and Moffat went on for 5 laps until Moffat regained the lead and wasn't headed. The Torana's with Bond and Brock were 2nd and 3rd for quite a while but eventually succumbed to mechanical problems and dashed any hope of a HDT Torana being on the Podium but the privateer entry of Don Holland took third outright and a class win. In fact five privately entered XU-1's were in the top ten, third, sixth, seventh, ninth, and tenth outright plus the HDT all women pairing of Cole/Bennett taking 13th outright, this showed that the six cylinder 186ci Torana was close to the 351ci Falcon's but needed a bit more work to become a superior package! It turned out that the mechanical problems with HDT cars were a manufacturer fault with the valves, this also affected some private entries as well.

 

Torana GTR XU-1 1971.

1971 was very successful for the XU-1 with successes in rallies, hill climbs, rally-cross and circuit races, it also became very popular with the privateers due to the competitiveness and the cost of maintaining it compared to the GTHO. This year saw the introduction of a Manufacturers Championship in which the first round was the Easter Bathurst meeting, Peter Brock took third place and Colin Bond fourth. The second round was at Warick Farm and this time Colin Bond won it from Peter Brock coming second.

Sandown 250: The third round saw the debut of the new Bathurst XU-1 at the Sandown 250, also on debut was the new Phase III GTHO Falcon. After the previous years engine failures, Ford had tested the 351 Cleveland extensively and claimed the power to be 300 bhp (224kW) but in race trim was around 380 bhp (284kW). In practice Moffat (pole 1m21.4s) was 1.9 seconds faster than Bond (3rd) and a huge 3.4 seconds faster than Brock. In the race though both Moffat and French had mechanical problems and Bond ran strongly to take the win and finished a tremendous 5 laps in front of second place Murray Carter (GTHO) with Tony Roberts 3rd (XU-1) and Bruce McPhee (XU-1) 4th.

Bathurst: This was not part of the Manufacturers Championship but was the next race and of course all eyes were on the 'Great Race'. Bathurst saw a new foe in the Valiant E38 harger with it's triple webbers on the Hemi 265 engine which produced 280 bhp (209kW) and until recently held the title as the fastest Australian production car in a straight line! But as fast as the Valiant was it was limited with only a 3-speed gearbox and unpower assisted brakes so the mountain was not very kind to this car. The Bathurst race wasn't kind on the HDT and saw Moffat on pole with 2m38.9s and the fastest XU-1 was Brocks car with a 2m46.3. Moffat led from flag to flag with Bond finishing 4th and Brock coming in 6th with some problems.

Phillip Island: The 500 km race at Phillip Island resumed the Manufacturers Championship and was just three weeks after the demoralising Bathurst race. The Big Falcons had big problems here, as they cooked and ripped there tyres up the Torana XU-1's of Bond and Brock did a 1-2 for the HDT with Doug Chivas well behind in his Valiant Charger. Even a privately entered Torana beat the 5th placed Moffat home!

Surfers Paradise: The Rothmans 250 was the final race to find honours in the Manufacturers Championship and Moffat took the win, with Brock in 3rd and Bond in 4th it was enough to win the title for GM-H.

 

1972 Bathurst

The next time on the podium was 1972 and it was Peter Brocks turn, he won convincingly in what was a tremendous battle against Alan Moffat who had won the previous two Bathursts. Brocky did the 500 mile race solo which started in the wet and with team mate Colin Bond crashing very early in the race the next hour was spent dicing with Moffat, up the hill the Torana would catch the Falcon and then down Conrod the Falcon would pull away, lap after lap until Moffat aquaplaned almost the same place Bond crashed and although Moffat got going again Brock was never going to be beaten. The Legend of the Bathurst Winning Torana had begun with the biggest legend in Australian motor sport although he was a junior at this stage with a third in a Monaro in 1969 previous. The 1973 Bathurst was the Torana's but for an error of judgment trying to stretch the fuel, while out in front Doug Chivas was asked to do another lap and while coming over the top of the hill the car started to cough until it ran out of fuel along Conrod Straight. He coasted all the way and when in the pit entry tried a clutch start but all this did was to take any momentum the Torana had away and without the rest of team being allowed to help him until the car actually entered there designated pit area they stood, watched and yelled encouragement while Chivas (not a large person by any means), pushed the wide tyred Torana up the hill in the pits. Brocky put up an almighty fight but it wasn't enough and the rest is history.

(Ref: holden.itgo.com/gtrxu1.html)

Replaces the 737 Service

Note: the tall, not-quite-finished skyscraper in the background is the Freedom Tower at One World Trade Center, which will replace the twin World Trade Center buildings that were attacked on September 11, 2001.

 

For more details, see www.glasssteelandstone.com/BuildingDetail/439.php.

 

Note: I chose this as my "photo of the day" for March 17, 2013.

 

Note: this photo was published in an Apr 2, 2013 blog titled "One World Trade Center Nears Completion." It was also published in an Apr 7, 2013 blog titled "FOTO'S: DE ONE WORLD TRADE CENTER IS BIJNA AF.."

 

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

 

Note: to see the overall theme, summary description, and thumbnail images of the photos in this set, click here.

+++ DISCLAIMER +++

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

  

Some background:

The Ling-Temco-Vought A-7 Corsair II was a carrier-capable subsonic light attack aircraft introduced to replace the Douglas A-4 Skyhawk. The A-7 airframe design was based on the successful supersonic Vought F-8 Crusader, although it was somewhat smaller and rounded off. The Corsair II initially entered service with the United States Navy during the Vietnam War. It was later adopted by the United States Air Force, including the Air National Guard, to replace the Douglas A-1 Skyraider and North American F-100 Super Sabre. The aircraft was also exported to several foreign countries, including Greece, Portugal, Thailand and New Zealand.

 

For the latter operator, the Corsair II was part of a major modernization campaign in the early 1970s. For instance, in 1970 14 McDonnell Douglas A-4 Skyhawks were purchased to replace the Vampire FB5's, which had been the primary light attack aircraft for the RNZAF for years, but the type was hopelessly outdated.

Furthermore New Zealand was also looking for a replacement of its similarly ageing Canberra fleet. These 31 aircraft were also phased out of service in mid 1970, and the A-7 chosen as the RNZAFs new fighter bomber because of its proven all-weather strike capability and advances avionics.

 

The RNZAF bought and operated 22 LTV A-7 Corsair II aircraft primarily in the coastal defense/anti-ship and sea patrol roles, air interdiction and air defense roles being secondary duties. The RNZAF Corsair II was very similar to the US Navy’s A-7E, even though the machines would only be operated form land bases. Designated A-7N, the machines featured an AN/APN-190 navigational radar with a Doppler groundspeed and drift detector plus an AN/APQ-128 terrain following radar. For the deployment of smart weapons, the machines were outfitted with a Pave Penny laser target acquisition system under the air intake lip, similar to the USAF’s A-7D, and could carry a wide range of weaponry and sensors, including AN/AAR-45 FLIR pods for an improved all-weather performance. Against enemy ships and large ground targets, visually guided smart bombs (AGM-62 and the more modern GBU-8 HOBOS) were bought, as well as AGM-65 Maverick against smaller, high priority targets.

 

Active service lasted between 1975 and 1999, and the A-7Ns were originally allocated between RNZAF 2 and 75 Squadron at Ohakea, where they were operated together with A-4K and TA-4K. The latter were also emplyed for A-7N pilot conversion training, since the RNZAF did not operate any Corsair II two seaters.

Several times the Squadron deployed to Clark Air Base in the Philippines and to Hawaii with both of the Corsair IIs and Skyhawks to exercise with the United States Air Force. Furthermore, the annual deployments as part of the Five Power Defence Agreement (called Exercise Vanguard) had the Squadron visit Australia, Singapore, Malaysia and Thailand to practice with those countries. Two RNZAF A-7s of 75 Squadron even made visits to Great Britain.

 

In the early Nineties the Corsair IIs started to suffer from numerous maintenance and logistic problems due to the lack of spare parts and general financial problems. This also prevented a major avionics update and the procurement of AGM-84 Harpoon missiles for the A-7Ns and the RNZAF P-3 Orion maritime patrol aircraft. The maintenance situation became so dire that several aircraft were cannibalized for spare parts to service other fighters. In 1992 only sixteen A-7Ns remained operational. This resulted in the available fighters no longer being assigned and dedicated to one specific squadron, but shared and assigned to one of the RNZAF combat squadrons (2, 14 and 75 Squadron, respectively), as needed.

 

During its 24 years of duty in the RNZAF, the A-7 fleet suffered 8 severe accidents with aircraft losses (and two pilots being killed). Nevertheless, the introduction of the A-7 was seen as a success due to the evolution that it allowed the Air Force in aircraft maintenance, with focus in modern computer and electronic systems, and in the steady qualification of pilots and technicians.

 

In 1999, the National Government selected an order of 28 F-16A/B Fighting Falcon aircraft to replace the complete fleet of A-4 Skyhawks and A-7 Corsair IIs, but this procurement plan was cancelled in 2001 following election by the incoming Labour Government under Helen Clark. This was followed by the disbanding of several fixed wing aircraft squadrons, with the consequence of removing the RNZAF's air combat capability. The last A-7 flight in RNZAF service took place on 1st of October 2001. Subsequently, most of the RNZAF's fighter pilots left New Zealand to serve in the Royal Australian Air Force and the Royal Air Force.

 

General characteristics:

Crew: 1

Length: 46 ft 2 in (14.06 m)

Wingspan: 38 ft 9 in (11.8 m), 23 ft 9 in (7.24 m) wings folded

Height: 16 ft 1 in (4.9 m)

Wing area: 374.9 sq ft (34.83 m²)

Airfoil: NACA 65A007 root and tip

Empty weight: 19,127 lb (8,676 kg)

Max takeoff weight: 41,998 lb (19,050 kg) overload condition.

Fuel capacity: 1,338 US gal (5,060 l; 1,114 imp gal) (10,200 lb (4,600 kg)) internal

 

Powerplant:

1 × Allison TF41-A-2 non-afterburning turbofan engine, 15,000 lbf (66.7 kN) thrust

 

Performance:

Maximum speed: 600 kn (690 mph; 1,111 km/h) at Sea level

Range: 1,070 nmi; 1,231 mi (1,981 km) maximum internal fuel

Ferry range: 1,342 nmi; 1,544 mi (2,485 km) with maximum internal and external fuel

Service ceiling: 42,000 ft (13,000 m)

Wing loading: 77.4 lb/sq ft (378 kg/m²)

Thrust/weight: 0.50

Take-off run: 1,705 ft (519.7 m) at 42,000 lb (19,000 kg)

 

Armament:

1× M61A1 Vulcan 20 mm (0.787 in) rotary cannon with 1,030 rounds

6× under-wing and 2× fuselage pylon stations (for mounting AIM-9 Sidewinder AAMs only)

with a total ordnance capacity of 15,000 lb (6,803.9 kg)

  

The kit and its assembly:

An idea that had been lingering on my project list for some years, and a recent build of an RNZAF A-7 by fellow modeler KiwiZac at whatifmodelers.com eventually triggered this build, a rather simple alternative livery whif. I had this idea on the agenda for some time, though, already written up a background story (which was accidently deleted early last year and sent the project into hiatus - until now) and had the kit as well as decals collected and stashed away.

 

The basis is the Hobby Boss A-7, which is available in a wide range of variant in 1:72 scale. Not cheap, but IMHO the best Corsair II kit at the moment, because it is full of ample surface details, goes together nicely and features a complete air intake, a good cockpit tub and even some maintenance covers that can be displayed in open position, in case you want to integrate the kit in a diorama. In my case it’s the A-7E kit, because I wanted a late variant and the US Navy’s refueling probe instead of the A-7D’s dorsal adapter for the USAF refueling boom system.

 

For the fictional RNZAF A-7N no fundamental changes were made. I just deliberately used OOB parts like the A-7D’s Pave Penny laser targeting pod under the air intake. As a personal addition I lowered the flaps slightly for a more lively look. Around the hull, some blade antennae were changed or added, and I installed the pair of pitots in front of the windscreen (made from thin wire).

 

The FLIR pod came with the kit, as well as the drop tank under the inner starboards wing pylon and the AIM-9Bs. Only the GBU-8s were externally sourced, from one of the Hasegawa USAF ordnance sets.

 

For the finalized kit on display I mounted the maintenance covers in open position, but for the beauty pics they were provisionally placed in closed position onto the kit’s flanks. The covers had to be modified for this stunt, but since their fit is very good and tight they easily stayed in place, even for the flight scenes!

 

Painting and markings:

This was the more interesting part – I wanted „something special“ for the fictional RNZAF Corsair II. Upon delivery, the USAF SEA scheme would certainly have been the most appropriate camouflage – the A-4K’s were painted this way and the aforementioned inspiring build by KiwiZac was finished this way.

 

Anyway, my plan had been from the start a machine in late service with low-viz markings similar to the A-4Ks, which received an attractive three-tone wrap-around scheme (in FS 34102, 34079 and 36081) or a simple all-around coat of FS 34079.

 

Both of these schemes could have been a sensible choice for this project, but… no! Too obvious, too simple for my taste. I rather wanted something that makes you wonder and yet make the aircraft look authentic and RNZAF-esque.

 

While digging for options and alternatives I stumbled upon the RNZAF’s C-130 Hercules transporters, which, like Canadian machines, carry a wrap-around scheme in two tones of grey (a light blue grey and a darker tone with a reddish hue) and a deep olive green tone that comes close to Dark Slate Grey, together with low-viz markings. A pretty unique scheme! Not as murky as the late A-4Ks and IMHO also well suited for the naval/coastal environment that the machine would patrol.

 

I was not able to positively identify the original tones on the CAF and RNZAF Hercs, so I interpreted various aircraft pictures. I settled upon Humbrol 163 (RAF Dark Green) 125 (FS 36118, Gunship Grey) and Revell 57 (RAL 7000, similar to FS 35237, but lighter and “colder”). For the wraparound scheme I used the C-130s as benchmark.

 

The cockpit became Dark Gull Grey (Humbrol 140) while the landing gear and the air intake duct became – behind 5mm of grey around the intake lip - white. The maintenance hatches’ interior was painted with a mix of Humbrol 81 and 38, for a striking zinc chromate primer look.

 

After a light black ink wash the kit received some panel post-shading for more contrast esp. between the dark colors and a slightly worn and sun-bleached look, since the aircraft would be depicted towards the end of its active service life.

 

Decals were the most challenging task, though: finding suitable RNZAF roundels is not easy, and I was happy when Xtradecal released an appropriate sheet that offers kiwi roundels for all positions (since motifs for port and starboard have to be mirrored). The Kiwi squadron emblem actually belongs to an RNZAF A-4K (from an Old Models sheet). The serial codes were puzzled together from single letter (TL Modellbau), most stencils come from the Hobby Boss OOB sheet.

  

A simple build, yet a very interesting topic and in the end also an IMHO very cool-looking aircraft in its fictional livery. Building the Hobby Boss A-7 was easy, despite some inherent flaws of the kit (e .g. totally blank dashboard and side consoles, and even no decals included!). The paint scheme lent from the RNZAF Hercs suits the SLUF well, though.

Replaced the chrome side scuttles with the low profile R50 side scuttles.

 

Originally, they come with orange/amber side indicators, but decided to upgrade them with dynamic side indicators which look awesome!

Martebo Church (Swedish: Martebo kyrka) is a medieval Lutheran church on the Swedish island of Gotland, in the Diocese of Visby.

 

Little is known about the origins and oldest history of the church. The stone church may have been pre-dated by a stave church. Of the presently visible church, the tower is the oldest part, dating from the middle of the 13th century and Romanesque in style. The Gothic nave and choir are from the early 14th century and replaced and earlier and smaller Romanesque building.

 

The church is of a type which is rather characteristic for Gotland, in which the nave and choir were rebuilt during the High Gothic, but where the older tower remains, resulting in an unproportionally short tower in relation to the rest of the building. Adjacent to the tower there is a rather unusual detail, a small chamber which has a window onto the nave but lacks any other connection. It probably functioned as a hagioscope (perhaps for sick members of the congregation) and which was added during the 14th century.

 

The external façade of the church, notably the three portals, display some of the most accomplished medieval sculpture on Gotland. They date from the 14th century and were made when the church was rebuilt in Gothic style. On some of the sculptures traces of the original paint still survive. The sculptures were probably executed by the local stonemason's workshop which is sometimes referred to as Master Egypticus. They depict the life of Jesus as told in the New Testament, with scenes following each other chronologically and from one portal to the other, so that the three portals together make out an entire sculpted narrative.

 

Inside the church are the remains of medieval frescos and a baptismal font from the 13th century. Two medieval tombstones are placed in the floor of the choir. The pulpit is one of the oldest on Gotland, dating from middle of the 16th century.

 

Source: Wikipedia

________________________________________

Martebo kyrka är en kyrkobyggnad i Martebo på Gotland. Den är församlingskyrka i Stenkyrka församling i Visby stift.

 

Den medeltida kalkstenskyrkan består av ett rektangulärt långhus med smalare rakt avslutat kor i öster, smalt kyrktorn i väster, sakristia på korets nordsida samt en bönekammare i sydvästra hörnet. Tornet, som är oproportionerligt litet jämfört med långhuset, kvarstår från en romansk kyrka. Under 1300-talet uppfördes det befintliga långhuset med kor och sakristia, samt bönekammaren (med hagioskop). Sakristian tillbyggdes med ett magasin i början av 1800-talet. De putsade fasaderna pryds av hörnkedjor, och de spetsbågiga fönstren har huggna omfattningar. Tornet, som har rundbågiga, kolonettförsedda ljudgluggar, kröns av en åttkantig tornspira. Av särskilt intresse är kyrkans tre gotiska portaler (två i söder och en på norra sidan) med sina rikt skulpterade kapitälband som berättar Kristi levnadshistoria. Figurskulpturerna härstammar troligen från den anonyme stenmästaren "Egypticus" verkstad, 1300-talets förra hälft. Det enskeppiga långhuset täcks invändigt av två kryssvalv. En vid spetsbågig muröppning leder till koret, som också kröns av ett kryssvalv. Två spetsbågefönster lyser upp koret (i öster och söder) medan långhuset endast har ett sydfönster. Vid arkitekt Åke Pornes restaurering 1971-1972 framtogs kalkmålningar från 1300-talet.

 

Dopfunten är från 1200-talet.

Den färgrika predikstolen är från 1500-talet och en av de äldsta i Sverige.

Altaruppsatsen av trä är från 1675.

Läktaren där orgeln står är från 1682.

År 1915 byggde Eskil Lundén, Göteborg, en orgel med sju stämmor.

Nuvarande mekaniska orgel från 1973 är tillverkad av Anders Perssons Orgelbyggeri.

 

Källa: Wikipedia

due to a large tumor, the mandibula has been replaced with a bone transplant (fibula) from 3-6 to 4-6.

 

image one shows the patient prior to surgery; the tumor in the base of mouth has grown to a disfiguring size within just a few weeks.

 

image two is a bone 3D volume rendering, image three is a skin 3D volume rendering (digital volume tomography).

 

image four shows the patient five days after surgery; the area - especially the cheeks - is very swollen; yet, the cosmetical outcome is likely very good (notice / compare the chin!). functional outcome is unknown, but things are looking good so far.

 

the full story can be seen in this set.

 

update 24th november 2009: recent image (rightmost).

Some background:

The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).

Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.

 

At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.

A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).

 

Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.

 

The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.

A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.

 

The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.

  

Building the kit and its display box:

I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.

 

The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.

 

Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!

 

As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.

 

I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).

Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.

 

The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.

 

The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.

The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.

 

Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.

 

Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.

As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!

 

The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!

  

Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.

 

The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.

The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.

Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.

 

At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.

 

In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.

 

Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.

  

Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.

 

The construction of a new fire station to replace Gipton and Stanks fire stations and removal of 24 fulltime posts from the establishment by way of planned retirements.

Key Points:

 Gipton is classed as a very high risk area and Stanks as medium risk area.

 Stanks fire station is poorly located at the outer edge of the local community and access/egress from the site is problematic.

 In the 5 year period between 2004/5 and 2009/10 operational demand in these areas reduced by 28% (there has been a reduction of 61% of serious fires) . 2

 WYFRS has piloted a new type of vehicle (Fire Response Unit) to deal with smaller fires and incidents to free up fire appliances to respond to more serious emergencies.

 The pilot has been successful and it is believed that a District based Fire Response Unit will handle in the region of 3,000 calls per year.

 The new fire station would have lower running costs.

 The two Killingbeck fire appliances would be supplemented by a Resilience Pump for use during spate conditions.

 Targeted community safety and risk reduction work would continue.

  

1. Foreword

 

1.1 This proposal forms one of a number of similar initiatives developed by West Yorkshire Fire and Rescue Service (WYFRS) as part of its plans for the future provision of a highly effective and professional Fire and Rescue Service.

1.2 Each proposal is based on sound and comprehensive research, using real data from past performance and predictions of future demand and risk. Multiple sources of analysis have been used, allied to professional judgment and experience, to form the basis of robust business cases for change. The proposals are also reflective of the significant improvements in fire and community safety achieved over the past 10 years and represents a return on the investment made by the Authority on behalf of the public of West Yorkshire.

1.3 The proposals also incorporate a number of new and innovative approaches to addressing the challenge of maintaining high standards of performance for an emergency response service, within ever tightening financial constraints. The proposals have been developed as a package of inter related initiatives, representing major capital investment in local communities, whilst at the same time delivering annual recurring savings.

 

2. Introduction

 

2.1. Gipton fire station was constructed in 1937; it provides the initial emergency response cover for the residential and commercial areas of Gipton, Harehills, Burmantofts, Killingbeck, Halton Moor and Oakwood.

 The fire station area covers approximately 8.45 square miles.

 There is a population of 75,316.

 There are approximately 2015 commercial properties within the area.

2.2. Stanks fire station was constructed 1973; it provides the initial emergency response cover for the mainly residential locations of Whinmoor, Swarcliffe, Whitkirk, Colton, Halton, Crossgates, Scarcroft, North Seacroft, Wellington Hill, Manston, Barwick-in-Elmet, Scholes and Thorner.

 The station area covers approximately 14.39 square miles

 There is a population of 42,452

 There are approximately 663 commercial properties within the area.

2.3. Gipton has been classified as a very high risk area using the WYFRS Risk Matrix methodology. During 2009/10 there were 2196 operational incidents within this area including 86 dwelling fires and 33 Road Traffic Collisions. Stanks fire station area has been classified as medium risk and during the same period there were 688 operational incidents in the area including 34 dwelling fires and 12 Road Traffic Collisions. 1

2.4. Three fire appliances currently provide the initial fire and rescue coverage for Gipton and Stanks and are constantly crewed by 60 whole-time firefighters. The operational demand in these areas has reduced by 28% between 2004/5 and 2009/10 (there has been a reduction of 61% of serious fires) yet the provision of operational resources has remained the same over this period of time. 24

 

3. Community Impact Assessment

 

3.1. The following statement is taken from the 2011-2015 Community Risk Management Strategy and emphasises our commitment to deliver an efficient economic and effective range of services, “Every area within WYFRS will be considered in order to provide a better service at reduced cost”.

3.2. To enable WYFRS to deliver against this commitment a wide range of analysis and modelling tools have been used to determine the current and predicted levels of service delivery, together with their associated costs. These tools have also been used to undertake four separate impact assessments in regard to WYFRS proposals which will seek to:

 Identify options which minimise reductions in service delivery standards and where there is scope for service delivery improvement.

 Develop measures that will mitigate any negative impact upon service delivery and where possible maximise opportunities to achieve improvements.

3.3. WYFRS has developed a risk matrix which allocates a separate score/rating for hazards within communities. It is possible to use this risk rating in conjunction with the costs for providing services to each fire station to compare the cost of fire and rescue cover for each area. Gipton is one of the more cost effective stations in West Yorkshire but Stanks is almost 50% more expensive proportionate to the risk. 6

3.4. For most parts of the day the operational demand on resources based at the new station will be comparable to those of equally resourced fire stations. Figure 1 compares the predicted average operational activity levels for the new station with those of two other fire stations provided with two appliances. It indicates that although operational activity levels are generally comparable they are slightly higher during the evening hours due to the occurrence of smaller nuisance fires. 7

3.5. A Fire Response Unit has been piloted in Leeds District; this unit will attend small fires, car fires and certain fire alarms. These types of incident occur frequently in the East Leeds area. Figure 2 shows the level of activity in the new fire station area with the incidents the Fire response Unit attends taken out of the activity levels. The benefit of the Fire Response Unit can clearly be seen. The activity levels for the new station have been reduced considerably compared to other stations; it also shows that the new station will be less operationally active during the evening than the other local stations.

3.6. The new station in East Leeds will have a comparable level of activity to other fire stations provided with two appliances. 7

Figure 2 - Activity Timeline of Incidents Excluding Secondary Fires and Some False Alarms

Site Locations

3.7. An extensive review of emergency response cover has recently been completed and this has included the use of evaluation tools alongside local knowledge and professional judgment to identify optimum locations to build new WYFRS fire stations.

3.8. A site search mapping system has identified a number of appropriate areas across the County to build new fire stations and a number of sites have been identified within these areas which would provide the best solutions. A new fire station site must first be available for purchase and also provide access to road networks, it must not be located within flood plains and it must meet local planning permission requirements.

3.9. Analysis has been undertaken using the Fire Service Emergency Cover (FSEC – see also para 3.15) toolkit, together with the Phoenix/Active resource modelling toolkit.

3.10. The optimum area for a fire station between Gipton and Stanks has been identified as being situated on the A64 in the vicinity of Killingbeck police station. This proposed site is approximately 1.6 miles from Gipton Approach and 2.2 miles from Sherburn Road. The presence of a large site owned by West Yorkshire Police at this location may also present some potential to co-locate resources.

Determining where resources should be located

3.11. Independent research has assisted WYFRS to determine the potential impact that the implementation of each proposal would have on fire appliance attendance times to operational incidents. A simulation model has been used to identify the performance impact of moving resources to the new fire station. This modelling measures how the location of a new fire station would have performed if it had been in existence and responded to the actual incidents that did occurred in this area between 2007/8 and 2009/10. 4

3.12. Models have been run for locating a two fire appliances at Gipton and closing Stanks, and then run again for locating a two fire appliances at Stanks and closing Gipton, both these options provide a significantly lower level of response performance than would be achieved by locating

 

3.13. The proposals has a small reduction in performance in fire appliance attendance times against the Risk based Planning Assumptions for all incidents across the whole of West Yorkshire of approximately 0.3% for first appliance and 0.1% for the second appliance. 4

3.14. Local Impact – Figure 3 identifies that:

 There is a reduction in response performance against the Risk Based Planning Assumptions in the Gipton station area. The main reason for this is simultaneous activity. This change will be greatly mitigated by the Fire Response Unit. The predicted response times still represent good performance and are appropriate for the. Further impact will be achieved by targeted risk reduction activities.

Fire Service Emergency Cover (FSEC) toolkit

3.15 The FSEC software toolkit has been developed by Central Government (Department for Communities and Local Government) for use by Fire and Rescue Authorities in determining appropriate fire and emergency cover. It enables the relationship between dwelling fire casualties and the social demographics of small areas in the county (super output areas) and the location of response resources (fire stations) to be determined. Four demographic benchmarks are used to demonstrate this relationship and to represent predicted risk associated with a range of appliance response times.

3.16 Analysis of the FSEC outputs (which is a cost benefit analysis in regard to property and life risk) predicts that the relocating the fire station to Killingbeck will:

 Reduce the risk to the community.

 Result in significant efficiencies. 9

3.17 The FSEC modelling suggests that the impact of the Killingbeck proposal would be less than other relocation options

3.18 The Phoenix/Active software tool is another analysis tool used to identify the impact of any changes of the Risk Based Planning Assumptions referred to above. It predicts that locally there is likely to be a small adverse impact on the performance against Risk Based Planning Assumptions. Across the Brigade the impact is negligible. 10

Predicted Risk Level

3.19. A new fire station located, within the Killingbeck area would attract the same risk classification as the Gipton fire station area therefore the new fire station would be classified as very high risk. Targeted risk reduction activity will help to reduce the risk, with the aim of reducing it sufficiently enough to re-categorise the area as high risk in the future. 1

3.20. Isochrones (travel distance) can be drawn around the proposed location of the new fire station (Section 8). These indicate the distance the appliance would be able to travel within the Risk Based Planning Assumption time of 7 minutes.

3.21. Section 8 also illustrates that for this area of West Yorkshire a single fire station in the new location provides fire appliance coverage which is more proportionate to risk than the current arrangements.

Risk Reduction

3.20 During 2010 a comprehensive and integrated framework for service delivery was developed, this is outlined in the Community Risk Management Strategy 2011-15. This was implemented in 2011 and is proving a very effective means for targeting resources and reducing risk and is an essential method for reducing any negative impact of change in fire cover. Fundamental to this approach is the introduction of District Risk Reduction Teams and Local Area Risk Reductions Teams.

3.21 The location of a fire station in the Killingbeck area will enable targeted community safety activities such as Home Fire Safety Checks to continue.

 

4 Firefighter Safety Impact Assessment

 

Risk and firefighters gathering risk information about premises.

4.1 One of WYFRS’s risk indicators is dedicated solely to “Firefighter safety” and has taken cognisance of the following statement within the 2009 WYFRS Firefighter Safety Strategy; “Effective gathering and analysis of information prior to operational incident attendance is of critical importance”.

4.2 The firefighter safety indicator captures the following information to reflect this statement:

 The predominance of specified commercial properties within each fire station area.

 The availability of associated risk information held for commercial properties.

 The predominance of high-rise properties within each fire station area.

4.3 The swift arrival of supporting resources can have a beneficial impact upon the safe management of operational incidents and this is the rationale for this information being captured by the indicator.

4.4 Following the 2009/10 evaluation process the firefighter safety risk bandings for Gipton and Stanks have been determined as high and very low respectively. 1

8

4.5 The targets for operational risk information for the 2012/13 IRMP Action Plan will be set in a proportionate manner, with areas of higher risk levels receiving a greater number of operational risk information inspections. More inspections will take place in areas such as Gipton to increase the availability of risk information available to firefighters via the Mobile Data Terminals (MDT’s) and as more information is made available the corresponding risk level will be reduced.

4.6 The Premises Data-base currently indicates that there are a total of 1650 commercial properties within the Gipton and Stanks area that have not been made subject to an operational information inspection. A high priority has been placed on firefighters in Gipton visiting the premises where incidents could potentially occur. 11

4.7 It is therefore anticipated that the availability of risk information via the Mobile Data Terminals (MDT’s) for properties within all areas will be considerably improved by 2015, by which time the corresponding firefighter safety risk banding will have been reduced to Medium

The arrival times of the 2nd fire appliance

4.9. During 2009/10 there were a total of 333 operational incidents within the areas of Gipton and Stanks which required the attendance of more than one pumping appliance (one every 1.1 days). 12

4.10. Currently the North and East Leeds area has two fire appliances based at Gipton, Moortown and Leeds with one at Rothwell, Garforth, Stanks and Wetherby.

4.11. Increased second pump arrival times require the first attending crew to manage the initial stages of certain incidents in isolation; there is some potential for fires to become more developed in these initial stages.

4.12. The proposal improves the second appliance attendance times into Garforth station areas and there is little impact for the others local station areas.

 

5. Equality Impact Assessment

 

5.1 The new Public Sector Equality Duty places a requirement on the organisation to ensure where changes affect service delivery to the community or employees WYFRS assess those changes for any possible negative impact on equality. In this context equality refers to the protected characteristics in the Equality Act 2010, race, gender, disability, religion and belief, sexual orientation, age, gender-reassignment, maternity and pregnancy and marriage and civil partnerships.

5.2 This Equality Impact Assessment has been completed by using information drawn from the Office for National Statistics in regard to this area and has been used to determine whether the removal of a fire appliance from the area will lead to an adverse or disproportionate impact upon any sections of the population. 13

5.3 A 2008 report provided by the Communities and Local Government (CLG) department analysed the correlation between dwelling fires and socio demographics. This report has been used to provide an indication of whether any particular groups within the population are at heightened risk from fire. The report indicates that sick/disabled persons, lone pensioners and Black Caribbean/African groups were associated with a greater incidence of dwelling fires.

5.4 The Gipton and Harehills population was estimated as being 24,904 during 2001 with a fairly equal gender distribution. The predominant ethnic group within the population is White British with Asian/Asian British representing the next major group, followed by Pakistani, Black British/Caribbean and Asian/British Bangladeshi.

9

5.5 Approximately 49% of the resident Gipton and Harehills population are Christians, 23% are of Muslim faith and 25% declared no religious preference. In 2001 16% of the population was aged over 60 and 20% of the population had a limiting long-term illness.

5.6 The WYFRS Prevention strategy contained within the 2011-2015 Community Risk Management Strategy emphasises that risk reduction activities will be focussed toward areas of the county identified as being at higher risk from dwelling fires, deliberate fire setting and road traffic collisions and that an appropriate and proportionate allocation of resources will be made available for District Risk Reduction Teams (DRRT) to achieve this.

5.7 Although the Ward statistics indicate that the communities of Gipton and Harehills are very diverse the findings of the Equality Impact Assessment are that this proposal will not lead to any negative changes in the delivery of Prevention, Protection and Response services and consequently there will be no anticipated impact upon any under-represented groups. The Equality Impact Assessment also confirms that there is no negative impact on any employee group.

 

6. Organisational Impact Assessment

 

Efficiencies

 

6.1 This proposal will enable WYFRS to manage some of the financial deficit caused by reduced government funding.

6.2. The proposal has considered the less than optimal positioning of existing fire stations and appliances together with the reduced operational demand placed and associated costs. The most cost effective solution to these issues is to provide a new fire station and ensure that two fire appliances will be crewed by nine firefighters who will respond to emergencies in less than two minutes from being mobilised.

6.3. This can be achieved by reducing the staffing at Gipton and Stanks by 24 posts; this will be done by way of planned retirements. The staffing and duty system at the new fire station will remain the same.

6.4. The removal of posts that coincide with forecasted retirements will achieve significant revenue savings.

6.5. Although capital investment will be required to construct a new fire station, part of these costs will potentially be off-set by the sale of the two existing fire station sites.

6.6. There will be other associated savings delivered by this proposal, including:

 Reduction of Personal Protective Equipment.

 Reduction in consumables and station maintenance costs.

 The new station will be more environmentally friendly and have energy efficiency technology.

6.7. The analysis undertaken for Gipton and Stanks has identified that there is considerable overlap in the existing Risk Based Planning Assumption isochrones (footprints) for these areas. This overlap represents a duplication of resource coverage and therefore one of the objectives for providing a more efficient service within these areas is to reduce this overlap. 14

10

Impact across West Yorkshire and Resilience

6.8 The reduction in pumping appliances in this area does have a small impact upon attendance times against the Risk Based Planning Assumptions across West Yorkshire for all incidents; performance is reduced by 0.3% for first appliances and 0.1% for second appliances. 4

6.9 In order to maintain WYFRS’s operational resilience, the fire appliance currently sited at Stanks will be relocated at the new fire station. This fire appliance will not be continually staff but will be activated during periods of anticipated or unanticipated high levels of operational activity and in response to significant events which could affect emergency response; such as wide area flooding, bonfire night, periods of bad weather or when attending very large incidents.

6.10 The use of Resilience Pumps supports WYFRS strategy of staffing the appropriate number of fire appliances for normal levels of activity and having the mechanisms to add further fire appliance when required. This strategy is important in maintaining an excellent fire and rescue service whilst meeting the efficiencies required by the reduction in public service budgets.

 

7. Conclusions

 

7.1 The existing fire stations at Gipton and Stanks are 3.7 miles apart and consolidating resources at a new fire station at a central location is an economic, effective and efficient way of providing fire and rescue services for these areas.

7.2 The provision of two front-line fire appliances constantly crewed by whole-time firefighters is still deemed appropriate for this area despite the success of previous year’s risk reduction activities.

7.3 Targeted risk reduction initiatives co-ordinated by the Leeds Outer North East, Inner North East and Outer East Local Area Risk Reduction Teams will be undertaken.

7.4 It is expected that the targets established for gathering safety critical risk information, will mitigate the impact upon the safety of WYFRS firefighters resulting from the removal of a pumping appliance from this area.

7.5 The introduction of a Resilience Pump will maintain three appliances in the area and support WYFRSs resilience arrangements

7.6 The consolidation of Gipton and Stanks resources at one central location together with the addition of a Resilience Pump will deliver significant efficiency savings whilst maintaining a high level of service delivery and providing employees with vastly improved accommodation facilities.

 

Replacing 424 and 425, two brand new Solo SRs have entered traffic on Ruddington Connection, along with a spare in a new Mango livery in the new-style Trent Barton brand.

 

498 pauses at Launceston Crescent on Ruddington Lane with a Ruddington Connection to Nottingham via Wilford Green and Trent Bridge.

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

 

Named: "Al Riggah".

 

First flown in May-95 with the Airbus test registration F-WWJJ, this aircraft was delivered to Kuwait Airways as 9K-AND in Jul-95.

 

After 22 years in service the aircraft was withdrawn from use and stored at Kuwait City in Jul-17.

 

It was thought to be permanently retired, however, after almost three years in storage it was ferried to Banjul (The Gambia, West Africa) in Mar-20 and sold to an unknown company as C5-AST.

 

It was stored at Banjul for another 19 months before being ferried to Johannesburg (No!) at the end of Oct-21.

 

It might have been flightplanned for Johannesburg but it shows up on FR24 (under 9K-AND) as flying for around 30 minutes. It never got higher than 9,000 feet and the trace was lost at 4,525 feet and descending towards Bissau, Guinea Bissau. Updated 15-Nov-21.

412 Pantsergenie Compagnie Zwaar

 

The YPR will soon be replaced by the Boxer.

1:87 scale Conrail GMC Brigadier dump truck. Stock kit from Showcase Miniatures, rear tires replaced with VK Modelle off road tires.

Replacing rail ties and spikes. www.dailydieseldose.com for more!

Replaced.

 

I need to get back to my roots.

At Wembley 66067 was replaced by two class 90s numbers 037 and 021 the wagons continuing on to Daventry under headcode 6B41.

 

DB Schenker Rail (UK) Ltd's class 66 (JT42CWR) number 66067 in English, Welsh and Scottish Railway maroon livery with zigzag gold band, large number and EWS logo works 6B20 from Dollands Moor to Wembley European Freight Operations Centre on 20 January 2015 hauling 27 Tonne (tare du wagon) G.E. Rail Services owned IZA (GE117CT Hfirrs 3) semi-perminantly coupled 4-wheeled CARGOWAGGON vans with shared running numbers built by Duewag. Having started out in France and passed through the channel tunnel each pair of vans is used to transport approximately 59,000 litters (59 Tonnes) of Danone bottled mineral water (eau minerale) in crates of PET (polyethylene terephthalate) bottles such as Evian imported from Évian-les-Bains in the French Alps and Volvic from the Massif Central. Evian bottled at the SAEME plant Post is transported by train (for a map of the route click here) from Évian-les-Bains to the UK via Publier, (Bellegarde Longeray or Annemasse?), Culoz, Ambérieu-en-Bugey, Bourg-en-Bresse, Louhans, Gevrey-Chambertin, Dijon-Perrigny, Chalons-en-Champagne, Reims, Longueau and Calais-Frethun. For Volvic the route is thought to be from the SEV bottling plant in Riom to the UK via Gannat, Saincaize, Vierzon, Valenton (Paris), Longueau and Calais Frethun. From Wembley this train continues on route to Crick under headcode 6B41 and is ultimately unloaded at a distribution warehouse at Daventry International Rail Freight Terminal (DIRFT).

 

A similar set of cargowaggon vans was photographed by Nicolas Villenave on 9 May 2014 returning empty passing through Écaillon (department Nord) on their way from Calais Frethun to Culoz railway junction in the Ain department in the Rhône-Alpes region of France, by Mattias Catry at Boisleux-au-Mont on 9 September 2012 and by Laurent Knop at Béthisy-St.-Pierre, Picardie in the Oise department on 12 March 2014. 66067 (works number 968702-067) was built by General Motors Electro-Motive Division, London, Ontario, Canada in 1998 and unloaded from the Heavy Lift Ship MV "Fairlift" at Newport Docks on 5 February 1999.

 

According to Realtime Trains the route and timings for 6B20 were;

Dollands Moor Sidings .........0707.........0727..........20L

Ashford International UML...0723.........0746 3/4..23L

Maidstone East [MDE] 1.........0750 1/2..0814 1/4....23L

Otford Junction[XOT]............0817 1/2....0839 1/2...22L

Swanley [SAY] 1.......................0829 1/2..0851...........21L

St Mary Cray Junction...........0835.........0856 1/4....21L

Bickley Junction[XLY]............0836 1/2..0859 1/4...22L

Bromley South [BMS].............0840.........0904 1/2...24L

Shortlands [SRT].....................0842.........0907.........24L

Shortlands Junction...............0843.........0909 1/2...26L

Voltaire Road Junction.........0906 1/2..0922..........15L

Latchmere Junction...............0911 1/2....0931 1/2....20L

Imperial Wharf [IMW] 2..........0915 1/2...0934 1/4....18L

West Brompton [WBP] 4.......0918..........0936 1/4....18L

Kensington Olympia .............0922........0938 3/4...16L

Shepherds Bush [SPB] 2.......0923.........0942..........19L

North Pole Signal Vc813.......0924 1/2..0944..........19L

North Pole Junction...............0925........0943 1/2....18L

Mitre Bridge Junction............0926 1/2..0946..........19L

Willesden West Londn Jn.....0928.........0947 1/2....19L

Wembley Eur Frt Ops Ctr.....0939.........0952..........13L

 

At Wembley 66067 was replaced by two class 90s numbers 037 and 021 the wagons continuing on to Daventry under headcode 6B41.

Wembley Eur Frt Ops Ctr................1143..........1308...........85L

Wembley Central [WMB] 5..............1148 1/2...1312 1/2......84L

Harrow & Wealdstone 5..................1154 1/2...1317 1/2......83L

Watford Junction [WFJ] 8................1202........1323 1/2......81L

Apsley [APS] 3....................................1209 1/2..1329 1/2.....79L

Hemel Hempstead [HML] 3............1211 1/2....1331.............79L

Bourne End Junction(Herts) ...........1213..........1332............79L

Berkhamsted [BKM] 3.......................1216 1/2...1335............78L

Tring [TRI] 3.........................................1222........1340 1/4.....78L

Ledburn Junction[XOD]...................1228.........1347............79L

Leighton Buzzard [LBZ] 3................1230.........1351 3/4......81L

Bletchley [BLY] 3...............................1237.........1400...........83L

Denbigh Hall South Junction.........1238 1/2..1401 1/4......82L

Denbigh Hall North Junction..........1240.........1402 1/4.....82L

Milton Keynes Central 3..................1242.........1403 3/4.....81L

Hanslope Junction[XHN].................1248.........1410 1/4......82L

Northampton [NMP] 1.......................1259........1428 1/2.....89L

Northampton Mill Lane Junction...1300 1/2..1501 1/4....120L

Long Buckby [LBK]............................1311...........1511 3/4....120L

Daventry South Junction.................1318..........1520 3/4..122L

  

The Postcard

 

A postcard bearing no publisher's name that was posted using a 2d. stamp in Weymouth, Dorset on Thursday the 4th. July 1957 to:

 

Miss Doswell,

77 Ryedale,

East Dulwich,

London SE.

 

The message on the divided back of the card was as follows:

 

"Dear Miss Doswell,

We are having a nice

holiday. We had a bad

storm on Tuesday night -

thunder and lightning

all night.

Nice yesterday and

today again.

We hope you are keeping

well.

We have just had a boat

trip around Portland

Harbour.

Best wishes,

Mr. & Mrs. Voak."

 

Weymouth

 

Weymouth is a seaside town in Dorset, England, situated on a sheltered bay at the mouth of the River Wey on the English Channel coast. The town is 11 kilometres (7 mi) south of Dorchester and 8 kilometres (5 mi) north of the Isle of Portland. The town's population in 2011 was 52,300.

 

Weymouth is a tourist resort, and its economy depends on its harbour and visitor attractions; the town is a gateway situated halfway along the Jurassic Coast, a World Heritage Site on the Dorset and east Devon coast, important for its geology and landforms.

 

Weymouth Harbour has provided a berth for cross-channel ferries, and is home to pleasure boats and private yachts, and nearby Portland Harbour is home to the Weymouth and Portland National Sailing Academy, where the sailing events of the 2012 Olympic Games and Paralympic Games were held.

 

The history of the borough stretches back to the 12th century; including involvement in the spread of the Black Death, the settlement of the Americas, the development of Georgian architecture, and a major departure point for the Normandy Landings.

 

Greenhill Gardens

 

Greenhill Gardens in the Greenhill suburb of Weymouth is a public garden positioned at the edge of the town centre, sloping up from the beach and promenade.

 

The Gardens were originally part of the Wilton Estate and were handed over as a gift to the local council in 1902 for 'the benefit of the inhabitants of Weymouth.'

 

Bennett's Shelter

 

Within the gardens, Bennett's Shelter, a benevolent donation made by Mayor V. H. Bennett, was constructed in 1919. The original shelter had lower wooden sections that have since been replaced by Portland stone walling, whilst the upper timber structure and tiled roof are essentially in their original form. The shelter continues to provide shelter to today's visitors.

 

The Schneider Trophy Weathervane

 

The Schneider Trophy weathervane is a memorial to the former Weymouth College student, Lieutenant George Stainforth, who set a world record air speed in a Schneider Supermarine S6B seaplane in 1931. The weather vane was originally presented to Weymouth College in 1932 as a memorial to Stainforth. Made of hardwood and covered in a copper sheath, the vane was erected above Weymouth College chapel in 1932, but moved for safety at the start of World War II.

 

The weathervane was later presented to the Borough Council and placed in the gardens in May 1952. In 1996, the vane had to be taken down after the effects of years of sea spray and coastal winds had taken their toll; however it was restored in 1999 by a local marine engineer.

 

The Floral Clock

 

In 1936, a floral clock with a cuckoo type chime was built by Ritchie & Sons of Edinburgh. The Company also designed the famous floral clock in Princes Street Garden in Edinburgh.

 

It features an adjacent clock house, holding the original mechanism that keeps the clock ticking. The clock house has two holes in the side where the noise of a cuckoo comes out.

 

Since its creation, it has become one of the most popular features of the gardens.

 

The Wishing Well

 

In the late 1980's, a wishing well, donated by Melcombe Regis Rotary Club, was introduced into the lower gardens, and any monies thrown into the well are collected and presented to a local charity.

 

The Tennis Courts

 

In 2006, the council were considering plans to erect a large restaurant on the tennis courts in the Gardens. This plan was received with almost universal dismay, and was subsequently shelved.

 

The Floral Bedding Design

 

Each year a large crescent shaped bed is given over to a charity or organisation which is celebrating a significant anniversary. The Gardeners painstakingly plant out thousands of tiny bedding plants, and where necessary, use coloured gravel to replicate the selected organisation's logo.

 

Eleanor Boucher

 

The gardens were highlighted on national news in the summer of 2009 when pensioner Eleanor Boucher from Glastonbury, Somerset, found a postcard from Weymouth on her doormat of the gardens.

 

After looking at it for a few moments she realised she was there - sunning herself in the picture taken 17 years before as a photographer snapped the shot for the postcard as Boucher and her two daughters enjoyed a family day trip to Weymouth in 1992.

 

Seventeen years later, her brother-in-law and his wife, who were visiting the resort, picked out the postcard by chance without noticing her in the picture.

 

Jenny Seagrove

 

So what else happened on the day that the card was posted?

 

Well, the 4th. July 1957 marked the birth of the English actress Jenny Seagrove.

 

She trained at the Bristol Old Vic Theatre School, and first came to attention in the film Local Hero (1983), as well as playing the lead in a television dramatisation of Barbara Taylor Bradford's A Woman of Substance (1984).

 

Jenny starred in the thriller Appointment with Death (1988) and William Friedkin's horror film The Guardian (1990). She later played Louisa Gould in Another Mother's Son (2017).

 

Jenny is known for her role as the character of Jo Mills in the long-running BBC drama series Judge John Deed (2001–07). Her credits as a voiceover artist include a series of Waitrose television advertisements.

 

-- Jenny Seagrove - The Early Years

 

Jenny was born in Kuala Lumpur, Malaya (now Malaysia) to British parents, Pauline and Derek Seagrove. Her father ran an import-export firm, which afforded the family a privileged lifestyle.

 

When Seagrove was less than a year old, her mother suffered a stroke, and was unable to care for her. Seagrove attended St. Hilary's School in Godalming, Surrey, from the age of nine.

 

After leaving school, Seagrove attended the Bristol Old Vic Theatre School, in spite of her parents' wishes for her to have a career as a professional cook.

 

Seagrove developed bulimia in her early adulthood, but recovered:

 

"I could feel myself tearing my stomach,

and I kind of pulled out of it. It was a

very slow process."

 

-- Jenny Seagrove's Career

 

(a) Theatre

 

Seagrove's theatre work includes the title role in Jane Eyre at the Chichester Festival Theatre (1986); Ilona in The Guardsman at Theatr Clwyd (1992); and Bett in King Lear in New York, again at Chichester (1992).

 

Jenny played opposite Tom Conti in Present Laughter at the Globe Theatre (1993); Annie Sullivan in The Miracle Worker at the Comedy Theatre (1994); and Dead Guilty with Hayley Mills at the Apollo Theatre (1995).

 

She played in Hurlyburly for the Peter Hall Company when the production transferred from the London Old Vic to the Queen's Theatre (1997); co-starred with Martin Shaw in the Parisian thriller Vertigo (Theatre Royal Windsor October 1998) and then with Anthony Andrews (also Windsor, 1998).

 

In 2000 she appeared in Brief Encounter at the Lyric Theatre; followed by Neil Simon's The Female Odd Couple at the Apollo (2001). Again at the Lyric Theatre in 2002 she played the title role in Somerset Maugham's The Constant Wife, followed by a revival of David Hare's The Secret Rapture in 2003, and The Night of the Iguana two years later in 2005.

 

Coming to the West End from a UK tour, she played Leslie Crosbie in Maugham's The Letter at Wyndham's Theatre (2007), co-starring with Anthony Andrews.

 

In December 2007, Jenny played Marion Brewster-Wright in the Garrick Theatre revival of Alan Ayckbourn's dark, three-act comedy Absurd Person Singular.

 

In 2008, she and Martin Shaw starred in Murder on Air, at the Theatre Royal, Windsor.

 

In 2011, Jenny once again starred alongside Martin Shaw in The Country Girl at the Apollo Theatre, playing the part of Georgie Elgin.

 

In early 2014, she appeared as Julia in a revival of Noël Coward's Fallen Angels. The production was produced by her partner Bill Kenwright, and also starred Sara Crowe.

 

In 2015, she and Martin Shaw starred in an adaptation of Brief Encounter, using an original radio script from 1947 and staged as "A live broadcast from a BBC radio studio", at the Theatre Royal Windsor.

 

Returning to the West End in October 2017, Seagrove played Chris MacNeil in The Exorcist at the Phoenix Theatre.

 

(b) Film

 

Jenny Seagrove starred alongside Rupert Everett in the Academy Award-winning short film A Shocking Accident (1982), directed by James Scott. Her first major film appearance was in Local Hero (1983) in which she played a mysterious environmentalist with webbed feet.

 

Roles in a number of films including Savage Islands (1983) opposite Tommy Lee Jones, and Appointment with Death (1988) followed.

 

One of her lead starring roles was in The Guardian (1990), directed by William Friedkin, in which she played an evil babysitter.

 

In 2017, she played the lead role in Another Mother's Son, starring as Louisa Gould, a member of the Channel Islands resistance movement during World War II, who famously sheltered an escaped Russian slave worker in Jersey and was later gassed to death in 1945 at Ravensbrück concentration camp.

 

(c) Television

 

Seagrove first came to mass public attention in the 10-episode series of the BBC production Diana (1984) adapted from an R. F. Delderfield novel, in which she played the title role as the adult Diana Gaylord-Sutton (the child having been played in the first two episodes by Patsy Kensit).

 

Seagrove starred in two American-produced television miniseries based upon the first novels of Barbara Taylor Bradford: as Emma Harte in A Woman of Substance (1984) and Paula Fairley in Hold the Dream (1986).

 

Jenny portrayed stage actress Lillie Langtry in Incident at Victoria Falls (1992), a UK made-for-television film. As the female lead, Melanie James in the film Magic Moments (1989), she starred with John Shea, who played the magician Troy Gardner with whom she falls in love.

 

Seagrove, along with Simon Cowell, presented Wildlife SOS (1997), a documentary series about the work of dedicated animal lovers who save injured and orphaned wild animals brought into their sanctuary.

 

Most of Seagrove's filmed work since 1990 has been for television. Between 2001 and 2007, she appeared as QC Jo Mills in the series Judge John Deed. She was the subject of This Is Your Life in 2003 when she was surprised by Michael Aspel.

 

With John Thaw she guest starred in the episode "The Sign of Four" (1987) of the series Sherlock Holmes. She also guest starred in episodes of Lewis ("The Point of Vanishing", 2009) and Identity ("Somewhere They Can't Find Me", 2010).

 

A few years later, she appeared in the series Endeavour (the prequel to the Inspector Morse series), in the episode "Rocket" (2013).

 

-- Jenny Seagrove's Personal Life

 

Seagrove is an animal rights activist and an advocate for deregulation of the herbal remedy industry in the United Kingdom, and promotes a vegetarian diet.

 

Since 1994, her partner has been the theatrical producer Bill Kenwright, chairman of Everton F.C. The couple appeared together as contestants on a charity edition of ITV1's Who Wants to Be a Millionaire?, winning £1,000. They also appeared together on a celebrity edition of the BBC's Pointless which aired on 3 January 2014.

 

Seagrove was previously married to British and Indian actor Madhav Sharma from 1984 to 1988​, and then dated film director Michael Winner from 1989 until 1993.

 

-- Mane Chance Sanctuary

 

Mane Chance Sanctuary is a registered charity that provides care for rescued horses, based in Compton, Guildford. The charity aims:

 

"To provide sanctuary and relief from suffering

for horses, while promoting humane behaviour

to all animals and mutually beneficial relationships

with people who need them".

 

Mane Chance Sanctuary was established in 2011 by Seagrove, who stepped in to support a friend facing financial difficulties. Seagrove was able to secure land on Monkshatch Garden Farm, and has since grown the charity which today cares for over 30 horses using a unique system of equine welfare.

 

The charity's trustees include the actor Sir Timothy Ackroyd and the philanthropist Simrin Choudhrie. The chairman is James McCarthy.

 

In 2014, she performed a duet alongside singer Peter Howarth called The Main Chance, as part of a promotion for the Mane Chance Sanctuary.

 

Lonnie Donegan

 

Also on that day, the Number One chart hit record in the UK was 'Gambling Man' by Lonnie Donegan.

 

Lonnie Donegan

 

Also on that day, the Number One chart hit record in the UK was 'Gambling Man' by Lonnie Donegan.

 

Anthony James Donegan MBE, who was born in Bridgeton, Glasgow, on the 29th. April 1931, was known as Lonnie Donegan. He was a British skiffle singer, songwriter and musician, referred to as the "King of Skiffle", who influenced 1960's British pop and rock musicians.

 

Born in Scotland and brought up in England, Donegan began his career in the British trad jazz revival, but transitioned to skiffle in the mid-1950's, rising to prominence with a hit recording of the American folk song "Rock Island Line" which helped spur the broader UK skiffle movement.

 

Donegan had 31 UK top 30 hit singles, 24 were successive hits and three were number one. He was the first British male singer with two US top 10 hits.

 

Donegan received an Ivor Novello lifetime achievement award in 1995, and in 2000 he was awarded an MBE. Donegan was a pivotal figure in the British Invasion due to his influence in the US in the late 1950's.

 

-- Lonnie Donegan and Traditional Jazz

 

As a child growing up in the early 1940's, Donegan listened mostly to swing jazz and vocal acts, and became interested in the guitar.

 

Country & western and blues records, particularly by Frank Crumit and Josh White, attracted his interest, and he bought his first guitar at 14 in 1945.

 

He learned songs such as "Frankie and Johnny", "Puttin' on the Style", and "The House of the Rising Sun" by listening to BBC radio broadcasts. By the end of the 1940's he was playing guitar around London and visiting small jazz clubs.

 

Donegan first played in a major band after Chris Barber heard that he was a good banjo player and, on a train, asked him to audition. Donegan had never played the banjo, but he bought one for the audition, and succeeded more on personality than talent.

 

Lonnie's stint with Barber's trad jazz band was interrupted when he was called up for National Service in 1949, but while in the army at Southampton, he was the drummer in Ken Grinyer's Wolverines Jazz Band at a local pub.

 

A posting to Vienna brought him into contact with American troops, and access to US records and the American Forces Network radio station.

 

In 1952, he formed the Tony Donegan Jazzband, which played around London. On the 28th. June 1952 at the Royal Festival Hall they opened for the blues musician Lonnie Johnson.

 

Donegan adopted Lonnie's first name as a tribute. He used the name at a concert at the Royal Albert Hall on the 2nd. June 1952.

 

In 1953, after cornetist Ken Colyer was imprisoned in New Orleans over a visa problem, he returned to Great Britain and joined Chris Barber's band. The band's name was changed to Ken Colyer's Jazzmen before making their first public appearance on the 11th. April 1953 in Copenhagen.

 

The following day, Chris Albertson recorded Ken Colyer's Jazzmen and the Monty Sunshine Trio—Sunshine, Barber, and Donegan—for Storyville Records. These were amongst Donegan's first commercial recordings.

 

-- Lonnie Donegan and Skiffle

 

While in Ken Colyer's Jazzmen with Chris Barber, Donegan sang and played guitar and banjo in their Dixieland set.

 

He began playing with two other band members during the intervals, to provide what posters called a "skiffle" break, a name suggested by Ken Colyer's brother, Bill, after the Dan Burley Skiffle Group of the 1930's. In 1954 Colyer left, and the band became Chris Barber's Jazz Band.

 

With a washboard, tea-chest bass, and a cheap Spanish guitar, Donegan played folk and blues songs by artists such as Lead Belly and Woody Guthrie.

 

This proved popular, and in July 1954 he recorded a fast version of Lead Belly's "Rock Island Line", featuring a washboard but not a tea-chest bass, with "John Henry" on the B-side.

 

The record was a hit in 1956, but because it was a band recording, Donegan made no money beyond his session fee. It was the first debut record to go gold in the UK, and it reached the Top Ten in the United States. It also later inspired the creation of a full album, An Englishman Sings American Folk Songs, released in America on the Mercury label in the early 1960's.

 

The Acoustic Music organisation made this comment about Donegan's "Rock Island Line":

 

"It flew up the English charts. Donegan had

synthesized American southern blues with simple

acoustic instruments: acoustic guitar, washtub bass,

and washboard rhythm. The new style was called

'Skiffle'.... and referred to music from people with

little money for instruments. The new style captivated

an entire generation of post-war youth in England."

 

Lonnie's next single for Decca, "Diggin' My Potatoes", was recorded at a concert at the Royal Festival Hall on the 30th. October 1954.

 

Decca dropped Donegan thereafter, but within a month he was at the Abbey Road Studios in London recording for EMI's Columbia label. He had left the Barber band, and by the spring of 1955, had signed a recording contract with Pye.

 

Lonnie's next single "Lost John" reached No. 2 in the UK Singles Chart.

 

He appeared on television in the United States on the Perry Como Show and the Paul Winchell Show.

 

Returning to the UK, he recorded his debut album, Lonnie Donegan Showcase, in summer 1956, with songs by Lead Belly and Leroy Carr, plus "Ramblin' Man" and "Wabash Cannonball". The LP sold hundreds of thousands of copies.

 

The skiffle style encouraged amateurs, and one of many groups that followed was the Quarrymen, formed in March 1957 by John Lennon. Donegan's "Gamblin' Man"/"Puttin' On the Style" single was number one in the UK in July 1957, when Lennon first met Paul McCartney.

 

Lonnie's Skiffle rendition of Hank Snow's Country song "Nobody's Child" was also the inspiration for Tony Sheridan's blues version which he recorded with the Beatles as his backing band.

 

Donegan went on to successes such as "Cumberland Gap" and "Does Your Chewing Gum Lose Its Flavour on the Bedpost Overnight?", which was his biggest hit in the US.

 

Lonnie turned to music hall style with "My Old Man's a Dustman" in 1960. This was not well received by skiffle fans, and unsuccessful in America, but it reached number one in the UK.

 

Donegan's group had a flexible line-up, but was generally Denny Wright or Les Bennetts playing lead guitar and singing harmony, Micky Ashman or Pete Huggett—later Steve Jones—on upright bass, Nick Nichols—later Pete Appleby, Mark Goodwin, and Ken Rodway on drums or percussion, and Donegan playing acoustic guitar or banjo and singing the lead.

 

His last hit single on the UK chart was his cover version of "Pick a Bale of Cotton." Ironically, or perhaps appropriately, his fall from the chart coincided with the rise of The Beatles and the other beat music performers whom he inspired.

 

-- Lonnie Donegan's Later Career

 

Donegan recorded sporadically throughout the 1960's, including sessions at Hickory Records in Nashville with Charlie McCoy, Floyd Cramer, and the Jordanaires. After 1964 he was a record producer at Pye Records. Justin Hayward was one of the artists with whom he worked.

 

Donegan was not popular through the late 1960's and 1970's (although his "I'll Never Fall in Love Again" was recorded by Tom Jones in 1967 and Elvis Presley in 1976), and he began to play the American cabaret circuit.

 

A departure from his normal style was a cappella recording of "The Party's Over". Capella means a purely vocal recording with no musical backing.

 

Donegan reunited with the original Chris Barber band for a concert in Croydon in June 1975. A bomb scare meant that the recording had to be finished in the studio, after an impromptu concert in the car park. The release was titled The Great Re-Union Album.

 

He collaborated with Rory Gallagher on several songs, notably "Rock Island Line" with Gallagher performing most of the elaborate guitar work.

 

Lonnie had his first heart attack in 1976 while in the United States, necessitating quadruple bypass surgery. He returned to prominence in 1978 when he recorded his early songs with Rory Gallagher, Ringo Starr, Elton John, and Brian May. The album was called Putting on the Style.

 

A follow-up featuring Albert Lee saw Donegan in less familiar country and western vein.

 

By 1980, he was making regular concert appearances again, and another album with Barber followed. In 1983, Donegan toured with Billie Jo Spears, and in 1984 he made his theatrical debut in a revival of the 1920 musical Mr Cinders.

 

More concert tours followed, with a move from Florida to Spain. In 1992 Lonnie had further bypass surgery following another heart attack.

 

In 1994, the Chris Barber band celebrated 40 years with a tour with both bands. Pat Halcox was still on trumpet (a position he retained until July 2008).

 

Donegan had a late renaissance when in 2000 he appeared on Van Morrison's album The Skiffle Sessions – Live in Belfast 1998, an acclaimed album featuring him singing with Morrison and Chris Barber, with a guest appearance by Dr John.

 

Donegan also played at the Glastonbury Festival in 1999, and was made an MBE in 2000.

 

Donegan also appeared at Fairport Convention's annual music festival on the 9th. August 2001. His final CD was This Yere de Story.

 

-- Peter Donegan

 

Peter Donegan started touring as his father's pianist when he was aged 18. In 2019, Peter appeared on the show The Voice as a contestant, and dueted with Tom Jones with a song Lonnie had written for Tom, "I'll Never Fall in Love Again". Anthony Donegan also performs under the name, Lonnie Donegan Jr.

 

-- Lonnie Donegan's Private Life and Death

 

Donegan was the son of an Irish mother (Mary Josephine Deighan) and a Scots father (Peter John Donegan), a professional violinist who had played with the Scottish National Orchestra.

 

In 1933, when Donegan was aged 2, the family moved to East Ham in Essex. Donegan was evacuated to Cheshire to escape the Blitz in the Second World War, and attended St. Ambrose College in Hale Barns. He lived for a while on Chiswick Mall in Middlesex.

 

Donegan married three times. He had two daughters (Fiona and Corrina) with his first wife, Maureen Tyler (divorced 1962), a son and a daughter (Anthony and Juanita) with his second wife, Jill Westlake (divorced 1971), and three sons (Peter, David and Andrew) with his third wife, Sharon whom he married in 1977.

 

Lonnie Donegan died on the 3rd. November 2002, aged 71, after having a heart attack in Market Deeping, Lincolnshire mid-way through a UK tour. He died before he was due to perform at a memorial concert for George Harrison with the Rolling Stones.

 

-- The Legacy of Lonnie Donegan

 

Mark Knopfler released a tribute to Lonnie Donegan titled "Donegan's Gone" on his 2004 album, Shangri-La, and said that Lonnie was one of his greatest influences.

 

Donegan's music formed a musical starring his two sons. It was called Lonnie D – the musical took its name from the Chas & Dave tribute song which started the show.

 

Subsequently, Peter Donegan formed a band to perform his father's material, and has since linked with his father's band from the last 30 years with newcomer Eddie Masters on bass.

 

They made an album together in 2009 titled Here We Go Again. Lonnie Donegan's eldest son, Anthony, also formed his own band, as Lonnie Donegan Junior, who also performed "World Cup Willie" for the 2010 FIFA World Cup in South Africa.

 

On his album A Beach Full of Shells, Al Stewart paid tribute to Donegan in the song "Katherine of Oregon". In "Class of '58" he describes a British entertainer who is either Donegan or a composite including him.

 

In a 2023 video interview with Steve Houk, Al Stewart stated:

 

"'Rock Island Line' is a record that completely

changed the complexion of English society,

and changed my life and everybody else's".

 

Peter Sellers recorded Puttin' on the Smile featuring "Lenny Goonagain", who travels to the "Deep South" of Brighton and finds an "obscure folk song hidden at the top of the American hit parade", re-records it and reaches number one in the UK.

 

David Letterman pretended to try to remember Jimmy Fallon's name during the Tonight Show conflict between Jay Leno and Conan O'Brien, calling Fallon "Lonnie Donegan."

 

In the 2019 movie Judy, the actor John Dagleish portrays Lonnie Donegan, who replaces an ill Judy Garland. He is shown in the (entirely fictional) final scene generously allowing her to make one last appearance on stage.

 

-- Quotations Relating to Lonnie Donegan

 

"He was the first person we had heard of from

Britain to get to the coveted No. 1 in the charts,

and we studied his records avidly. We all bought

guitars to be in a skiffle group. He was the man."

– Paul McCartney

 

"He really was at the very cornerstone of English

blues and rock."

– Brian May.

 

"I wanted to be Elvis Presley when I grew up,

I knew that. But the man who really made me

feel like I could actually go out and do it was

a chap by the name of Lonnie Donegan."

– Roger Daltrey

 

"Remember, Lonnie Donegan started it

for you."

– Jack White's acceptance speech at

the Brit Awards.

 

-- Final Thoughts From Lonnie Donegan

 

"I'm trying to sing acceptable folk music. I want to

widen the audience beyond the artsy-craftsy crowd

and the pseudo intellectuals–but without distorting

the music itself." NME – June 1956

 

"You know in my little span of life I've come across

such a sea of bigotries and prejudices. I get so fed

up with it now. I feel I have to do something about it."

- BBC Panorama

 

"In Britain, we were separated from our folk music

tradition centuries ago, and were imbued with the

idea that music was for the upper classes. You had

to be very clever to play music. When I came along

with the old three chords, people began to think

that if I could do it, so could they. It was the

reintroduction of the folk music bridge which did

that." – Interview, 2002.

To replace modern construction vehicles at the Théâtre Antique d'Orange (a UNESCO site)? The theater is one of the best preserved ancient Roman theaters -- bulit early in the first century A.D, (during the reign of the Roman Emperor Augustus) and likely renewed in the 2nd century A.D. Its back wall is roughly the equivalent of a 10-story building (37 meteres tall), and was originally covered in marble. Built into the hillside, a semi-circle of stepped seats provide seating for 7,000 people.

 

The theater was used for its intended purpose for many centuries; but, eventually, it was viewed as merely a supply house for handy construction materials (the marble, the building blocks, etc.). Finally, the back wall was used as a 4th wall for other buildings and houses popped up in the interior space. In a more enlightened era, restoration of the theater commenced in 1825; and in 1869, it was once again used for its intended purpose, and has been ever since.

 

Located in Orange, Vaucluse, Provence-Alpes-Côte-d’Azur, southern France.

Replacing an earlier scanned photo with a better version 08-Jan-21.

 

First flown in Aug-00 with the Boeing test registration N1786B, it was re-registered N1015B two days later for Boeing test flights.

 

The aircraft was delivered to Hapag-Lloyd Airlines as D-AHFT in Dec-00. It was fitted with blended winglets in Apr-01. The aircraft was sold to a lessor in Dec-03 and leased back to Hapag-Lloyd.

 

Hapag-Lloyd was renamed Hapagfly.com in Nov-05 and renamed again in Nov-06 as TUIfly.com. It was wet-leased to CanJet Airlines (Canada) in Dec-08, returning to TUIfly in May-09.

 

In Nov-10 the aircraft was wet-leased to TUIfly Nordic for the winter, returning to TUIfly.com in Apr-11. TUIfly.com was renamed TUI Airlines Germany at the end of Oct-17. The aircraft was withdrawn from service and stored at Hanover, Germany in Mar-20 due to the COVID-19 Pandemic.

 

It returned to service in early Jul-20. The aircraft was withdrawn from service in Nov-21 and parked at Hannover, Germany. It was ferried to Roswell, NM, USA in Dec-21, returned to the lessor as EI-GYO and stored.

 

The aircraft was ferried to Vilnius, Lithuania in Jul-22 for further storage. In Apr-23 it was leased to Go2Sky Airlines (Slovak Republic) as OM-GTJ and wet-leased to TUI Airlines Germany three days later.

 

At various times during the 2023 summer season it also operated for TUI Nordic, TUI Netherlands, TUI Belgium and TUI UK, returning to Go2Sky in Sep-23. During the 2023/24 winter season the aircraft was wet-leased to JetTime (Denmark), TUI Germany, Seven Air (Denmark) and Air Explore (Czechia).

 

In Apr-24 the aircraft was leased to TUI Airways UK for the 2024 summer season. Current, updated 11-Aug-24.

Bath, New York. April 2014.

 

In 2013, Tractor Supply remodeled a former P&C supermarket and moved in while Save a Lot relocated from an old location elsewhere in Bath into a former Eckerd that was never a Rite Aid.

 

This Sign used to house both companies logos.

Southbound I-5 between the Convention Center and I-90 was reduced to one lane over President’s Day weekend to replace several aging expansion joints. Replacing the old joints helps prevent emergency repairs in the future, which are costly and can cause unplanned backups during rush hour.

Replaced August 2021 after adding more blacks and contrast.

The entire roof, ceiling and plasterwork were replicated in their entirety to replace that lost in the fire. The new roof is an all-timber construction based on traditional mortise and tenon joints using queen post-trusses for its basic structure and finished with Blue-Bangor slates each measuring 600mm x 900mm. Below that, a barrel vault ceiling was also installed, constructed of timber and overlaid with riven chestnut lathes to which the base plaster was applied. Plastering was carried out by George O’Malley Plastering Ltd and the work supervised by master-plasterer George O’Malley, who has many years expertise in restoring and creating decorative plasterwork. Traditional methods using lime plaster mixed with goat-hair/horsehair to reproduce as far as possible the original designs as well as new moulds. There were also the 28 plaster angels originally produced by local plasterer Terence Farrell (1787-1876) for the sum of £150. All were damaged in the fire and 26 angels were recoverable which were restored by George O’Malley, the remaining two were reproduced. These were hung back in their original positions above the free-standing limestone columns.

 

This photo shows the northern part of the nave and above are semicircular Diocletian windows containing leaded stained glass by James Scanlon. Those opposite on the southern side have art-glass windows by Kim en Joong, a Dominican priest based in Paris.

 

St Mel’s of Longford town is the cathedral church for the diocese of Ardagh and Clonmacnoise. Ambitious plans for a fine church building in Longford began to take form after the Catholic Emancipation Act of 1829 and became a reality when sufficient funds had been collected. Construction began in 1840 with the laying of the foundation stone which was taken from the original cathedral of St. Mel at Ardagh, only a few miles from Longford. The main body of the new cathedral was completed in 1856 to a neo-classical design by the architect Joseph Benjamin Keane, work having been delayed during the period of the Great Famine (1846 and recommenced 1853). After Joseph’s death in 1849, work was continued after by his assistant John Bourke (d.1871) who was also responsible for the belfry tower completed in 1860, but with major alterations to its original design. The neo-classical portico was designed by George Coppinger Ashlin (1837-1921) and completed in 1889 with its pediment and sculpted tympanum depicting the enthronement of St. Mel as Bishop of Ardagh along with three statues above the pediment. By this time, the cathedral building has taken on its definitive form with no further major alterations until its refurbishment after the devastating fire of 2009.

 

On 25th December 2009, the entire building was gutted by a fire which accidently started within the boiler chimney flue at the rear and quickly spread. The alarm was raised just after 5am but fire-fighting attempts were hampered by frozen pipes as the country was in the grip of one of its worst and prolonged periods of freezing temperatures for decades. By daylight, the entire building had been reduced to a burnt-out shell with the loss of all its furnishing, fittings and diocesan museum. The museum contained many priceless artefacts that included the Crozier of Saint Mel and the book-shrine of St. Caillin (1536), the latter damaged beyond restoration but it may be possible to conserve some of the remnants. The 28 supporting columns were also damaged beyond repair and had to replaced anew. Very little was recoverable that survived the worst of the 1,000 deg.C fire and even these suffered some degree of fire damage such as The Bell of Fenagh which is undergoing conservation treatment at the National Museum of Ireland and the original baptismal font with its brass fittings and surrounding mosaic floor. But the most puzzling of all and described by many as nothing short of a miracle was the survival of the Holy Family painting in the northern transept and the undamaged Eucharistic Host still inside the fire damaged tabernacle. The Holy Family oil painting on a cotton-based canvas should have readily gone up in flames due to its highly combustible materials but somehow survived relatively unscathed despite the intense fire around it. This painting was of Italian origins by an unknown artist and is now back on display requiring little more than a cleaning!

 

After five years of work by many expert disciplines using traditional methods, the cathedral building has been totally refurbished and which included quarried blue-limestone for 28 columns with hand-carved capitals that support the roof. Both Harry Clarke Studio windows were salvaged from the transepts and restored to their former glory by Abbey Stained Glass Ltd of Dublin, a company with much experience in the restoration of stained glass windows. Other replacements such as the wooden pews, alter, stained glass, Stations of the Cross tablets, pipe-organ, fixtures and fitting were all made in a modern style to the best materials and craftsmanship available. It is also planned to open a diocesan museum in the cathedral’s new crypts. The total cost of refurbishment and fitting out came to around €30 million, funded mostly from the insurance cover and after five years of hard work the cathedral was reopened for services at Christmas 2014.

 

Photos taken Thursday 22nd January 2015.

  

References:

 

www.facebook.com/StMelsRestoration (St Mel’s Cathedral restoration – Facebook page).

 

www.rte.ie/news/special-reports/2014/1215/667007-longford... (RTE News article about TV program The Longford Phoenix).

 

www.longfordtourism.ie/event/st-mels-cathedral-rise-from-...

 

irishcatholic.ie/sites/default/files/styles/large/public/... (Sculptor Ken Thompson working on one of his Stations of the Cross panels).

 

en.wikipedia.org/wiki/St_Mel%27s_cathedral,_Longford

 

l7.alamy.com/zooms/5e9904767cdb4317b39e15ee189488c3/shrin... (Image of St. Caillin book shrine created in 1536 before it was damaged beyond repair in the 2009 fire at St. Mel’s cathedral).

 

www.alamy.com/stock-photo-st-mels-crozier-longford-cathed... (Image of the 10th century St. Mel’s Crozier and sadly, completely destroyed in the cathedral fire of 2009).

 

www.youtube.com/watch?v=PVb7TQy4QAM (Engineers Ireland presentation titled Recreating the Historical Roof of St. Mel's Cathedral).

  

Nazi, Neo-Pagan 'Christmas', Picture reproduced in: 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates

The Swastika replaces the star on top of the Christmas tree.

en.wikipedia.org/wiki/Nazi_persecution_of_the_Catholic_Ch...

 

Lying, atheist propaganda about Christians being in league with the Nazis - and that the Pope and Catholic Church were complicit in the persecution and of Jews has been propagated and spread by militant, atheist fanatics and other anti-Christian bigots since the end of the 2nd world war.

 

The truth ...

Hitler and the Nazis were pagan, naturalist, occultists with racial superiority and eugenics policies based on the writings of the German Darwinist, Ernst Haeckel.

They were haters of Christianity and, just like the atheists in all the brutal, communist regimes, their ultimate aim was to eliminate Christianity.

 

"We live in an era of the ultimate conflict with Christianity. It is part of the mission of the SS to give the German people in the next half century the non-Christian ideological foundations on which to lead and shape their lives. This task does not consist solely in overcoming an ideological opponent but must be accompanied at every step by a positive impetus: in this case that means the reconstruction of the German heritage in the widest and most comprehensive sense."

— Heinrich Himmler, 1937

 

Here is the real history in "Facts and Documents Translated from the German" and published at the time.

Frontispiece from 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates

www.flickr.com/photos/truth-in-science/14425597587

 

"The Persecution of the Catholic Church in the Third Reich" Published in 1940 is full (565 pages) of translated copies of original Nazi documents and cartoons lambasting the Church from the 1930's - 1940.

 

What about quotes from Hitler's writing and speeches, frequently presented by atheists, which allegedly show that Hitler supported Christianity?

It is well known that what Hitler said and what Hitler actually did were two entirely different things. Hitler didn't want to risk antagonising Christians in Germany. So he attempted to give the impression that he was on their side, however, the actions of the Hitler's National Socialist Party proved the exact opposite, as shown in this book.

 

And - even if Hitler claimed to be Christian, he couldn't have been, because he directly opposed the teaching of Jesus and the Church. This means he was an heretic and therefore would be automatically excommunicated.

Anyone who knows anything about Christianity knows that simply calling oneself Christian doesn't make one Christian. An heretic cannot be a Christian.

 

So Hitler and the Nazis were not Christian, they totally disregarded Christian, moral teaching and the Ten Commandments.

They believed in situational ethics and moral relativism (which is the essence of the atheist, Humanist Manifesto) just as Stalin, Mao and all the atheist tyrants of the 20th century did.

 

So Hitler's moral and ethical values were akin to atheist morals and ethics, inasmuch as they had no definitive yardstick. The Nazis abandoned the moral and ethical values of Christianity and were left with ephemeral ethics - which are reliant only on the situation, opinion or fashion. Just like the Humanist Manifesto, with no definitive, moral yardstick or inalienable, God-given rights, there can be no moral or ethical absolutes - right can be deemed to be wrong, and wrong can be deemed to be right. It varies according to the situation or what is judged to be 'necessary'. it is a recipe for tyranny.

 

Hitler was not strictly an atheist in belief, but he was similar in his ethical and moral relativism.

His ideology is best described as Darwinian inspired paganism. There are documents in this book which prove the Nazis were pagans, not Christians.

There are also documents reproduced in the book which prove that the Church hierarchy did not support the Nazis, that is why so many priests etc. were arrested, imprisoned and tortured on trumped-up charges.

 

So we know that, as Hitler rejected the teaching of Jesus on morals, he could not possibly be a Christian, regardless of what anyone claims.

The moral values of Christianity are the Ten Commandments and the values espoused in the teaching of Jesus and His Apostles.

Anyone who rejects those values, cannot claim to either be a Christian or to be acting as a Christian. They are based on two principles of loving God and loving one's neighbour (and even enemies) as oneself.

Every Christian has to aspire to those principles. If they fail through weakness they are guilty of sin, for which they can be forgiven with sincere repentance. If they deliberately reject those moral principles they forfeit the right to call themselves Christian. So, it is not possible for a true Christian to knowingly support a tyrannical regime such as the Nazis or the Communists, which murders, tortures or persecutes innocent people. If they do, they cease to be Christians, no matter what they may claim to the contrary.

 

www.flickr.com/photos/truth-in-science/14425393220

It is obvious from the Nazi cartoon in the image above that the Nazis themselves certainly didn't think the Church or Pope were complicit in supporting Nazism. On the contrary, they obviously thought the Church was complicit in supporting the Jews. Which was in fact, the real truth as presented in the book below - written by a Jewish Rabbi.

 

'The Myth of Hitler's Pope' - How Pope Pius XII rescued Jews from the Nazis. by Jewish Rabbi David G Dalin.

www.amazon.com/gp/product/0895260344/ref=cm_cr_dpvoterdr?...

 

What about books, such as; 'Hitler's Pope' by the journalist John Cornwell, which claim that Pope Pius XII was complicit in the persecution and murder of Jews by keeping quiet about the crimes of the Nazis?

 

Cornwell's book has been completely discredited.

 

Catholics who attended church in Nazi Germany were left in no doubt that the Church opposed the Nazi regime well before 1940.

'The Persecution of the Catholic Church in the Third Reich' 1940 - has page after page of contemporary source material, such as translated copies of Pastoral letters, Encyclicals and Sermons issued by Bishops, Archbishops and Cardinals read in German churches at the time, including one from a combined Pastoral of Bishops, which criticise the National Socialists and point out the Nazis opposition to Catholicism and Christian civilisation.

Furthermore, Cardinal Pacelli, who became Pius XII, was one of them. And he was singled out for vilification by the Nazis in the Nazi publications of the Schwarze Corps.

 

 

So the idea that Catholics didn't know that the Church opposed Hitler and the Nazis is complete balderdash.

 

Catholic newspapers and publications were systematically banned or censored at the time. So Encyclicals and sermons were the only voice the Church had within Germany.

All German radio and newspapers were controlled by the Nazis. They wouldn't have publicised any public pronouncement by the Pope or any other opposition from the Catholic Church.

So the Church certainly wasn't silent - or complicit with the Nazis. And thousands of Catholics and priests were imprisoned, tortured and executed for being in league with Jews and also falsely accused of being in league with Freemasons and Communists.

The Nazis considered the Catholic Church (and other Christians) an enemy within.

 

And overwhelming evidence shows that the Pope was actively organising the escape of thousands of Jews from the Nazis. Vatican Radio had to keep the Pope's involvement out of the news in order not to undermine or damage the rescue effort.

The Pope was well aware that antagonising the Nazis with worldwide, public pronouncements from Vatican Radio would lead to an increased crackdown on priests and other Catholics who were working undercover to help Jews escape. It would have been completely counterproductive.

 

It is very significant that the Jewish Historian, Martin Gilbert, the biographer of Winston Churchill, who knew much more than Cornwell, or any other historical 'revisionists' wanted Pope Pius to be given the title Righteous among Nations.

 

“As one of the world’s leading experts on the Holocaust and WWII, Sir Martin was well aware of the lifesaving efforts of Pope Pius XII, most especially to save the Jews from the barbarism of the Nazi regime,” Krupp told the Register. “It was Sir Martin who encouraged me to nominate Eugenio Pacelli (Pope Pius XII) to Yad Vashem to be named ‘Righteous Among Nations.’”

"In an interview in 2007, Gilbert explained how the wartime pope’s interventions and protestations directly helped to save 4,700 Jewish lives in Rome and that 477 Jews were given refuge in the Vatican. He also documented other ways in which Pius XII rescued Jews persecuted by the Nazis."

"In an earlier interview in 2003, he hoped his research would “restore, in a way, on the foundation of historical fact, the true and wonderful achievements of Catholics in helping Jews during the war.

Pave the Way Foundation also filmed an interview with Gilbert, during which he discussed his personal research on the actions of Pope Pius XII during World War II.

He was eager to see the Holocaust museum Yad Vashem open a file on Pius to study his worthiness to be included in the institution’s “Department of the Righteous.” He also wanted to see the wartime archives opened to the public so that historians could better understand Pius’ role."

 

Sir Martin Gilbert estimates the Catholic Church saved up to half a million Jewish lives.

books.google.co.uk/books?id=KQvGxx1qG90C&pg=PA191&...

 

Of course, this is all available in the public domain, but still atheists and other anti-Christian bigots persist in ignoring the truth and continue to propagate distortions and lies. Their motivation is not historical accuracy, but militant, ideological fanaticism.

www.flickr.com/photos/truth-in-science/21486403228

www.flickr.com/photos/truth-in-science/21487545830

Replacing an earlier photo from Jun-14 with a better version.

 

First flown with the Airbus test registration F-WWII, this aircraft was delivered to the CIT Leasing Corporation and leased to Cebu Pacific Air as RP-C3247 in May-08. It was returned to the lessor in May-14 and leased to Nouvelair Tunisie as TS-INR the following month. The aircraft was sub-leased to NAS Air (National Air Services, Saudi Arabia) between Aug/Oct-15. It was also sub-leased to Air Algerie between Nov-15/Jan-16. Current (May-18).

Conrails red class marker lights are alight on the 8753 as a west bound freight waits at SEPTA's Cheltenham Station, for the SEPTA' dispatchers permission to proceed.

Replacing the 1928-31 Model A, the new 1932 Ford was identified by a rounded off body coloured grill shell. It got a new strengthened chassis to take the just released flathead V8 option, the fuel tank was relocated from the cowl to the lower rear. Again available in Standard or Deluxe, the Deluxe got the cowl lights, chrome window frame and a better interior (woodgrain and dome lights)

There were 2 and 4 door sedans, 2 door roadster, cabriolet, 3 and 5 window coupes, sport coupe panel and pickup, 4 door phaeton and woody wagon.

The 32 Ford was not only built in the US but also in many countries including Australia and New Zealand.

Engine; 50hp 201 cu in 4 cyl (Model B) or 65hp 221 cu in V8 (Model 18)

Rathfarnham Castle.

 

Origins:

 

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

 

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

 

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

 

Civil war:

 

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

 

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

 

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

 

The eighteenth century:

 

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

The castle in 1774

 

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

 

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

 

The nineteenth and twentieth centuries:

 

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

 

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

 

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

 

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

 

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

 

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

 

Preservation:

 

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

Replacing an earlier scanned photo with a better version 25-Aug-19.

 

Operated by CityFlyer Express in British Airways livery with the -Whale Rider- Canada World Tail (right side).

 

First flown with the ATR test registration F-WWEV in May-96, the aircraft was stored at Toulouse before deliverery to Cityflyer Express as G-BXTN in Oct-97. Cityflyer were (and still are) a British Airways franchise partner and the aircraft was operated on behalf of British Airways Express. It was returned to ATR as F-WQNR in Aug-03 and stored at Dinard, France. In Feb-04 the aircraft became G-BXTN again when it was leased to Aurigny Air Services (Guernsey). It was returned to the lessor in Apr-09 as F-WKVC. In Jun-09 it was leased ro RAM Royal Air Maroc Express as CN-COD. It was returned to ATR in Dec-11 and sold to Aircraft Solutions Lux V-B Sarl with the Manx registration M-ABEG, then leased to fly540africa.com (Angola) as D2-FLC. Fly540 Angola ceased operations in May-14 and the aircraft was stored. It was returned to the lessor in Jan-16 as M-ABEG and continues in storage.

Jackson, MS (est. 1821, pop. 165,000)

 

• original name is said to have been “Caesar’s Palace Auditorium” • the story goes that the owner, a man named Caesar, was black • city officials, seeing Caesar's name on the building's painted sign, ordered him remove it • assuming the story is accurate, the carefully centered placement of the current sign suggests that not just the word "Caesar's," but the entire original sign was replaced —Tony Dennis, proprietor of Dennis Brothers Shoe Repair, Failed and Forgotten Dreams on Jackson’s Farish Street

 

"This street had three grocery stores and four furniture stores. Myles Peanut was across the street. Mr Myles was Italian. There were some Jews and black business owners. It was mixed here. Palace Auditorium was across the street. Duke Ellington, Count Basey, Louis Armstrong, Cab Callaway, B.B. King and Dinah Washington all played here. I saw Steve Wonder with five blind boys holding hands and walking down the street. That was before he was Stevie Wonder. You could go into Daddy Reed’s with 27 cents and come out fat as a pig. We walked through the front door at any story down here. Straight through the front door. There was dignity and respect and no signs that said ‘colored.’ It was beautiful." —"Dr. Shoemaker," Our Southern Souls

 

• it's the only building on the block listed as a Farish Street Historic District contributing property • according to a an engineering report, stands on the verge of collapse —Mississippi Business Journal

 

• “The redevelopment is just an effort to get us out of here so that the white folks can take over,” he said. “They need to tear it all down. They’ve waited too late.” —Tony Dennis

 

The Farish Street Historic District

 

“but out of the bitterness we wrought an ancient past here in this separate place and made our village here.” —African Village by Margaret Walker (1915-1998)

 

• during the Reconstruction era that followed the American Civil War, white Southerners struggled to reclaim their lives as millions of black Southerners sought new ones • with the stroke of a pen, the Emancipation Proclamation had transformed African slaves into African Americans & released them into a hostile, vengeful & well-armed white community amid the ruins of a once flourishing society

 

• the antebellum South had been home to over 262,000 rights-restricted "free blacks" • post-emancipation, the free black population soared to 4.1 million • given that the South had sacrificed 20% of it's white males to the war, blacks now comprised over half the total population of some southern states • uneducated & penniless, most of the new black Americans depended on the Freedman's Bureau for food & clothing

 

• the social & political implications of the sudden shift in demographics fueled a violence-laced strain of conventional American racism • in this toxic environment, de facto racial segregation was a given, ordained as Mississippi law in 1890 • with Yankees (the U.S. Army) patrolling the city & Maine-born Republican Adelbert Ames installed in the Governor's Mansion, the Farish Street neighborhood was safe haven for freedmen

 

• as homeless African American refugees poured into Jackson from all reaches of the devastated state, a black economy flickered to life in the form of a few Farish Street mom-and-pops • unwelcome at white churches, the former slaves built their own, together with an entire neighborhood's worth of buildings, most erected between 1890 & 1930

 

• by 1908 1/3 of the district was black-owned, & half of the black families were homeowners • the 1913-1914 business directory listed 11 African American attorneys, 4 doctors, 3 dentists, 2 jewelers, 2 loan companies & a bank, all in the Farish St. neighborhood • the community also had 2 hospitals & numerous retail & service stores —City Data

 

• by mid-20th c. Farish Street, the state's largest economically independent African American community, had become the cultural, political & business hub for central Mississippi's black citizens [photos] • on Saturdays, countryfolk would come to town on special busses to sell produce & enjoy BBQ while they listened to live street music • vendors sold catfish fried in large black kettles over open fires • hot tamales, a Mississippi staple, were also a popular street food —The Farish District, Its Architecture and Cultural Heritage

 

“I’ve seen pictures. You couldn’t even get up the street. It was a two-way street back then, and it was wall-to-wall folks. It was just jam-packed: people shopping, people going to clubs, people eating, people dancing.” — Geno Lee, owner of the Big Apple Inn

 

• as Jackson's black economy grew, Farish Street entertainment venues prospered, drawing crowds with live & juke blues music • the musicians found or first recorded in the Neighborhood include Robert Johnson, Sonny Boy Williamson II & Elmore James

 

• Farish Street was also home to talent scouts & record labels like H.C. Speir, & Trumpet Records, Ace Records • both Speir & Trumpet founder Lillian McMurry were white Farish St. business owners whose furniture stores also housed recording studios • both discovered & promoted local Blues musicians —The Mississippi Encyclopedia

 

• Richard Henry Beadle (1884-1971), a prominent Jackson photographer, had a studio at 199-1/2 N. Farish • he was the son of Samuel Alfred Beadle (1857-1932), African-American poet & attorney • born the son of a slave, he was the author of 3 published books of poetry & stories

 

• The Alamo Theatre was mainly a movie theater but periodically presented musical acts such as Nat King Cole, Elmore James & Otis Spann • Wednesday was talent show night • 12 year old Jackson native Dorothy Moore entered the contest, won & went on to a successful recording career, highlighted by her 1976 no. 1 R&B hit, "Misty Blue" [listen] (3:34)

 

• in their heyday, Farish Street venues featured African American star performers such as Bessie Smith & the Rabbit Foot Minstrels, Louis Armstrong, Count Basie, Duke Ellington & Dinah Washington played Farish Street venues —Farish Street Records

 

• on 28 May, 1963, John Salter, a mixed race (white/Am. Indian) professor at historically black Tougaloo College, staged a sit-in with 3 African American students at the "Whites Only" Woolworth's lunch counter in downtown Jackson • they were refused service • an estimated 300 white onlookers & reporters filled the store

 

• police officers arrived but did not intercede as, in the words of student Anne Moody, "all hell broke loose" while she and the other black students at the counter prayed • "A man rushed forward, threw [student] Memphis from his seat and slapped my face. Then another man who worked in the store threw me against an adjoining counter." • this act of civil disobedience is remembered as the the signature event of Jackson's protest movement —L.A. Times

 

"This was the most violently attacked sit-in during the 1960s and is the most publicized. A huge mob gathered, with open police support while the three of us sat there for three hours. I was attacked with fists, brass knuckles and the broken portions of glass sugar containers, and was burned with cigarettes. I'm covered with blood and we were all covered by salt, sugar, mustard, and various other things." —John Salter

 

• the Woolworth Sit-in was one of many non-violent protests by blacks against racial segregation in the South • in 1969 integration of Jackson's public schools began • this new era in Jackson history also marked the beginning of Farish Street's decline —The Farish Street Project

 

"Integration was a great thing for black people, but it was not a great thing for black business... Before integration, Farish Street was the black mecca of Mississippi.” — Geno Lee, Big Apple Inn

 

• for African Americans, integration offered the possibility to shop outside of the neighborhood at white owned stores • as increasing numbers of black shoppers did so, Farish Street traffic declined, businesses closed & the vacated buildings fell into disrepair

 

• in 1983, a Farish St. redevelopment plan was presented

• in 1995 the street was designated an endangered historic place by the National Trust for Historic Preservation

• in the 1990s, having redeveloped Memphis' Beale Street, Performa Entertainment Real Estate, was selected to redevelop Farish St

• in 2008, The Farish Street Group took over the project with plans for a B.B. King's Blues Club to anchor the entertainment district

• in 2012, having spent $21 million, the redevelopment — limited to repaving of the street, stabilizating some abandoned buildings & demolishing many of the rest — was stuck in limbo —Michael Minn

 

• 2017 update:

 

"Six mayors and 20 years after the City of Jackson became involved in efforts to develop the Farish Street Historic District, in hopes of bringing it back to the bustling state of its heyday, the project sits at a standstill. Recent Mayor Tony Yarber has referred to the district as “an albatross.” In September of 2014, the U.S. Department of Housing and Urban Development sanctioned the City of Jackson, the Jackson Redevelopment Authority, and developers for misspending federal funds directed toward the development of the Farish Street Historic District. Work is at a halt and "not scheduled to resume until December 2018, when the City of Jackson repays HUD $1.5 million." —Mississippi Dept. of Archives & History

 

• Farish Street Neighborhood Historic District, National Register # 80002245, 1980

The factory premium sound system was buggered. My friend Will donated this old Pioneer in dash and I reworked the original faceplate to hold it.

Rathfarnham Castle on a sunnier day.

 

Origins:

 

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

 

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

 

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

 

Civil war:

 

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

 

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

 

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

 

The eighteenth century:

 

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

The castle in 1774

 

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

 

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

 

The nineteenth and twentieth centuries:

 

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

 

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

 

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

 

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

 

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

 

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

 

Preservation:

 

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

+++ DISCLAIMER +++

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

  

Some background:

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

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

 

Like the Pinto, the Model 63 was a mid-wing, tricycle landing gear trainer with an enclosed cockpit. What made the Model 63 unusual was a pull/push tandem engine arrangement, similar to the Cessna 336/337 that was under development at the same time. The Temco Model 63 was driven by two small Turbomeca Bastan IV turboprop engines, each developing 650 shp (485 kW).

 

The rationale behind this layout were the compact dimensions, actually, the aircraft was not bigger than the single engine TT-1. Studies undertaken during the early design stages had shown that a classic layout with wing-mounted engines would have necessitated a considerably higher wing span and a longer fuselage, too. Another benefit was the improved safety of two engines, esp. during envisioned long navigation flights over the open sea, and the Bastan engines gave the Model 63 the ability to fly safely even with one of the engines shut down.

 

Compared with the TT-1’s small jet engine, the propellers gave the Model 63 a better responsiveness to pilot input and the turboprop engines offered a very good fuel economy, while enabling almost the same performance as the single jet precursor. Furthermore, the two engines gave instructors the option to simulate different flight regimes, while the tandem arrangement helped avoid torque and asymmetrical thrust issues. Besides, the T2T was equipped with many of the same features found in contemporary operational jets, including ejection seats, liquid oxygen equipment, speed brakes, along with typical flight controls and instrument panels.

 

Anyway, the unusual layout came at a price: it necessitated a totally different tail section with twin tail booms and a single, high stabilizer connecting them at the tips of the fins. Despite familiar outlines, only parts of the TT's outer wings and the cockpit could be used on the Model 63 - the rest had to be re-designed and/or strengthened, so that the aircraft's overall weight became markedly higher than the TT's. Despite this drawback, officials became interested enough in the turboprop trainer program to procure a pre-series for trials and direct comparison with jet- and piston-engine alternatives.

 

The aircraft received the official designation T2T. Like the Pinto, the T2T was intended as a primary trainer, so it carried no internal armament but could be outfitted with wing tip tanks and had two underwing hardpoints for 500 lb each, placed outside of the strengthened landing gear. These hardpoints were reserved for auxiliary tanks, cargo boxes, smoke generators or camera pods.

 

The first XT2T maiden flight took place in summer 1959. Flight characteristics were considered good, and, compared with the earlier TT-1, the machine was not as underpowered (which was a problem during landing abortions and touch-and-go manoeuvers). After initial tests with two more prototypes in summer 1960, a batch of five YT2T-1 pre-production aircraft, which were updated to the intended serial production standard and incorporated some minor modifications, was ordered and directly sent to the Naval Air Test Center (NATC) Patuxent River.

 

Results were generally positive, so that a further batch of 24 aircraft were produced as T2T-1s between 1962 and 1963. These aircraft served in the Air Training Command at Pensacola, Florida and used in a training program demonstration testing the feasibility of using jet- and turboprop-powered trainer for primary flight training.

 

The tests were not conclusive, though, and no further T2Ts ordered. The 'Buckskin', how the aircraft was christened unofficially, was pleasant to fly and offered very good performance. But the aircraft was – esp. for its limited role – complex. Maintenance costs were high, and the authorities were never really happy about the French engines on board of the home-grown trainer type.

 

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

  

General characteristics:

Crew: two

Length: 32 ft 7 in (9.93 m)

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

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

Wing area: 150 sq ft (13.9 m2)

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

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

 

Powerplant:

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

 

Performance:

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

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

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

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

Endurance: 2.5 hr

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

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

 

Armament:

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

2x optional wing tip tanks

  

The kit and its assembly:

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

 

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

 

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

 

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

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

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

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

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

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

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

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

 

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

 

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

 

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

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

  

Painting and markings:

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

 

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

 

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

  

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

 

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

Experiment with little light

 

+++ DISCLAIMER +++

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

 

Some background:

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

 

Since it was unclear which basic wing design would be most appropriate for the new high speeds, OKB MiG hesitantly brought forth several test aircraft which sported different wing shapes, so that direct comparison could be done. These were the Ye-1, which featured 57° swept wings, much like the MiG-19, the Ye-4, which featured a delta wing with an identical sweep, and finally the Ye-3, which featured a very thin but moderately swept wing - certainly inspired by the contemporary development of the radical F-104 Starfighter in the USA, which featured a duty profile which was very similar to the new Soviet tactical fighter's requirements.

 

All three aircraft did not go unnoticed from NATO intelligence, and since it was not clear whether these machines would eventually end up in front service, all received code names, which were, respectively, 'Faceplate', 'Fishbed' and 'Filbert'. As a side note, NATO expected the 'Faceplate' design to be the most likely to enter front service - but eventually it became the 'Fishbed'!

 

The original Ye-3 used a fuselage and tail of the other prototypes. Beyond the different wings, it featured a modified landing gear which had to be completely retracted into the fuselage, due to the wings' thinness. Since the internal space inside of these thin wings also restricted internal fuel capacity - compared to the Ye-1 and Ye-4 - the aircraft carried drop tanks on its wing tips, while the armament, two IR-guided short range missiles, would be carried under the wings on two hardpoints. These could alternatively carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre. Two NR-30 30mm guns with 50 belt-fed RPG in the lower fuselage complemented the missile ordnance.

 

The original Ye-3 prototype was powered by an AM-11 engine rated at 8.580 lbf dry thrust and 11.200 lbf at full afterburner. It was the last of the test machine trio to fly: aptly coded "31 Blue" it made its maiden flight on 4th of April 1956 with OKB Mikoyan's chief test pilot Gheorgiy K. Mosolov at the controls. It was immediately clear that the aircraft had poor directional stability. It tended to spin at lower speeds, and at higher speeds the tailplane became ineffective. Handling was hazardous, and after just four test flights the aircraft had to be grounded.

 

It took until December 1956 that a satisfactory control surface solution could be found. Wind tunnel test had suggested that the horizontal stabilizer had to be moved much higher - higher than on the other prototypes, which already progressed in their test programs. The reworked Ye-3/1 featured a completely new T-tail arrangement with trapezoidal stabilizers which had little left in common with the other test types and made the aircraft look even more like a F-104 copy.In order to enhance the stability problem further, the ventral strakes had been enlarged and the fin chord slightly deepened. This new configuration was successfully tested on 21st 1956 of December.

 

At that time, a second Ye-3/1 was close to completion. Featuring the tactical code "32 Blue", this aircraft was powered by the new R-11 engine, an uprated AM-11 rated at 8.536 lbf dry and 12.686 lbf with afterburner. The same engine was soon re-fitted to "31 Blue", too, and during 1956 and 1957 both machines took part in the extensive trials program for the MiG-21, how the new fighter should be known in service.

 

"31 Blue" crashed on 30th of May 1958 due to hydraulic failure, even though the pilot was able to escape unharmed - just one day before another test aircraft, a Ye-6/1 (a modified swept-wing aircraft) crashed, too. Anyway, it was already becoming clear that the delta wing offered the best overall performance, being slightly superior to the swept-wing design. The straight, thin wing, though, was considered unsatisfactory and a dead end. The Ye-3/1 remained a touchy aircraft and was not popular among the test pilots. Compared to the swept or delta wing, the aircraft's agility was good, but it did not offer any significant benefit in speed, rate of climb or range and its poor directional stability was the biggest shortcoming. Additionally, the fact that starting and landing from improvised air strips was much more hazardous than with the other design types if not impossible with the small wings and tires) the Ye-3 was axed in January 1960 with no further development perspectives.

 

"32 Blue" survived the test phase, but eventually ended up as an instrcutional airframe at the Kharkov Aviation Institute without wings and fin.

  

General characteristics:

Crew: One

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

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

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

Wing area: 18 m² (196,1 ft²)

Aspect ratio: 7.3:1

Empty weight: 4.820 kg (10.617 lb)

Loaded weight: 7.844 kg (17.277 lb)

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

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

 

Performance

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

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

Range: 850 ml (1.370 km)

Service ceiling: 19.000 m (62.320 ft)

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

 

Armament:

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

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

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

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

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

   

The kit and its assembly:

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

 

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

 

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

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

 

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

 

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

 

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

 

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

  

Painting:

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

 

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

 

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

 

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

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

  

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

Replaces the 737 Service

Some background:

The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).

Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.

 

At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.

A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).

 

Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.

 

The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.

A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.

 

The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.

  

Building the kit and its display box:

I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.

 

The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.

 

Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!

 

As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.

 

I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).

Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.

 

The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.

 

The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.

The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.

 

Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.

 

Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.

As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!

 

The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!

  

Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.

 

The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.

The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.

Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.

 

At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.

 

In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.

 

Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.

  

Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.

 

Many thanks for your visits, faves and comments. Cheers.

 

Australian Water Dragon

This is an The Eastern Water Dragon Intellagama lesueurii lesueurii, is a subspecies that occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland Water Dragon Intellagama lesueurii howittii (there are a lot of young ones around Sandy Camp Rd Wetlands at the moment)

Scientific Name: Intellegama lesueurii

Identification: The genus Physignathus was described by George Cuvier (1769-1832) in 1829 based on the type specimen of the genus; the Green Water Dragon, Physignathus cocincinus of south-east Asia. The name Physignathus translates to "puff-cheek" and refers to the bulging appearance of the throat and lower jaw. Physignathus comprises two recognised species; Physignathus lesueurii and Physignathus concincinus. The specific name lesueurii honours the French naturalist Charles-Alexandre Lesueur (1778-1846) who collected this species on the Baudin expedition of 1800. There are two recognised subspecies of Water Dragon; the Eastern Water Dragon, Physignathus lesueurii lesueurii and the Gippsland Water Dragon, Physignathus lesueurii howittii. A recent taxonomic review concluded that the Australian species of Physignathus shows enough differing characteristics to classify it in its own genus, since Physignathus was first assigned to P. cocincinus, a new genus hand to be created for the Australian Water Dragons. In 2012 the species was officially renamed Itellagama lesueurii.

 

The Water Dragon can be identified by a distinctively deep angular head and nuchal crest of spinose scales that joins the vertebral crest extending down the length of its body to the tail. Enlarged spinose scales are also present across the lateral surface, unevenly distributed amongst regular keeled scales. The jowls are large and ear is exposed and of almost equal size of the eye. The dorsal ridge and tail are laterally compressed and the limbs are strong and robust with particularly long toes on the hind legs. The tail is capable of regeneration when lost, furthermore, regenerated tails can also grow back when severed.

 

Colouration differs between the subspecies; the Eastern Water Dragon, Itellagama lesueurii lesueurii, has a grey to brownish-grey colour above with patterns of black stripes along the dorsal ridge as well as down the tail. There is also a dark stripe horizontally from the eye back over the tympanum and extending down the neck. The limbs are mostly black with spots and stripes of grey and the tail is patterned with grey and black stripes. The ventral surface is yellowish-brown, with the chest and upper belly becoming bright red in mature males.

 

The Gippsland Water Dragon, Itellagama lesueurii howittii, is identical in morphology apart from slightly smaller spinose scales but differs in colouration and patterning. Dorsally the body is olive-green to brown in colour with transverse black stripes. The dark stripe from the eye to ear is absent. Mature males have dark blue-green chests and streaks of yellow and blue around the neck and throat.

Size range: Total length of 80 to 90cm

Distribution: Water Dragons are found in eastern Australia as well as southern New Guinea. The Eastern subspecies, Itellagama lesueurii lesueurii, occurs along the east coast of Australia from Cooktown in the north down to the New South Wales south coast (approximately at Kangaroo Valley) where it is replaced with the Gippsland subspecies Itellagama lesueurii howittii, which is distributed as far south and into the Gippsland region of eastern Victoria. There are also at least one anthropologically introduced feral population found in the Mount Lofty Ranges near Adelaide in South Australia.

Habitat: The habitats available to this species differ greatly over its distribution, from tropical rainforest in the north to alpine streams in the south. Flowing water with ample tree cover and basking sites appear to be the key to habitat preference for this species. Water dragons will be found in built-up urban areas provided that the above conditions can be found and water quality is fair.

Feeding and Diet: Water Dragons are completely insectivorous as juveniles, however as they grow they become more omnivorous with vegetable matter gradually making up to almost half of the diet. In the wild Water Dragons have been observed ground feeding on insects such as ants as well as foraging amongst the branches of trees for arboreal invertebrates like cicadas. They may also consume molluscs and crustaceans such as yabbies, and individuals have been reported foraging for algae and crabs in intertidal zones of the Sydney region. Juvenile Water Dragons have also been observed feeding on mosquitoes which they will jump in the air to catch. Types of vegetation reportedly consumed include figs, lilly-pilly fruits, and other fruits and flowers. Water Dragons are believed to forage underwater, however this is based on one observation of diving Water Dragons returning to the surface and moving their jaws.

Other behaviours and adaptations: The Water Dragon is more often heard than seen as it dives into the water when disturbed. It can remain submerged for around one hour. This species has a much lower preferred body temperature than other large dragons and can remain in the water or in shade on hot days. They are often seen on overcast days or in the morning basking in the available heat.

 

Water Dragons have quite contrasting activity patterns that are dependent on the season and average daily temperature within its range. During spring and summer, Water Dragons of all ages and sizes can be seen in the various riparian environments they inhabit - basking on riverbanks and rocks, lounging in trees, swimming, as well as foraging for food on land. They can sometimes be hard to observe, and even animals accustomed to human attention will be quick to escape if approached too closely, by either dropping from rock ledges and branches into the water or running bipedally to the water or thick cover. Young Water Dragons prefer to be on the ground and appear to be more wary than the larger adults. Juveniles of I. l. lesueurii have been observed staying completely still when discovered in a grassed section metres from the water, relying heavily on their dull grey camouflage to blend in with the grass and fallen leaves.

Life cycle: Growth rate is fastest in the first year with hatchings from one mark-recapture project growing 2.25mm or 1.25g per month. One individual measured in its first season in March 1990 was 78mm from snout to vent and weighed 17g. The following year in January this same individual had a snout to vent length of 101mm and was 34g.

Mating and reproduction

 

The timing of breeding is determined by the onset of warmer weather in spring which occurs sooner in populations inhabiting northern Queensland and later in populations living in Gippsland. In the Sydney region, the breeding season begins in September, when courtship and mating begins, and concludes in January when the last clutches of eggs are laid.

 

Males are thought to be sexually mature at a snout-vent length of about 210 mm and a mass of 400 g. In the wild this occurs at approximately 5 years of age; in captivity however this can occur as early as 2 years. A single captive female was recorded reproducing from the age of 4 until it was 27 years of age. It is unclear how long males can remain reproductive.

 

Males of similar size will fight each other when confronted. A male will first attempt to deter his opponent through intimidation, e.g. by walking tall and puffing out the throat with the mouth open wide (see Image 18), and will try to appear as large as possible. If this does not deter the opponent, then ritual combat will result. Male combat includes both animals siding up to each other on the ground so that each animal has its head next to its opponentâs hip area. Both animals will circle each other while taking short bites at each others hip and neck regions. Then they may stop still before erupting into action and repeating this pattern over several more times. Before the end of the battle both opponents will have wounds from biting and scratching on their hips and necks. Fighting between wild males has been observed lasting for ten minutes.

 

Females can reproduce twice a season in captivity; however this has not been reported in mark-recapture studies of wild populations.

 

Females begin digging test holes in sandy soil from a week to three days prior to laying. Water Dragon clutch size ranges from 6 to 18. Mean mass of individual eggs varies from about 4.0 to 5.1g.

Predators, Parasites and Diseases

 

Small Water Dragons have been observed being taken by Brown Tree Snakes Boiga irregularis which hunt for them in the tree branches as they sleep. Other species of snakes known to prey on juvenile Water Dragons include Death Adders Acanthophis antarcticus, Copperheads Austrelaps superbus and Red-bellied Black Snakes Pseudechis porphyriacus. Hatchlings and young dragons are also known to be cannibalised by adult Water Dragons in some wild populations.

(Source: Australian Museum)

  

© Chris Burns 2017

__________________________________________

 

All rights reserved.

 

This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.

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.

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

∞

 

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

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

Improving laboratory safety. Plastic flask, beaker, and cylinder replacing glass in a chemistry laboratory.

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

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

 

Early Lufthansa CityLine livery.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Built between 1921 and 1926, this Renaissance Revival-style Cathedral Basilica was designed by Emile Ulrich as a shrine paying homage to the Blessed Mother Mary. The basilica replaced the previous St. Patrick’s Parish Church, a Gothic Revival-style structure that stood on the same site that was damaged by fire in 1916, leading to temporary repairs, with Father Nelson Baker, whom built up the surrounding charitable institutions that were once located in a series of red brick Queen Anne-style buildings around the basilica, subsequently making plans for a new, grander church to replace the old building. Dedicated as a shrine to the Virgin Mary, the basilica was constructed with funds from a direct-mail fundraising club, which sourced funding from across the United States, and was built without incurring debt in the process.

 

The church was complete enough by late 1925 to hold its first worship services, with the first mass being held on Christmas in 1925, with the church being consecrated in May of 1926, with the church being elevated to the status of Minor Basilica by Pope Pius XI in July of 1926, being the second church being bestowed the title in the United States, with The Basilica of Saint Mary in Minneapolis, Minnesota preceding it by five months.

 

The building originally featured two 165-foot-tall towers that were inspired by Portuguese Renaissance and Baroque architecture, but a thunderstorm in 1941 saw the towers struck by lightning and severely damaged, being lowered and simplified into their present form, with copper domes replacing what used to be the third tier of the towers, shortening them considerably, and the remaining portion of the towers being fully enclosed. This has led to the dome over the crossing being made more dominant in the building’s profile and front facade, with the original towers having stood as tall as the lantern on top of the dome, unbalancing the hierarchy of the composition to lean more towards the dome in the back, with it no longer being balanced as it originally was by the towers in the front.

 

The building is clad in marble with green copper on the domes, with the largest dome, located at the crossing of the nave and transepts, being 165 feet in height, and holding the distinction when completed in 1925 of being the second-largest dome in the United States, only surpassed in size by the dome atop the United States Capitol. However, much larger domes have since been built than the one on either building. The dome features a lantern at the top, and four copper statues of angels with trumpets, which are positioned at 90 degree intervals around the base, shifted 45 degrees from the rest of the building. The building features a multi-tiered massing with setbacks at the semi-circular apse on the rear facade, with roman arched and oxeye stained glass windows, a high gabled central nave and transepts with low shed and hipped-roofed aisles to either side, a recessed arched portion of the front facade between the base of the two towers with statues above a first floor portico with a domed copper roof and doric columns at the main entrance to the building, flanked by pilasters, quoins at the corners of the bases of the towers, and arcing colonnades flanking the front facade, with sculptures atop the ends, doric columns and pilasters, and pediments at the end bay of the colonnades. The interior of the basilica is richly decorated with murals, sculptures, classical columns and pilasters, an organ loft above the entrance, multiple tabernacles around the perimeter of the sanctuary, an ornate high altar with sculptures and spiraling stone columns with ionic capitals, African mahogany pews, and stone floors with multiple colors creating a decorative composition.

 

The basilica is in active use as the primary Catholic church for Lackawanna and South Buffalo, as well as being a popular pilgrimage site for devout Catholics in the Buffalo region. The basilica is part of the Diocese of Buffalo, though the diocese is seated at St. Joseph Cathedral in Downtown Buffalo.

Belgian postcard by Bromophoto, Bruxelles. Photo: Columbia CEIAD.

 

Jack Palance (1919-2006) was an American actor and singer who portrayed some of the most intensely despised villains witnessed in Westerns and melodramas of the 1950s. In the late 1950s, he became an international star, who often played in Spaghetti Westerns and in the Nouvelle Vague classic Le Mépris (1963) with Brigitte Bardot. He was nominated for three Academy Awards for Best Actor in a Supporting Role, winning an Oscar for his grizzled, eccentric role in City Slickers (1991).

 

Jack Palance was born Vladimir Ivanovich Palahniuk in Lattimer Mines, Pennsylvania, in 1919. He was one of the six children of Ukrainian immigrants, Anna (née Gramiak) and Ivan Palahniuk, an anthracite coal miner. After his father had died of black lung disease, the sensitive, artistic lad worked in coal mines before becoming a professional boxer in the late 1930s. Fighting under the name Jack Brazzo, Palance reportedly compiled a record of 15 consecutive victories with 12 knockouts before losing a close decision to future heavyweight contender Joe Baksi in a Pier-6 brawl. With the outbreak of World War II, Palance's athletic career ended, and his military career began as a member of the United States Air Force. He was honourably discharged from the United States Army Air Forces in 1944. After the war, he attended Stanford University, leaving one credit shy of graduating to pursue a career in the theatre. During his university years, he worked as a short-order cook, waiter, soda jerk, lifeguard at Jones Beach State Park, and a photographer's model. His new last name, Palance, was a derivative of his original name. No one could pronounce his last name, and it was suggested that he be called Palanski. From that, he decided just to use Palance instead. In 1947, Palance made his Broadway debut in The Big, playing a Russian soldier, directed by Robert Montgomery. His acting break came as Marlon Brando's understudy in A Streetcar Named Desire, and he eventually replaced Brando on stage as Stanley Kowalski. He debuted on television in 1949 and made his screen debut as a gangster in the Film Noir Panic in the Streets (Eliz Kazan, 1950). As a plague-carrying fugitive, he stood out among a powerhouse cast including Richard Widmark and Paul Douglas. The same year, he made fine use of his former boxing skills and war experience for the film Halls of Montezuma (Lewis Milestone, 1951) about the United States Marines in World War II. He returned to Broadway for Darkness at Noon (1951), by Sidney Kingsley, which was a minor hit. Palance was second billed in just his third film, playing opposite Joan Crawford in the thriller Sudden Fear (David Miller, 1952). According to Gary Brumburg at IMDb, Palance found “the right menace and intensity to pretty much steal the proceedings”, and he received an Oscar nomination for Best Supporting Actor. He was nominated in the same category the following year as well, for his role as the hired gunfighter Jack Wilson in Shane (George Stevens, 1953). Brumburgh again: “arguably his finest villain of the decade, that of creepy, sadistic gunslinger Jack Wilson, who becomes Alan Ladd's biggest nightmare (not to mention others) in the classic Western Shane (1953). Their climactic showdown alone is textbook. “ Shane was a huge hit, and Palance was now established as a film name. He played another villain in Second Chance (Rudolph Maté, 1953) opposite Robert Mitchum and was an Indian in Arrowhead (Charles Marquis Warren, 1953), opposite Charlton Heston. He got a chance to play a heroic role in the thriller Flight to Tangier (Charles Marquis Warren, 1953). Palance played the lead in Man in the Attic (Hugo Freegonese, 1953), a remake of The Lodger (1927), the classic silent film by Alfred Hitchcock. Palance was Attila the Hun in Sign of the Pagan (Douglas Sirk, 1954) with Jeff Chandler, and Simon Magus in the Ancient World epic The Silver Chalice (Victor Saville, 1954) with Paul Newman. He had the star part in I Died a Thousand Times (Stuart Heisler, 1955), a remake of High Sierra and was cast by Robert Aldrich in two star parts: as a Hollywood star in the Film Noir The Big Knife (1955) based on the play by Clifford Odets; and as a tough WW II soldier in Attack (1956). He was in a Western, The Lonely Man (Henry Levin, 1957), playing the father of Anthony Perkins, and played a double role in House of Numbers (Russell Rouse, 1957). In 1957, Palance won an Emmy Award for best actor for his portrayal of Mountain McClintock in the Playhouse 90 production of Rod Serling's Requiem for a Heavyweight.

 

In the following years, Jack Palance became an international star. He was hired by British Warwick Films to play the hero in The Man Inside (John Gilling, 1958). He was reunited with Robert Aldrich and Jeff Chandler on Ten Seconds to Hell (1959), playing a bomb disposal expert, filmed in Germany. He made the drama Flor de Mayo / Beyond All Limits (Roberto Gavaldón, 1959), with Maria Felix, in Mexico, and Austerlitz (Abel Gance, 1960) in France. Then he did a series of adventure films in Italy: Revak the Rebel / The Barbarians (Rudolph Maté, 1961) with Milly Vitale, Rosmunda e Alboino / Sword of the Conqueror (Carlo Campogalliani, 1961) with Eleonora Rossi-Drago, and I mongoli / The Mongols (Andre DeToth, Leopoldo Savona, 1961) opposite Anita Ekberg. Next, he appeared in the Commedia all'italiana Il giudizio universale /The Last Judgment (Vittorio De Sica, 1961) with Alberto Sordi, and the religious epic Barabbas (Richard Fleischer, 1961), starring Anthony Quinn. Jean-Luc Godard persuaded Palance to take on the role of Hollywood producer Jeremy Prokosch in the Nouvelle Vague classic Le Mépris / Contempt (1963) with Brigitte Bardot. Although the main dialogue was in French, Palance spoke mostly English. Palance returned to the US to star in the TV series The Greatest Show on Earth (1963–1964). He played a gangster in Once a Thief (Ralph Thomas, 1965) with Alain Delon. He had a featured role opposite Lee Marvin and Burt Lancaster in the Western adventure The Professionals (Richard Brooks, 1966). He guest-starred on The Man from UNCLE and the episodes were released as a film, The Spy in the Green Hat (1967). Palance went to England to do Torture Garden (Freddie Francis, 1967) and did Kill a Dragon (Michael D. Moore, 1968) in Hong Kong. In 1969, Palance recorded a country music album in Nashville, released on Warner Bros. Records. It featured Palance's self-penned song ‘The Meanest Guy That Ever Lived’. His films continued to be international co-productions: They Came to Rob Las Vegas (Antonio Isasi-Isasmendi, 1968), the Zapata Western Il mercenario / The Mercenary (Sergio Corbucci, 1968) with Franco Nero, The Desperados (Henry Levin, 1969), and Justine ovvero le disavventure della virtù / Marquis de Sade: Justine (Jésus Franco, 1969), starring Klaus Kinski. Palance had an excellent part in the Hollywood blockbuster Che! (Richard Fleischer, 1969) playing Fidel Castro opposite Omar Sharif in the title role, but the film flopped. Palance went back to action films and Westerns like the Macaroni-War film La legione dei dannati / Battle of the Commandos (Umberto Lenzi, 1970), with Curd Jürgens, and the Zapata Western Companeros (Sergio Corbucci, 1970) with Franco Nero and Tomás Milián. He had another good role in Monte Walsh (William A. Fraker, 1970), from the author of Shane, opposite Lee Marvin, but the film was a box office disappointment. So too was The Horsemen (John Frankenheimer, 1971) with Omar Sharif. Palance supported Bud Spencer in Si può fare... amigo / It Can Be Done Amigo (Maurizio Lucidi, 1972) and Charles Bronson in Chato's Land (Michael Winner, 1972) and had the lead in the Spaghetti Western Tedeum / Sting of the West (Enzo G. Castellari, 1972). He went back to Hollywood for Oklahoma Crude (Stanley Kramer, 1973) with Faye Dunaway, and then to England to star in Craze (Freddie Francis, 1974) opposite Diana Dors. In the late 1970s, Palance was mostly based in Italy. He supported Ursula Andress and Giuliano Gemma in Africa Express (1976), Lee Van Cleef in Diamante Lobo / God's Gun (Gianfranco Parolini, 1976), and Thomas Milian in Squadra antiscippo / The Cop in Blue Jeans (Bruno Corbucci, 1976). Palance was in the exploitation film Rva Nera / Black Cobra Woman (Joe D’Amato, 1976) with Laura Gemser. He travelled to Canada to make the virtual reality film Welcome to Blood City (Peter Sasdy, 1977) and the US for the slasher film Alone in the Dark (Jack Sholder, 1982).

 

In 1982, Jack Palance began hosting a television revival of Ripley's Believe It or Not!. The weekly series ran from 1982 to 1986 on the American ABC network. Palance had never been out of work since his career began. But his success on Ripley's Believe It or Not! and the international box-office hit of the German film Bagdad Cafe (Percy Adlon, 1987) resulted in a demand for his services in big-budget Hollywood films. He made memorable appearances as villains in Young Guns (Christopher Cain, 1988), Tango & Cash (Andrei Konchalovsky, 1989) and Batman (Tim Burton, 1989), starring Michael Keaton as Bruce Wayne / Batman and Jack Nicholson as the Joker. In 1992, four decades after his film debut, Palance won an Academy Award for Best Supporting Actor for his performance as cowboy Curly Washburn in the comedy City Slickers (Ron Underwood, 1991). Stepping onstage to accept the award, the 6' 4" (1.93 m) actor looked down at 5' 7" (1.70 m) Oscar host Billy Crystal (also his co-star in the film), and joked, mimicking one of his lines from the film, "Billy Crystal... I crap bigger than him." He then dropped to the floor and demonstrated his ability, at age 73, to perform one-handed push-ups. In 1993, during the opening of the Oscars, a spoof of that Oscar highlight featured Palance appearing to drag in an enormous Academy Award statuette with Crystal again hosting, riding on the rear end of it. Halfway across the stage, Palance dropped to the ground as if exhausted, but then performed several one-armed push-ups before regaining his feet and dragging the giant Oscar the rest of the way across the stage. His later films include Cyborg 2 (Michael Schroeder, 1993) with Angelina Jolie, Cops & Robbersons (Michael Ritchie, 1994) with Chevy Chase, and City Slickers II: The Legend of Curly's Gold (Paul Weiland, 1994). In 2003, he narrated the documentary Between Hitler and Stalin: Ukraine in World War II (Slavko Nowytski, 2003). In 2004, Palance, at the time chairman of the Hollywood Trident Foundation, walked out of a Russian Film Festival in Hollywood. After being introduced, Palance said, "I feel like I walked into the wrong room by mistake. I think that Russian film is interesting, but I have nothing to do with Russia or Russian film. My parents were born in Ukraine: I'm Ukrainian. I'm not Russian. So, excuse me, but I don't belong here." Palance was awarded the title of ‘People's Artist’ by Vladimir Putin, president of Russia, but Palance refused the title. His final performance was in the TV film Back When We Were Grownups (Ron Underwood, 2004), opposite Blythe Danner. Jack Palance was married to his first wife, Virginia Baker, from 1949 to 1968. They had three children: Holly (1950), Brooke (1952), and Cody (1955–1998). On New Year's Day 2003, Baker was struck and killed by a car in Los Angeles. Palance's daughter, Brooke, married Michael Wilding, son of Michael Wilding Sr. and Elizabeth Taylor; they have three children. Cody Palance, an actor himself, appeared alongside his father in the film Young Guns. In 1987, Palance married his second wife, Elaine Rogers. In 2006, Palance died of a sudden stroke at his daughter Holly's home in Montecito, California. He was 87.

 

Sources: Gary Brumburgh (IMDb), Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

A visit to Caernarfon Castle in North Wales. It was here in 1911 and 1969 that the Prince of Wales was inaugurated (Prince Edward later Edward VIII and the current Prince of Wales, Prince Charles).

  

Caernarfon Castle (Welsh: Castell Caernarfon), often anglicized as Carnarvon Castle, is a medieval fortress in Caernarfon, Gwynedd, north-west Wales cared for by Cadw, the Welsh Government's historic environment service. There was a motte-and-bailey castle in the town of Caernarfon from the late 11th century until 1283 when King Edward I of England began replacing it with the current stone structure. The Edwardian town and castle acted as the administrative centre of north Wales and as a result the defences were built on a grand scale. There was a deliberate link with Caernarfon's Roman past and the Roman fort of Segontium is nearby.

 

While the castle was under construction, town walls were built around Caernarfon. The work cost between £20,000 and £25,000 from the start until the end of work in 1330. Despite Caernarfon Castle's external appearance of being mostly complete, the interior buildings no longer survive and many of the building plans were never finished. The town and castle were sacked in 1294 when Madog ap Llywelyn led a rebellion against the English. Caernarfon was recaptured the following year. During the Glyndŵr Rising of 1400–1415, the castle was besieged. When the Tudor dynasty ascended to the English throne in 1485, tensions between the Welsh and English began to diminish and castles were considered less important. As a result, Caernarfon Castle was allowed to fall into a state of disrepair. Despite its dilapidated condition, during the English Civil War Caernarfon Castle was held by Royalists, and was besieged three times by Parliamentarian forces. This was the last time the castle was used in war. Caernarfon Castle was neglected until the 19th century when the state funded repairs. In 1911, Caernarfon Castle was used for the investiture of the Prince of Wales, and again in 1969. It is part of the World Heritage Site "Castles and Town Walls of King Edward in Gwynedd".

  

A Grade I listed building.

 

Caernarfon Castle

  

History

 

Begun in 1283 and still incomplete when building work ceased c1330. Built for Edward I of England, it combined the roles of fortification, palace and administrative centre. A motte and bailey castle had been built here in the late C11 by Earl Hugh of Chester, although it became a residence of Welsh princes, including Llewelyn ap Gruffudd, after the Welsh regained control of Gwynedd by 1115. The English conquest of N Wales followed quickly after the death of Llewelyn ap Gruffudd in 1282 and Caernarfon was built to consolidate the English gains. Edward I employed James of St George as his architect, who had previously been employed by Philip of Savoy and had designed for him the fortress-palace of St Georges d'Esperanche. James also directed the building other castles for Edward I, including Harlech, Conwy and Beaumaris, using English craftsmen and labourers. The design of Caernarfon Castle echoed the walls of Emperor Constantine's Roman city of Constantinople, which also has polygonal towers and banded stonework, and was thus intended by Edward to be an expression of imperial power. Edward I and Queen Eleanor visited Caernarfon in 1284 and it was said that their son, Edward, the first English prince of Wales, was born at the castle in 1284.

 

Construction of the castle was integrated with the construction of town walls protecting the newly established borough, the town being situated on the N side of the castle. By 1292 the southern external façade of the castle was probably complete, while on the N side the castle was protected by a ditch and the walled town. The castle was damaged during an uprising in 1294 led by Madog ap Llewelyn, but Edward I swiftly regained control of Caernarfon and the castle, where restoration work began in 1295. The uprising had demonstrated the need to complete the castle's defences on the town side, which were largely built in the period 1295-1301. Work subsequently continued at a slower pace in the period 1304-30 and included the completion of the towers, including the Eagle Tower which was completed 1316-17 and in 1316 the timber-framed 'Hall of Llewelyn', the Welsh prince's residence at Conwy, was dismantled and shipped to Caernarfon. The upper portion of the King's Gate was constructed in 1321 and included a statue of Edward of Caernarfon, who had been crowned Edward II in 1307.

 

The castle was garrisoned for nearly 2 centuries but was increasingly neglected as hostilities softened from the C16 onwards. The castle was garrisoned for Charles I during the Civil War but was surrendered to the Parliamentarians in 1646. In the C18 the castle became one of the most celebrated of ruins in Wales, which began its present phase as tourist attraction and ancient monument. Restoration was undertaken in the final quarter of the C19 under the direction of Sir Llewelyn Turner, Deputy Constable. In 1908 ownership passed from the Crown to the Office of Works and restoration work continued. This included the reinstatement of floors in most of the towers and reinstatement of the embattled wall walks by 1911. The castle was the venue for the investiture of both C20 Princes of Wales, in 1911 and 1969.

 

Exterior

 

Constructed of coursed limestone with darker stone banding to the S and E external façades between the Eagle Tower and NE Tower. The plan is polygonal, resembling a figure of 8, and constructed around an upper and a lower ward in the form of curtain walls and mainly 3-stage polygonal towers with basements (in contrast to the round towers of the town walls). The structure is in 2 main phases. The earlier is the S side, from and including the Eagle Tower to the NE Tower, was constructed mainly in the period 1283-1292, while the N side facing the walled town was built after the uprising of 1294. The curtain walls are embattled with loops to the merlons and a wall walk. Openings are characterised by the frequent use of shouldered lintels, giving rise to the alternative term 'Caernarfon lintel', and 2-centred arches. The towers have reinstated floors of c1911 on original corbels. The outer walls have arrow loops. Windows are mainly narrow single-light, but some of the mullioned windows incorporate transoms.

 

The principal entrance is the 3-storey King's Gate on the N side. It is reached across the ditch by a modern segmental-arched stone bridge with stone steps to the outer side, replacing the medieval drawbridge. The King's Gate has polygonal towers with 2-light windows to the outer facets in the middle stage and 2-light windows in the upper stage. The entrance is recessed behind a segmental moulded arch. It has a 2-centred arch beneath string courses and 2-light transomed window. Above the main arch is a statue of Edward II in a canopied niche with flanking attached pinnacles.

 

To the R is the outer wall of the kitchens and then the Well Tower, of 3 stages with basement. The Well Tower has a higher polygonal turret reinstated in the late C19 and full-height square projection on the W side housing the well shaft. The tower has 2-light windows in the middle and upper stages.

 

The Eagle Tower at the W end is the largest of the towers, having been designed to accommodate the king's lieutenant. It has 3 stages with basement and 3 higher polygonal turrets. The battlements are enriched by carved heads and eagles, although much weathered. On the N side are 2-light windows and an attached stub wall with drawbridge slot. This is the planned water gate through which water-borne supplies were intended to be conveyed to the basement of the Well Tower at high tide, but it was not completed. It has polygonal responds to the gate, a portcullis slot and 2 superimposed windows between the basement and ground-floor levels. On the N side is a flight of stone steps to an arched doorway at basement level. This postern was the main entrance for those approaching by sea. On the S side the curtain wall is built on exposed bedrock and the Queen's Tower, Chamberlain Tower and the Black Tower each have a single higher polygonal turret. The outer faces have only narrow loops. On the W side of the Chamberlain Tower are stone steps to a doorway under a shouldered lintel that led into the great hall. On the E side of the Black Tower is the shorter polygonal Cistern Tower, with the unfinished Queen's Gate at the SE end. Between the Chamberlain Tower and Black Tower the curtain wall is stepped in, from which point there is a substantial raked stone plinth continuing around to the NE Tower. The Queen's Gate has double polygonal towers linked by a straight wall above the gateway, while the openings are all narrow loops. The gateway is raised above a high basement storey (and would have been reached by the building of a massive stone ramp) and is recessed beneath a segmental arch with murder holes. The Watch Tower to the N is narrower and higher than the remaining towers, beyond which is the 2-stage NE Tower, which has a 2-light window. Returning along the N side, which was built after 1295, the curtain wall and the 4-stage Granary Tower incorporate 2-light windows.

 

The King's Gate has murder holes to the vault and porters' rooms to the L and R, leading to the interior. Internally the castle is planned around an upper ward on the E side and a lower ward on the W side. Through the entrance passage is a 2-storey projection on the R (now housing a shop), the S side of which retains 2 portcullis slots and a vault springer, indicating that a second entrance was built here, although it no longer survives above the foundations. Above the main gate is a former chapel, which retains its original piscina. The upper storey hall has window seats. On the W side of the King's Gate are the foundations of the kitchens in the lower ward, in which are 2 round foundations for copper cauldrons and springer of a former vault. The Well Tower does not have reinstated floors, but in each storey a fireplace and garderobe are retained and in the second stage is a small kitchen above the well chamber. The fireplaces all differ in detail: in the basement is a segmental arch, the lower storey a tripartite lintel, the second stage a projecting lintel on corbels with raked hood, and chamfered lintel to the upper stage. The tower has a full-height newel stair. The basement is reached by external stone steps. Between the Well Tower and Eagle Tower is a restored fireplace with a raked hood in a chamber whose outline walls are visible.

 

The Eagle Tower has stone steps to the basement to the L of the main doorway, both lower stage and basement having pointed doorways. The upper stages have 2-light windows similar to the outer faces. The thick walls incorporate mural passages and stairs. In the lower stage is a large fireplace with raked hood and a small octagonal chamber that probably served as a chapel. The great chamber in the second stage also has an octagonal chapel, which retains a stoup or piscina. Between the Eagle Tower and the NE Tower the curtain wall and towers have mural passages in addition to the wall walk and generally have stone steps in either straight flights to the wall walks or newel stairs, and most chambers in the towers have associated garderobes. The Queen's Tower, known as the 'Banner Tower' in the C14, and the Chamberlain Tower have chambers in each storey with small square subsidiary chambers that probably served as chapels, and 2-light windows. The Queen's Tower has 3 octagonal chimney shafts behind the parapet. In the Chamberlain Tower the lower storey retains a fireplace with shouldered lintel. Both towers are occupied by the museum of the Royal Welch Fusiliers. Between Queen's Tower and Chamberlain Tower are the foundations of the great hall, while the 2 superimposed mural passages in the curtain wall have 2-light windows that formerly opened into the hall.

 

The Black Tower is smaller than the other towers and has only single chambers in each stage, with cambered fireplace in the upper chamber, and 2-light windows. The Cistern Tower has a vaulted hexagonal chamber beneath an open stone-lined rainwater tank visible on the wall walk. In the unfinished Queen's Gate the position of porters' rooms is discernible in the flanking towers of which the S has a lintelled fireplace while both have garderobes. Portcullis slots and murder holes are in the passage. The upper storey over the passage was to have been a hall but was not completed. The Watch Tower is entered by a doorway at the wall walk level only.

 

The NE Tower is simpler with single chambers in each stage, as is the Granary Tower, which incorporates a well shaft and has a fireplace with raked hood in the upper stage. Between the NE Tower and the King's Gate the curtain wall has corbels representing former buildings built against the curtain, and its mullioned windows incorporate window seats.

 

Reasons for Listing

 

Listed grade I as one of the finest medieval castles in Wales, and unique in its royal associations.

Scheduled Ancient Monument CN 079.

World Heritage Site.

  

The walk over the walls via the towers. Leaving the Eagle Tower, heading via the Well Tower, around and over the King's Gate, up the Granary Tower, then down the North-East Tower.

  

Well Tower

 

Has a well 50 feet (15m) deep and remains of medieval plumbing. The castle's kitchens lie between the Well Tower and the King's Gate.

  

The entrance via the King's Gate from Castle Ditch.

 

Caernarfon Walled Town is to the left.

I screwed in the nut until I could measure 14.03 mm in distance from the splined adapter to the ignition lock housing. I took this measurement before removing the adapter so I could replace the adapter exactly where it was.

 

Note the hex bolt that replaced the original shear bolt.

 

From this point on, the re-installation is the removal process in reverse, except for the last step. BEFORE RE-ATTACHING THE NEGATIVE BATTERY TERMINAL, YOU MUST first place the key in the ignition and turn it to the on position; i.e., to the position where the battery provides power to all the interior electronics. If you re-attach the negative battery terminal with the ignition off, you could damage the airbag system.