Replaced the shadow and added a checkered flag.

This is all that is left of the medieval church of St Andrew in Worcester. It was demolished in 1949 after decline, disuse and decay. All that remains is this 15th century tower with its vaulted ceiling and fine series of 32 carved stone bosses.

The spire was created by local mason Nathaniel Wilkinson. It went up in the 1750s, to replace the smaller, wooden one destroyed by lightning in c.1730.

It is near a bank of the River Severn.

It is a Grade II* listed building.

Also known as: St Andrew's Tower COPENHAGEN STREET. Also known as: St Andrew's Church Tower ST ANDREW'S GARDENS. Church tower. C15 with spire rebuilt in 1751 by Nathaniel Wilkinson, a journey-man of Worcester. Limestone ashlar. 3-stage Perpendicular tower with slim, recessed, octagonal Gothick spire. Chamfered plinth. Diagonal off-set buttresses to first and second stages, those to first stage have engaged columnettes, with clasping pilasters to third stage. Pointed arches to east, north and south with Perpendicular moulding. 5-light pointed west window. First-stage band. To second stage a 2-light pointed window with Perpendicular tracery to head; second stage band. Third stage has 2-light pointed belfry window. Spire has one level of 2-light, then single light lucarnes. Surmounted by Corinthian capital. INTERIOR: lierne-vault over lower stage, to the east the springers of the first bay of the arcades. To south-west angle a plank door in ogeed surround. HISTORICAL NOTE: the medieval, probably C12 church was demolished after war damage. It now stands in a public garden, opened 1953 to commemorate the coronation of Elizabeth II. The original top of the spire stands in the same garden. The spire is locally known as "The Glover's Needle" due to its shape and to Worcester's association with the glove-making industry. A significant streetscape feature, forming an important landmark. It forms part of the visual context for Worcester Cathedral (qv) from the River Severn, together with Worcester Bridge, Bridge Street (qv), Gascoyne House, Brown's Restaurant and Bond House, South Quay (qqv) and grouping with Merchant's House, Quay Street (qv). NMR photographs. (The Buildings of England: Pevsner: N: Worcestershire: Harmondsworth: 1968-1985: 317-8).

Spire of Saint Andrew's Church, Worcester - Heritage Gateway

Glover's Needle

The Glover's Needle (or St Andrews Spire) is a spire-carrying tower in the city of Worcester, England.

The tower is a prominent landmark of the city, from road, rail, or the River Severn, and can be seen for miles around. It is located in St Andrews Gardens close to Worcester College of Technology. The spire used to crown the church of St Andrew but this was demolished in the late 1940s. The Glover's Needle is seated on Deansway Road, Worcester Cathedral being very close to the south and All Saints Church to the north. On the western side of the spire the pedestrian can descend into gardens that lead onto the River Severn. Across the road from the Glover's Needle is a "House of Fraser" shop which stands on the site of the old graveyard of St Andrews. At night the spire is illuminated (but not the tower below) and a blue glow is projected from inside one of the windows. The blue represents St Andrew, the colour of the Scottish flag. The blue glow and night lighting were paid for by the Rotary Club of Worcester Severn, to commemorate the millennium in 2000.

In the 15th century, Saxons built a church (called St. Andrews Church) with a tall spire but this was destroyed in a great storm of 1733. Shortly after this disaster, the spire was rebuilt. It was constructed by using the ingenious method of kite flying to carry up the stones. Worcester people took the new masterpiece to their hearts and named it the 'Glover's Needle'. This name came from the industrial glove making that was executed in Worcester. The entire structure measures approximately 245 feet. It is the tallest spire in the country to have such a narrow angle of taper. In the 1920s the slum housing which crowded round the church was demolished. The congregation of the church was thus reduced by a large degree. The church fell into decay, had an overgrown churchyard, few parishioners and a tiny parish of five acres. In the 1940s, the council accepted the Bishop of Worcester's offer of the church. They decided to demolish the church and create a garden of remembrance to replace it. However the council decided to leave the tower and spire, freestanding. Thus St Andrew's church was demolished in 1949.

As a millennium project, a clock was installed in the tower and now the hours are struck on the council bell. A recently reinstated custom is to have the council bell strike from 18:45 to 18:50 before a full meeting of the council. In the early 2000s a fence was put around the base of the spire. A few years ago, the RSPB has taken the Glover's Needle into their own hands and the actual spire is now used for special birds of prey for roosting. Live web cams have been installed in the tower.

The Glover's Needle formerly housed a set of five bells.[citation needed] These were hung full circle for proper English style change ringing. In 1870, four of the bells were sold but the tenor (heaviest bell) was retained in the old bell frame. This bell weighs 20 CWT — 1 ton. This is the so-called council bell mentioned above. It is unlikely that the Glover's Needle could sustain a ring of bells today as there is no church to buttress the swaying tower.

Replaced this on 5-9-11 with a slightly re-processed version that was also cropped better to remove clutter around the edge of the frame. I think the colors now have more realistic reds.

Built in 1906-1917, this Beaux Arts-style Capitol Building was designed by George B. Post to house the state house of representatives, state senate, and offices for the Wisconsin State Government. The fourth state capitol to house the state government since the state’s establishment in 1848, the building is the third building to sit on the present site, and replaced the previous state capitol, built in 1857-1869 and expanded in 1882, which burned down in February of 1904. The capitol houses both the Wisconsin State Assembly and the Wisconsin State Senate, as well as the Wisconsin Supreme Court and the Office of the Governor of Wisconsin. The first capitol of Wisconsin upon the formation of Wisconsin Territory in 1836 was in the village of Belmont, Wisconsin, with the legislature meeting in a hastily constructed wood-frame building, before deciding to designate the future site of Madison as the state capitol, and holding further sessions of the legislature in the much better-developed Mississippi River port town of Burlington (now in Iowa) until a capitol building could be completed in Madison. Upon Burlington becoming part of the new Iowa Territory, the state legislature moved to a log and stone building on the present site of the state capitol, a relatively humble Greek Revival-style building constructed in 1837, which looked much like older capitol buildings in the eastern United States, with doric columns and a rusticated fieldstone exterior. It was most similar to the Old State House in North Carolina, built only four years prior, and the Old State Capitol in Springfield, Illinois, built in the same year, though these two similar buildings were built almost entirely of stone blocks rather than fieldstone. The small second capitol building was the first state capitol of Wisconsin upon its ascension to statehood in 1848, but had become inadequate for the growing population and government by the 1850s. The original building was demolished and replaced with a larger, Classical Revival-style structure with Romanesque Revival elements constructed in stages between 1857 and 1869, which featured a dome inspired by the United Capitol Building, semi-circular porticoes with corinthian columns, and two short side wings with octagonal towers at the corners, which were modified and extended in 1882 with new wings that increased the Classical Revival aspects of the building and helped to downplay the Romanesque Revival elements that originally were very prominent on the structure. This building was oriented with the semi-circular original porticoes aligned with State Street and King Street, with the wings being oriented towards both sections of Hamilton Street, though the building appeared rather small within the large parklike expanse of Capitol Square. By the turn of the 20th Century, the old Capitol had become inadequate for the growing needs of Wisconsin, which had become wealthy, industrialized, and heavily populated by that point, so study of a replacement capitol building began in 1903. In February 1904, the old State Capitol burned to the ground when a gas jet ignited a newly varnished ceiling inside the building, which spread quickly despite the building featuring a then-advanced sprinkler system, as the reservoir of the nearby University of Wisconsin was empty, which allowed the fire to spread out of control. The north wing of the building, built in 1882, was the only portion that survived, with many relics, records, and important historical items being lost in the fire, though the state law library was saved thanks to efforts by University of Wisconsin students. The fire also happened just after the state legislature had voted to cancel the fire insurance policy on the building, thinking it was a costly and unnecessary folly.

The present building was built on the site of the previous building, with the construction process focusing on completing each wing one at a time to provide space to the state government with as much fiscal efficiency as possible due to financial limitations. Due to this, the north wing was built last to allow the remaining portion of the previous capitol to serve as space for the state government during the construction period, with the central rotunda and dome also being built after the other three wings had been completed, as they serve a more symbolic and less utilitarian purpose than the rest of the building. The building stands 284 feet (86 meters) tall to the top of the statue on the dome, which was sculpted in 1920 by Daniel Chester French, and is a personification of the state of Wisconsin, with the outstretched arm of the statue representing the state motto, “Forward”. The exterior of the building is clad in Bethel white granite, sourced from Vermont, with an additional 42 types of stone from a total of eight states and six countries being utilized on the interior of the building. The dome is the largest in the world to be entirely clad in granite, and is the tallest building in Madison, with a state law passed in 1990 stipulating that any building within a one-mile radius of the capitol is limited in height to the base of the columns of the dome, which stand at 187 feet, which preserves the visibility of the building from the surrounding landscape. The building has a greek cross footprint with four five-story wings that are aligned with the compass directions and radial streets following the compass directions that slice through the surrounding street grid, which is at a 45-degree angle to compass directions, instead roughly paralleling the shorelines of nearby Lake Mendota and Lake Monona, with Downtown Madison sitting on an isthmus between the two lakes. This places the building at a unique 45-degree angle orientation relative to the edges of Capitol Square and most buildings on adjacent streets. The building was one of the last works of the prolific architect George B. Post, whom died before the building was completed. The building underwent a major renovation in the 1970s that added modern features to the interior and covered up many original features, with later projects between 1988 and 2002 restoring the building while updating the building’s systems and functions for the modern needs of the state government.

The exterior of the building’s wings feature porticoes on the ends with corinthian columns, arched windows on the third floor, rusticated bases with entrance doors and decorative keystones, decorative reliefs featuring festoons over the windows on the porticoes, cornices with modillions and dentils, and pediments with sculptural reliefs, which were created by several sculptors, and have different symbolism embodied by their design. On the east wing, which is home to the Wisconsin Supreme Court, the sculpture known as Law, created by Karl Bitter, is located on the portico pediment, on the west wing, which houses the chamber of the Wisconsin Assembly, is a sculpture known as Agriculture, also created by Karl Bitter, on the north wing, which is home to a hearing chamber, is the sculpture known as Virtues and Traits of Character, created by Adolph Alexander Weinman, and on the south wing, which houses the chamber of the Wisconsin Senate, is a sculpture known as Wisdom and Learning of the World, created by Attilio Piccirilli. The sides of the wings feature simpler cornices with dentils, pilasters and recessed window openings with arched openings at the ground floor, windows with decorative pedimented headers on the second floor, arched windows on the third floor, two small two-over-two windows on the fourth floor, and a recessed fifth floor features small paired windows, hidden behind a balustrade that runs around the entirety of the building minus the ends of the wings, concealing a low-slope roof at the setbacks on the sides of the wings and above the corner porticoes. The upper roofs of the wings are low-slope with front gabled portions in the middle punctured by skylights, with the roof being almost entirely enclosed by a parapet. At the center of the building in the inside corners of the greek cross are semi-circular portions of the facade with semi-circular two-story ionic porticos with large terraces and grand staircases featuring decorative copper lampposts, decorative stone balustrades, concealed entrances to the ground floor underneath the terraces, and three doorways on the upper level, with drums surrounded by buttresses featuring small windows and domed roofs above the balustrade on the fifth floor. In the center of the building is the rotunda, which is topped with a large dome that rises from a tall base that terminates in a balustrade, with a low-slope roof at the base of the drum of the dome, which features a level with small windows at the base, with projected pavilions at the corners above the semi-circular porticoes below, which were originally to support four smaller domes, but ended up supporting sculptures by Karl Bitter, symbolizing strength, faith, prosperity, and abundance and knowledge. The drum of the dome is surrounded by a corinthian colonnade with corinthian pilasters on the exterior wall of the dome behind the colonnade, arched windows, and recessed decorative panels at the top of the colonnade below the architrave. Above the architrave is a cornice with modillions and dentils, above which is another balustrade, accessed via doors from the interior space above the inner dome of the rotunda, and ringed by six-over-six windows, pilasters, and a cornice with egg and dart motif at the top. Above this last cornice is the dome, which is ribbed, with the ribs terminating in voluted upside down brackets at the base, and clad in granite, terminating at the top at a balustrade around the base of the lantern. The cylindrical landern features corinthian columns, arched windows, festoons, with a concavely sloped roof featuring rubs terminating in volutes, above which is the base of the Wisconsin statue, which is coated in gold leaf.

The interior of the building is richly decorated with Beaux Arts detailing, utilizing plaster, a diverse array of stone and woodwork, engaged columns and pilasters, murals, vaulted ceilings, decorative balustrades, grand staircases, and modern oak furniture. The interior dome features a mural by Edwin Howland Blashfield, known as Resources of Wisconsin, which sits in the middle of the dome’s coffered ceiling, above the upper balcony at the base of the drum. The rotunda features green and white marble corinthian columns with gold leaf on the capitals, vaulted alcoves on the sides with coffered ceilings, a stone floor, and features marble from Tennessee, Missouri, Vermont, Georgia, New York, and Maryland, granite from Wisconsin and Minnesota, limestone from Minnesota and Illinois, marble from France, Italy, Greece, Algeria and Germany, and syenite from Norway. A large circular opening in the floor of the center of the rotunda allows light into the lower level of the building, and is supported by a ring of square columns underneath. The light fixtures in the space are a combination of lampposts and sconces. The pendentives below the drum of the dome in the rotunda are decorated with glass mosaics by artist Kenyon Cox. The interior’s decoration denotes hierarchy of space, with the level of detail varying throughout the building’s interior from simple offices and service areas to the grand public spaces, such as the rotunda and government meeting chambers. The two-story senate chamber is circular with marble cladding, corinthian columns, and pilasters on the walls, a decorative ceiling with a central shallow domed decorative glass skylight, and coffers with rosettes, with murals above the main podium, and balconies inside the alcoves behind the columns for spectators and observers. The two-story assembly chamber features a similar shallow domed decorative glass skylight on the ceiling, but is square in shape with decorative pendentives and arches on the perimeter of the space opening into alcoves with vaulted ceilings, with wood paneling and a large mural behind the main podium, and balconies in the upper level of the alcoves. The supreme court chamber is square with a square decorative glass skylight in the room’s coffered ceiling, white marble pilasters, paneling, and murals on the walls, and arched niches housing candelabra-type lamppost light fixtures. The north wing hearing chamber features a massive cove ceiling with decorative trim and murals, with a large square decorative glass skylight in the middle, and walls lined with ionic pilasters and stone panels. The Governor’s Conference Room, located in the east wing, features a heavily decorated ceiling with multiple coffers housing murals, decorative stained woodwork, a fireplace with a decorative marble surround flanked by two corinthian columns, and gold leaf on some of the trim. The interior of the building is even more richly detailed than the exterior.

The building, which has been fully modernized and restored to some semblance of its original appearance, remains the seat of the government of Wisconsin, presently the 25th largest by land area and 20th largest by population in the United States. The building was listed on the National Register of Historic Places in 1970, owing to its historical and architectural significance, and was listed as a National Historic Landmark in 2001. The building visually dominates the isthmus that makes up Downtown Madison, and sits in the city’s central square, one of the most visually impressive and stunning sitings of any capitol building in the United States.

Built 1879 as 3 shops for William Kither, architect Rowland Rees, replacing earlier premises on site. One shop was Kither’s butcher shop and the remaining two were occupied by various businesses, including dining rooms, fancy goods, confectioner, tailor, etc.

William Kither arrived in SA 1855 with his parents & siblings. He first worked for a draper before becoming an apprentice butcher. Later he encouraged his father to purchase the butcher shop. After his father’s death 1869 William with his mother Sarah ran the business as “S Kither & Son” until her death in 1875 when it was known as “W Kither”. He was the first to install refrigeration in 1884. After William’s death the business was carried on by his son Clarence Maturin Kither. The building was sold 1932 when Kither’s moved to King William Street.

Re-opened as Clarkson Ltd showrooms 5 Dec 1932, with architects Woods, Bagot, Laybourne-Smith & Irwin making the transformation, building purchased by Commonwealth Bank 1958, Clarksons leadlight & stained glass department closed 1960.

This building originally had the date MDCCCLXXX (ie 1880) and “Kither’s Buildings” on the facade. The ornate balcony has also been removed.

“Mr. W. Kither, Butcher, 13 and 117, Rundle-street, begs to inform his numerous Customers and the public in general that he has Taken the Business hitherto carried on by Mr. Hince, next the Red Lion, 13, Rundle-street, which will be continued in connection with his old established Shop at 117, Rundle-street. . . continuing to supply Meat of Prime Quality, at the lowest remunerative rates for cash payments.” [Adelaide Express 10 Aug 1866 advert]

“Butchers, Rundle-street. In returning their sincere thanks to the public for their liberal support bestowed on the late W. Kither for so many .years, beg respectfully to intimate that they will still carry on the business on the same premises in the name of S. Kither & Son.” [Express & Telegraph 13 Sep 1869 advert]

“William Kither, Late of the Firm of S. Kither & Son, 117 Rundle-Street, Butchers and Sausage Makers. In tendering my sincere thanks to the customers and the public generally for the very liberal support accorded to our old-established business for the last 20 years, I beg to intimate that I will in future carry on the said business in my own name.” [Register 9 Nov 1875 advert]

“On Saturday evening the first three shops of the block of buildings in Rundle street to be known hereafter as Kither's Buildings were lighted up and opened for the inspection of the public. . . The principal shop of the three is intended for Mr. W. Kither, and is one of the best-appointed butcher's establishments we have ever seen. The shop is thirty feet long by nineteen wide and fourteen in height. A very pleasing effect is secured by the introduction of Minton's hexagon glazed white enamelled tiles, with which the walls are entirely lined. . . There is to be an icehouse in this cellar in which to keep meat during the summer, and the accommodation otherwise is well adapted for the curing and export trade Mr. Kither carries on with Mauritius. Above and behind Mr. Kither's shop there is a substantial residence. The two adjoining shops are eighty-six feet long by twelve feet wide, and have above them rooms of the same dimensions.” [Evening Journal 14 Jul 1879]

“the style adopted being Italian renaissance of very ornate character, forming a striking addition to the architecture of Adelaide. The verandahs are of noble proportions, and the effect is greatly added to by the artistic pencils of Messrs. Vosz & Son and their workmen.” [Chronicle & Weekly Mail 19 Jul 1879]

“William Kither, Butcher and Sausage Maker, has the honour to announce that he will Open His Elegant and Commodious Premises, recently rebuilt at great expense under the supervision and from the designs of a well known architect, at Kither’s Buildings, Rundle-Street on Saturday, July 19, 1879, where he trusts his numerous customers and friends will favour him by a continuance of their support, which he has enjoyed for so many years past.” [Evening Journal 18 Jul 1879 advert]

“To Let Two New Shops (Kither’s Buildings), each 70 feet long, with Corresponding Rooms above, and Good Cellars.” [Register 15 Jul 1879 advert]

“Wanted, a Slaughterman. Apply at W. Kither's, Rundle-street.” [Register 29 Jul 1879 advert]

“We are requested to call the attention of the Public of the east part of the City to those cool and well ventilated Rooms, opened by J. Jackman, which was so much needed in that locality, where Tea, Coffee, or Cooca, 3d. per cup, can be had at any time from 7 a.m. till 8 p.m.; also Breakfast, consisting of Meat Bread and Butter, 2 cups of Tea or Coffee, 1s.; Dinner — three courses, 1s, Soup Joint, Pastry, or Cheese; Tea, according to bill of fare, with Bread and Butter and 2 cups of Tea, 1s. Ice Drinks, Ice Creams during the season.— Jackman's Dining Rooms,48 and 59, King William-street, and 117, Rundle-street, Kither’s Buildings.” [Advertiser 8 Mar 1880 advert]

“J. Menkens & Son . . . have Removed from 167 to 117a Rundle-street (Kither’s New Buildings), Invite inspection of their Stock of Fancy Goods, Bohemian and other Glassware, Crockery, Accordeons of the celebrated Lyre Brand, &c., &c. Motto — ‘Small Profits and Quick Returns’.” [Evening Journal 7 Dec 1880 advert]

“The Adelaide Cash Grocery Store, 117A, Rundle-Street. Just opened. . . Kither’s Buildings, nearly opposite the Plough and Harrow.” [Register 10 Jul 1882 advert]

“On Tuesday from noon until 2 o'clock in the afternoon the first free distribution of soup and bread to the distressed poor was made at the premises of Alderman Kither, who on that occasion provided both articles. . . there is a great deal of distress in the city. Altogether about thirty gallons of soup and forty loaves of bread were carried off by eager and indigent and genuinely grateful applicants, and the average daily demand will probably be about double that quantity. . . The soup and the bread were distributed by three private gentlemen who have interested themselves in the movement, and they were assisted by two of the City Missionaries and Miss Green.” [Evening Journal 28 May 1884]

“A refrigerating machine, the invention of Mr. Edmund Taylor — the first of the kind ever introduced into this colony — has just been erected under the superintendence of the inventor on the premises of Mr. W. Kither, butcher, of Rundle-street. . . In the very hot weather it is impossible by any ordinary process to keep meat more than a few hours, and to many it is equally difficult to eat it when newly killed. . . sufficient cold air can be stored to keep the compartments cool for thirty-six hours without recourse to the machine, an advantage which enables the butcher to dispense with Sunday work, and which allows the slaughterman a clear rest from Saturday noon to Monday morning.” [Evening Journal 23 Jul 1884]

“Salvatore Lazza, French, Italian, and English Confectioner, late of Adelaide Exhibition. . . has Removed to those commodious Buildings known as Kither’s Buildings, 117 Rundle-street. . . All Goods of the choicest, quality retail at wholesale prices. . . French Cocoanut and Cocoanut Chips fresh daily.” [Express & Telegraph 28 Jan 1888 advert]

“Defrie’s Lamps, Chimneys, and Wicks, Chair Seats, all sizes, only from H. L. Newman, Kither’s Buildings, Rundle-street.” [Evening Journal 25 Feb 1892 advert]

“Suits. . . Hats. . . High Class Tailoring. . . All Wool Materials, Thoroughly Shrunk. . . Hepworth’s Ltd. The London, Leeds, and Edinburgh Tailors and manufacturers, 117, Rundle-st. (Kither’s Buildings).” [Register 8 May 1895 advert]

“The Co-operative Coupon Company Limited. Have Leased those Extensive Premises at 117a, Rundle-street, known as Kither's Buildings, and have opened them as Showrooms for the display of their Goods, which consist of Silverware, Lamps, Furniture, Clocks, Musical Instruments, Japanese Goods, &c., &c. The novel feature of this Company is that the Goods are Given Away Free in Exchange for Co-operative Coupons, which are obtained from the various Tradesmen in the City and Suburbs issuing them.” [Evening Journal 1 Nov 1898 advert]

“Quality Meat. New Season’s Lamb. 7½d. Paddock-fed Beef. Kither’s Quality Butchers, Rundle St.” [Register 31 Oct 1924 advert]

“Clarkson Limited has purchased the freehold of the building in Rundle street, in which the business known as W. Kither, butcher, is conducted. The premises have a frontage of 63 ft. to Rundle street and a depth of 160 ft. to Twin street. It is understood that the purchase price is in the vicinity of £40,000.” [News 14Jun 1926]

“At the Abattoirs sales on Wednesday a consignment of spring lambs, which, was sold by Messrs. Elder, Smith and Co., Limited, on account of the Roseworthy College, provided an interesting example of the type and growth of various breeds and crosses. . . All the lambs were purchased by W. Kither, butcher, of Rundle-street, and will be exhibited at this shop later in the week.” [Chronicle 23 Jul 1931]

“Auction. . . To Butchers, Engineers. Dealers, &c. . . at Kither’s Old Premises, 135 Rundle Street. . . Sale of Surplus Plant and Equipment Owing to Expiration of Lease and Change of Address.” [Advertiser 16 Mar 1932 advert]

“Tenders are invited . . . for Remodelling and Extending Premises, Rundle Street, for Clarkson Limited. . . Woods, Bagot, Laybourne Smith and Irwin, Architects.” [News 8 Jul 1932 advert]

“From very small beginnings in 1848. . . The originator was Mr. H. L. Vosz, the Pioneer Painter and Plumber of South Australia. He first imported Glass to the colony, and a small shop was opened at 88 Rundle street, where the business was carried on until long after his death in 1886. . . The present Managing Director, Mr: A. E. Clarkson, entered the business in 1890. . . In 1915 the business assumed the name of Clarkson Limited. . . Clarkson Limited will open new premises .in Rundle street on Monday, December 5, on the site formerly known as Kither's Buildings, and the new showrooms will be up to date and modern in every respect. There is a frontage of 63 ft. and a floor space of over 30.000 square feet. . . It is the Company's intention to specialise, as in the past, in the requirements of the Building and allied trades, viz., Paints, Glass, Mirrors, Leaded Lights, Wallpapers, Artistware, Builders' Hardware, Plumbingware, etc., and domestic electrical appliances and refrigerators have also been added to the Company's stocks.” [News 1 Dec 1932]

“Clarkson Limited — Adelaide glass, paint and hardware merchants — this year celebrates its centenary of trading in South Australia. . . The business was founded 100 years ago by Mr. H. L. Vosz, who arrived from Europe in 1848 and started work as a carpenter and painter in Ackland street. . . Soon afterwards he rented premises in Rundle street and he was the first to import plate glass into SA. Mr. Vosz died in 1886 and for some years the business was carried on by those who had been closely associated with him. In 1904 the firm was incorporated . . . and in 1915 the name of the company was changed from H. L. Vosz Limited to Clarkson Limited, assuming the name of its managing director, the late Mr. A. E. Clarkson, who died in 1936. . . The company has occupied its present premises in Rundle street since 1932.” [Advertiser 17 Feb 1948]

WILLIAM KITHER

“Mr. William Kither, of Adelaide. . . was the proprietor of one of the oldest businesses in Rundle street; he had lived 55 years in South Australia. . . Mr. Kither had been married more than 40 years, and his wife, formerly Miss Elizabeth Morcom, was the daughter of an Adelaide coachbuilder well known in the early days of the State. . . Mr. Kither was a Londoner, born at Bow, in 1843. . . came to South Australia in 1855 with his father, mother, and six brothers and sisters in the ship Constance. . . his first duty was to weigh pins into 1-oz. packets. Ere long Master Kither apprenticed himself to a butcher. . . the apprentice persuaded his father to reopen the shop. That was about 1857. . . For two or three years the son and the widow were in partnership, then Mr. Kither began business on his own account. His operations rapidly expanded, and he found it necessary to pull down the old shop, and build the more commodious place which still bears his name. . . Mr. Kither became Councillor for Hindmarsh Ward in the City Council, and in 1883 was chosen as Alderman. . . a stanch advocate of asphalting in preference to woodblocking for street pavements.” [Register 25 Jan 1911]

“The citizens of Adelaide will remember his goodness all through the severe winter of 1884. when he proved his practical nature by keeping open a soup kitchen for the benefit of those who were in need. In support of organised philanthropic institutions and bodies, Mr. Kither's name always figured. He was a life governor of the Children's Hospital, and also of the Blind. Deaf and Dumb Asylum, and he served for ten years on the board of management of the Adelaide Hospital.” [Express & Telegraph 24 Jan 1911]

“Mr. Kither has left a widow and nine children. The sons are Messrs. J. M. Kither, H. Kither, of Messrs. Bennett and Fisher, J. S. Kither, and C. M. Kither. . . The daughters are Mesdames J. Vicars (Sydney), H. L. Jackman, Leslie Taylor, and Roy Taylor. The widow is in London.” [Evening Journal 24 Jan 1911]

“Probate has been granted in the will of the late Mr. William Kither, of Mount Lofty, who died at Knightsbridge, London, on January 23 last, while on a visit to England. . . The executors are Elizabeth Jane Kither (widow of the testator), and Herbert Kither and Clarence Maturin Kither (sons). . . The butchering business so successfully carried on under the direction of the deceased has been transferred to Clarence Maturin Kither, who managed it in his father's absence.” [Register 21 Mar 1911]

The Flannery O'Connor-Andalusia Foundation received a Save America's Treasures grant, a Georgia Heritage Grant, and numerous donations from Friends of Andalusia to restore the Hill house at Andalusia. andalusiafarm.org/andalusia/restoration.htm

Replacing an earlier digital photo with a better version 15-Jul-20.

Taken from the Templeton bridge.

Hybrid livery with the old white fuselage and new tail livery (2005).

Fleet No: "202".

An early A320 (Line No:069), first flown in Oct-89 with the Airbus test registration F-WWDO, this aircraft was due for delivery to Ansett Airline (Australia) as VH-HYJ but the order was cancelled.

The aircraft was delivered to AerFi Airbus as C-FDQV in Nov-89 and leased to Air Canada in Feb-90. It was permanently retired at Tucson, AZ, USA in Apr-19 after just over 29 years in service.

- St. BLAISE CHURCH -

St Blaise is a baroque church built in between 1705 and 1717 (to replace the building of 1368 that was lost by fire) by Venetian architect and sculptor Marino Gropelli. The extended interior, modeled on San Maurizio in Venice, is rectangular with a central dome, and preserves some of the treasures from the earlier church. At the church's main altar there is the golden statue of St. Blaise (Sv.Vlaho) - patron of Dubrovnik holding a model of the Town from 16th C.

The painted organ loft behind the high altar is by Petar Mattel Matejeviæ (early 18th C); the glass windows by lvo Dulèiæ (1971). High on the walls are stone statues of Saints Peter and Jerome, by Nikola Lazanid of Braè (late 16th C), and above the side door a wooden figure of St. Anthony, of unknown date.

- S P O N Z A or DIVONA P A L A C E -

In the end of Placa (Stradun) street, beside Luža, on the left side of the square centered with Orlando column the monumental Gothic-Renaissance Sponza Palace found its rightful place. Sponza is one of the most beautiful palaces in the City, which has preserved its original form. Built 1516-1522, its form suggests possible appearance of the majority of public and private palaces in Dubrovnik before the earthquake of 1667.

Sponza palace derived it's name from the word for the spot where rainwater was collected (Spongia-”alluvium”) according to the former use of the spot it was built on.

In the time of the Republic this palace housed the custom office and bonded warehouse, hence it was often referred to as Divona (from dogana - ”customs”).

The Sponza Palace was the seat of a number of state offices. The palace also housed the mint, the bank, the treasury, and the armoury.

This complex palace was designed by protomagister (chief architect) Paskoje Miličević. The project was completed in 1522. It is a large rectangular building with an inner courtyard. An open porch communicates with the square in front; another porch opens on the first floor in front.

The building is a mixture of Gothic and Renaissance styles, which was typical for the conservative Dubrovnik Republic of those times.

The porch and the sculptural ornaments of the building were made after 1516 by the brothers Andrijić, masters from Korčula, and by other less known stone-cutters.

A beautiful medal with Jesus' monogram and 2 angels was carved by the sculptor Beltrand Gallicus on the back wall.

Individual custom bonded warehouses have names of saints inscribed in capital on the arch of the atrium from which a balance was suspended.

The fact that the city measures were true is captured on the inscription on the arch:

FALLERE NOSTRA VETANT; ET FALLI PONDERA: MEQUE PONDERO CVM MERCES: PONDERAT IPSE DEVS

(Our weights do not permit cheating or being cheated. When I measure the commodities the Lord measures with me.)

The Sponza Palace was not damaged in the earthquake of 1667 and this fact probably saved the Dubrovnik Republic. Affairs of state could continue notwithstanding heavy destruction.Members of the Academia dei Concordi founded at the close of 16th century by the group of poets, met in the large hall of the first floor. That was Dubrovnik's first institution of literary life.

Nowadays the Sponza Palace is the home of the most important cultural institution of Dubrovnik - the archive. The archive found its home on the first floor.

Sponza palace has a unique role during the special opening ceremony of the Dubrovnik Summer Festival. Actors inpersonating the Rector and the members of the Council Minor sit on the upper porch of the Sponza palace and greet the actors that have come to the City to entertain and amuse the public with their music shows and theatre plays. After many skill demonstrations by the actors and a long discussion from the side of the council, the ceremony always ends as the Rector grants the actors free access to the City and gives them the keys of the City in order for them to put up their shows and entertain the public.

About Sponza Palace & Dubrovnik (Ragusa):

1. Michelozzo's City belfry mechanism along with the original Maro and Baro popularly known as zelenci - "the green ones", two bronze statues that used to hit the town's bell on each passing hour, founded by Michele di Giovanni da Fiescole, are exhibited in the Sponza palace. The City bell tower is now manned by two younger zelenci statues which still sound the bell founded in 1509, original work by the world renowned master craftsman Ivan Krstitelj Rabljanin - Johannes Baptista Arbensis de la Tolle.

2. The Sponza palace hosts a memorial room dedicated to defenders killed during the siege of Dubrovnik (1991 --1992).

3. Dubrovnik archive contains 7000 volumes and about 100000 individual scripts. The earliest charter in the archives is from 1022. It is a decree by the pope Benedict VIII in which he grants Dubrovnik the seat of an Archbishop. From 1278 Dubrovnik introduced compulsory registration and filing of all public and private legal documents. Thus, today Dubrovnik archives are an important reference and a rich historical resource.

- RECTOR's PALACE -

Between the Town Hall and the Church of St. Blaise on one side and the Cathedral on the other side the Rector's Palace, an outstanding monument of secular architecture, is found.

The Rector's palace is a harmonious Gothic and Renaissance palace with certain Baroque additions. The palace owes its present shape to many additions and reconstructions throughout its turbulent history. From time to time it happened that the palace was destroyed or heavily damaged by either fires, gunpowder explosions or earthquakes which required a total or partial reconstruction or repair of the building. Each architect had it's own view of how the building should look so nowadays we can enjoy the unique mixture of styles blended perfectly across this monumental structure.

A defence building stood at the site of the present palace in early middle ages and in the statutes of Dubrovnik from 1272 it was referred to as castrum. In 1296 the building is referred to as castellum. The term palatium - palace first occurs in the documents in 1349, and the later documents use the term palazzo maggiore - major palace.

As the document sometimes specify certain parts of the building, it could be deduced that it was a building with corner towers, two wings, and the high wall which enclosed the yard. After the fire of 1435 which gutted the building and its towers the government decided to build the new and more beautiful palace. The important job of rebuilding the palace was entrusted to Onofrio di Giordano della Cava of Naples, master builder that had been already contracted to build the water supply system. The water supply system was completed in 1436.

After Onofrio della Cava had completed his project, the Rector's palace rose as a smart and harmonious two story gothic building with a pillar porch between two side towers which were slightly higher.

The column of the porch and the most beautiful capitals with figural representations, and sculpture ornaments of the palace were made by master Pietro di Martino of Milano.

Only a semi capital in the figure of Asclepius built into the southern angle of the porch and the capital with the scene of the judgment of the Solomon (now kept inside the Rector's Palace as an exhibit) and figural wall brackets on the front porch have survived to the present days.

Although the arrangement of the figures was gothic they could show evidence of the early Renaissance spirit.

In 1463 there was a gunpowder explosion of the palace armoury which heavily damaged the whole structure of the Rector's palace. The renewal was entrusted to the famous architect Michelozzo di Bartolomeo Michelozzi of Florence who was working on the fortification of the City walls. However, his plans, new and vibrant with Renaissance spirit, were not according to the taste of the notoriously conservative major council so the the plans were rejected on May 5 1464. Michelozzo left Dubrovnik soon after and the work was continued by other builders.

The arches in the porch were reshaped according to the principles of the Renaissance with completely new Renaissance capitals. The modernization of the sculptural decoration was probably the work of the Florentin master Salvi di Michele who directed the reconstruction from 1467 on.

The main changes of Onofrio's building were made on the western and southern fronts where the former simple windows were replaced by a large biforas, 8 on the western front and 3 on the southern front. The biforas were carved by local masters Radivoj Bogosalić and Nikola Marković while the relief ornaments and the portal were made by master Pavko Antoje Bogičević.

In 1520 there was a strong earthquake and the palace suffered yet another misfortune. One of the masters who has been working on the repairs was Petar Andrijić of Korčula.

The Great earthquake of 1667 was no exception and damaged the palace extensively. The earthquake broke down the southern front of the palace with biforas. The wing was rebuilt in Baroque style.

Furthermore, a new Baroque flight of stairs was built in the atrium of the palace in place of the old one which was damaged. About the same time a bell was set up on the first floor of the atrium. The bell stand is decorated with rich Rococo ornaments. The stand was connected to a clock mechanism below which struck the hours.

On the ground floor of the atrium between the two pillars in the eastern wing the senate had a monument erected in 1638 to Miho Pracat, the citizen of merit.

Miho Pracat was a rich ship owner from Lopud who left his immense wealth to the Republic for the charitable cause. Because of this most generous gesture the Republic was indebted to honour him. The government conferred for thirty years before they thought up an adequate way to honour him. The tribute should have been evident, but not too public. Ingenious solution was to erect a bust in the atrium of the Rector's palace and this is how Miho Pracat became the only citizen of Dubrovnik republic with a monument in over a 1000 years of Dubrovnik's existence. The bust was made by Pietro Giacometti of Recanati. The monument was also damaged in the great earthquake of 1667 but was repaired and returned to the same place in 1731.

The eastern front looking forward towards the harbour underwent great changes after the earthquake. Originally representative in form, with the porch and the loggia, it was never restored to its previous shape.

Today the Rector's palace is the home to the history department to museum of Dubrovnik. The majority of the halls have styled furniture so as to recreate the original atmosphere of these rooms. In addition to style furniture numerous portraits and coats of arms of the noble families, paintings of old masters, coins minted by the Republic, the original keys of the city gates, and the number of important state documents are on permanent exhibit in the palace.

The County of Santa Clara Animal Care and Control Department needed to replace their makeshift former residence with several additions and portables into an adequate home for the area’s needy animals.

Dreyfuss + Blackford Architecture — working with animal care designer, The Bacon Group — created the County’s new Animal Services Center campus with state-of-the-art animal care functions in a park-like setting, providing innovative and sustainable building systems and amenities in the 24/7 facility.

The new Animal Services Center has capacity for 54 dogs and 90 cats, with spaces for other types of animals including rabbits, horses, and goats. To house and showcase larger animals, a barn is sited along the main building frontage, increasing visibility.

Taking a distinct departure from traditional shelter design, dog kennels are organized around an outdoor landscaped courtyard named “The Park”. Together with surrounding “Get Acquainted” pods, the experience offers a bright and open area to meet and greet potential pets in a natural park-like environment.

In addition to animal adoption, a primary objective of the Animal Services Center is to educate the public about the benefits of spaying and neutering. The County is taking a proactive approach to overpopulation by educating the public on reducing the number of animals ending up at the Animal Services Center through the use of the public surgery suite, located inside the facility’s clinic.

Another key solution the Animal Services Center provides is its large Educational Meeting facility. Not only will animal-specific community events be held there, but other County agencies will also be able to utilize the assembly space for conferences and gatherings up to 150 occupants—a resource they previously lacked.

The County of Santa Clara Animal Services Center is designed to achieve LEED Silver certification.

Photo by Tim Griffith.

Replacing an earlier scanned photo with a (slightly) better version 09-Apr-14..

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

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

I also have a photo of this aircraft in Inter City Airlines/Guernsey Airlines livery at www.flickr.com/photos/kenfielding/6925478533

Advie War Memorial

The memorial was damaged beyond repair in 2006 and replaced in 2008.

The memorial has been moved to NJ 12506 34385, the position shown above is right on the main road so perhaps it was hit by a vehicle that would fit with the damage on the original which is in the cemetery (NJ 1418 3528).

There appears to be a church hall across the road from memorial.

LET US GIVE

OUR MOST HUMBLE

AND HEARTY THANKS

TO ALMIGHTY GOD

FOR HAVING GIVEN

US AND OUR ALLIES

THE VICTORY OVER

OUR ENEMIES

MAY WE REMEMBER

THAT THE SAFETY

OF OUR EMPIRE

IS NOT OWING TO

THE STRENGTH OF MAN

BUT TO THE POWER

OF GOD

GOD SAVE THE KING

AMEN

.

SONS OF THIS PLACE

LET THIS OF YOU

BE SAID

THAT YOU WHO LIVE ARE

WORTHY OF YOUR DEAD

THESE GAVE THEIR

LIVES THAT YOU

WHO LIVE MAY REAP

A RICHER HARVEST

ERE YOU FALL

ASLEEP

.

SEAFORTH HIGHLANDERS

2nd BATTALION

SGT ALEX WILLIAMSON DC.M.

Pte DANIEL MUNRO

Pte DUNCAN L. MACKENZIE DIED OF WOUNDS 4.11.15

3rd BATTALION

SGT BENJAMIN PRITCHARD

Pte WILLIAM BREMNER

4th BATTALION

SGT JAMES ANDERSON

Pte ALEXANDER STUART

Pte DAVID FERGUSON

Pte JAMES McGLASHAN

C.Q.M.S. ROBERT RAE

...

SEAFORTH HIGHLANDERS

6th BATTALION

Cpl AINSLIE WOODKILLED IN ACTION 31.7.17

Pte ALEX MACKENZIEKILLED IN ACTION 28.4.18

PIPER WILLIAM McBAIN

Pte THOMAS H. DUNBAR

Pte DONALD GEDDES

Pte CHARLES MUNRO

Pte JAMES GRUBB

Pte WILLIAM MUNRO

Pte DONALD GRANT

7th BATTALION

Pte PETER STUARTKILLED IN ACTION 4.5.17

Pte GEORGE GRANTKILLED IN ACTION 19.4.17

...

ROYAL FIELD ARTILLERY

CAPTAIN RONALD LIDDELL M.C.

ROYAL GARRISON ARTILLERY

SIGNALLER DAVID LEIGHTON

GUNNER THOMAS MACPHERSON

GUNNER GEORGE R. GRANT

MACHINE GUN CORPS

Pte WILLIAM J. GRANT

ROYAL ARMY MEDICAL CORPS

SERGEANT THOMAS W. MACKENZIE

SOUTH AFRICAN FIELD AMBULANCE

Pte WILLIAM McINTOSH

ROYAL AIR FORCE

Pte GEORGE INNES

AUSTRALIANS

SERGEANT ALEXANDER DEAN

PRIVATE WILLIAM J. MACKENZIEKILLED IN ACTION 5.5.15

Pte GEORGE WOOD

Pte JOHN GRANT

CANADIANS

LIEUT JOHN SHAW

STAFF SERGEANT JOHN CLARKKILLED IN ACTION 7.8.18

SGT JAMES STEWART

Pte ALFRED DINNIEKILLED IN ACTION 7.4.17

Pte DUNCAN STEWART

Pte ARTHUR STEWART

Pte CHARLES WILLIAMSON

CAMERON HIGHLANDERS

1st BATTALION

SGT AINSLIE WOOD

4TH BATTALION

SGT ANGUS AMAKENZIE

Pte PETER GOW

PTE WILLIAM MACDONALDDIED 28.12.14

Pte JOHN MACDONALD

5TH BATTALION

Pte HUGH HOGG

Pte JOHN MACDONALD

HIGHLAND LIGHT INFANTRY

12th BATTALION

Pte THOMAS ROBERTSON

ARGYLL & SUTHERLAND HIGHLANDERS

12TH BATTALION

Pte MUNRO GRANTKILLED IN ACTION 19.9.18

NORTHUMBERLAND FUSILLIERS

24th BATTALION

Pte CUTHBERT ALLAN

HERTFORDSHIRE REGIMENT

1st BATTALION

SGT ALEXANDER GRANTKILLED IN ACTION 7.9.18

Pte ERNEST BROCKS

GLOUCESTERSHIRE REGIMENT

6th BATTALION

Pte JOSEPH MANNDERS

ROYAL ENGINEERS

SAPPER ARTHUR S. CURRALL

ROYAL ARMY SERVICE CORPS

STAFF QR MASTER SERGEANT JOHN O. PETERKIN

Pte JOHN MUNRO

Pte JOHN CAMERON

Pte ROBERT TREVOR

18TH HUSSARS

CAPTAIN JOHN LOCKHART WOOD D.S.O.DIED OF WOUNDS 11.6.15

GORDON HIGHLANDERS

3rd BATTALION

Pte JAMES MACKENZIEKILLED IN ACTION 15.10.14

Pte GEORGE MACDONALDKILLED IN ACTION 11.4.17

Pte JOHN McCULLOCH

GORDON HIGHLANDERS

3rd BATTALION

Pte WILLIAM DUNBAR

Pte ARCH MACDONALD

6th BATTALION

CAPTAIN DONALD DUFF

BLACK WATCH ROYAL HIGHLANDERS

3rd BATTALION

Pte PETER DUNBAR

8th BATTALION

Pte JOHN G. COOPERKILLED IN ACTION 2.10.18

9th BATTALION

Pte WILLIAM KEITH

12th BATTALION

Pte JAMES BREMNER

...

THIS WAR MEMORIAL ERECTED IN 2008

REPLACES THE ORIGINAL MEMORIAL

WHICH WAS DAMAGED BEYOND REPAIR IN 2006.

THE REMAINS OF THE ORIGINAL MEMORIAL

CAN BE VIEWED IN THE GROUNDS OF ADVIE CEMETERY

Replaced my M-stem with a H-stem, Aberhallo stem adapter and straight handle bars (58 cm)

It is about 2cm lower now. Brake/shifter cables are not modified.

Superb Vera Apollo! I love everything about this puzzle: the cutout, the colors, and the subject. The number of pieces suits me perfectly.

We redid a piece that had been chewed up. I kept the wood, changed the paper, and recolored it; it's almost invisible (except on the back).

According to Denis Charveriat, this box design was produced in 1971 and 1972.

Replaced the last CRT with an HP w2207

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

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

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

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

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

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

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

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

Replaced some more old parts with fresh new parts. Replaced the old distributor cap, distributor rotor and the cabling with fresh new ones :)

Car is smooth again, as it showed some jerkiness onder WOT.

Replaces the 737 Service

Completed in 1913, the Langham Hotel was designed by Warwick architects Dornbusch and Connolly for Mrs Cobcroft. The Langham Hotel replaced an earlier hotel on the site known as the Rose Inn.

The property was acquired by Maria Dank in 1860, then transferred to John Heffernan in 1870 and to William Law in 1871. By 1881 records indicate that there was a hotel on the site, also a house and a cottage which fronted a lane. Records of licenses issued show that the hotel was known as the Rose Inn Hotel.

In 1911 the property was transferred to Arthur John Cobcroft, a Bank Manager of Warwick. In the same year Edward Portley, then licensee of the Rose Inn Hotel, was granted a licence to carry on business temporarily during the demolition and re-erection of the hotel premises. Title records indicate that Cobcroft leased the property to Daniel Allman from October 1911.

Tenders were invited in January 1912 for the erection and completion of the Langham Hotel, Palmerin Street Warwick for Mrs CA Cobcroft. A detailed description of the new hotel appeared in the Warwick Examiner and Times in August 1913. The erection of the hotel by Mrs Cobcroft was described as ... a progressive move on her part and provides an ornament to the town... , reflecting Mrs Cobcroft's optimistic view of the future of Warwick. The article noted that the Hotel will be conducted under the direction of Mr and Mrs Allman, and will be managed by Mrs Stokes, who has been managing Allman's Hotel in Grafton Street for the past four years. During the early twentieth century the Allman family owned and also operated the National (then Allman's) [600950] and Criterion [600962] Hotels in Warwick.

Sample rooms were provided in the hotel, and stabling accommodation was available. The main staircase of the hotel was designed to enable the subsequent installation of a passenger lift, however there is no evidence to indicate that this ever occurred. The article also indicated that the walls of the hotel had been built of such a thickness that two additional stories could be added at any time which indicates a possible reason for the provision for a passenger lift.

The ground floor of the hotel included a shop to the southern side of the main Palmerin Street entry, and in August 1913 PR Woods, a Chemist, removed his business to the commodious new shop in the Langham Hotel premises... .

The property was transferred to James Roach in 1919 and remained in the Roach family until 1948. The property was subsequently held by a number of people until 1964 when it was acquired by Anthony and Jacob Maroon. Jacob Maroon died in 1979 and his share transmitted to Anthony Maroon. The lease on the property is presently (1995) held by Anthony Maroon and Marcell Maroon.

Firefighter, hard life, hard men.

Even with all of today's health and safety considerations its still dangerous.

History of the UK Fire and Rescue Service

HistoryThe modern day Fire Brigade has evolved following many years of development and improvements since almost pre-history. From the time man discovered fire, he has also battled to control the flames.

The first organised firefighting is believed to have originated in the UK during the Roman invasion in AD43. Even then, fighting fires was often limited to nothing better than buckets of water or simple syringes that squirted water at the fire. Once the Romans left, firefighting took a backward step as communities fell into decline.

During the middle ages many towns and cities simply burned down because of ineffective fire fighting arrangements and because of the building materials used at the time; mainly wood. Following some spectacular losses, some parishes organised basic firefighting, but no regulations or standards were in force. The Great Fire of London, in 1666, changed things and helped to standardise urban fire fighting.

Following a public outcry during the aftermath of probably the most famous fire ever, a property developer named Nicholas Barbon introduced the first kind of insurance against fire. Soon after the formation of this insurance company, and in a bid to help reduce the cost and number of claims, he formed his own Fire Brigade. Other similar companies soon followed his lead and this was how property was protected until the early 1800s. Policy holders were given a badge, or fire mark, to affix to their building. If a fire started, the Fire Brigade was called. They looked for the fire mark and, provided it was the right one, the fire would be dealt with. Often the buildings were left to burn until the right company attended! Many of these insurance companies were to merge, including those of London, which merged in 1833 to form The London Fire Engine Establishment, whose first Fire Chief was James Braidwood. Braidwood had come to London after holding the position of the Chief Officer of Edinburgh Fire brigade. Edinburgh’s authorities had formed the first properly organised brigade in 1824.

A major change in the way fires were fought came into being in the mid 1850s when the first reliable steam powered appliances were adopted by brigades. These appliances replaced the manual engines and allowed a far great quantity of water to be to be directed onto a fire. These Steam powered appliances were only to last slightly longer than 50 years due to the introduction of the internal combustion engine in the early 1900s.

James Braidwood would die in 1861 whist fighting a warehouse fire in Tooley Street, London. Other areas of the UK had either Volunteer Fire Brigades or Town Fire Brigades. It wasn’t until 1938 that many of these brigades were amalgamated.

Before 1938 there were between 1400 and 1500 small municipal fire brigades run by local councils in the UK.

In 1938 the AFS followed by the NFS were formed. The formation on the NFS would ensure uniformity in much of the basic equipment used by the country’s Fire Brigades during what was the busiest time ever in the history of the UKs Fire Service.

Following the ending of the war the N.F.S was taken over by local County Authorities.

The Fire Services Act (1947) became effective on the 1st of April 1948; this resulted in 148 County Council and County Borough run Fire Brigades. This act has since been updated as recently as 2004. In 1974 following local government re-organisation many brigades were amalgamated, losing many City and County Borough Fire Brigades.

Further changes, carried out in 1986, saw the formation of some Municipal Boroughs and some County Brigades were renamed. More recently, many of these Brigades have been removed from Local Authority control and have become independent Fire Authorities.

There are at present 63 brigades in England, Wales, Scotland and Northern Ireland.

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

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

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

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

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

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

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

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

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

Whiteford Lighthouse is an unusual cast-iron lighthouse built in 1865 to a design by John Bowen (1825-1873) of Llanelli, by the Llanelli Harbour and Burry Navigation Commissioners to mark the shoals of Whiteford Point, replacing an earlier piled structure of 1854, of which nothing remains. It is the only wave-swept cast-iron tower of this size in Britain. The tower is 44 feet (13 m) high and stands just above low-water level. The base is about 24 feet (7.3 m) in diameter and rises gracefully to a diameter of 11 feet 6 inches (3.51 m) at lantern level. A pitched stone apron surrounds the base of the lighthouse.

Construction and maintenance

The lighthouse sits on 88 wooden piles driven into glacial moraine which is any glacially formed accumulation of unconsolidated glacial debris (soil and rock) that occurs in currently glaciated and formerly glaciated regions on Earth these are linked horizontally by walling pieces, using 500 cast-iron plants and bolts. These would have formed a box, probably square or octagonal, which would have been excavated and partially filled with concrete. The materials were delivered by boat and work undertaken during low tide. The structure of the shell is formed from 105 bent and tapered cast-iron plates, each about 32 millimetres (1.3 in) thick, with an upstand flange on each side, and bolted with cast-iron bolts, each weighing 2 pounds (0.91 kg). There are eight levels of panel tapering to the sixth 'course'. The first three horizontal joints are covered by iron bands supported on brackets and topped with fillets of concrete. During the 1870s vertical cracks developed in the plates of the lowest three rings. A local blacksmith called Powell made wrought-iron straps which were bolted to the flanges on each side of the cracked plates. At the time, the cracks were put down to lateral pressures arising from the settlement of the inner masonry, being composed of rough beach stones and 'bad' mortar. By 1884, 150 straps had been fitted. The compaction of the fill may have been compounded by movement (swaying) of the tower, reported in 1884 by the lighthouse keeper to have been 'several inches'. In 1885, the ground around the tower was strengthened with the addition of a concrete skirt 18 inches (46 cm) deep, bound by a 2-inch (5.1 cm) wide iron band, effectively anchoring the skirt to the base of the tower. The equipment for the lighthouse is listed in an inventory of 1888 and indicates that provision was made for two lighthouse keepers, although each of the census returns of 1871, 1881, 1891, and 1901 names one keeper. The working pattern was two weeks at Whitford Lighthouse alternating with two weeks at Llanelli Harbour Lighthouse.

The lamp

Three Argand lamps and reflectors were fitted, one towards the Lynch Pool or south channel, one towards Burry Port, and one towards Llanelli. In 1876, the Harbour Master set a fourth lamp to shine west along the north channel. The Admiralty chart of 1887 shows the "Arc of Visibility" of the lights from slightly west of south, through north, to slightly south of east. The lighthouse was discontinued in 1920, when responsibility for the light was transferred to Trinity House, who decided to establish a new beacon at Burry Holms. However, after pleas from local yachtsmen, the light was relit in the 1980s. This gave an additional point of reference when navigating the waters between the Gower Peninsula and Burry Port: on dark nights, boat crews often found themselves on top of Whiteford Point before realizing the fact. The cost was £1,300, with £1,000 being funded by the Harbour Commissioners and the balance by Burry Port Yacht Club. The new light was fully automatic and switched on when daylight faded to a pre-determined level. Two nautical almanacs published in 1987, Reeds, and Macmillan and Silk Cut, listed Whiteford Lighthouse as flashing every five seconds. After a failure of the solar unit, the light was removed and not replaced. However, the lighthouse still has navigational value in daylight. It is now owned by Carmarthenshire County Council.

VANDENBERG AIR FORCE BASE, Calif.--Officials cut the ribbon Feb. 27 ceremonially opening a brand new education center that will help Airmen stationed at this central coast base achieve their personal and professional education goals.

The $14.2 million center replaced a 60-year-old elementary school campus, which had been used as the education center for more than 40 years.

"We hear the dollar value, and I just can't stress how precious those dollars are in today's fiscal environment," said Col. Keith Balts, 30th Space Wing commander. "The fact that we get to do military construction at all, especially something for the quality of our Airmen and their families, says a lot about the importance we place on education."

One of the center's first customers was Senior Airman Antoine Marshall, 30th Force Support Squadron, who joined the Air Force four years ago with an associate degree in criminal justice.

"I just took the analyzing and interpreting literature CLEP (College Level Examination Program) exam," said Marshall, who's pursuing a bachelor's degree in organizational management. "It was my first one--I passed it. I'm extremely happy!"

The 38,384-square-foot facility includes 20 classrooms, computer lab, testing center, and 75-seat auditorium, as well as offices for various colleges and universities serving the Vandenberg community.

"I think the facility is great," said Marshall. "Overall, it provides a better environment to work and study, and it's just comfortable."

The design-build project was constructed by Corps contractor Teehee-Straub, a joint-venture team from Oceanside, Calif.

"The design was quite extensive, just due to the detail and the location," said Keith Hamilton, project executive for Teehee-Straub. "The site work was very challenging, and I think that was something that brought a lot of character to this building."

Teehee-Straub's 21st century design included sustainable development and energy efficiencies, such as light pollution reduction and water use reduction.

"This is a sustainable building," said Col. Kim Colloton, U.S. Army Corps of Engineers Los Angeles District commander. "We can build our buildings smartly, so they can do more; it's more [money] that can go back into the base."

During construction, 75 percent of the construction and demolition debris was diverted from landfills and redirected back to the manufacturing process as reusable and recyclable material. Walk-off mats, exhaust systems and filtered heating and cooling improves indoor air quality. Low-flow fixtures and faucets, high-efficiency drip irrigation and drought-tolerant landscaping reduce potable water use by more than 40 percent. All are efficiencies the contractor believes will achive a LEED Silver rating (Leadership in Energy & Environmental Design, a Green Building Council rating system).

"We're just proud to be part of this," said Teehee-Straub managing partner Richard Straub. "The Corps of Engineers is one of our favorite customers, and we love supporting the Air Force in doing a job that will educate a lot of servicemen."

Note the cracked grip. It was a scramble to get that replaced before the show.

Bike write up:

The 2011 North American Handmade Bicycle Show (NAHBS) has arrived. I would like to start The Bicycle Escape’s coverage of the event with my new ride, the pictured YiPsan cruiser.

Some of you may remember the YiPsan Sunflower bike that won the “People’s Choice Award” and “Best City Bike” at the 2010 North American Handmade Bicycle Show. Well that beauty belonged to my beauty (aka wife Danielle). At the time the bike was being designed there was discussion of a dude’s version of the now famous cruiser. NAHBS 2011 offered the perfect excuse for such a bike to become a reality.

The design of the bike is function forward. Racks, generator lights, fenders, a bell, and a kickstand adorn the machine. To say it is functional is not to overlook the bikes beauty. The paint was done by the skilled hand of Keith Anderson. His flawless finish is complimented by lots of high-polished bits and pieces. When polished parts were not available (they usually were not) we had them polished. The rims for example started out as a nice silvery/grey color but it was not shiny enough for this build. We could do better. The kickstand, brake lever blades, crank, ring, fenders, and Shimano Alfine rear hub all received the same treatment. We even replaced the kickstand and brake lever pivot pins with pins made of brass. So yeah, I am kinda worked-up about this bike.

One of the original motivating forces behind this bike was the transforming front rack. I wanted a porteur style front rack that could transform into a small randonneur rack. After discussing this idea with Renold Yip at YiPsan Bicycles he took the idea a step further. He designed and built a rack platform with removable left and right sides. With the sides removed you are left with a small front rack. The sides can then be installed on the fork forming a low-rider rack to accommodate side bags.

I am really pleased with the way this bike came together and am super excited to see my bike displayed alongside the best our industry has to offer. Stay tuned for more posts from Austin.

Replaced componants.

They replaced the sign some years ago. Why? I have no idea. Needless to say, it was not an improvement.

Replacing an earlier scanned photo with a better version 09-Oct-18.

With additional small 'SAS' sticker by the passenger door.

First flown with the ATR test registration F-WWLV 19-Jan-96. This was the ATR.72-212A(500) prototype. After development flying it should have been sold to Air Greece and then China Xinjiang Airlines (as B-3021) but both sales were not taken up and the aircraft was sold to Cimber Air, Denmark as OY-CIM in Feb-99. It was leased to Air Nostrum as EC-JCR in Oct-04 and operated on behalf of Iberia Regional. The aircraft was returned to Cimber Air in Aug-06 and immediately leased to Binter Canarias. It returned to Cimber Air as OY-CIM in Jul-09. Cimber Air ceased operations in May-12 and the aircraft was stored at Copenhagen, Denmark. In Aug-13 it was sold to Swiftair, Spain as EC-LYJ and immediately wet-leased to Antrak Air, Ghana. It was returned to Swiftair in early 2014. In Feb-15 the aircraft was wet leased to Air Europa. Current (Oct-18).

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

Named: "Johann Wolfgang von Goethe".

First flown with the Airbus test registration D-AVYX, this aircraft was delivered to Eurowings as D-AKNG in Feb-97. It was sold to a lessor on delivery abd leased back to Eurowings.

It was transferred to Germanwings in Oct-02. The aircraft was transferred to Lufthansa in Nov-08 and repainted in full Lufthansa livery with Lufthansa Italia titles. It was due to be operated by Air Dolomiti re-registered I-LHKB.

However, the operation by Air Dolomiti was cancelled and it was operated by Lufthansa, still as D-AKNG, starting in Jan-09. Lufthansa Italia wasn't a success and the aircraft was returned to Lufthansa in Nov-11 when it was stored at Sofia, Bulgaria. It returned to service in May-12.

In May-13 the aircraft was transferred to Germanwings in full Germanwings livery. It had gone 'the full circle' when it was transferred back to Eurowings in Oct-17. The aircraft was permanently retired at Sofia, Bulgaria in Dec-19.

Advie War Memorial

The memorial was damaged beyond repair in 2006 and replaced in 2008.

The memorial has been moved to NJ 12506 34385, the position shown above is right on the main road so perhaps it was hit by a vehicle that would fit with the damage on the original which is in the cemetery (NJ 1418 3528).

There appears to be a church hall across the road from memorial.

LET US GIVE

OUR MOST HUMBLE

AND HEARTY THANKS

TO ALMIGHTY GOD

FOR HAVING GIVEN

US AND OUR ALLIES

THE VICTORY OVER

OUR ENEMIES

MAY WE REMEMBER

THAT THE SAFETY

OF OUR EMPIRE

IS NOT OWING TO

THE STRENGTH OF MAN

BUT TO THE POWER

OF GOD

GOD SAVE THE KING

AMEN

.

SONS OF THIS PLACE

LET THIS OF YOU

BE SAID

THAT YOU WHO LIVE ARE

WORTHY OF YOUR DEAD

THESE GAVE THEIR

LIVES THAT YOU

WHO LIVE MAY REAP

A RICHER HARVEST

ERE YOU FALL

ASLEEP

.

SEAFORTH HIGHLANDERS

2nd BATTALION

SGT ALEX WILLIAMSON DC.M.

Pte DANIEL MUNRO

Pte DUNCAN L. MACKENZIE DIED OF WOUNDS 4.11.15

3rd BATTALION

SGT BENJAMIN PRITCHARD

Pte WILLIAM BREMNER

4th BATTALION

SGT JAMES ANDERSON

Pte ALEXANDER STUART

Pte DAVID FERGUSON

Pte JAMES McGLASHAN

C.Q.M.S. ROBERT RAE

...

SEAFORTH HIGHLANDERS

6th BATTALION

Cpl AINSLIE WOODKILLED IN ACTION 31.7.17

Pte ALEX MACKENZIEKILLED IN ACTION 28.4.18

PIPER WILLIAM McBAIN

Pte THOMAS H. DUNBAR

Pte DONALD GEDDES

Pte CHARLES MUNRO

Pte JAMES GRUBB

Pte WILLIAM MUNRO

Pte DONALD GRANT

7th BATTALION

Pte PETER STUARTKILLED IN ACTION 4.5.17

Pte GEORGE GRANTKILLED IN ACTION 19.4.17

...

ROYAL FIELD ARTILLERY

CAPTAIN RONALD LIDDELL M.C.

ROYAL GARRISON ARTILLERY

SIGNALLER DAVID LEIGHTON

GUNNER THOMAS MACPHERSON

GUNNER GEORGE R. GRANT

MACHINE GUN CORPS

Pte WILLIAM J. GRANT

ROYAL ARMY MEDICAL CORPS

SERGEANT THOMAS W. MACKENZIE

SOUTH AFRICAN FIELD AMBULANCE

Pte WILLIAM McINTOSH

ROYAL AIR FORCE

Pte GEORGE INNES

AUSTRALIANS

SERGEANT ALEXANDER DEAN

PRIVATE WILLIAM J. MACKENZIEKILLED IN ACTION 5.5.15

Pte GEORGE WOOD

Pte JOHN GRANT

CANADIANS

LIEUT JOHN SHAW

STAFF SERGEANT JOHN CLARKKILLED IN ACTION 7.8.18

SGT JAMES STEWART

Pte ALFRED DINNIEKILLED IN ACTION 7.4.17

Pte DUNCAN STEWART

Pte ARTHUR STEWART

Pte CHARLES WILLIAMSON

CAMERON HIGHLANDERS

1st BATTALION

SGT AINSLIE WOOD

4TH BATTALION

SGT ANGUS AMAKENZIE

Pte PETER GOW

PTE WILLIAM MACDONALDDIED 28.12.14

Pte JOHN MACDONALD

5TH BATTALION

Pte HUGH HOGG

Pte JOHN MACDONALD

HIGHLAND LIGHT INFANTRY

12th BATTALION

Pte THOMAS ROBERTSON

ARGYLL & SUTHERLAND HIGHLANDERS

12TH BATTALION

Pte MUNRO GRANTKILLED IN ACTION 19.9.18

NORTHUMBERLAND FUSILLIERS

24th BATTALION

Pte CUTHBERT ALLAN

HERTFORDSHIRE REGIMENT

1st BATTALION

SGT ALEXANDER GRANTKILLED IN ACTION 7.9.18

Pte ERNEST BROCKS

GLOUCESTERSHIRE REGIMENT

6th BATTALION

Pte JOSEPH MANNDERS

ROYAL ENGINEERS

SAPPER ARTHUR S. CURRALL

ROYAL ARMY SERVICE CORPS

STAFF QR MASTER SERGEANT JOHN O. PETERKIN

Pte JOHN MUNRO

Pte JOHN CAMERON

Pte ROBERT TREVOR

18TH HUSSARS

CAPTAIN JOHN LOCKHART WOOD D.S.O.DIED OF WOUNDS 11.6.15

GORDON HIGHLANDERS

3rd BATTALION

Pte JAMES MACKENZIEKILLED IN ACTION 15.10.14

Pte GEORGE MACDONALDKILLED IN ACTION 11.4.17

Pte JOHN McCULLOCH

GORDON HIGHLANDERS

3rd BATTALION

Pte WILLIAM DUNBAR

Pte ARCH MACDONALD

6th BATTALION

CAPTAIN DONALD DUFF

BLACK WATCH ROYAL HIGHLANDERS

3rd BATTALION

Pte PETER DUNBAR

8th BATTALION

Pte JOHN G. COOPERKILLED IN ACTION 2.10.18

9th BATTALION

Pte WILLIAM KEITH

12th BATTALION

Pte JAMES BREMNER

...

THIS WAR MEMORIAL ERECTED IN 2008

REPLACES THE ORIGINAL MEMORIAL

WHICH WAS DAMAGED BEYOND REPAIR IN 2006.

THE REMAINS OF THE ORIGINAL MEMORIAL

CAN BE VIEWED IN THE GROUNDS OF ADVIE CEMETERY

Replace the blue parts.

def need #new #shoes #converse #ratchet #ass #kicks need #replaced and have been at #tjmaxx for a measly $25 yup I am a bo$$ #selflove

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Cathedral Rd, Calcutta.

This Anglican cathedral replaced St John's Church (see my photo at flickr.com/photos/23268776@N03/2584732902/in/set-72157606... ) as the establishment place of worship in colonial Calcutta. Completed in the "Indo-Gothic" style, so described by Bishop Cotton as "spurious Gothic adapted to the exigencies of the Indian climate", it was designed by Major William Nairn Forbes of the Bengal Engineers.

The British Library online gallery has a photo of the Cathedral taken in 1851 by Frederick Fiebig at :-

www.bl.uk/onlinegallery/onlineex/apac/photocoll/s/019pho0...

The photo shows that the original structure was topped by a spired tower; this was damaged by earthquakes in 1897 and 1934, after which it was finally removed. The renovated spire-less tower was modelled on that of Canterbury Cathedral in England, known as the Bell Harry Tower. Another old photo can be seen on the pages of fellow flickrite wobblyturkey at www.flickr.com/photos/wobblyturkey/257081248/in/set-72157... .

The interior of the Cathedral is a beautiful and evocative place to visit. It pays tribute to a very British Calcutta (with its statues of notable residents, plaques commemorating heroic deeds in long-forgotten wars, stained-glass and wonderful mosaics) and it is a world away from the chaos of modern Kolkata. It sits at the southern end of the Maidan, close to the Victoria Memorial and in a calm,green and shaded oasis, it is far removed from the chaos of the city.

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

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

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

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

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

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

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

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

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

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

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

I have to feather back the paint edges, apply some primer , then color and blend in the clear coats. There will be some baking and sanding mixed in there also.

Replaced a 8-8-12.

On the weekend of July 24-26, crews demolished and replaced it with new track around the curve at Sedgwick and also near Division/the Church Curve on the Brown Line's Ravenswood-Loop Connector.

Crews are now replacing worn rail ties and track components along the stretch of elevated track between the Armitage and Merchandise stations. This portion of project work will help eliminate slow zones and create a smoother, more reliable ride for the more than 40,000 customers who ride Purple and Brown line trains to and from the Loop each weekday.

Here are some pics we took.

Learn more about the Ravenswood Connector Rehabilitation Project at transitchicago.com/ravenswoodconnector

Image courtesy of John Yeoman.

The hole in the ground was the pub cellar.

An inn, or more accurately a pre licensing law pub known as an ale house, with an attached blacksmith's workshop, was built on this site in the late 1850s and was called the Post Office Arms initially but soon became known as the Three Horseshoes.

c1880 it was renamed the White Horse Hotel and underwent several enlargements over the years before being demolished and replaced by a block of flats called The Bridge in 2003 / 4.

.

.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FURTHER READING.

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

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

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

Replacing wood framing

Replacing an earlier digital photo with a better version 01-Feb-24.

Repainted in Thomas Cook Airlines livery one month before the official merger in May-08.

This was another lessor owned aircraft with a long history. First flown in Jun-93 with the Airbus test registration F-WWDM, this aircraft was stored at Toulouse, France in Jul-93 before delivery to the Orix Aircraft Corporation in Sep-93. It remained in storage until it was re-registered N437RX in Mar-94.

It was leased to Airworld, UK as G-BVJV in Apr-94 for the summer season. On it's return to Orix in Nov-94 it was stored at Stansted, UK and leased to Airworld again in Apr-95. It was sub-leased to Skyservice Airlines (Canada) as C-FWOQ in Nov-95 and returned to Airworld as G-BVJV in Apr-96.

It was leased to Transmeridian Airways, USA as N437RX in Nov-96 for the winter, returning to Airworld as G-BVJV in Apr-97. The aircraft returned to Orix in Nov-97 and was leased to Airtours International Airways as G-EPFR two weeks later.

It was sub-leased to Skyservice as C-FTDF in Dec-97 and returned to Airtours in Apr-98. In Nov-98 it was sub-leased to Airtours subsidiary SkyserviceUSA and returned to Airtours as G-EPFR in Apr-99.

In Feb-00 the aircraft was leased to Airtours German subsidiary FlyFTI (operating for German Tour Operator, Frosch Touristik International). It was re-registered D-AAMS in Mar-00. It returned to Airtours in Jan-01 and was sub-leased to Skyservice Airlines, Canada as C-FTDF in Feb-01.

The sub-lease to Skyservice continued with the aircraft being sub-leased back to Airtours International for the summer season from Apr/Nov-01.

Airtours was renamed MyTravel Airways in Apr-02 and the summer sub-leases from Skyservice, Canada continued between May/Nov-02, Apr/Nov-03, May/Nov-04, May/Nov-05 and Mar/Nov-06. The aircraft was returned to MyTravel Airways, this time as G-FTDF, in Apr-07.

MyTravel was merged into Thomas Cook Airlines UK in Mar-08. The aircraft continued in service until it was permanently retired and stored at Manchester, UK in Jan-11. It was ferried to Greenwood, MS, USA for further storage. The registration was cancelled in Aug-11 and it was later broken up.

The original Supermarine Spitfire LF Mk.XVIE, built in 1945, never saw combat action and was presented to the Brevet Club at Harewood, Christchurch, in 1963. It was mounted on a plinth outside the club and remained in place until 1983 when it was decided to replace it with a replica model. This replica, made from fibreglass, was crafted at RNZAF Base Woodbourne in Blenheim in a project overseen by Flight Sergeant Ray Allan and involved up to sixty individuals (twelve of whom were full time). After the replica was installed in 1984, the original plane was relocated to the Air Force Museum. On the 6th of October that year, the replica model was destroyed in an arson attack. It was removed and a second replica version was built and installed outside the retail block, called Spitfire Square, at Harewood, Christchurch.

11 Dec 2021 Greg Storey commented:

"In December 1983 I arrived at RNZAF Base Woodbourne and immediately joined the replica Spitfire construction team headed by F/S Ray Allan, Chippie and Sgt Allan Woodly, Framie. Roped in was Chris Lamain as Engineering Officer and myself, Metalworker, to start with. The Idea was to take the original spitfire off the plinth at the Brevet Club for display in the new Air Force Museum and replace it with a fiberglass replica. My task was to design and build the steel space frame inside the wings and fuselage along with assistant to designing with Chris Lamain.

We went to Christchurch and removed the original from the plinth outside Brevet Club, dismantled it in the Air New Zealand hangar and transported it back to Woodbourne. The team then started the process of making moulds of both sides of the wings and fuselage which had amazing detail, including every little blemish, ding and rivet head. I constructed the internal steel framework and this was done in the new 4TTS hangar. The replica was then painted, but beforehand we stencilled little kegs below the cockpit, one for every 2½ gal jar of beer we consumed while waiting for fiberglass to semi cure before wet-trimming, I think 46 in all, plus four cockroaches and one finger.

The completed replica was transported to Christchurch, assembled at Air New Zealand and then hoisted into position. The team being entertained by the remnants of the Brevet Club before adjourning to The Bush Inn, then back to Woodbourne.

Then vandals set fire to it. A trip back to Christchurch to remove it and take it back to Woodbourne, where we sold it to the guy out the back of the airfield with the train under his house for a large box of chocolate biscuits.

Then the idea was raised to sell one to the Perth museum to fund the second replica. So at one stage we had two on the go at the same time. We transported the second one to Christchurch and repeated the performance. We completed the third replica, which went to Perth in a Herc with 40 Sqn., Ray Allan and a couple of helpers.

A while after this the Westgate cinema managed to get a cheap version done out of the moulds by a civilian firm for internal display, this was I believe made with polyester resin not the system Ray Allan and the Head of CIT in Heretaunga came up with. The Westgate cinema eventually gave that replica to the Airforce, which then went about strengthening it by crawling inside and welding in extra bracing so it could be put up on a plinth. I think its life will be shorter than the Christchurch one.

Moving on, another replica was built in Hamilton at Andrew Fink Marine and is now mounted beside the river in Hamilton. I provided Andrew Fink with some ideas during the construction. So there have been five replicas produced from the same moulds, which I believe the Air Force Museum still has control over. The rule from the start was that we could copy the original, but none could be produced as gate guardians in New Zealand and that is why the one at RNZAF Base Auckland is inside the gate."

Photo: Sarelle

Christchurch City Libraries Reference ID: CCL-DW-43011

discoverywall.nz/album/1267/43011

replacing a shitty sensor D600 after 3 years suffering

Education's purpose is to replace an empty mind with an open one

Map Number 2018-194; Replaces Map Number 2017-233

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Next, you drill a 3/8" (or so) diameter hole in the end of the empty flasher shell. This is where the wires will go out to the new flasher.

After running in the Nike Lunarglide (left) for about a year it was time for a change. I don't need the "dynamic support" on the LG so I decided to try the Lunarfly 2 (center). After 2 months and 350+ miles I felt like the lateral cushioning was breaking down and my ankles were being rolled outward and I was just banging my feet on the ground. Now I'm trying the Nike Air Pegasus 28 (right), thanks to a good sale and awesome colors. They felt pretty good today (straight out of the box) so I have high hopes.

We're going to try and save the rest of the paint on the frame, which was just repainted this spring...damn.

Including warning: The batteries are next to the 200V capacitor for the flash.

I've not got new batteries yet, but they are only 3V litium ones so should be dead easy to replace.

Replaced those glass leaves with flowers I like it much better - now to grout and put a few other things on her!