View allAll Photos Tagged replace
(further information and pictures you can get by clicking on the link at the end of page!)
Mariahilferstraße
Mariahilferstraße, 6th, 7th, 14th and 15th, since 1897 (in the 6th and 7th district originally Kremser Sraße, then Bavarian highway, Laimgrubner main road, Mariahilfer main street, Fünfhauserstraße, Schönbrunnerstraße and Penzinger Poststraße, then Schönbrunner Straße), in memory of the old suburb name; Mariahilf was an independent municipality from 1660 to 1850, since then with Gumpendorf, Magdalenengrund, Windmühle and Laimgrube 6th District.
From
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Mariahilferstraße, 1908 - Wien Museum
Mariahilferstraße, 1908
Picture taken from "August Stauda - A documentarian of old Vienna"
published by Christian Brandstätter - to Book Description
History
Pottery and wine
The first ones who demonstrably populated the area of today's Mariahilferstraße (after the mammoth) were the Illyrians. They took advantage of the rich clay deposits for making simple vessels. The Celts planted on the sunny hills the first grape vines and understood the wine-making process very well. When the Romans occupied at the beginning of our Era Vienna for several centuries, they left behind many traces. The wine culture of the Celts they refined. On the hill of today's Mariahilferstraße run a Roman ridge trail, whose origins lay in the camp of Vindobona. After the rule of the Romans, the migration of peoples temporarily led many cultures here until after the expulsion of the Avars Bavarian colonists came from the West.
The peasant Middle Ages - From the vineyard to the village
Thanks to the loamy soil formed the winery, which has been pushed back only until the development of the suburbs, until the mid-17th Century the livelihood of the rural population. "Im Schöff" but also "Schöpf - scoop" and "Schiff - ship" (from "draw of") the area at the time was called. The erroneous use of a ship in the seal of the district is reminiscent of the old name, which was then replaced by the picture of grace "Mariahilf". The Weinberg (vineyard) law imposed at that time that the ground rent in the form of mash on the spot had to be paid. This was referred to as a "draw".
1495 the Mariahilfer wine was added to the wine disciplinary regulations for Herrenweine (racy, hearty, fruity, pithy wine with pleasant acidity) because of its special quality and achieved high prices.
1529 The first Turkish siege
Mariahilferstraße, already than an important route to the West, was repeatedly the scene of historical encounters. When the Turks besieged Vienna for the first time, was at the lower end of today Mariahilferstrasse, just outside the city walls of Vienna, a small settlement of houses and cottages, gardens and fields. Even the St. Theobald Monastery was there. This so-called "gap" was burned at the approach of the Turks, for them not to offer hiding places at the siege. Despite a prohibition, the area was rebuilt after departure of the Turks.
1558, a provision was adopted so that the glacis, a broad, unobstructed strip between the city wall and the outer settlements, should be left free. The Glacis existed until the demolition of the city walls in 1858. Here the ring road was later built.
1663 The new Post Road
With the new purpose of the Mariahilferstrasse as post road the first three roadside inn houses were built. At the same time the travel increased, since the carriages were finally more comfortable and the roads safer. Two well-known expressions date from this period. The "tip" and "kickbacks". In the old travel handbooks of that time we encounter them as guards beside the route, the travel and baggage tariff. The tip should the driver at the rest stop pay for the drink, while the bribe was calculated in proportion to the axle grease. Who was in a hurry, just paid a higher lubricant (Schmiergeld) or tip to motivate the coachman.
1683 The second Turkish siege
The second Turkish siege brought Mariahilferstraße the same fate. Meanwhile, a considerable settlement was formed, a real suburb, which, however, still had a lot of fields and brick pits. Again, the suburb along the Mariahilferstraße was razed to the ground, the population sought refuge behind the walls or in the Vienna Woods. The reconstruction progressed slowly since there was a lack of funds and manpower. Only at the beginning of the 18th Century took place a targeted reconstruction.
1686 Palais Esterhazy
On several "Brandstetten", by the second Turkish siege destroyed houses, the Hungarian aristocratic family Esterhazy had built herself a simple palace, which also had a passage on the Mariahilferstrasse. 1764 bought the innkeeper Paul Winkelmayr from Spittelberg the building, demolished it and built two new buildings that have been named in accordance with the Esterhazy "to the Hungarian crown."
17th Century to 19th Century. Fom the village to suburb
With the development of the settlements on the Mariahilferstraße from village to suburbs, changed not only the appearance but also the population. More and more agricultural land fell victim to the development, craftsmen and tradesmen settled there. There was an incredible variety of professions and trades, most of which were organized into guilds or crafts. Those cared for vocational training, quality and price of the goods, and in cases of unemployment, sickness and death.
The farms were replaced by churches and palaces, houses and shops. Mariahilf changed into a major industrial district, Mariahilferstrasse was an important trading center. Countless street traders sold the goods, which they carried either with them, or put in a street stall on display. The dealers made themselves noticeable by a significant Kaufruf (purchase call). So there was the ink man who went about with his bottles, the Wasserbauer (hydraulic engineering) who sold Danube water on his horse-drawn vehicle as industrial water, or the lavender woman. This lovely Viennese figures disappeared with the emergence of fixed premises and the improvement of urban transport.
Private carriages, horse-drawn carriages and buggies populated the streets, who used this route also for trips. At Mariahilferplatz Linientor (gate) was the main stand of the cheapest and most popular means of transport, the Zeiselwagen, which the Wiener used for their excursions into nature, which gradually became fashionable. In the 19th Century then yet arrived the Stellwagen (carriage) and bus traffic which had to accomplish the connection between Vienna and the suburbs. As a Viennese joke has it, suggests the Stellwagen that it has been so called because it did not come from the spot.
1719 - 1723 Royal and Imperial Court Stables
Emperor Charles VI. gave the order for the construction of the stables to Johann Bernhard Fischer von Erlach. 1772 the building was extended by two houses on the Mariahilferstrasse. The size of the stables still shows, as it serves as the Museum Quarter - its former importance. The Mariahilferstraße since the building of Schönbrunn Palace by the Imperial court very strongly was frequented. Today in the historic buildings the Museum Quarter is housed.
The church and monastery of Maria Hülff
Coloured engraving by J. Ziegler, 1783
1730 Mariahilferkirche
1711 began the renovation works at the Mariahilferkirche, giving the church building today's appearance and importance as a baroque monument. The plans stem from Franziskus Jänkl, the foreman of Lukas von Hildebrandt. Originally stood on the site of the Mariahilferkirche in the medieval vineyard "In Schoeff" a cemetery with wooden chapel built by the Barnabites. Already in those days, the miraculous image Mariahilf was located therein. During the Ottoman siege the chapel was destroyed, the miraculous image could be saved behind the protective walls. After the provisional reconstruction the miraculous image in a triumphal procession was returned, accompanied by 30,000 Viennese.
1790 - 1836 Ferdinand Raimund
Although in the district Mariahilf many artists and historical figures of Vienna lived , it is noticeable that as a residence they rather shunned the Mariahilferstraße, because as early as in the 18th Century there was a very lively and loud bustle on the street. The most famous person who was born on the Mariahilferstrasse is the folk actor and dramatist Ferdinand Raimund. He came in the house No. 45, "To the Golden deer (Zum Goldenen Hirschen)", which still exists today, as son of a turner into the world. As confectioners apprentice, he also had to visit the theaters, where he was a so-called "Numero", who sold his wares to the visitors. This encounter with the theater was fateful. He took flight from his training masters and joined a traveling troupe as an actor. After his return to Vienna, he soon became the most popular comedian. In his plays all those figures appeared then bustling the streets of Vienna. His most famous role was that of the "ash man" in "Farmer as Millionaire", a genuine Viennese guy who brings the wood ash in Butte from the houses, and from the proceeds leading a modest existence.
1805 - 1809 French occupation
The two-time occupation of Vienna by the French hit the suburbs hard. But the buildings were not destroyed fortunately.
19th century Industrialization
Here, where a higher concentration of artisans had developed as in other districts, you could feel the competition of the factories particularly hard. A craftsman after another became factory worker, women and child labor was part of the day-to-day business. With the sharp rise of the population grew apartment misery and flourished bed lodgers and roomers business.
1826
The Mariahilferstraße is paved up to the present belt (Gürtel).
1848 years of the revolution
The Mariahilferstraße this year was in turmoil. At the outbreak of the revolution, the hatred of the people was directed against the Verzehrungssteuerämter (some kind of tax authority) at the lines that have been blamed for the rise of food prices, and against the machines in the factories that had made the small craftsmen out of work or dependent workers. In October, students, workers and citizens tore up paving stones and barricaded themselves in the Mariahilfer Linientor (the so-called Linienwall was the tax frontier) in the area of today's belt.
1858 The Ring Road
The city walls fell and on the glacis arose the ring-road, the now 6th District more closely linking to the city center.
1862 Official naming
The Mariahilferstraße received its to the present day valid name, after it previously was bearing the following unofficial names: "Bavarian country road", "Mariahilfer Grund Straße", "Penzinger Street", "Laimgrube main street" and "Schönbrunner Linienstraße".
The turn of the century: development to commercial street
After the revolution of 1848, the industry displaced the dominant small business rapidly. At the same time the Mariahilferstraße developed into the first major shopping street of Vienna. The rising supply had to be passed on to the customer, and so more and more new shops sprang up. Around the turn of the century broke out a real building boom. The low suburban houses with Baroque and Biedermeier facade gave way to multi-storey houses with flashy and ostentatious facades in that historic style mixture, which was so characteristic of the late Ringstrasse period. From the former historic buildings almost nothing remained. The business portals were bigger and more pompous, the first department stores in the modern style were Gerngross and Herzmansky. Especially the clothing industry took root here.
1863 Herzmansky opened
On 3 March opened August Herzmansky a small general store in the Church Lane (Kirchengasse) 4. 1897 the great establishment in the pin alley (Stiftgasse) was opened, the largest textile company of the monarchy. August Herzmansky died a year before the opening, two nephews take over the business. In 1928, Mariahilferstraße 28 is additionally acquired. 1938, the then owner Max Delfiner had to flee, the company Rhonberg and Hämmerle took over the house. The building in Mariahilferstrasse 30 additionally was purchased. In the last days of the war in 1945 it fell victim to the flames, however. 1948, the company was returned to Max Delfiner, whose son sold in 1957 to the German Hertie group, a new building in Mariahilferstrasse 26 - 30 constructing. Other ownership changes followed.
1869 The Pferdetramway
The Pferdetramway made it first trip through the Mariahilferstraße to Neubaugasse.
Opened in 1879 Gerngroß
Mariahilferstraße about 1905
Alfred Gerngross, a merchant from Bavaria and co-worker August
Herzmanskys, founded on Mariahilferstrasse 48/corner Church alley (Kirchengasse) an own fabric store. He became the fiercest competitor of his former boss.
1901 The k.k. Imperial Furniture Collection
The k.k. Hofmobilien and material depot is established in Mariahilferstrasse 88. The collection quickly grew because each new ruler got new furniture. Today, it serves as a museum. Among other things, there is the office of Emperor Franz Joseph, the equipment of Emperor Maximilian of Mexico from Miramare Castle, the splendid table of Charles VI. and the furniture from the Oriental Cabinet of Crown Prince Rudolf.
1911 The House Stafa
On 18 August 1911, on the birthday of Emperor Franz Joseph, corner Mariahilferstraße/imperial road (Kaiserstraße) the "central palace" was opened. The construction by its architecture created a sensation. Nine large double figure-relief panels of Anton Hanak decorated it. In this building the "1st Vienna Commercial sample collective department store (Warenmuster-Kollektivkaufhaus)", a eight-storey circular building was located, which was to serve primarily the craft. The greatest adversity in the construction were underground springs. Two dug wells had to be built to pump out the water. 970 liters per minute, however, must be pumped out until today.
1945 bombing of Vienna
On 21 February 1945 bombs fell on the Mariahilferstrasse, many buildings were badly damaged. On 10th April Wiener looted the store Herzmansky. Ella Fasser, the owner of the café "Goethe" in Mariahilferstrasse, preserved the Monastery barracks (Stiftskaserne) from destruction, with the help other resistance fighters cutting the fire-conducting cords that had laid the retreating German troops. Meanwhile, she invited the officers to the cafe, and befuddled them with plenty of alcohol.
Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 08-Sep-25.
This aircraft was delivered to China Southern Airlines as B-2822 in Jun-92. 20 years later, in Mar-12, it was withdrawn from service and stored at Guangzhou, China.
It was sold to SCAT Airlines, Kazakhstan as UP-B5704 in Mar-13 and operated on behalf of Sunday Airlines, Kazakhstan. It was withdrawn from service and stored at Almaty, Kazakhstan in Oct-21. It was noted still stored at Almaty in Apr-23 in poor condition. Now 33 years old it's presumably permanently retired. Updated 08-Sep-25.
Rathfarnham Castle.
Origins:
The earlier Anglo-Norman castle which was replaced by the present building was built on lands which were confiscated from the Eustace family of Baltinglass because of their involvement in the Second Desmond Rebellion. It defended the Pale from the Irish clans in the nearby Wicklow Mountains. It is believed the present castle was built around 1583 for Yorkshireman, Adam Loftus, then Lord Chancellor of Ireland and Protestant Archbishop of Dublin. Originally a semi-fortified and battlemented structure, extensive alterations in the 18th century give it the appearance of a Georgian house.
The castle consisted of a square building four stories high with a projecting tower at each corner, the walls of which were an average of 5 feet (1.5 m) thick. On the ground level are two vaulted apartments divided by a wall nearly 10 feet (3.0 m) thick which rises to the full height of the castle. On a level with the entrance hall are the 18th century reception rooms and above this floor the former ballroom, later converted into a chapel.
Rathfarnham was described as a "waste village" when Loftus bought it. His new castle was not long built when in 1600 it had to withstand an attack by the Wicklow clans during the Nine Years War (Ireland).
Civil war:
Archbishop Loftus left the castle to his son, Dudley and it then passed to his son Adam in 1616. During Adam's ownership, the castle came under siege in the 1641 rebellion. It was able to hold out against the Confederate army when the surrounding country was overrun. Adam Loftus opposed the treaty of cessation in order the stop the fighting between the Irish Confederates and the English Royalists. Consequently, he was imprisoned in Dublin Castle.
During the subsequent Irish Confederate Wars (1641-53), the castle changed hands several times. From 1641 to 1647, it was garrisoned by English Royalist troops. In 1647, Ormonde, commander of the Royalists in Ireland, surrendered Dublin to the English Parliament and Parliamentary troops were stationed at the castle until 1649 when a few days before the Battle of Rathmines, the castle was stormed and taken without a fight by the Royalists. However, the Roundheads re-occupied it after their victory at the Battle of Rathmines. It has also been reported that Oliver Cromwell held council there during his campaign in Ireland before going south to besiege Wexford. Adam Loftus, who recovered his castle and lands under Cromwell, sided with the Parliamentarians and was killed at the Siege of Limerick in 1651.
After the English Civil War, the Loftus family retained ownership of the castle. In 1659, Dr. Dudley Loftus, great grandson of Archbishop Loftus, took over the castle. During his lifetime, Dudley held the posts of Commissioner of Revenue, Judge Admiralty, Master in Chancery, MP for Kildare and Wicklow and MP for Bannow and Fethard. His body is interred at St. Patrick's Cathedral.
The eighteenth century:
The property then passed by marriage to Philip Wharton. The young man lost his money in the South Sea Bubble and in 1723 the castle was sold to the Right Hon. William Connolly, speaker of the Irish House of Commons for £62,000. In 1742, the castle was sold to Dr. Hoadly, Archbishop of Armagh, and on his death four years later it passed to his son-in-law Bellingham Boyle. In 1767, he sold the property to Nicholas Hume-Loftus, second Earl of Ely, a descendant of Adam Loftus, the original builder of the castle.
The castle in 1774
Nicholas died within a few years, probably as an indirect result of great hardships which he had suffered in his youth, and the estate passed to his uncle, Hon. Henry Loftus, who was created Earl of Ely in 1771. In commemoration of regaining ownership, the Loftus family constructed another entrance for the castle in the form of a Roman Triumphal Arch. The arch can still be viewed from nearby Dodder Park Road. Henry Loftus, Earl of Ely was responsible for much of the conversion of the medieval fortress into a Georgian mansion and employed renowned architects Sir William Chambers and James 'Athenian' Stuart to carry out these works. The mullioned windows were enlarged and the battlements replaced by a coping with ornamental urns. A semi-circular extension was added to the east side and an entrance porch approached by steps, on the north. The interior was decorated in accordance with the tastes of the period and leading artists, including Angelica Kauffmann were employed in the work. Writers of the period who visited the house have left extravagant descriptions of its splendour.
Henry died in 1783 and was succeeded by his nephew Charles Tottenham. He subsequently became Marquess of Ely as a reward for his vote at the time of the Union.
The nineteenth and twentieth centuries:
In 1812, the family leased the estate to the Ropers and removed their valuable possessions to Loftus Hall in Wexford. The lands and castle were then used for dairy farming and fell into disrepair. To quote a contemporary account from 1838: "Crossing the Dodder by a ford, and proceeding along its southern bank towards Rathfarnham, a splendid gateway at left, accounted among the best productions of that species of architecture in Ireland, invites the tourist to explore the once beautiful grounds of Rathfarnham Castle, but they are now all eloquently waste, the undulating hills covered with rank herbage, the rivulet stagnant and sedgy, the walks scarce traceable, the ice-houses open to the prying sun, the fish-pond clogged with weeds, while the mouldering architecture of the castle, and the crumbling, unsightly offices in its immediate vicinity,…The castle, so long the residence of the Loftus family, and still the property of the Marquis of Ely, subject, however, to a small chief rent to Mr. Conolly, is an extensive fabric,.....The great hall is entered from a terrace, by a portico of eight Doric columns, which support a dome, painted in fresco with the signs of the Zodiac and other devices. This room was ornamented with antique and modern busts, placed on pedestals of variegated marble, and has three windows of stained gloss, in one of which is an escutcheon of the Loftus arms, with quarterings finely executed. Several other apartments exhibited considerable splendour of arrangement, and contained, until lately, numerous family portraits, and a valuable collection of paintings by ancient masters. But, when it is mentioned, that this structure has been for years a public dairy, and the grounds to the extent of 300 acres (1.2 km2) converted to its uses, some notion may be formed of their altered condition.
In 1852 it was bought by the Lord Chancellor, Francis Blackburne whose family resided there for three generations. The property developers Bailey & Gibson acquired the castle in 1912 and divided up the estate. The eastern part became the Castle Golf Club, the castle and the southwestern portion were bought in 1913 by the Jesuit Order and the northwestern part was devoted to housing.
The Jesuits are an order renowned for their education and one of them; Father O'Leary S.J. constructed a seismograph. This machine could detect earth tremors and earthquakes from anywhere in the world and for a time, Rathfarnham Castle became a source of earthquake information for the national media.
To the north of the castle was a long vaulted chamber formerly known as Cromwell’s Court or Fort. This was apparently a barn or storehouse erected as part of the castle farm and had narrow loopholes in its 5-foot (1.5 m) thick walls. In 1922, it was incorporated into the new retreat house, to which it formed the ground story and its character concealed from the outside by a uniform covering of cement plaster.
Not far from the Golf Club House was an attractive little temple built of stone and brick, another relic of Lord Ely’s occupation of Rathfarnham. Although rather out of repair, if restored, it would have added much to the charm of this part of the links. Unfortunately, by decision of the committee, it was demolished in 1979.
In 1986, the Jesuits sold Rathfarnham Castle but before leaving, they removed the stained glass windows, made in the famous Harry Clarke studios, from the chapel and donated them to Tullamore Catholic Church which had been destroyed by fire in 1983. The other windows were donated to Our Lady's Hospice, Harold's Cross and Temple Street Children's Hospital, Dublin.
Preservation:
The castle was sold to Delaware Properties in 1985 and it was feared that it was facing demolition. After immense public pressure to save the building, it was purchased by the state in 1987 and was declared a National Monument. Currently, by the Office of Public Works, there is an extensive refurbishment going through the castle but it is still open to the public during the summer months (5th May - 12th October). The Castle is presented as a castle undergoing active conservation, where visitors can see, at first hand, tantalising glimpses of layers of its earlier existence uncovered during research.
Replacing an earlier scanned photo with a better version 23-Jan-21, plus Topaz DeNoise AI 25-Jul-24.
Fleet No: "609".
First flown with the Airbus test registration F-WWJY, this aircraft was delivered to Maple Leaf Leasing and leased to Air Canada as C-FYLU in May-97.
It was withdrawn from service in Jan-08 and sub-leased to Swiss International Airlines as HB-JMO in Feb-08. The lease was later transferred direct to Swiss International.
The aircraft was sold to Airbus Financial Leasing in Jul-13 while the lease to Swiss International continued. It was returned to the lessor as 2-HJMO at the end of Apr-16 and permanently retired at Lourdes, France. It was broken up there in 2019.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
During the Second World War, the Slovak Air force was charged with the defense of Slovak airspace, and, after the invasion of Russia, provided air cover for Slovak forces fighting against the Soviet Union on the Eastern Front While engaged on the Eastern Front, Slovakia’s obsolete biplanes were replaced with German combat aircraft, including the Messerschmitt Bf 109 and the Focke Wulf Fw 190. The air force was sent back to Slovakia after combat fatigue and desertion had reduced the pilots' effectiveness. Slovak air units took part in the Slovak National Uprising against Germany from late August 1944.
Towards the end of the war, General Alois Vicherek left Britain for the Soviet Union, where he was supposed to take over command of the Czechoslovak Air Force in the USSR. However he only arrived on May 1, 1945, when the war was almost over. Vicherek was happy to serve an Eastern Bloc Czechoslovakia, and on May 29, 1945, he was appointed the Commander of the Czechoslovak Air Force.
Initial equipment of the Czechoslovak Air Force directly after WWII consisted mainly of surviving German aircraft, and parts and tools in the factory sites on Czechoslovak territory. One of these “indigenous” types were the Avia S-99 (a Bf 109G-6) and the S-199, a Bf 109 derivate with a Junkers Jumo 211 F engine that actually belonged to the He 111 bomber. Another similar family consisted of the Avia S-90 and S-91: the S-90 was a Fw 190 A-8, while the S-91 was built from unfinished Fw 190 A-8 airframes and spare parts, and due to the lack of engines outfitted with a Soviet Shvetsov ASh-82FNU engine and other Soviet equipment.
All these aircraft were built or made airworthy by the two aircraft factories in Czechoslovakia: one of them officially called závod Avia (Avia Plant) (1946–48) and závod Avia-Jiřího Dimitrova (Avia-George Dimitroff-Plant, 1948–49) in Čakovice near Prague, as a post-war corporative part of the Automobilové závody, n.p. [Automotive Works, National Corp.], and the other one called závod Vysočany (Vysočany Plant, 1948–49) in Prague, as a corporative part of Letecké závody, n.p. [Aviation Works, National Corp.] They were effectively constructed with parts and plans left over from Luftwaffe aircraft production that had taken place under the country's German occupation during the war.
While around 550 S-199s were built and even exported to Israel, the S-90 and S-91 were only produced in small numbers, and only for the Czechoslovak Air Force. About 40 S-90 were taken into service in 1946, while the assembly of the S-91 with its different engine and other adaptations started in 1948, and less than 20 were built from existing materials – none was actually newly manufactured.
The S-91 was easy to recognize by its bigger fin with a square outline, as well as the different cowling with its oil cooler underneath the ASh-82FNU. This was an improved M-82FN with more boost pressure and RPM and the power output increased to 1,380 kW (1,850 hp). The different engine and its radiator fan called for a different spinner, too, so that the nose profile differed considerably from the Fw 190 A-8, even though most of the internal structure was still the same.
Armament of the S-91 consisted of four Nudelman-Suranov NS-23 23 mm cannons in the wings (one pair in the wing roots, synchronized to fire through the propeller disc, and another pair outside of the landing gear wells) with 125 RPG, the fuselage-mounted machine guns of the Fw 190 A-8 were omitted to save weight. The original underfuselage hardpoint for a drop tank or a bomb of up to 500 kg (1.102 lb) caliber was retained, as well as optional hardpoints under the wings for bombs or other ordnance of up to 250 kg (551 lb) weight, even though the S-90 and S-91 were almost exclusively used in the fighter role. Both types were very popular among the crews, as they were both much more agile and better armed than the rather sluggish S-199, which was cheaper to produce, though.
The S-90’s and S-91’s service career was short, though: from 1955 Czechoslovakia became a member of the Warsaw Pact. Because of this, the Czechoslovak Air Force started to use Soviet aircraft, doctrines, and tactics, and with the purchase of equipment of Soviet origin the leftover WWII relics were soon retired. Nevertheless, both received the NATO ASCC reporting names ‘Finch A & B’, respectively. The S-90 was phased out until 1958, the slightly superior S-91 followed soon in 1960, when both were replaced by MiG-15 jet fighters.
General characteristics
Crew: 1
Length: 9.10 m (29 ft 7 in)
Wingspan: 10.51 m (34 ft 5 in)
Height: 3.95 m (12 ft 12 in)
Wing area: 18.30 m² (196.99 ft²)
Empty weight: 3.170 kg (7.010 lb)
Loaded weight: 4.400 kg (9.700 lb)
Max. takeoff weight: 4,900 kg (10,800 lb)
Powerplant:
1× Shvetsov ASh-82FNU air-cooled radial engine with a two-stage supercharger and fuel injection, rated at 1,380 kW (1,850 hp)
Performance:
Maximum speed: 685 km/h (426 mph) at 6,600 m (21,655 ft), 710 km/h (440 mph) at 37,000 ft (11,000 m)
Range: 950 km (590 mi), clean and with internal fuel only
Service ceiling: 12,000 m (39,370 ft)
Rate of climb: 758 m/min (2,487 ft/min)
Wing loading: 241 kg/m² (49.4 lb/ft²)
Power/mass: 0.29-0.33 kW/kg (0.18-0.21 hp/lb)
Armament:
4× Nudelman-Suranov NS-23 23 mm cannons with 125 RPG in the wings
Up to 1.000kg (2.202 lb) of external ordnance on three hardpoints under the fuselage and under the outer wings (rarely used)
The kit and its assembly:
Another whif inspired by someone else’s idea. This time, the model was inspired by Czech-based fellow user PantherG at whatifmodelers.com, who posted a profile of a Fw 190 A-8 in Czechoslovak Air Force markings, the Avia S-90 - the latter must have been an authentic designation, but I could not find any proof for a service use of the Fw 190 A-8 in the Czechoslovak Air Force?
Anyway, the post-WWII idea had its charm, and I liked PantherG's idea of a rather ugly livery in RLM colors. So much that I decided to build it in hardware form! But, as things evolved, I decided to add a personal twist to the model, taking the original idea one step further.
This led directly to “my” S-91: a re-engined variant of the S-90 – I found parts for a Shvetsov ASh-82 engine in my scrap box, and thought THAT could be a fine alternative…?
The basic kit is the Academy Fw-190 A-8, a solid model with some flaws (e .g. a rather clumsy landing gear), but with good fit and overall details. It is mostly built OOB, with only minor mods: The engine cowling was re-shaped with putty, two ram air scoops for the twin turbochargers were added and a chin oil cooler was mounted added. A new propeller with the typical, different radiator fan was scratched from various single parts (I assume there are He 100D, Spitfire and I-210 parts in it!).
As an additional design twist the Fw 190 fin was replaced by a leftover Me 163 donation part, making it taller and slightly larger in area. This change was not really necessary, but I wanted to change the Fw 190's classic outline a little, for a more modern and Lavochkin La-9/11-like look.
Unfortunately the model suffered from a major crash from the work bench, just before I wanted to apply decals - the fin was ripped apart. I tried to fix it, but the damage can still be recognized.
The fuselage hardpoint comes from a Hobby Boss Fw 190, but it was left empty. In the cockpit a different seat was added, as well as a Matchbox pilot figure and a scratched gun sight. Hollow steel needles were used as gun barrels on the wings.
Painting and markings:
As already mentioned, I liked the rather ugly choice of camouflage that PantherG suggested for his S-90: RLM 75 & 81 (Grauviolett & Braunviolett, yuck!) from above and RLM 76 for the lower sides. Despite the kit mods I decided to stick to PantherG's original design as much as possible - I just changed the aircraft's squadron, since I found appropriate emblems in the stash (see below). Another motivation was that I wanted to see how sick this would actually look like on a Fw 190…
I used ModelMaster Authentic enamels for the upper surfaces authentic RLM tones (2085 & 2090), and I tried the new RLM 76 from Humbrol (#247) for the lower sides.
Compared with the Modelmaster enamel, Humbrol 247 is slightly lighter and recognizably more turquise, almost like RLM 65, and close to Humbrol 128 (FS 36320). In contrast to the poor RLM 83 (Humbrol 253) which I recently used and which failed miserably, the RLM 76 paint is fine: Opaque, good to apply with a synthetic brush, dries up quickly and with an even, matt finish. I hope the horrible 253 enamel is/was just a one-off!
After basic painting, the kit received a black ink wash and some dry painting on panels for weathering and visual drama (with Humbrol 155, 140 and 127), as well as some very light dry-brushed silver on leading edges – the aircraft was supposed to look used, but not too worn. Exhaust an soot stains were also added, with grinded graphite.
All interior surfaces were painted in Extra Dark Slate Grey, as a dull alternative to RLM02.
The markings were puzzled together, according to the original profile sketch; the Czechoslovakian roundels come from KP Arado Ar 96 and Yak-23 kits. Unfortunately I did not have roundels with white outlines in appropriate size in store, but the blue alternative does not look bad at all.
The tactical code was made from single letters from TL Modellbau. The unit badge, a black bat on yellow ground (a full moon?), comes from the Bilek MiG-21PF kit. The few other stencils etc. were taken from the OOB sheet of the Academy Fw 190 kit.
So, a double tribute: first of all to Czech fellow modeler PantherG (who also inspired my German Marineflieger Super Étendard last year), and it is also a suitable contribution to a recent Group Build in memoriam of a deceased fellow user at whatifmodelers.com.
Replaced the old and worn window trim, as it deteriorated by the influence of the weather. Its a small repair and looks so much better and will aid in guiding the water from the car.
Experiment with little light
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Military aircraft development made huge leaps in the 50ies, and it was around 1955 that the successful, transsonic MiG-19 was to be replaced by a next generation fighter - which was to attain more than Mach 2. At that time, these speed and performance figures were terra incognita, but OKB Mikoyan tackled the official request for a new light tactical fighter, which was primarily intended to be used against high flying bombers, guided by ground radar.
Since it was unclear which basic wing design would be most appropriate for the new high speeds, OKB MiG hesitantly brought forth several test aircraft which sported different wing shapes, so that direct comparison could be done. These were the Ye-1, which featured 57° swept wings, much like the MiG-19, the Ye-4, which featured a delta wing with an identical sweep, and finally the Ye-3, which featured a very thin but moderately swept wing - certainly inspired by the contemporary development of the radical F-104 Starfighter in the USA, which featured a duty profile which was very similar to the new Soviet tactical fighter's requirements.
All three aircraft did not go unnoticed from NATO intelligence, and since it was not clear whether these machines would eventually end up in front service, all received code names, which were, respectively, 'Faceplate', 'Fishbed' and 'Filbert'. As a side note, NATO expected the 'Faceplate' design to be the most likely to enter front service - but eventually it became the 'Fishbed'!
The original Ye-3 used a fuselage and tail of the other prototypes. Beyond the different wings, it featured a modified landing gear which had to be completely retracted into the fuselage, due to the wings' thinness. Since the internal space inside of these thin wings also restricted internal fuel capacity - compared to the Ye-1 and Ye-4 - the aircraft carried drop tanks on its wing tips, while the armament, two IR-guided short range missiles, would be carried under the wings on two hardpoints. These could alternatively carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre. Two NR-30 30mm guns with 50 belt-fed RPG in the lower fuselage complemented the missile ordnance.
The original Ye-3 prototype was powered by an AM-11 engine rated at 8.580 lbf dry thrust and 11.200 lbf at full afterburner. It was the last of the test machine trio to fly: aptly coded "31 Blue" it made its maiden flight on 4th of April 1956 with OKB Mikoyan's chief test pilot Gheorgiy K. Mosolov at the controls. It was immediately clear that the aircraft had poor directional stability. It tended to spin at lower speeds, and at higher speeds the tailplane became ineffective. Handling was hazardous, and after just four test flights the aircraft had to be grounded.
It took until December 1956 that a satisfactory control surface solution could be found. Wind tunnel test had suggested that the horizontal stabilizer had to be moved much higher - higher than on the other prototypes, which already progressed in their test programs. The reworked Ye-3/1 featured a completely new T-tail arrangement with trapezoidal stabilizers which had little left in common with the other test types and made the aircraft look even more like a F-104 copy.In order to enhance the stability problem further, the ventral strakes had been enlarged and the fin chord slightly deepened. This new configuration was successfully tested on 21st 1956 of December.
At that time, a second Ye-3/1 was close to completion. Featuring the tactical code "32 Blue", this aircraft was powered by the new R-11 engine, an uprated AM-11 rated at 8.536 lbf dry and 12.686 lbf with afterburner. The same engine was soon re-fitted to "31 Blue", too, and during 1956 and 1957 both machines took part in the extensive trials program for the MiG-21, how the new fighter should be known in service.
"31 Blue" crashed on 30th of May 1958 due to hydraulic failure, even though the pilot was able to escape unharmed - just one day before another test aircraft, a Ye-6/1 (a modified swept-wing aircraft) crashed, too. Anyway, it was already becoming clear that the delta wing offered the best overall performance, being slightly superior to the swept-wing design. The straight, thin wing, though, was considered unsatisfactory and a dead end. The Ye-3/1 remained a touchy aircraft and was not popular among the test pilots. Compared to the swept or delta wing, the aircraft's agility was good, but it did not offer any significant benefit in speed, rate of climb or range and its poor directional stability was the biggest shortcoming. Additionally, the fact that starting and landing from improvised air strips was much more hazardous than with the other design types if not impossible with the small wings and tires) the Ye-3 was axed in January 1960 with no further development perspectives.
"32 Blue" survived the test phase, but eventually ended up as an instrcutional airframe at the Kharkov Aviation Institute without wings and fin.
General characteristics:
Crew: One
Length (incl. pitot): 16.05 m (53 ft)
Wingspan (incl. drop tanks): 8,18 m (21 ft 6 in)
Height: 3.81 m (12 ft 6 1/3 in)
Wing area: 18 m² (196,1 ft²)
Aspect ratio: 7.3:1
Empty weight: 4.820 kg (10.617 lb)
Loaded weight: 7.844 kg (17.277 lb)
Max. take-off weight: 8.625 kg (19.000 lb)
Powerplant: 1 × Tumanskiy R-11F-300 turbojet, rated at 3875 kgp (8.536 lbf) dry and 5.760 kgp (12.686 lbf) with afterburner
Performance
Maximum speed: 725 mph (1.167 km/h) at sea level, 1.190 mph (1.917km/h) at 13.000m (42.640 ft)
Combat radius: 450 km (245 nm, 280 mi)
Range: 850 ml (1.370 km)
Service ceiling: 19.000 m (62.320 ft)
Rate of climb: 38 m/s (7.480 ft/min)
Armament:
2× Nudelmann-Richter NR-30 30mm cannons with 50 RPG;
1.500 kg (3.300 lb) of payload on four external hardpoints, including:
- 2x PTB-350 wing tip drop tanks (fitted as standard)
- 2× K-13/R-3S (AA-2/"Atoll") AAMs on underwing pylons
- Alternatively, the two underwing pylons could carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre.
The kit and its assembly:
Another whif, based on vague indications that this Starfighter-like design was seriouly considered at OKB MiG in the early 50ies because there exists a (crude) desktop model which shows a MiG-21 fuselage with F-104 wings and tail. An appealing design, and a good story to tell with a model. Anyway, AFAIK the 'Ye-3' designation was never used in the MiG-21 development phase or anywhere else at OKB MiG, so I borrowed it for the kit. The NATO code 'Filbert' is also a fantasy product.
Basically, this model is a kit-bashing. It consists of a Hasegawa MiG-21F-13 fuselage with new wings. The Hasegawa kit is ancient, I guess it is from the early 70ies. It has several flaws, so it is good fodder for such a project. For example, the MiG-21 lacks any serious interior, the landing gear is not even a joke and the prominent Soviet Red Stars have been molded onto the parts as raised panel lines! The area-ruled fuselage is pretty, though, very sleek.
Much room for improvements and improvisation, though. Hence, I built a cockpit interior from scartch and added an Airfix pilot, since these figures look very Soviet. As a side benefit, the figure is rather voluminous, so it covers much of the primitive cockpit interior...
Another modification is the landing gear - I wanted to incorporate much of the aforementioned F-16's landing gear, so that new wells had to be cut into the fuselage. This turned out to be easier than expected, and I did not waste too much effort on it. The F-16 landing gear is shorter than the MiG-21's, so the Ye-3 is closer to the ground than its real world cousins.
For the new thin wings I considered at first butchering an Airfix F-104G Starfighter as donation kit, but eventually found the wings being simply too small for my taste and for what the desktop model paradigm shows. I eventually ended up with wings from an Italeri F-16, which - believe it or not - have the SAME leading and trailing edge angles as the F-104, you just have make angled cuts at the wing tips and the wing roots... I just had to cover up the original flap engravings and fit them to the fuselage. The F-16's horizontal stabilizers were taken, too, but shortened in order to match the smaller dimensions for a Starfighter-like look.
The fin was clipped on top and a new upper end created from the single MiG-21 under-fuselage stabilizer. The latter was replaced by two splayed fins, an arrangement which was featured on the original Ye-prototypes but were later replaced by the single fin.
The missiles and their launch rails are leftover pieces from my recent MiG-21G conversion (from a Hobby Master kit), they were painted orange as dummies, according to Soviet practice.
As extra equipment for a test airfcraft, a small camera pod (based on real life picture of other MiG prototypes and test aircraft) was added under the front fuselage - for recording live missile launch tests.
Painting:
I wanted, according to the background story, keep this a prototype aircraft. Unfortunately, this means that I'd be limited to a natural metal finish - and I hate such surfaces, because they are a great challenge, esp. with the manual brush technique I use...
But I tried to make the best of it and painted the model with a plethora of metal tones - ranging from Testors/Model Master Metallizer (Polished Aluminum, Polished Steel, Titanium, Exhaust) through Humbrol enamels (Aluminum, Gun Metal, Chrome Silver) up to Revell Aqua Acryllics (Aluminum). Additionally, some service flaps were painted in light grey (Humbrol 64), the nose cone (which would have been a metal piece, not a plastic radome) was painted in Humbrol 140.
The kit also received a wash with black ink - not to make it look worn, but to add to a "metallic" look with more contrast at edges and raised panel lines. To enhance this metallic look further, the kit received a treatment with a 'graphite rubbing'.
To make the machine look even more interesting (but not out of style), I added some phototheodolyte calibration markings on fuselage and fin: simple, black stripes, but, again, based on real test aircraft of that era. Additionally, "31 Blue" received four stars under the cockpit as mission markers - not for shot-down aircraft, but for successful live missile launches.
After the decals were applied - puzzled together from the scrap box and several aftermarket sheets for Russian/Soviet aircraft - everything was sealed under a coat of semi-matte acryllic varnish (Tamiya TS-79).
In the end a rather simple conversion, but quite effective and convincing. I think that this potential MiG-21 layout does not look out of place - but there certainly were reasons why the thin, unswept wings did not make it to the hardware stage at OKB MiG...
The factory premium sound system was buggered. My friend Will donated this old Pioneer in dash and I reworked the original faceplate to hold it.
. . . sadly Non-Hindus are not allowed inside the temple complex
__________________________________________
The Jagannath Temple of Puri (Odia: ଜଗନ୍ନାଥ ମନ୍ଦିର) is a famous, sacred Hindu temple dedicated to Jagannath and located on the eastern coast of India, at Puri in the state of Odisha.
The temple is an important pilgrimage destination for many Hindu traditions, particularly worshippers of god Krishna and god Vishnu, and part of the Char Dham pilgrimages that a Hindu is expected to make in one's lifetime.
Even though most Hindu deities that are worshiped are made out of stone or metal, the image of Jagannath is wooden. Every twelve or nineteen years these wooden figures are ceremoniously replaced by using sacred trees, that have to be carved as an exact replica. The reason behind this ceremonial tradition is the highly secret Navakalevara ('New Body' or 'New Embodiment') ceremony, an intricate set of rituals that accompany the renewal of the wooden statues.
The temple was built in the 12th century atop its ruins by the progenitor of the Eastern Ganga dynasty, King Anantavarman Chodaganga Deva. The temple is famous for its annual Rath Yatra, or chariot festival, in which the three main temple deities are hauled on huge and elaborately decorated temple cars. Since medieval times, it is also associated with intense religious fervour.
The temple is sacred to the Vaishnava traditions and saint Ramananda who was closely associated with the temple. It is also of particular significance to the followers of the Gaudiya Vaishnavism whose founder, Chaitanya Mahaprabhu, was attracted to the deity, Jagannath, and lived in Puri for many years.
DEITIES
The central forms of Jagannath, Balabhadra and the goddess Subhadra constitute the trinity of deities sitting on the bejewelled platform or the Ratnabedi in the inner sanctum. The Sudarshan Chakra, deities of Madanmohan, Sridevi and Vishwadhatri are also placed on the Ratnavedi. The deities of Jagannath, Balabhadra, Subhadra and Sudarshan Chakra are made from sacred Neem logs known as Daru Brahma. Depending on the season the deities are adorned in different garbs and jewels. Worship of the deities pre-date the temple structure and may have originated in an ancient tribal shrine.
ORIGINS OF THE TEMPLE
According to the recently discovered copper plates from the Ganga dynasty, the construction of the current Jagannath temple was initiated by the ruler of Kalinga, Anantavarman Chodaganga Dev. The Jaga mohan and the Vimana portions of the temple were built during his reign (1078 - 1148 CE). However, it was only in the year 1174 CE that the Oriya ruler Ananga Bhima Deva rebuilt the temple to give a shape in which it stands today.
Jagannath worship in the temple continued until 1558, when Odisha was attacked by the Afghan general Kalapahad. Subsequently, when Ramachandra Deb established an independent kingdom at Khurda in Orissa, the temple was consecrated and the deities reinstalled.
LEGENDS
Legendary account as found in the Skanda-Purana, Brahma Purana and other Puranas and later Oriya works state that Lord Jagannath was originally worshipped as Lord Neela Madhaba by a Savar king (tribal chief) named Viswavasu. Having heard about the deity, King Indradyumna sent a Brahmin priest, Vidyapati to locate the deity, who was worshipped secretly in a dense forest by Viswavasu. Vidyapati tried his best but could not locate the place. But at last he managed to marry Viswavasu's daughter Lalita. At repeated request of Vidyapti, Viswavasu took his son-in-law blind folded to a cave where Lord Neela Madhaba was worshipped.
Vidyapati was very intelligent. He dropped mustard seeds on the ground on the way. The seeds germinated after a few days, which enabled him to find out the cave later on. On hearing from him, King Indradyumna proceeded immediately to Odra desha Orissa on a pilgrimage to see and worship the Deity. But the deity had disappeared. The king was disappointed. The Deity was hidden in sand. The king was determined not to return without having a darshan of the deity and observed fast unto death at Mount Neela, Then a celestial voice cried 'thou shalt see him.' Afterwards the king performed a horse sacrifice and built a magnificent temple for Vishnu. Sri Narasimha Murti brought by Narada was installed in the temple. During sleep, the king had a vision of Lord Jagannath. Also an astral voice directed him to receive the fragrant tree on the seashore and make idols out of it. Accordingly, the king got the image of Lord Jagannath, Balabhadra, Subhadra and Chakra Sudarshan made out of the wood of the divine tree and installed them in the temple.
INDRADYUMNA´S PRAYER TO LORD BRAHMA
King Indradyumna put up for Jagannath the tallest monument of the world. It was 1,000 cubits high. He invited Lord Brahma, the cosmic creator, consecrate the temple and the images. Brahma came all the way from Heaven for this purpose. Seeing the temple he was immensely pleased with him. Brahma asked Indradyumna as to in what way can he (Brahma) fulfill the king's desire, since was very much pleased with him for his having put the most beautiful Temple for Lord Vishnu. With folded hands, Indradyumna said, "My Lord if you are really pleased with me, kindly bless me with one thing, and it is that I should be issueless and that I should be the last member of my family." In case anybody left alive after him, he would only take pride as the owner of the temple and would not work for the society.
THE EPISODE OF THE LORD´S GRACE DURING A WAR WITH KANCHI
At one time, a king of Kanchi in the down south remarked that the king of Orissa was a chandala (a man of very low caste or status) because, he performs the duties of a sweeper during the Car Festival. When this news reached the ears of the king of Orissa, he led an expedition to Kanchi. Before that, he implored the mercy of Lord Jagannath. The soldiers of Orissa marched towards Kanchi from Cuttack (earlier capital city of Orissa, located on the banks of Mahanadi, at a distance of 30 km from Bhubaneswar. It so happened that when the soldiers, headed by the king Purusottam Dev, reached a place near the Chilika lake, a lady, who was selling curd (yogurt) met him (the king) and presented a golden ring studded with precious gems and submitted. "My Lord, kindly listen to me. A little earlier, two soldiers riding over two horses (white and black in colour), approached me and said we are thirsty give us curds to drink.' I gave them curds. Instead of giving me money, they gave me this ring and said,'the king of Orissa will come here, after some time, on his way to Kanchi. You present it to him and he will pay you the money.' So my Lord, you take it and give me my dues.
It took no time for the king to know that the ring belongs to Lord Jagannath. He was convinced that Jagannath and Balabhadra were proceeding to the battle field ahead of him to help him there. To perpetuate the memory of this great incident, the king founded a village in the Chilika lake area. As the name of the lady was Manika, the name given to the village was Manika Patana. Even to this day, the curds of this village are famous.
LEGEND SURROUNDING THE TEMPLE ORIGIN
The traditional story concerning the origins of the Lord Jagannath temple is that here the original image of Jagannath (a deity form of Vishnu) at the end of Treta yuga manifested near a banyan tree, near seashore in the form of an Indranila nilamani or the Blue Jewel. It was so dazzling that it could grant instant moksha, so the god Dharma or Yama wanted to hide it in the earth, and was successful. In Dvapara Yuga King Indradyumna of Malwa wanted to find that mysterious image and to do so he performed harsh penances to obtain his goal. Vishnu then instructed him to go to the Puri seashore and find a floating log to make an image from its trunk.
The King found the log of wood. He did a yajna from which god Yajna Nrisimha appeared and instructed that Narayana should be made as fourfold expansion, i.e. Paramatma as Vasudeva, his Vyuha as Samkarshana, Yogamaya as Subhadra, and his Vibhava asSudarsana. Vishwakarma appeared in the form of artist and prepared images of Jagannath, Balabhadra and Subhadra from the tree. When this log, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work.
But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. The idol was devoid of any hands. But a divine voice told Indradyumana to install them in the temple. It has also been widely believed that in spite of the idol being without hands, it can watch over the world and be its lord. Thus the idiom.
INVASIONS AND DESECRATIONS OF THE TEMPLE
The temple annals, the Madala Panji records that the Jagannath temple at Puri has been invaded and plundered eighteen times. The invasion by Raktabahu has been considered the first invasion on the temple by the Madalapanji.
RANJIT SINGH´S WILL
Sikh ruler Maharaja Ranjit Singh, had donated massive amounts of gold to the Jagannath temple. In his last will, he also ordered that Koh-i-noor, the most precious and greatest diamond in the world, to be donated to this temple, but the diamond could never actually make its way to the temple because the British, by that time, had annexed the Punjab and all its royal possessions. Thus, claiming that the Koh-i-noor was theirs. It is currently a part of British crown jewels and is located in the Tower of London.
ENTRY AND DARSHAN
Temple has 4 entrances in all directions.Temple security is selective regarding who is allowed entry. Practicing Hindus of non-Indian descent are excluded from premises, as are Hindus of non-Indian origin. Visitors not allowed entry may view the precincts from the roof of the nearby Raghunandan Library and pay their respects to the image of God Jagannath known as Patitapavana at the main entrance to the temple. There is some evidence that this came into force following a series of invasions by foreigners into the temple and surrounding area. Buddhist, and Jain groups are allowed into the temple compound if they are able to prove their Indian ancestry. The temple has slowly started allowing Hindus of non-Indian origin into the area, after an incident in which 3 Balinese Hindus were denied entry, even though Bali is 90% Hindu.
The temple remains open from 5 am to 12 midnight. Unlike many other temples devotees can go behind the idols(go round the idols).All devotees are allowed to go right up to the deities during the Sahana Mela without paying any fees . The Sahana mela or the public darshan is usually following the abakasha puja between around 7 to 8 am in the morning. Special darshan or Parimanik darshan is when devotees on paying 50 Rupees are allowed right up to the deities. Parimanik darshan happens after the dhupa pujas at around 10 am, 1 pm and 8 pm . At all other times devotees can view the deities from some distance for free. The rathyatra occurs every year some time in the month of July. 2 or 6 weeks before Rathyatra (depending upon the year) there is a ritual of Lord undergoing "Bhukaar" (sick) hence the idols are not on "Darshan". Devotees to make a note of this before they plan to visit the lord.
CULTURAL INTEGRITY
Shrikshetra of Puri Jagannath, as is commonly known, can verily be said to be a truthful replica of Indian culture. To understand this culture, one has to have some idea of the history of this land, which again is different from that of other countries of the world.
Starting from Lord Jagannath himself, history has it that he was a tribal deity, adorned by the Sabar people, as a symbol of Narayan. Another legend claims him to be Nilamadhava, an image of Narayana made of blue stone and worshipped by the aboriginals. He was brought to Nilagiri (blue mountain) or Nilachala and installed there as Shri Jagannath in company with Balabhadra and Subhadra. The images made of wood are also claimed to have their distant linkage with the aboriginal system of worshipping wooden poles. To cap it all the Daitapatis, who have a fair share of responsibilities to perform rituals of the Temple, are claimed to be descendants of the aboriginals or hill tribes of Orissa. So we may safely claim that the beginning of the cultural history of Shrikshetra is found in the fusion of Hindu and Tribal Cultures. This has been accepted as a facet of our proud heritage. The three deities came to be claimed as the symbols of Samyak Darshan, Samyak Jnana and Samyak Charita usually regarded as Triratha (of the Jain cult), an assimilation of which leads to Moksha (salvation) or the ultimate bliss...
Jagannath is worshipped as Vishnu or Narayana or Krishna and Lord Balabhadra as Shesha. Simultaneously, the deities are regarded as the bhairava with Vimala (the devi or the consort of Shiva) installed in the campus of the temple. So ultimately we find a fusion of Saivism, Shaktism and Vaishnavism of the Hindu religion with Jainism and up to an extent Buddhism in the culture of Jagannath and the cultural tradition so reverently held together in Shrikshetra.
ACHARYAS AND JAGANNATHA PURI
All of the renowned acharyas including Madhvacharya have been known to visit this kshetra. Adi Shankara established his Govardhana matha here. There is also evidence that Guru Nanak, Kabir, Tulsidas, Ramanujacharya, and Nimbarkacharya had visited this place. Sri Chaitanya Mahaprabhu of Gaudiya Vaishnavism stayed here for 24 years, establishing that the love of god can be spread by chanting the Hare Krishna mantra. Srimad Vallabhacharya visited Jagannath Puri and performed a 7-day recitation of Srimad Bhagvat. His sitting place is still famous as "baithakji." It confirms his visit to Puri. A famous incident took place when Vallabhachrya visited. There was a discourse being held between the Brahmins and 4 questions were asked. Who is the highest of Gods, What is the highest of mantras, What is the highest scripture and What is the highest service. The discourse went on for many days with many schools of thought. Finally Shri Vallabh said to ask Lord Jagannath to confirm Shri Vallabh's answers. A pen and paper were left in the inner sanctum. After some time, the doors were opened and 4 answers were written. 1) The Son of Devaki (Krishna) is the God of Gods 2) His name is the highest of mantras 3) His song is the highest scripture (Bhagavat Geeta) 4) Service to Him is the Highest service. The king was shocked and declared Shri Vallabh the winner of the discourse. Some of the pandits who participated became jealous of Shri Vallabh and wanted to test Him. The next day was Ekadashi, a fasting day where one must fast from grains. The pandits gave Shri Vallabh rice Prasad of Shri Jagannathji (The temple is famous for this). If Shri Vallabh ate it, He would break His vow of fasting but if He did not take it, He would disrespect Lord Jagannath. Shri Vallabh accepted the prasad in his hand and spent the rest of the day and night explaining slokas of the greatness of Prasad and ate the rice the next morning.
CHAR DHAM
The temple is one of the holiest Hindu Char Dham (four divine sites) sites comprising Rameswaram, Badrinath, Puri and Dwarka. Though the origins are not clearly known, the Advaita school of Hinduism propagated by Sankaracharya, who created Hindu monastic institutions across India, attributes the origin of Char Dham to the seer. The four monasteries lie across the four corners of India and their attendant temples are Badrinath Temple at Badrinath in the North, Jagannath Temple at Puri in the East, Dwarakadheesh Temple at Dwarka in the West and Ramanathaswamy Temple at Rameswaram in the South. Though ideologically the temples are divided between the sects of Hinduism, namely Saivism and Vaishnavism, the Char Dham pilgrimage is an all Hindu affair. There are four abodes in Himalayas called Chota Char Dham (Chota meaning small): Badrinath, Kedarnath, Gangotri and Yamunotri - all of these lie at the foot hills of Himalayas The name Chota was added during the mid of 20th century to differentiate the original Char Dhams. The journey across the four cardinal points in India is considered sacred by Hindus who aspire to visit these temples once in their lifetime. Traditionally the trip starts at the eastern end from Puri, proceeding in clockwise direction in a manner typically followed for circumambulation in Hindu temples.
STRUCTURE
The huge temple complex covers an area of over 37,000 m2, and is surrounded by a high fortified wall. This 6.1 m high wall is known as Meghanada Pacheri. Another wall known as kurma bedha surrounds the main temple. It contains at least 120 temples and shrines. With its sculptural richness and fluidity of the Oriya style of temple architecture, it is one of the most magnificent monuments of India. The temple has four distinct sectional structures, namely -
- Deula, Vimana or Garba griha (Sanctum sanctorum) where the triad deities are lodged on the ratnavedi (Throne of Pearls). In Rekha Deula style;
- Mukhashala (Frontal porch);
- Nata mandir/Natamandapa, which is also known as the Jagamohan (Audience Hall/Dancing Hall), and
- Bhoga Mandapa (Offerings Hall).
The main temple is a curvilinear temple and crowning the top is the 'srichakra' (an eight spoked wheel) of Vishnu. Also known as the "Nilachakra", it is made out of Ashtadhatu and is considered sacrosanct. Among the existing temples in Orissa, the temple of Shri Jagannath is the highest. The temple tower was built on a raised platform of stone and, rising to 65 m above the inner sanctum where the deities reside, dominates the surrounding landscape. The pyramidal roofs of the surrounding temples and adjoining halls, or mandapas, rise in steps toward the tower like a ridge of mountain peaks.
NILA CHAKRA
The Nila Chakra (Blue Discus) is the discus mounted on the top shikhar of the Jagannath Temple. As per custom, everyday a different flag is waved on the Nila Chakra. The flag hoisted on the Nila Cakra is called the Patita Pavana (Purifier of the Fallen) and is equivalent to the image of the deities placed in the sanctum sanctorum .
The Nila Chakra is a disc with eight Navagunjaras carved on the outer circumference, with all facing towards the flagpost above. It is made of alloy of eight metals (Asta-dhatu) and is 3.5 Metres high with a circumference of about 11 metres. During the year 2010, the Nila Chakra was repaired and restored by the Archaeological Survey of India.
The Nila Chakra is distinct from the Sudarshana chakra which has been placed with the deities in the inner sanctorum.
Nila Chakra is the most revered iconic symbol in the Jagannath cult. The Nila Chakra is the only physical object whose markings are used as sacrament and considered sacred in Jagannath worship. It symbolizes protection by Shri Jagannath.
THE SINGHADWARA
The Singahdwara, which in Sanskrit means The Lion Gate, is one of the four gates to the temple and forms the Main entrance. The Singhadwara is so named because two huge statues of crouching lions exist on either side of the entrance. The gate faces east opening on to the Bada Danda or the Grand Road. The Baisi Pahacha or the flight of twenty two steps leads into the temple complex. An idol of Jagannath known as Patitapavana, which in Sanskrit, means the "Saviour of the downtrodden and the fallen" is painted on the right side of the entrance. In ancient times when untouchables were not allowed inside the temple, they could pray to Patita Pavana. The statues of the two guards to the temple Jaya and Vijaya stand on either side of the doorway. Just before the commencement of the Rath Yatra the idols of Jagannath, Balabhadra and Subhadra are taken out of the temple through this gate. On their return from the Gundicha Temple they have to ceremonially placate Goddess Mahalakshmi, whose statue is carved atop the door, for neglecting to take her with them on the Yatra. Only then the Goddess allows them permission to enter the temple. A magnificent sixteen-sided monolithic pillar known as the Arun stambha stands in front of the main gate. This pillar has an idol of Arun, the charioteer of the Sun God Surya, on its top. One significant thing about Arun stambha is that prior it was located in the Konark Sun temple, later, the Maratha guru Brahmachari Gosain brought this pillar from Konark. The Puri Jagannath Temple was also saved by Maratha emperor Shivaji from being plundered at his times from the Mughals.
OTHER ENTRANCES
Apart from the Singhadwara, which is the main entrance to the temple, there are three other entrances facing north, south and west. They are named after the sculptures of animals guarding them. The other entrances are the Hathidwara or the Elephant Gate, the Vyaghradwara or the Tiger Gate and the Ashwadwara or the Horse Gate.
MINOR TEMPLES
There are numerous smaller temples and shrines within the Temple complex where active worship is regularly conducted. The Vimala Temple (Bimala Temple) is considered one of the most important of the Shaktipeeths marks the spot where the goddess Sati's feet fell. It is located near Rohini Kund in the temple complex. Until food offered to Jagannath is offered to Goddess Vimala it is not considered Mahaprasad.
The temple of Mahalakshmi has an important role in rituals of the main temple. It is said that preparation of naivedya as offering for Jagannath is supervised by Mahalakshmi. The Kanchi Ganesh Temple is dedicated to Uchchhishta Ganapati. Tradition says the King of Kanchipuram (Kanchi) in ancient times gifted the idol, when Gajapati Purushottama Deva married Padmavati, the kanchi princess. There are other shrines namely Muktimandap, Surya, Saraswati, Bhuvaneshwari, Narasimha, Rama, Hanuman and Eshaneshwara.
THE MANDAPAS
There are many Mandapas or Pillared halls on raised platforms within the temple complex meant for religious congregations. The most prominent is the Mukti Mandapa the congregation hall of the holy seat of selected learned brahmins. Here important decisions regarding conduct of daily worship and festivals are taken. The Dola Mandapa is noteworthy for a beautifully carved stone Torana or arch which is used for constructing a swing for the annual Dol Yatra festival. During the festival the idol of Dologobinda is placed on the swing. The Snana Bedi is a rectangular stone platform where idols of Jagannath, Balabhadra and Subhadra are placed for ceremonial bathing during the annual Snana Yatra
DAILY FOOD OFFERINGS
Daily offerings are made to the Lord six times a day. These include:
- The offering to the Lord in the morning that forms his breakfast and is called Gopala Vallabha Bhoga. Breakfast consists of seven items i.e. Khua, Lahuni, Sweetened coconut grating, Coconut water, and popcorn sweetened with sugar known as Khai, Curd and Ripe bananas.
- The Sakala Dhupa forms his next offering at about 10 AM. This generally consists of 13 items including the Enduri cake & Mantha puli.
- Bada Sankhudi Bhoga forms the next repast & the offering consists of Pakhala with curd and Kanji payas. The offerings are made in the Bhog Mandapa, about 200 feet from the Ratnabedi. This is called Chatra Bhog and was introduced by Adi Shankaracharya in the 8th century to help pilgrims share the temple food.
- The Madhyanha dhupa forms the next offering at the noon.
- The next offering to the Lord is made in the evening at around 8 PM it is Sandhya Dhupa.
- The last offering to the Lord is called the Bada Simhara Bhoga.
The Mahaprasad of Lord Jagannath are distributed amongst the devotees near the Ratnavedi inside the frame of Phokaria, which is being drawn by the Puja pandas using Muruj, except for the Gopal Ballav Bhog and Bhog Mandap Bhoga which are distributed in the Anabsar Pindi & Bhoga Mandap respectively.
ROSAGHARA
The temple's kitchen is considered as the largest kitchen in the world. Tradition maintains that all food cooked in the temple kitchens are supervised by the Goddess Mahalakshmi, the empress of Srimandir herself. It is said that if the food prepared has any fault in it, a shadow dog appears near the temple kitchen. The temple cooks, or Mahasuaras, take this as a sign of displeasure of Mahalakshmi with the food, which is, then, promptly buried and a new batch cooked. All food is cooked following rules as prescribed by Hindu religious texts, the food cooked is pure vegetarian without using onions and garlic. Cooking is done only in earthen pots with water drawn from two special wells near the kitchen called Ganga and Yamuna. There are a total of 56 varieties of naivedhyas offered to the deities, near Ratnabedi as well as in Bhoga Mandap on five particular Muhurta. The most awaited Prasad is Kotho Bhoga or Abadha, offered at mid-day at around 1 pm, depending upon temple rituals. The food after being offered to Jagannath is distributed in reasonable portions as Mahaprasad, which is considered to be divine by the devotees in the Ananda Bazar (an open market, located to the North-east of the Singhadwara inside the Temple complex).
FESTIVALS
There are elaborate daily worship services. There are many festivals each year attended by millions of people. The most important festival is the Rath Yatra or the Chariot festival in June. This spectacular festival includes a procession of three huge chariots bearing the idols of Jagannath, Balabhadra and Subhadra through the Bada Danda meaning the Grand Avenue of Puri till their final destination the Gundicha Temple. Early European observers told tales of devotees being crushed under the wheels of these chariots, whether by accident or even as a form of meritorious suicide akin to suttee. These reports gave rise to the loan word juggernaut suggesting an immense, unstoppable, threatening entity or process operated by fanatics. Many festivals like Dol Yatra in spring and Jhulan Yatra in monsoon are celebrated by temple every year.Pavitrotsava and Damanaka utsava are celebrated as per panchanga or panjika.There are special ceremonies in the month of Kartika and Pausha.
The annual shodasha dinatmaka or 16 day puja beginning 8 days prior to Mahalaya of Ashwin month for goddess Vimala and ending on Vijayadashami, is of great importance, in which both the utsava murty of lord Madanmohan and Vimala take part.
- Pana Sankranti: Also known or Vishuva Sankranti and Mesha Sankranti: Special rituals are performed at the temple.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel (3 km) to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is approximately 45 feet high and 35 feet square and takes about 2 months to construct. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra.
The most significant ritual associated with the Ratha-Yatra is the chhera pahara." During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
Chera pahara is held on two days, on the first day of the Ratha Yatra, when the deities are taken to garden house at Mausi Maa Temple and again on the last day of the festival, when the deities are ceremoniously brought back to the Shri Mandir.
As per another ritual, when the deities are taken out from the Shri Mandir to the Chariots in Pahandi vijay.
In the Ratha Yatra, the three deities are taken from the Jagannath Temple in the chariots to the Gundicha Temple, where they stay for nine days. Thereafter, the deities again ride the chariots back to Shri Mandir in bahuda yatra. On the way back, the three chariots halt at the Mausi Maa Temple and the deities are offered Poda Pitha, a kind of baked cake which are generally consumed by the Odisha people only.
The observance of the Rath Yatra of Jagannath dates back to the period of the Puranas. Vivid descriptions of this festival are found in Brahma Purana, Padma Purana, and Skanda Purana. Kapila Samhita also refers to Rath Yatra. In Moghul period also, King Ramsingh of Jaipur, Rajasthan has been described as organizing the Rath Yatra in the 18th Century. In Orissa, Kings of Mayurbhanj and Parlakhemundi were organizing the Rath Yatra, though the most grand festival in terms of scale and popularity takes place at Puri.
Moreover, Starza notes that the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. Friar Odoric of Pordenone visited India in 1316-1318, some 20 years after Marco Polo had dictated the account of his travels while in a Genoese prison. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
CHANDAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra.
SNANA PURNIMA
On the Purnima of the month of Jyestha the Gods are ceremonially bathed and decorated every year on the occasion of Snana Yatra.
ANAVASARA OR ANASARA
Literally means vacation. Every year, the main idols of Jagannath, Balabhadra, Subhadra & Sudarshan after the holy Snana Yatra on the jyestha purnima, go to a secret altar named Anavasara Ghar where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called 'Navayouvana. It is said that the gods fall in fever after taking a huge bath and they are treated by the special servants named, Daitapatis for 15 days. During this period cooked food is not offered to the deities.
NAVA KALEBARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha. This can take place in 8, 12 or even 18 years. Literally meaning the “New Body” (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that are currently being worshipped in the temple premises were installed in the year 1996. Next ceremony will be held on 2015. More than 3 million devotees are expected to visit the temple during the Nabakalevara of 2015 making it one of the most visited festivals in the world.
NILADRI BIJE
Celebrated on Asadha Trayodashi. Niladri Bije is the concluding day of Ratha yatra. On this day deities return to the ratna bedi. Lord Jagannath offers Rasgulla to goddess Laxmi to enter in to the temple.
GUPTA GUNDICHA
Celebrated for 16 days from Ashwina Krushna dwitiya to Vijayadashami. As per tradition, the idol of Madhaba, along with the idol of Goddess Durga (known as Durgamadhaba), is taken on a tour of the temple premises. The tour within the temple is observed for the first eight days. For the next eight days, the idols are taken outside the temple on a palanquin to the nearby Narayani temple situated in the Dolamandapa lane. After their worship, they are brought back to the temple.
THE NAME PURUSHOTTAMA KSHETRA AND ITS SIGNIFICANCE
Lord Jagannath is the Purushottama as per the scripture, Skanda Purana. In order to teach human beings how to lead a life full of virtue, he has taken the form of Saguna Brahman or Darubrahman. He is the best brother to his siblings, Lord Balabhadra and Devi Subhadra. He is the best husband to goddess Shri. The most noteworthy aspect is still in the month of Margashirsha, on three consecutive days during amavasya he does Shraddha to his parents (Kashyapa-Aditi, Dasharatha-Kaushalya, Vasudeva-Devaki, Nanda-Yashoda), along with the king Indradyumna and queen Gundicha. As a master he enjoys every comfort daily and in various festivals. He grants all wishes to his subjects, and those who surrender before him he takes the utmost care of.
CULTURE AND TRADITION OF PURI
Puri is one of the fascinating littoral districts of Orissa. The Cultural heritage of Puri with its long recorded history has its beginnings in the third century B.C. The monuments, religious sanctity, and way of life of the people with their rich tradition is the cultural heart of Orissa. Indeed, Puri is considered the cultural capital of Orissa. The culture here flourished with its manifold activities.
The District has the happy conglomerate of different religions, sects and faith. In the course of history, Hindu, Buddhist, Jaina, Muslim, Christian, and Sikh are found here in the District.
Chaitanya Mahaprabhu, an incarnation of Lord Krishna, appeared 500 years ago, in the mood of a devotee to taste the sublime emotions of ecstasy by chanting the holy name of Krishna. Stalwart scholars of Puri like Sarvabhauma Bhattacharya (a priest & great Sanskrit pandit) and others followed His teachings. Even kings and ministers of His period became His disciples. Especially King Prataparudra became His great admirer and ardent follower. Thus all cultures and religion became one in Puri after his teachings were given to all with no consideration of caste and creed.
MANAGEMENT
After independence, the State Government, with a view to getting better administrative system, passed " The Puri Shri Jagannath Temple (Administration) Act, 1952. It contained provisions to prepare the Record of Rights and duties of Sevayats and such other persons connected with the system of worship and management of the temple. Subsequently Shri Jagannath Temple Act, 1955 " was enacted to reorganize the management system of the affair of the temple and its properties.
SECURITY
The security at the 12th century Jagannath Temple is increased ahead of Ratha Yatra, the homecoming festival of the deities of Jagannath temple. In the wake of terror alert on 27 June 2012, the security forces were increased to ensure smooth functioning of the crowded Ratha Yatra and Suna Besha.
WIKIPEDIA
The entire roof, ceiling and plasterwork were replicated in their entirety to replace that lost in the fire. The new roof is an all-timber construction based on traditional mortise and tenon joints using queen post-trusses for its basic structure and finished with Blue-Bangor slates each measuring 600mm x 900mm. Below that, a barrel vault ceiling was also installed, constructed of timber and overlaid with riven chestnut lathes to which the base plaster was applied. Plastering was carried out by George O’Malley Plastering Ltd and the work supervised by master-plasterer George O’Malley, who has many years expertise in restoring and creating decorative plasterwork. Traditional methods using lime plaster mixed with goat-hair/horsehair to reproduce as far as possible the original designs as well as new moulds. There were also the 28 plaster angels originally produced by local plasterer Terence Farrell (1787-1876) for the sum of £150. All were damaged in the fire and 26 angels were recoverable which were restored by George O’Malley, the remaining two were reproduced. These were hung back in their original positions above the free-standing limestone columns.
This photo shows the northern part of the nave and above are semicircular Diocletian windows containing leaded stained glass by James Scanlon. Those opposite on the southern side have art-glass windows by Kim en Joong, a Dominican priest based in Paris.
St Mel’s of Longford town is the cathedral church for the diocese of Ardagh and Clonmacnoise. Ambitious plans for a fine church building in Longford began to take form after the Catholic Emancipation Act of 1829 and became a reality when sufficient funds had been collected. Construction began in 1840 with the laying of the foundation stone which was taken from the original cathedral of St. Mel at Ardagh, only a few miles from Longford. The main body of the new cathedral was completed in 1856 to a neo-classical design by the architect Joseph Benjamin Keane, work having been delayed during the period of the Great Famine (1846 and recommenced 1853). After Joseph’s death in 1849, work was continued after by his assistant John Bourke (d.1871) who was also responsible for the belfry tower completed in 1860, but with major alterations to its original design. The neo-classical portico was designed by George Coppinger Ashlin (1837-1921) and completed in 1889 with its pediment and sculpted tympanum depicting the enthronement of St. Mel as Bishop of Ardagh along with three statues above the pediment. By this time, the cathedral building has taken on its definitive form with no further major alterations until its refurbishment after the devastating fire of 2009.
On 25th December 2009, the entire building was gutted by a fire which accidently started within the boiler chimney flue at the rear and quickly spread. The alarm was raised just after 5am but fire-fighting attempts were hampered by frozen pipes as the country was in the grip of one of its worst and prolonged periods of freezing temperatures for decades. By daylight, the entire building had been reduced to a burnt-out shell with the loss of all its furnishing, fittings and diocesan museum. The museum contained many priceless artefacts that included the Crozier of Saint Mel and the book-shrine of St. Caillin (1536), the latter damaged beyond restoration but it may be possible to conserve some of the remnants. The 28 supporting columns were also damaged beyond repair and had to replaced anew. Very little was recoverable that survived the worst of the 1,000 deg.C fire and even these suffered some degree of fire damage such as The Bell of Fenagh which is undergoing conservation treatment at the National Museum of Ireland and the original baptismal font with its brass fittings and surrounding mosaic floor. But the most puzzling of all and described by many as nothing short of a miracle was the survival of the Holy Family painting in the northern transept and the undamaged Eucharistic Host still inside the fire damaged tabernacle. The Holy Family oil painting on a cotton-based canvas should have readily gone up in flames due to its highly combustible materials but somehow survived relatively unscathed despite the intense fire around it. This painting was of Italian origins by an unknown artist and is now back on display requiring little more than a cleaning!
After five years of work by many expert disciplines using traditional methods, the cathedral building has been totally refurbished and which included quarried blue-limestone for 28 columns with hand-carved capitals that support the roof. Both Harry Clarke Studio windows were salvaged from the transepts and restored to their former glory by Abbey Stained Glass Ltd of Dublin, a company with much experience in the restoration of stained glass windows. Other replacements such as the wooden pews, alter, stained glass, Stations of the Cross tablets, pipe-organ, fixtures and fitting were all made in a modern style to the best materials and craftsmanship available. It is also planned to open a diocesan museum in the cathedral’s new crypts. The total cost of refurbishment and fitting out came to around €30 million, funded mostly from the insurance cover and after five years of hard work the cathedral was reopened for services at Christmas 2014.
Photos taken Thursday 22nd January 2015.
References:
www.facebook.com/StMelsRestoration (St Mel’s Cathedral restoration – Facebook page).
www.rte.ie/news/special-reports/2014/1215/667007-longford... (RTE News article about TV program The Longford Phoenix).
www.longfordtourism.ie/event/st-mels-cathedral-rise-from-...
irishcatholic.ie/sites/default/files/styles/large/public/... (Sculptor Ken Thompson working on one of his Stations of the Cross panels).
en.wikipedia.org/wiki/St_Mel%27s_cathedral,_Longford
l7.alamy.com/zooms/5e9904767cdb4317b39e15ee189488c3/shrin... (Image of St. Caillin book shrine created in 1536 before it was damaged beyond repair in the 2009 fire at St. Mel’s cathedral).
www.alamy.com/stock-photo-st-mels-crozier-longford-cathed... (Image of the 10th century St. Mel’s Crozier and sadly, completely destroyed in the cathedral fire of 2009).
www.youtube.com/watch?v=PVb7TQy4QAM (Engineers Ireland presentation titled Recreating the Historical Roof of St. Mel's Cathedral).
View from the N of Rosendale Road railway bridge "No.2" (Herne Hill and West Dulwich, London) carrying suburban line services to and from London Bridge terminus.
The green and grey bridge has recently replaced an older one, during work carried out in the early hours of January 19th 2014. The previous bridge (1950s-1960s) replaced an even older one (1866) supported on the same cast iron columns (not visible here but see accompanying photos in this series). During the present replacement work, the columns were then also removed forever.
The railway plaque is the original one, mounted on a new concrete replacement capital. The plaque bears the coat-of-arms of the London, Brighton and South Coast Railway on the L, and of the Dulwich Estate on the R. The Dulwich Estate own, or owned, much of the land in this area, including, I assume, the land on which this bridge was built. The shield in the middle of the plaque carries the date "1866", the date of construction the original bridge, though the main span has been replaced at least twice since then. The initials "AC"on the central shield stand for Alleyn College, the former name of Dulwich College (founded 1619 by the Shakespearean actor-manager, Edward Alleyn.)
----------
ROSENDALE ROAD RAILWAY BRIDGES
There were three railway bridges over Rosendale Road, two of which still exist. They don't appear to have names, so I have numbered them arbitrarily.
"No.1" is the most northern one, close to Brockwell Park, behind the camera viewpoint. It currently carries suburban line services of the Thameslink network between Wimbledon and Sutton and central London (and beyond).
This view shows "No.2" orignally built in 1866 for the London Brighton and South Coast Railway. It rested on brick abutments and on red cast iron columns. But the girder bridge itself, and its railings, must have been younger, having apparently replaced the older, more ornate, structure some time after 1952 (compare the photo of its more ornate predecessor in Edwin Course's article, below). The original bridge was designed by Charles Barry Junior. The large sums paid by the then railway company (London, Brighton and South Coast Railway) for construction of its line across the Dulwich Estate, with other bridges matching this one, enabled the Estate to build the present main building of Dulwich College (1857-1866). There were a pair ornamental plaques on each side of the road on this N side of Rosendale Railway bridge, each on its own pilaster - four in all. Some or all of the upper parts of the older pillasters were removed and replaced by modern concrete ones, but the old plaques were retained and remounted on the new pilasters (as here, upper R). It seems that the pilasters had to be replaced by narrower ones (i.e. as measured in the direction away from the camera) to allow for the installation of the access walkway (in grey undercoat on the L) along the outside of the bridge proper.
This view also shows the site of "No.3". This bridge was demolished some time after 1966. It was very ornate in cast iron and ran across the road here, in the background immediately beyond "No.2", supported on brick abutments and cast iron columns. The eastern abutment can just be seen through the bridge in the distance (lower L) (see also notes on the picture). The bridge carried coal trains of the former London and North Western Railway into Knight's Hill Sidings and its former coal depot. The sidings included the former bridge, which was therefore much wider than "No.2". The sidings extended to the R beyond the R side of this view behind the embankment of the nearer bridge, where they are now covered by houses of the Lairdale Estate of the London Borough of Lambeth (one of these houses can be seen upper R). Although the depot was an LNWR one, the abutments for the demolished bridge actually bear plaques (not visible here) with the coat-of-arms of the London, Brighton and South Coast Railway and the Dulwich Estate, and the date "1866" - just as on "No.2". It is clear from the photo in Course's article that the original designs of both bridges also matched each other. However, an iron plaque on the bridge proper bore the date 1891.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
--- Course, Edwin, 1960. The foreign goods depots of South London. Railway Magazine [vol?] (for November 1960), pp. 761-766. www.semgonline.com/RlyMag/ForeignDepotsofSthLondon.pdf
----------
RAILWAY BRIDGE REPLACEMENT WORK IN DULWICH & HERNE HILL, JANUARY-FEBRUARY 2014 (32/39)
This bridge, and two further sister bridges carrying the same line over neighbouring streets, had been in poor condition for some time. After a period of preparation work, the replacement work happening here began in January 2014. Two neighbouring streets, one of them a busy main road, were closed to traffic concurrently for about two weeks, and another was closed for work on the third bridge shortly afterwards. To minimise disruption to train services, the main replacement work was carried out night and day in continuous shifts over two weekends. Huge hydraulic cranes had to come from Scotland (James Jack, Ainscough) to do this engineering work because there were no cranes available nearer to London capable of handling the old and new bridges.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
----------
for COMMUTE ROUTE set:
SERIES 1. MY USUAL ROUTE (& POINTS IN COMMON TO ALL ROUTES).
This view looks in the direction of returning to our house. (I've uploaded many other photos of this bridge replacement work, but for the 'Commute Route' set here, I have included only those that I took on the way to work.)
My standard outward commuting route:
home > (walk) > Rosendale Road > (walk) > Brockwell Park > (walk) > Herne Hill station > (National Rail suburban service) > London Victoria station > (District/Circle Line) > South Kensington > (walk) > Natural History Museum.
----------
Photo
© Darkroom Daze Creative Commons.
If you would like to use or refer to this image, please link or attribute.
ID: DSC_8701 - Version 2
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The G.91Y was an increased-performance version of the Fiat G.91 funded by the Italian government. Based on the G.91T two-seat trainer variant, the single Bristol Orpheus turbojet engine of this aircraft was replaced by two afterburning General Electric J85 turbojets which increased thrust by 60% over the single-engine variant. Structural modifications to reduce airframe weight increased performance further and an additional fuel tank occupying the space of the G.91T's rear seat provided extra range. Combat manoeuvrability was improved with the addition of automatic leading edge slats. The avionics equipment of the G.91Y was considerably upgraded with many of the American, British and Canadian systems being license-manufactured in Italy.
Flight testing of three pre-production aircraft was successful, with one aircraft reaching a maximum speed of Mach 0.98. Airframe buffeting was noted and was rectified in production aircraft by raising the position of the tailplane slightly.
An initial order of 55 aircraft for the Italian Air Force was completed by Fiat in March 1971, by which time the company had changed its name to Aeritalia (from 1969, when Fiat aviazione joined the Aerfer). The order was increased to 75 aircraft with 67 eventually being delivered. In fact, the development of the new G.91Y was quite long, and the first order was for about 20 pre-series examples that followed the two prototypes. The first pre-series 'Yankee' (the nickname of the new aircraft) flew in July 1968.
AMI (Italian Air Force) placed orders for two batches, 35 fighters followed by another 20, later cut to ten. The last one was delivered around mid 1976, so the total was two prototypes, 20 pre-series and 45 series aircraft. No immediate export success followed, though, and the Italian G.91Ys’ service lasted until the early '90s as attack/recce machines, both over ground and sea, until the AMX replaced them until 1994.
However, upon retirement some G.91Ys were still in good condition and the airframes had still some considerable flight hours left, so that about thirty revamped aircraft were put up for sale from 1992 onwards. At the same time, Poland was undergoing a dramatic political change. After the dissolution of the Soviet Union the Eastern European country immediately turned its political attention westward, including the prospects of joining NATO. The withdrawal of Russian forces based in Poland and partly obsolete military equipment of the Polish forces themselves led to a procurement process from 1991 onwards, which, among others, included a replacement for the Polish MiG-17 (domestic Lim-5, Lim-6 and Lim-6bis types), which had been operated by both Polish air force and navy since the late Sixties, primarily as fighter bombers in their late career, but also for reconnaissance tasks.
The G.91Y appeared, even though a vintage design, to be a suitable replacement option, since its performance envelope and the equipment outfit with three cameras in the nose made it a perfect package – and the price tag was not big, either. Especially the Polish Navy showed much interest, and after 10 months of negotiations Poland eventually bought 22 G.91Y from Italy, plus five G.91T two-seaters for conversion training, which were delivered between June 1993 and April 1994.
For the new operator the machines only underwent minor modifications. The biggest change was the addition of wirings and avionics for typical Polish Air Force ordnance, like indigenous MARS-2 pods for 16 unguided 57mm S-5 missiles, iron bombs of Russian origin of up to 500 kg (1.100 lb) caliber, SUU-23-2 gun pods as well as R-3 and R-60 missiles (which were very similar to the Western AIM-9 Sidewinder and actually date back to re-engineered specimen obtained by the USSR during the Korea war!). All machines were concentrated at Gdynia-Babie Doły in a newly founded, dedicated fighter bomber of the 1 Naval Aviation Squadron, which also operated MiG-21 fighters and PZL Iskra trainers. The Polish G.91Ys, nicknamed “Polski Fiat” by their crews (due to their compact size and overall simplicity, in reminiscence of the very popular, locally license-built Fiat 126), not only replaced the vintage MiG-17 types and some Polish Navy MiG-21 fighters, but also the handful of MiG-15UTI trainer veterans which were still used by the Polish Navy for observation duties over the Baltic Sea.
When Poland joined NATO on 12 March 1999, the G.91Ys (18 were still in service, plus all five trainers) received another major overhaul, a new low-visibility paint scheme, and they were updated with avionics that ensured inter-operability with other NATO forces, e .g. a GPS positioning sensor in a small, dorsal hump fairing. In 2006, when deliveries of 48 F-16C/D fighters to Poland started, the G.91Ys were to be retired within 12 months. But problems with the F-16s’ operability kept the G.91Y fleet active until 2011, when all aircraft were grounded and quickly scrapped.
General characteristics:
Crew: one
Length: 11.67 m (38 ft 3.5 in)
Wingspan: 9.01 m (29 ft 6.5 in)
Height: 4.43 m (14 ft 6.3 in)
Wing area: 18.13 m² (195.149 ft²)
Empty weight: 3,900 kg (8,598 lb)
Loaded weight: 7,800 kg (17,196 lb)
Max. takeoff weight: 8,700 kg (19,180 lb)
Powerplant:
2× General Electric J85-GE-13A turbojets, 18.15 kN (4,080 lbf) each
Performance:
Maximum speed: 1,110 km/h (600 kn, 690 mph, Mach 0.95) at 10,000 m (33,000 ft)
Range: 1,150 km (621 nmi, 715 mi)
Max. ferry range with drop tanks: 3,400 km (2,110 mls)
Service ceiling: 12,500 m (41,000 ft)
Rate of climb: 86.36 m/s (17,000 ft/min)
Wing loading: 480 kg/m² (98.3 lb/ft² (maximum)
Thrust/weight: 0.47 at maximum loading
Armament:
2× 30 mm (1.18 in) DEFA cannons with 120 RPG
4× under-wing pylon stations with a capacity of 1,814 kg (4,000 lb)
The kit and its assembly:
This whiffy Yankee Gina was inspired by a profile that had popped up during WWW picture search a while ago. Tracking it back, I found it to be artwork created and posted at DeviantArt by user “Jeremak-J”, depicting a G.91Y in polish markings and sporting a two-tone grey camouflage with light blue undersides and a medium waterline. I found the idea bizarre, but attractive, and, after some research, I found a small historic slot that might have made this “combo” possible.
When I recently delved through my (growing…) kit pile I came across a Matchbox G.91Y in a squashed box and with a cracked canopy – and decided to use that kit for a personal Polish variant.
The Matchbox G.91Y bears light and shadow galore. While it is IIRC the only IP kit of this aircraft, it comes with some problem areas. The fit of any major kit component is mediocre and the cockpit tub with an integral seat-thing is …unique. But the overall shape is IMHO quite good – a typical, simple Matchbox kit with a mix of (very fine) raised and engraved panel lines.
The OOB canopy could not be saved, but I was lucky to find a replacement part in the spares box – probably left over from the first G.91Y I built in the early Eighties. While the donor part had to be stripped from paint and was quite yellowed from age, it saved the kit.
It was built almost OOB, since major changes would not make sense in the context of my background story of a cheap 2nd hand purchase for an air force on a lean budget. I just added some details to the cockpit and changed the ordnance, using missile pods and iron bombs of Soviet origin (from a Kangnam/Revell Yak-38).
The exhausts were drilled open, because OOB these are just blank covers, only 0.5 mm deep! Inside, some afterburners were simulated (actually main wheels from an Arii 1:100 VF-1).
The flaps were lowered and extended, which is easy to realize on this kit.
The clumsy, molded guns were cut away, to be later replaced with free-standing, hollow steel needles.
In order to add some more exterior detail I also scratched the thin protector frames around the nozzles with thin wire.
Since the replacement canopy looked quite old and brittle, I did not dare cutting the clear part in two, so that the cockpit remained closed, despite the effort put into the interior.
A personal extra is the pair of chaff/flare dispensers on the rear fuselage, reminiscent of Su-22 installations.
Painting and markings:
The inspiring profile was nice, but I found it to be a bit fishy. The depicted tactical code format would IMHO not be plausible for the aircraft’s intended era, and roundels on the fuselage flanks would also long have gone in the Nineties. Therefore, I rather looked at real world benchmarks from the appropriate time frame for my Polish Gina’s livery, even though I wanted to stay true to the artist’s original concept, too.
One direction to add more plausibility was the scheme that Polish Su-22 fighter bombers received during their MLU, changing the typical tactical camouflage in up to four hues of green and brown into a much more subdued two tone grey livery with lighter, bluish-grey undersides, combined with toned-down markings like tactical codes in white outlines only. Some late MiG-21s also received this type of livery, and at least one Polish Fishbed instructional airframe received white low-viz national insignia.
For the paint scheme itself I used the MiG-21 pattern as benchmark (found in the Planes & Pilots MiG-21 book) and adapted it to the G.91Y as good as possible. The tones were a little difficult to define – some painting instructions recommend FS 36118 (US Gunship Grey) for the dark upper grey tone, but this is IMHO much too murky. Esp. on the Su-22s, the two upper greys show only little contrast, and the lower grey does not stand out much against the upper tones, either. On the other side, I found a picture of a real-life MiG-21U trainer in the new grey scheme, and the contrast between the grey on the upper surfaces appeared much stronger, with the light grey even having a brownish hue. Hmpf.
As a compromise I settled for FS 36173 (F-15E Dark Grey) and 36414 (Flint Grey). For the undersides I went for FS 35414 (Blue Green), which comes close to the typical Soviet underside blue, but it is brighter.
After basic painting, the kit received a light black ink wash and subtle post-shading, mostly in order to emphasize single panels, less for a true weathering effect.
The cockpit was painted in Dark Gull Grey (Humbrol 140), with a light blue dashboard and a black ejection seat. The OOB pilot was used and received an olive drab suit with a light grey helmet, modern and toned down like the aircraft itself. The landing gear as well as the air intake interior were painted in different shades of aluminum.
The decals were, as so often, puzzled together from various sources. The interesting, white-only Polish roundels come from a Mistercraft MiG-21. I also added them to the upper wing surfaces – this is AFAIK not correct, but without them I found the model to look rather bleak. Under the wings, full color insignia were used, though. The English language “Navy” markings on the fuselage might appear odd, but late MiG-21s in Polish Navy service actually had this operator designation added to their spines!
The typical, tactical four-digit code consists of markings for Italian Tornados, taken from two different Italeri sheets. The squadron emblem on the fin came from a Mistercraft Su-22, IIRC.
Most stencils were taken from the OOB sheet, some of them were replaced with white alternatives, though, in order to keep a consistent overall low-viz look.
Finally the kit was sealed with matt acrylic varnish.
An interesting result. Even though this Polish Gina is purely fictional, the model looks surprisingly convincing, and the grey low-viz livery actually suits the G.91Y well.
"The building replaced an older one on the site known as "India Building's", built in the 1830s for George Holt, the father of Alfred. The new building was constructed in two stages, the first stage being alongside the earlier building, and the second stage demolishing and replacing it. The two stages straddled the former Chorley Street. Before the design was approved, Liverpool Corporation stipulated that an arcade of shops should run through the centre of the building on the route of the street, and this was incorporated into the design. The original occupants included Lloyds Bank, a Post Office, commercial and insurance companies, solicitors, and government offices. Alfred Holt and Company occupied most of the sixth, seventh and eighth floors. Also in the building were a public hall and a constitutional club. India Building was badly damaged by bombing in 1941, and was later restored to its original condition under the supervision of Herbert J. Rowse."
Jaguar cars had bought Daimler in 1960.
The Series I XJ6 was introduced in 1968, replacing most of the old Jaguar saloons. The very similar but more upmarket Daimler Sovereign was sold along side it. The XJ12 version (and Daimler Double Six) was announced in July 1972, featuring simplified grille treatment, and V12 engine.
The 1973 Series II differentiated from its predecessors by raised front bumpers to meet US crash safety regulations, which necessitated a smaller grille, complemented by a discrete additional inlet directly below the bumper. A 2 door Coupe version was produced from 1975-78.
The 1979-92 Series III got rubber bumpers with chrome only on the top edge, flush door handles for increased safety and a revised roofline with narrower door frames and increased glass area.
Engine; 2.8, 3.4, 4.2 6s or 5.3 V12
From 1971, Series I and II were assembled in NZ by NZMC in Nelson
Replacing the 1928-31 Model A, the new 1932 Ford was identified by a rounded off body coloured grill shell. It got a new strengthened chassis to take the just released flathead V8 option, the fuel tank was relocated from the cowl to the lower rear. Again available in Standard or Deluxe, the Deluxe got the cowl lights, chrome window frame and a better interior (woodgrain and dome lights)
There were 2 and 4 door sedans, 2 door roadster, cabriolet, 3 and 5 window coupes, sport coupe panel and pickup, 4 door phaeton and woody wagon.
The 32 Ford was not only built in the US but also in many countries including Australia and New Zealand.
Engine; 50hp 201 cu in 4 cyl (Model B) or 65hp 221 cu in V8 (Model 18)
(Franklin...)[whispered]
The central focus of the 13th and last episode of the first season of Twilight Zone - The Fever this slot machine followed Franklin to his room whispering his name and taking his last dollar.
Watling ROL-A-TOP Bird of Paradise, twin jackpot five cent (nickle) slot machine modified for The Fever (The Twilight Zone)] with a smile replacing the twin jackpot and a blinking dome where the coin elevator would be seen. and a neon sign attached to the top "Special Jackpot $10,000.00"
The same machine, without the smiley plastic covering the twin jackpots, appears briefly at the beginning of The Twilight Zone Episode: "The Prime Mover", Season 2, Episode 22 where a pre-“Beverly Hillbillies” Buddy Ebsen plays a gentle man whose telekinetic powers are abused by Ace Larson his greedy partner (Dane Clark). Kitty: Christine White. Sheila: Jane Burgess. Nolan: Nesdon Booth. Hotel Manager: Robert Riordan. Host: Rod Serling. Original Air Date: Mar 24, 1961
The episode opens with the waiter of a coffee shop Ace loosing at this slot machine, complete with the translucent plastic dome covering the anti-fraud "elevator" glass on top, repeating "I've just GOT to win!" Then he approaches a trucker at the cashier "Double or nothing." The trucker agrees and beg a quarter from the cashier to toss the trucker's call "heads" in the air as the coin is flipped. It's the trucker's lucky day as he grabs the coin and says "My lucky quarter" walks over to this slot machine and plays the coin to win 3 bars, dispensing jackpot one. It's also seen briefly towards the end as a single machine between the casino front door and the restroom, but only cosmetically to establish decor.
Guest Cast
Dane Clark: Ace Larsen
Buddy Ebsen: Jimbo Cobb
Christine White: Kitty Cavanaugh
Jane Burgess: Sheila
Nesdon Booth: Big Phil Nolan
Clancy Cooper: Trucker
Robert Riordan: Hotel Manager
William Keene: Desk Clerk
Joe Scott: Croupier
In related news: I was in Las Vegas, staying at the Western Hotel and Casino. I was having trouble sleeping when I reached into my pajama pocket to find $5. So I went downstairs and bought ten rolls of pennies to play the penny slots until I got tired. I lost a lot and won a little and was almost broke, so I thought "Let's get this over with…" and finished my last pull with the "Bet Max" button. Wouldn't you know it hit for $300! The white light came on with the green one and six crisp $50 bills were placed in my hand by the very lovely floor manager accompanied by a complementary Long Island Iced Tea and a "lucky kiss."
I forget why I wanted to go the to the convenience store because on the way out I tied my shoes, still without socks, and leaned on the roulette table for support. "No more bets." was the call, and by the time the knots were tight, "30 - Red - winner" I had inadvertently placed a bet and now had $600. Walking down the street with my pajamas on I stopped in the Pioneer Club, played a hand of poker and got dealt a 6 of diamonds and a three of spades, I put them down and raised every round. At the last call "I'm all in." no one called or raised. Everyone folded. With $2550 in hand I walked into the Four Queens, put half on the Black Jack spot and got two aces, I doubled down with a three, and a seven. The dealer busted. $5100 and I put $100 on the Wheel of Fortune $1 place, and the spin landed on $5. Finally a looser! So I dropped the rest on the least likely to hit - the $100 spot, and the spin hit! With $50,000 in hand I stopped in the Golden Gate for a shrimp cocktail. I briefly sat at the five-card draw table and put it all on two pair - threes and nines. The poor hand was better than the others and took the pot, and the floor manager who authorized the one time over limit to start the hand asked if there was anything else he could do for me. "Well I just wanted a shrimp cocktail" and he brought a bowl full with sauce on the side. I had my fill and went across the street to the Plaza, pajamas wafting in the warm gentle breeze.
At the craps table I tried the limit on the pass line, then the don't pass and back, each time doubling my bet. Suddenly I was the shooter and I put $5000 on hard 8, I rolled a nine. I lost my $5000 but it was still my roll, so I put the rest on hard 12, rolled and crapped out. I passed the dice and turned to walk away. "Sir, your winnings." I turned and the general manager with two guards and a cart of cash followed me to the roulette wheel. "All on green!" I didn't even know how much it was. "0 - green - a winner!" "All on double zero I exclaimed!" The general manager called someone on his mobile-phone, tugged at his collar, then nodded to the croupier. "Twenty-one - black - winner" but it wasn't me. I lost it all, the general manager asked if there was anything he could do for me as the crowd that had gathered through this spree exhaled a collective "Aw." "Well, I'm about to fall asleep and I'm a few blocks from my hotel." He put me in a limousine with two attractive ladies who kept me up until I made it to my room. I knocked on the door, my wife answered wondering where I'd been.
"I gambled until I was tired."
"Well, how did you make out?"
I told her "I got a drink and a shrimp cocktail."
Just before I went to sleep i muttered "Oh, and I lost five bucks."
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Military aircraft development made huge leaps in the 50ies, and it was around 1955 that the successful, transsonic MiG-19 was to be replaced by a next generation fighter - which was to attain more than Mach 2. At that time, these speed and performance figures were terra incognita, but OKB Mikoyan tackled the official request for a new light tactical fighter, which was primarily intended to be used against high flying bombers, guided by ground radar.
Since it was unclear which basic wing design would be most appropriate for the new high speeds, OKB MiG hesitantly brought forth several test aircraft which sported different wing shapes, so that direct comparison could be done. These were the Ye-1, which featured 57° swept wings, much like the MiG-19, the Ye-4, which featured a delta wing with an identical sweep, and finally the Ye-3, which featured a very thin but moderately swept wing - certainly inspired by the contemporary development of the radical F-104 Starfighter in the USA, which featured a duty profile which was very similar to the new Soviet tactical fighter's requirements.
All three aircraft did not go unnoticed from NATO intelligence, and since it was not clear whether these machines would eventually end up in front service, all received code names, which were, respectively, 'Faceplate', 'Fishbed' and 'Filbert'. As a side note, NATO expected the 'Faceplate' design to be the most likely to enter front service - but eventually it became the 'Fishbed'!
The original Ye-3 used a fuselage and tail of the other prototypes. Beyond the different wings, it featured a modified landing gear which had to be completely retracted into the fuselage, due to the wings' thinness. Since the internal space inside of these thin wings also restricted internal fuel capacity - compared to the Ye-1 and Ye-4 - the aircraft carried drop tanks on its wing tips, while the armament, two IR-guided short range missiles, would be carried under the wings on two hardpoints. These could alternatively carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre. Two NR-30 30mm guns with 50 belt-fed RPG in the lower fuselage complemented the missile ordnance.
The original Ye-3 prototype was powered by an AM-11 engine rated at 8.580 lbf dry thrust and 11.200 lbf at full afterburner. It was the last of the test machine trio to fly: aptly coded "31 Blue" it made its maiden flight on 4th of April 1956 with OKB Mikoyan's chief test pilot Gheorgiy K. Mosolov at the controls. It was immediately clear that the aircraft had poor directional stability. It tended to spin at lower speeds, and at higher speeds the tailplane became ineffective. Handling was hazardous, and after just four test flights the aircraft had to be grounded.
It took until December 1956 that a satisfactory control surface solution could be found. Wind tunnel test had suggested that the horizontal stabilizer had to be moved much higher - higher than on the other prototypes, which already progressed in their test programs. The reworked Ye-3/1 featured a completely new T-tail arrangement with trapezoidal stabilizers which had little left in common with the other test types and made the aircraft look even more like a F-104 copy.In order to enhance the stability problem further, the ventral strakes had been enlarged and the fin chord slightly deepened. This new configuration was successfully tested on 21st 1956 of December.
At that time, a second Ye-3/1 was close to completion. Featuring the tactical code "32 Blue", this aircraft was powered by the new R-11 engine, an uprated AM-11 rated at 8.536 lbf dry and 12.686 lbf with afterburner. The same engine was soon re-fitted to "31 Blue", too, and during 1956 and 1957 both machines took part in the extensive trials program for the MiG-21, how the new fighter should be known in service.
"31 Blue" crashed on 30th of May 1958 due to hydraulic failure, even though the pilot was able to escape unharmed - just one day before another test aircraft, a Ye-6/1 (a modified swept-wing aircraft) crashed, too. Anyway, it was already becoming clear that the delta wing offered the best overall performance, being slightly superior to the swept-wing design. The straight, thin wing, though, was considered unsatisfactory and a dead end. The Ye-3/1 remained a touchy aircraft and was not popular among the test pilots. Compared to the swept or delta wing, the aircraft's agility was good, but it did not offer any significant benefit in speed, rate of climb or range and its poor directional stability was the biggest shortcoming. Additionally, the fact that starting and landing from improvised air strips was much more hazardous than with the other design types if not impossible with the small wings and tires) the Ye-3 was axed in January 1960 with no further development perspectives.
"32 Blue" survived the test phase, but eventually ended up as an instrcutional airframe at the Kharkov Aviation Institute without wings and fin.
General characteristics:
Crew: One
Length (incl. pitot): 16.05 m (53 ft)
Wingspan (incl. drop tanks): 8,18 m (21 ft 6 in)
Height: 3.81 m (12 ft 6 1/3 in)
Wing area: 18 m² (196,1 ft²)
Aspect ratio: 7.3:1
Empty weight: 4.820 kg (10.617 lb)
Loaded weight: 7.844 kg (17.277 lb)
Max. take-off weight: 8.625 kg (19.000 lb)
Powerplant: 1 × Tumanskiy R-11F-300 turbojet, rated at 3875 kgp (8.536 lbf) dry and 5.760 kgp (12.686 lbf) with afterburner
Performance
Maximum speed: 725 mph (1.167 km/h) at sea level, 1.190 mph (1.917km/h) at 13.000m (42.640 ft)
Combat radius: 450 km (245 nm, 280 mi)
Range: 850 ml (1.370 km)
Service ceiling: 19.000 m (62.320 ft)
Rate of climb: 38 m/s (7.480 ft/min)
Armament:
2× Nudelmann-Richter NR-30 30mm cannons with 50 RPG;
1.500 kg (3.300 lb) of payload on four external hardpoints, including:
- 2x PTB-350 wing tip drop tanks (fitted as standard)
- 2× K-13/R-3S (AA-2/"Atoll") AAMs on underwing pylons
- Alternatively, the two underwing pylons could carry pods with unguided missiles or iron bombs of up to 1.100 lb calibre.
The kit and its assembly:
Another whif, based on vague indications that this Starfighter-like design was seriouly considered at OKB MiG in the early 50ies because there exists a (crude) desktop model which shows a MiG-21 fuselage with F-104 wings and tail. An appealing design, and a good story to tell with a model. Anyway, AFAIK the 'Ye-3' designation was never used in the MiG-21 development phase or anywhere else at OKB MiG, so I borrowed it for the kit. The NATO code 'Filbert' is also a fantasy product.
Basically, this model is a kit-bashing. It consists of a Hasegawa MiG-21F-13 fuselage with new wings. The Hasegawa kit is ancient, I guess it is from the early 70ies. It has several flaws, so it is good fodder for such a project. For example, the MiG-21 lacks any serious interior, the landing gear is not even a joke and the prominent Soviet Red Stars have been molded onto the parts as raised panel lines! The area-ruled fuselage is pretty, though, very sleek.
Much room for improvements and improvisation, though. Hence, I built a cockpit interior from scartch and added an Airfix pilot, since these figures look very Soviet. As a side benefit, the figure is rather voluminous, so it covers much of the primitive cockpit interior...
Another modification is the landing gear - I wanted to incorporate much of the aforementioned F-16's landing gear, so that new wells had to be cut into the fuselage. This turned out to be easier than expected, and I did not waste too much effort on it. The F-16 landing gear is shorter than the MiG-21's, so the Ye-3 is closer to the ground than its real world cousins.
For the new thin wings I considered at first butchering an Airfix F-104G Starfighter as donation kit, but eventually found the wings being simply too small for my taste and for what the desktop model paradigm shows. I eventually ended up with wings from an Italeri F-16, which - believe it or not - have the SAME leading and trailing edge angles as the F-104, you just have make angled cuts at the wing tips and the wing roots... I just had to cover up the original flap engravings and fit them to the fuselage. The F-16's horizontal stabilizers were taken, too, but shortened in order to match the smaller dimensions for a Starfighter-like look.
The fin was clipped on top and a new upper end created from the single MiG-21 under-fuselage stabilizer. The latter was replaced by two splayed fins, an arrangement which was featured on the original Ye-prototypes but were later replaced by the single fin.
The missiles and their launch rails are leftover pieces from my recent MiG-21G conversion (from a Hobby Master kit), they were painted orange as dummies, according to Soviet practice.
As extra equipment for a test airfcraft, a small camera pod (based on real life picture of other MiG prototypes and test aircraft) was added under the front fuselage - for recording live missile launch tests.
Painting:
I wanted, according to the background story, keep this a prototype aircraft. Unfortunately, this means that I'd be limited to a natural metal finish - and I hate such surfaces, because they are a great challenge, esp. with the manual brush technique I use...
But I tried to make the best of it and painted the model with a plethora of metal tones - ranging from Testors/Model Master Metallizer (Polished Aluminum, Polished Steel, Titanium, Exhaust) through Humbrol enamels (Aluminum, Gun Metal, Chrome Silver) up to Revell Aqua Acryllics (Aluminum). Additionally, some service flaps were painted in light grey (Humbrol 64), the nose cone (which would have been a metal piece, not a plastic radome) was painted in Humbrol 140.
The kit also received a wash with black ink - not to make it look worn, but to add to a "metallic" look with more contrast at edges and raised panel lines. To enhance this metallic look further, the kit received a treatment with a 'graphite rubbing'.
To make the machine look even more interesting (but not out of style), I added some phototheodolyte calibration markings on fuselage and fin: simple, black stripes, but, again, based on real test aircraft of that era. Additionally, "31 Blue" received four stars under the cockpit as mission markers - not for shot-down aircraft, but for successful live missile launches.
After the decals were applied - puzzled together from the scrap box and several aftermarket sheets for Russian/Soviet aircraft - everything was sealed under a coat of semi-matte acryllic varnish (Tamiya TS-79).
In the end a rather simple conversion, but quite effective and convincing. I think that this potential MiG-21 layout does not look out of place - but there certainly were reasons why the thin, unswept wings did not make it to the hardware stage at OKB MiG...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Temco Model 63 "Buckskin" trainer was designed by Texas Engineering & Manufacturing Company (TEMCO) as a private venture to replace the US Navy's piston-engine, land-based Beech Model B45 'Mentor' primary trainers in the mid 1960ies, but with better performance and more likeliness to modern jet fighters.
The Model 63’s forerunner, the Temco Model 51, had been initially proposed to the US Air Force in response to an Air Force competition for a jet-powered primary trainer, which was eventually won by the Cessna T-37 Tweet. A small number of the Model 51 were built and put into service, powered by a Continental Motors J69-T-9 (a license-built Turbomeca Marboré) jet engine and officially designated TT-1 ‘Pinto, but only saw a limited career.
Like the Pinto, the Model 63 was a mid-wing, tricycle landing gear trainer with an enclosed cockpit. What made the Model 63 unusual was a pull/push tandem engine arrangement, similar to the Cessna 336/337 that was under development at the same time. The Temco Model 63 was driven by two small Turbomeca Bastan IV turboprop engines, each developing 650 shp (485 kW).
The rationale behind this layout were the compact dimensions, actually, the aircraft was not bigger than the single engine TT-1. Studies undertaken during the early design stages had shown that a classic layout with wing-mounted engines would have necessitated a considerably higher wing span and a longer fuselage, too. Another benefit was the improved safety of two engines, esp. during envisioned long navigation flights over the open sea, and the Bastan engines gave the Model 63 the ability to fly safely even with one of the engines shut down.
Compared with the TT-1’s small jet engine, the propellers gave the Model 63 a better responsiveness to pilot input and the turboprop engines offered a very good fuel economy, while enabling almost the same performance as the single jet precursor. Furthermore, the two engines gave instructors the option to simulate different flight regimes, while the tandem arrangement helped avoid torque and asymmetrical thrust issues. Besides, the T2T was equipped with many of the same features found in contemporary operational jets, including ejection seats, liquid oxygen equipment, speed brakes, along with typical flight controls and instrument panels.
Anyway, the unusual layout came at a price: it necessitated a totally different tail section with twin tail booms and a single, high stabilizer connecting them at the tips of the fins. Despite familiar outlines, only parts of the TT's outer wings and the cockpit could be used on the Model 63 - the rest had to be re-designed and/or strengthened, so that the aircraft's overall weight became markedly higher than the TT's. Despite this drawback, officials became interested enough in the turboprop trainer program to procure a pre-series for trials and direct comparison with jet- and piston-engine alternatives.
The aircraft received the official designation T2T. Like the Pinto, the T2T was intended as a primary trainer, so it carried no internal armament but could be outfitted with wing tip tanks and had two underwing hardpoints for 500 lb each, placed outside of the strengthened landing gear. These hardpoints were reserved for auxiliary tanks, cargo boxes, smoke generators or camera pods.
The first XT2T maiden flight took place in summer 1959. Flight characteristics were considered good, and, compared with the earlier TT-1, the machine was not as underpowered (which was a problem during landing abortions and touch-and-go manoeuvers). After initial tests with two more prototypes in summer 1960, a batch of five YT2T-1 pre-production aircraft, which were updated to the intended serial production standard and incorporated some minor modifications, was ordered and directly sent to the Naval Air Test Center (NATC) Patuxent River.
Results were generally positive, so that a further batch of 24 aircraft were produced as T2T-1s between 1962 and 1963. These aircraft served in the Air Training Command at Pensacola, Florida and used in a training program demonstration testing the feasibility of using jet- and turboprop-powered trainer for primary flight training.
The tests were not conclusive, though, and no further T2Ts ordered. The 'Buckskin', how the aircraft was christened unofficially, was pleasant to fly and offered very good performance. But the aircraft was – esp. for its limited role – complex. Maintenance costs were high, and the authorities were never really happy about the French engines on board of the home-grown trainer type.
The US Navy liked the turboprop engine, though, but wanted a less complex aircraft. This eventually materialized in the early Seventies with the T-34C Turbo-Mentor. After a production hiatus of almost 15 years, the Beech Model 45 returned, powered by a Pratt & Whitney Canada PT6A-25 turboprop engine. Mentor production restarted in 1975 for deliveries of T-34Cs to the USN and of the T-34C-1 armed version for export customers in 1977, this version featuring four underwing hardpoints. Since the late 1970s, T-34Cs have been used by the Naval Air Training Command to train numerous Naval Aviators and Naval Flight Officers for the U.S. Navy, U.S. Marine Corps, U.S. Coast Guard, and numerous NATO and Allied nations - and the small T2T fleet was phased out by 1979.
General characteristics:
Crew: two
Length: 32 ft 7 in (9.93 m)
Wingspan (incl. tip tanks): 29 ft 10 in (9.09 m)
Height: 8 ft 1 1/2 in (2.48 m)
Wing area: 150 sq ft (13.9 m2)
Empty weight: 2,848 lb (1,292 kg)
Loaded weight: 5,400 lb (2,448 kg)
Powerplant:
2× Turbomeca Bastan IV turboprop engines, rated at 650 shp (485 kW) each
Performance:
Maximum speed: 345 mph (300 knots, 556 km/h) at 15,000 ft (4,600 m)
Never exceed speed: 518 mph (450 knots, 834 km/h)
Cruise speed: 247 mph (215 knots, 398 km/h) at 25,000 ft (7,600 m)
Stall speed: 69 mph (60 knots, 111 km/hr)
Endurance: 2.5 hr
Service ceiling: 30,000 ft (9,145 m)
Rate of climb: 1,900 ft/min (9.7 m/s)
Armament:
2x underwing hardpoints for a total load of up to 1.000 lb (454 kg)
2x optional wing tip tanks
The kit and its assembly:
The final entry for the 2016 "In the Navy" Group Build at whatifmodelers.com, and a close call since I started work on this conversion only 5 days before the GB's deadline!
The original inspiration was the photoshopped picture of a private TT-1 in all-blue USN markings, created by artist "Stéphane Beaumort" in 2010 (check this illustration originally posted at AviaDesign: aviadesign.online.fr/images/temco-buckskin2.jpg).
A slightly bizarre aircraft with the tandem propellers and the twin tail booms, and IMHO with some fishy details in the CG rendition, e.g. including the idea of driving both propellers with a single engine through shafts and gearboxes. But the concept looked overall feasible and Special Hobby offers a very nice TT-1 Pinto kit, which I was able to procure from Poland an short notice. As a bonus, this kit comes with markings for this specific, blue aircraft (“13/S”), actually a re-constructed, privately owned machine.
The Special Hobby kit became the basis for my personal interpretation of the T2T, and it underwent some conversions, being outfitted with a variety of donation parts:
- The front engine once was a cut-away Merlin from a Hobby Boss Hawker Hurricane
- The tail booms and fins come from a Revell Focke Wulf Flitzer
- The stabilizer was created from two Hobby Boss He 162 tail elements
- Propellers come from a vintage, box scale Revell Convair Tradewind
- In order to attach them, styrene tubes were implanted and the props mounted on metal axis’
- The front wheel also belongs to a Hobby Boss He 162, longer than the OOB parts
- The main wheels are bigger, from a Matchbox Folland Gnat
Work started with the central fuselage, the added front engine and conversions for the rear pusher engine. Once the wings were in place and the propeller diameter clear, attachment points for the tail booms were scratched from styrene tube and added to the wings' upper sides (leaving the lower surface free, so that the OOB landing gear could be used). Then the tail booms and the tailored stabilizer were mounted, as well as the wing tip tanks.
The landing gear came next; the main struts and covers were used, but slightly bigger wheels chosen from the scrap box. For the front wheel well, a "hole" had to be dug out of the massive new nose section (consisting of 2C putty and lead beads) - the OOB covers were used, though, and a longer and more massive front wheel was mounted.
Sounds simple and conclusive, but things evolved gradually and the job involved a lot of body work - under dire time pressure. The fact that the kit fell from my workbench after day #2 and hit the floor in a nasty angle, so that the tails suffered severely and needed repair, did not help either...
Another issue became the canopy. I am not certain where the problem lies, but the canopy turned out to be 2mm too short for the fuselage? Could be the result of the massive rhinoplasty with the added front engine, but I am also a bit worried about the position of the cockpit tubs – when I mounted them, the appeared to be in the correct position, but once the fuselage was closed both seat positions appear to be too far to the back – even though the dashboards seem to be correct?
Painting and markings:
I used the CG drawing as benchmark, also because the Special Hobby kit came with the right decal set for an all-blue USN livery, which historically was about to be changed in the late Fifties to brighter schemes.
The interior surfaces, both cockpit and the landing gear, were painted in a very light gray (FS 36495, Humbrol 147), just as on the real world TT-1. All outside surfaces became Sea Blue FS 35042 (ModelMaster). Very simple, and some panel shading with was done for a more dramatic look on the otherwise uniform airframe.
The silver leading edges on wings and stabilizer, as well as the yellow canopy framing, were created from decal strips. The propeller spinners became, as a small highlight, bright red, and some of the OOB sheet’s red trim for “13/S” were used, too. No more weathering was done, and, finally, everything sealed under a coat of gloss acrylic varnish, except for the propeller blades and the black anti-glare panel, which became matt.
An odd creation, and taking into account the four and a half days time frame from sprues to beauty pics (including background research and text), as well as the body work involved in the building process with the new front engine and the tail booms, I am quite happy with the result. Could have been better, sure, but it was finished in time, just as planned/hoped for. ;)
Anyway, the T2T looks interesting; my build slightly differs from the benchmark CG renditions, but remains true to Stéphane Beaumort’s basic idea. Cheers!
Some background:
The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).
Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.
At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.
A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).
Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.
The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.
A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.
The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.
Building the kit and its display box:
I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.
The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.
Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!
As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.
I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).
Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.
The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.
The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.
The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.
Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.
Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.
As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!
The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!
Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.
The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.
The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.
Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.
At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.
In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.
Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.
Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.
VH Produce owner Vue Her is a Hmong farmer on a 10-acre field, who grows several Asian specialty crops in Singer, CA, near Fresno, on November 9, 2018. He has worked with the U.S. Department of Agriculture (USDA) Natural Resource Conservation Service (NRCS) to implement many conservation improvements, including help replacing an old tractor for a more efficient lower emission tractor and installation of seasonal high tunnels.
Growing up on a farm and learning the skills was just not possible for Vue Her who was born to farmer parents in a refugee camp in Thailand. He could not put into practice all the farming skills they used in Laos. General schooling in the refugee camps was minimal. At the age of 15, he started working a variety of odd jobs and work as a craftsman in the camp. This 'on the job' experience taught him an appreciation for hard work, and he took pride in being able to contribute to his family. There he married and started his own family.
Eager to work, he started with Foster Farms as a janitor. Then he stocked produce at an Asian grocery store. He kept working hard and saved his money. After years of factory work, he started his farm operation on leased land, in 2011, with plans to buy his own land in two years.
As a young man with a growing family, starting a farm in the United States was a big challenge and he knew he needed help. While listening to a local Asian language radio station, he heard NRCS soil conservationist Sam Vang’s NRCS radio program (in the Hmong language). Producer Vue Her said, “I am a big fan of the program and without the NRCS radio program, I don’t think I knew USDA programs.” (Note: The radio station is no longer producing the program.)
Farming, in the beginning, was hard and not efficient for Vue Her because he had to wait to use a borrowed tractor. This caused the soil to be worked out of schedule, causing the harvest to be out of the schedule for the farmer's markets where he sells his produce. To stay on schedule and meet market needs he purchased his own tractor that was supported by the USDA through the Environmental Quality Incentives Program (EQIP) program. www.nrcs.usda.gov/wps/portal/nrcs/main/national/programs/...
He quickly learned from Sam Vang that the farming practices his parents used are different from the standard practices in the US. Soil conservationist Sam Vue helped him learn about soil conservation, management skills, business knowledge, and time management. Some examples of this are the practice of rotating the crops in each plot to promote soil health and using standardized tractor attachment settings to save time and effort. For this Mr. Her says, "I'm happy to be part of NRCS programs and to know the staff. I have less stress, and I'm thankful for the farm management skills. Whenever I have a question, I call Sam."
The EQIP program also helped him purchase two seasonal high tunnels so that they can grow dozens of different varieties of Asian vegetable in the long arched plastic wrapped structures. In the tunnels, many of the vegetables are planted as seeds and are very sensitive to either frost or heat. High tunnels also helped him to maintain steady production and income year-round.
As a family business, his workforce is his seven children who pitch in after school. Each week, they push to pick, clean and box the produce just before the weekend markets. Today, wife Mai Houa Yang, son Bee Her, and daughter Chai Her harvest peanuts for sale tomorrow.
"I appreciate being able to produce traditional vegetables for other cultures, says Mr. Her. "I feel good about working hard and being accepted in the community of growers and by my customers."
When asked, what is a good day? He laughs, every day is the best day because I spend more time on the farm than at home.
USDA Photo by Lance Cheung.
from The Lock Guy Pty Ltd ift.tt/1mdejkk
via Facebook
www.thelockguy.com.au/blogs/locksmith/holden-commodore-ss...
Replacing an earlier scanned photo with a better version 20-Mar-18, plus Topaz DeNoise AI 13-Aug-25
Early Lufthansa CityLine livery.
First flown with the Fokker test registration PH-EXX, this aircraft was leased to DLT Deutsche Luftverkehrgesellschaft as D-AFKN in Jul-91. DLT was renamed Lufthansa CityLine in Mar-92.
It was sold to Lufthansa Leasing GmbH in Jul-92 while the lease to Lufthansa CityLine continued. The 'CityLine' titles were removed in Mar-94 although the aircraft continued to be operated by Lufthansa CityLine.
It was returned to Lufthansa Leasing in Jan-97 and leased to Contact Air in Feb-97 when it became part of 'Team Lufthansa' operated by Contact Air. It changed to Lufthansa Regional in Oct-03.
The aircraft was returned to Lufthansa Leasing in Apr-04 and sold to Air Iceland - Flugfelag Islands as TF-JMN at the end of the month. It was wet-leased to Air Baltic between Apr-09 / May-10. It was withdrawn from service and stored at Woensdrecht, Netherlands in May-17.
In Oct-17 the aircraft was sold to the Avmax Group and leased to Silverstone Air (Kenya) as 5Y-SMO a few days later. It was withdrawn from service in Nov-19 and stored at Nairobi-Wilson. Silverstone Air ceased operations in Mar-20, the aircraft was returned to the lessor and remained stored.
Silverstone Air was rebranded as Jetlite Air in Feb-21 and the lease was transferred. It was wet-leased to Saacid Air, Somalia in Aug-23. Jetlite Air appear to have morphed into DragonFly Aviation, Kenya in Nov-23.
Details are a bit sketchy, however the aircraft appears to have been sold to an unknown operator in Malawi as 7Q-SMO in May-25. Now 34 years old the aircraft appears to be still active. Updated 13-Aug-25.
Replacing an earlier digital photo with a better version 10-Jan-24.
This aircraft was delivered to LOT Polish Airlines as SP-LLD in Mar-94. It was sold to a lessor in Apr-02 and leased back to LOT. It was sub-leased to LOT's 'low-cost' subsidiary, CentralWings in May-05.
'Low Cost' didn't work too well and the scheduled services were absorbed back into LOT while CentralWings continued as a charter operator. It was repainted into full LOT livery in Aug-08.
It was returned to the lessor as EI-EOD in Sep-10 and converted to a freighter configuration with a main deck cargo door in Mar-11 It was leased to TNT Airways as OO-TNP in Apr-11.
TNT Airways was renamed ASL Airlines Belgium in May-16 while services for TNT Express continued. TNT Express was merged into FedEx/Federal Express in Jul-17. ASL Belgium continued to operate on behalf of FedEx with it being repainted in full FedEx livery. Current, updated 10-Jan-24.
The buildings on the former North London Line platforms were built in the early 1980s, when provision for passengers was very much meaner than it is now. These will all be swept away and replaced by much better facilities for the arrival of Crossrail services in 2018. The new station will comprise an island platform with two faces, capable of taking ten-car trains, and a light and spacious overline station building.
**********************************************************************
The Stratford to North Woolwich line was first opened in 1847 by the Eastern Counties Railway, at a time when the Silvertown area was undeveloped; the original route ran to the south of what is now Victoria Dock.
When Victoria Dock was constructed in the 1850s, a swingbridge was built to allow trains to cross the opening which allowed ships to enter the Dock from the Thames. However this would delay trains, so a new line was built to the north of the dock, with a station at Custom House. The original route was handed over to the Dock company, to be worked effectively as a private internal railway; although in the event of the new route being blocked the Eastern Counties Railway were permitted to use the old route free of charge.
When the adjacent Albert Dock was built in 1880 it incorporated a short-cut into Victoria Dock. Again a swingbridge was put in, but the Dock Company also put in a new tunnel, the Connaught Tunnel, to by-pass any delays. Once again the railway had the right to use the old route free of charge if the tunnel was blocked for any reason. During the 1880s short branch lines were added from Custom House to Gallions and Beckton; these little-known lines were used almost exclusively by freight, and by workers at the Docks and Beckton Gas Works. Little trace of these lines remains today.
With little other public transport in the Silvertown area, the railway did good business. However the first nail in the coffin was the construction of Silvertown Way in the 1930s; this was funded as a scheme to alleviate unemployment, and would eliminate level crossing delays for traffic heading to Victoria Dock. Trams had only ventured as far as Canning Town, but London Transport decided its trolleybuses would extend to Silvertown and North Woolwich via the new road. The heavy bombing of the Docks during the Second World War, and radical changes to the nature of trade thereafter, further contributed to the decline of the line. By the 1970s the service consisted of a half-hourly shuttle between Stratford and North Woolwich, and it looked set for closure.
However in 1979 the Greater London Council aimed to revive the line, and extended the service to Camden Road. New stations were constructed, and the existing stations were rebuilt, albeit in a very basic style with minimal facilities. In 1985 the line was electrified and incorporated into the North London Line, with trains running through from North Woolwich to Richmond.
It was the development of other railways in the area which finally killed off the North Woolwich Line. The Beckton line of the Docklands Light Railway opened in March 1994, but it was the coming of the line to King George V in December 2005 (since extended to Woolwich Arsenal) that rendered the old line redundant; services between Stratford and North Woolwich were withdrawn after 9th December the following year. Since then the route between Stratford and Canning Town has been reused by the Stratford International branch of the DLR (opened August 2011), whilst the section between Custom House and North Woolwich is being prepared for its new role as part of Crossrail's Abbey Wood line, due to open in 2018.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
No. 19 Squadron of the Royal Flying Corps was formed on 1 September 1915, from members of No. 5 Squadron, at Castle Bromwich training on a variety of aircraft before being deployed to France in July 1916 flying Royal Aircraft Factory B.E.12 and re-equipping with the more suitable French-built SPAD S.VIIs. From November 1917, the squadron started to receive Sopwith Dolphins to replace its SPADs, it being fully equipped with the Dolphin during January 1918, flying its first operational patrol with the new fighter on 3 February. In 1917, the squadron was re-equipped with Sopwith Dolphins, flying escort duties.
No. 19 Squadron was disbanded after the First World War on 31 December 1919. On 1 April 1923, the squadron was reformed at RAF Duxford with the Sopwith Snipe, initially operating as part of No. 2 Flying Training School (No. 2 FTS). After becoming independent No. 2 FTS, No. 19 Squadron remained at Duxford flying number of different fighters such as the Gloster Grebe, Armstrong Whitworth Siskin Mk. IIIa and the Bristol Bulldog Mk. IIa. In May 1935, the unit became the first squadron to be equipped with the Gloster Gauntlet which they flew until March 1939. In 1938, No. 19 Squadron became the first squadron in the RAF to operate the Supermarine Spitfire Mk. I, when K9789 was delivered on 4 August. The squadron lost its first Spitfire when K9792 crashed on landing at RAF Duxford on 20 September 1938, having only been delivered on 16 August.
After the outbreak of World War 2, No. 19 Squadron was stationed at RAF Duxford in September 1939, and was part of No. 12 Group, RAF Fighter Command. In May and June 1940, the squadron helped provide air cover over the Dunkirk beaches. In June 1940, No. 19 Squadron began the receive Spitfire Mk. Ibs, which were armed with the Hispano cannon, however due to reliability issues the unit soon reverted to the Spitfire Mk. Ia. No. 19 Squadron formed part of the Duxford Wing, No. 12 Group's 'Big Wing' formation during the Battle of Britain.
Later versions of Spitfires were flown until the arrival of North American Mustang Mk. IIIs for close-support duties in early 1944. After D-Day, No. 19 Squadron briefly went across the English Channel before starting long-range escort duties from RAF Peterhead, Scotland, for Coastal Command off the coast of Norway. The Squadron converted to the Mustang Mk. IV in April 1945 while based at RAF Peterhead.
Just as the Mustang transformed USAAF fighter escort operations on missions deep into Germany, so the RAF would use the impressive range of the aircraft to provide fighter cover for strike aircraft which would previously have operated autonomously. These missions included anti-shipping strikes by Beaufighters and Mosquitos along the coastline of Norway, which could last almost six hours in duration, with most of the flying time taking place over the vast, unforgiving expanse of the North Sea. Ensuring German units in Norway were never in a position to threaten the eastern coast of Britain and importantly, keeping significant forces occupied in the region and unable to reinforce units further south, these dangerous long-range operations continued right up until the eventual end of hostilities in Europe and in their own way, were as demanding as any flown by pilots serving through WWII. As Bomber Command decided to re-commence daylight strike operations from 1944, the European Theatre witnessed the unusual situation of both RAF and USAAF Mustangs providing bomber protection cover in the same airspace at the same time and as the Luftwaffe finally began to crack under the unrelenting pressure, Allied Mustangs were free to hunt for anything they deemed a suitable target. At this time, there must have been hundreds of Mustangs flying in European skies, both British and American, and all manner of production variants – even the first Allison powered Mustang Is were used right until the final stages of the War in Europe.
Flight Lieutenant Arthur S ‘Joe’ Doley joined the Royal Air Force during the Second World War and went on to fly Spitfires and Hurricanes with Nos 610 and 87 Squadrons, in Britain, North Africa and Italy. He later joined No19 Squadron at Peterhead in February 1945, where he was introduced to the Mustang IV and long-range operations over the North Sea, very different form the shorter-range combat operations he had been used to in North Africa and Italy. Even at this late stage of the war, Doley was kept extremely busy on these shipping strike protection missions and undertook at least 12 of these missions during the last few weeks of WWII, with several further missions aborted due to various technical issues. Following the end of hostilities, No.19 Squadron relocated to RAF Acklington on 13th May 1945, where it continued its association with the Mustang, even though the aircraft looked very different from their appearance during the final weeks of the war. The rather disheveled camouflage appearance associated with aircraft operating over large expanses of ocean had gone, to be replaced with a handsome natural metal presentation, which really suited the striking profile of the magnificent Mustang. It was during this time that Flt. Lt. Doley began his association with a particularly striking Mustang and one which must be considered one of the most distinctive piston-engine fighter aircraft to see service with the Royal Air Force. Mustang IV KM272 (QV-V) was resplendent with its blue and white spinner and front engine cowling, but also carried name ‘Dooleybird’ in large red letters on the port side of the fuselage.
After WWII, No. XIX (Fighter) Squadron soon exchanged their Mustangs for Spitfire Mk. XVIs. The original ‘Dooleybird’ was exchanged for a Spitfire LF.16, too (with NR761, to be specific), but the lively livery of KM 272 was taken over and to honor the pilot the machine was assigned the individual code letter ‘J’, for A. S. Doley’s nickname ‘Joe’.
The Spitfire Mk. XVI was the same as the Mk. IX in nearly all respects except for the engine, a Merlin 266. The Merlin 266 was the Merlin 66 and was built under license in the USA by the Packard Motor Company. The "2" was added as a prefix in order to avoid confusion with the British-built engines, as they were built with metric gauges that required different tooling in both production and maintenance, so that units would only exclusively use either type of engine and not mix it with other Spitfire variants. Because of a slightly taller intercooler and rearranged accessories on the Packard Merlins a new, bulged upper cowling was introduced which also appeared on late production IXs. Production commenced in September 1944 with the first aircraft reaching No.443 Sqn. Royal Canadian Air Force in January 1945. However, problems with the license-built engines limited the Mk. XVI’s introduction to front-line squadrons for several months, so that this version saw only limited use during the last months of WWII in Europe. A total of 1,054 Mk. XVIs were built at Castle Bromwich near Birmingham, with the last delivery taking place in August 1945. Spitfire Mk. XVIs equipped 36 RAF squadrons, including eight squadrons of the Royal Auxiliary Air Force after the war, these serving until 1951.
All Mk. XVI aircraft produced were of the Low-Altitude Fighter (LF) variety. This was not determined by the length of the wings (clipped wings were fitted to most LF Spitfires, though), but by the engine, which had been optimized for low-altitude operation. All production Mk. XVIs had clipped wings for low altitude work and were fitted with the rear fuselage fuel tanks with a combined capacity of 75 gal. Many (but not all) XVIs featured cut-down rear fuselages with bubble canopies, and on these aircraft the rear fuselage tank capacity was limited to 66 gal.
Armament for most Mk. XVIs (re-designated LF.16 soon after the war) consisted of 2× 20 mm Hispano II cannon and 2× 0.50” caliber Browning machine guns in the so-called “E” wing. 1× 500 lb (227 kg) bomb or an auxiliary tank could be carried under the fuselage on a central hardpoint, and 1× 250 lb (114 kg) bomb could be slung under each wing.
After their introduction in mid-1945, the Spitfire LF.16’s service with RAF No. 19 Squadron was only short and lasted only several months. In October 1946, the unit moved again, from Northumberland southward to RAF Wittering at the boundary between Cambridgeshire and Northamptonshire. There, the Spitfires were retired or handed over to RAuxAF units. NR 761 was handed over to No. 614 (County of Glamorgan) Squadron where it served until July 1950 (replaced with D. H. Vampires), and No. 19 (F) Squadron converted to the de Havilland Hornet Mk. I, which were operated for about five years until January 1951 when the Squadron received their first jet aircraft, the Gloster Meteor F.4.
General characteristics:
Crew: one pilot
Length: 31 ft 2 in (9,55 m)
Wingspan: 32 ft ½ in (9,93 m)
Height: 11 ft 5 in (3.86 m)
Wing area: 242.1 sqft (22.48 m²)
Airfoil: NACA 2209.4(tip)
Empty weight: 5,065 lb (2,297 kg)
Loaded weight: 6,622 lb (3,000 kg)
Max. takeoff weight: 8,731 lb (3,946 kg)
Powerplant:
1× Rolls-Royce Merlin 266 liquid-cooled V12 engine with a two speed, two-stage supercharger,
rated at 1.470 hp (1.096 kW) at 9.250 ft (2.820 m), maximum output of 1.710 hp (1,276 kW),
driving a 4 blade constant speed Rotol airscrew with Jablo or Hydulignum wood blades
Performance:
Maximum speed: 415 mph, (364 kn, 669 km/h)
Combat radius: 411 mi (360 nmi, 662 km)
Ferry range: 1,135 mi (991 nmi, 1,827 km)
Service ceiling: 40,500 ft (13,265 m)
Rate of climb: 2,600 ft/min (13.2 m/s)
Wing loading: 27.35 lb/sqft (133.5 kg/m²)
Power/mass: 0.22 hp/lb (0.36 kW/kg)
Armament:
2x 20mm Hispano Mk II cannon (120 RPG)
2x 0.5 in (12,7 mm) Browning machine guns (250 RPG)
Three hardpoints (1 ventral, 1 under each outer wing) for up to 1.000 lb (454 kg)
The kit and its assembly:
My submission for the 2022 “One Week” Group build at whatifmodellers.com, a tactical choice. This is what would at warthunder.com be called a “semi-authentic” whif. The inspiration came when I found a leftover decal sheet from the classic Matchbox P-51D/K Mustang kit, which offers the famous and pretty ‘Dooleybird’ KM 272 as a painting option from May 1945. I wondered how long the aircraft had carried this bright livery, and eventually found out that RAF No. 19 Squadron operated the Mustang only for a couple of months after the end of WWII, replaced by Spitfire LF.16s. This became the simple concept for this whif: what would such a Spitfire have looked like?
For the kit I went for Heller’s venerable Spitfire LF.16 kit: it is pretty cheap and still a decent representation of the last Merlin-powered type, despite some flaws. I also was happy that I could build the model basically OOB, without major modifications, saving time for the short group build period of just nine days for the model itself and the pictures. However, the Heller kit has its weaknesses: surface details are raised (yet quite fine), the cockpit interior is complete with bulkheads and a separate seat, but highly simplified. The same goes for the landing gear wells and the radiators: they are molded into the main parts. Detail freaks will certainly wrinkle their noses, but for the kit’s typical price it’s O.K. and there are certainly worse Spitfire kits in 1:72 around!
A fundamental problem, though: The overall material thickness is rather poor, what causes troubles when you glue the fuselage halves together and when inserting the wing section into its respective hull opening: aligning and simply attaching everything is hazardous, the wings are later so wobbly that their seams frequently break up!
The main landing gear is also very flimsy, and why the mold designers decided to use only half of the already tiny locator pins as attachment points is beyond my understanding. The legs are so wobbly that they hardly hold the model up – I had to support them with superglue.
Nevertheless, the kit was built totally OOB, I just implanted a styrene tube adapter for the propeller with a longer axis.
Painting and markings:
This was quite challenging, and I have the impression that the original RAF KM 272 and its livery are just as elusive and speculative as Indian Air Force C992, a MiG-21FL that carried a spectacular tiger stripe livery – often offered as a painting option in kits or depicted in artwork, but these are only based on blurry b/w pictures that do not reveal the aircraft’s actual colors and do not show details like the underside. The ‘Dooleybird’ seems to be a similar affair, and the more you try to find out about the aircraft, the more controversial the details become – esp. under the light that the aircraft apparently operated only for a couple of months in this livery in peacetime, so there cannot have been many variations.
For instance: what’s the color of the anti-glare panel? US-style olive drab or black? Or was it even dark blue? And how would this translate onto a later Spitfire? The cheatline under the anti-glare panel is controversial, too: Matchbox and some others depict it as dark blue (reflecting the white-and-blue spinner and the checkered collar behind it, No. 19 Squadron’s unit colors), while Airfix offers deep yellow with its recent 1:48 kit. Well, I do not believe in the latter, because a b/w picture of KM 272 at Airfix’ website that is used as reference for the model(!) shows the cheatlines in a relatively dark color, while the yellow wing leading edges are much lighter. Even when you consider different angles and light reflections of the respective areaa, I do not buy the yellow trim on the fuselage – so I stuck with the blue, which IMHO also looks better and more plausible. I coupled this with a black anti-glare panel; typical post-war Spitfires did not feature such a panel at all and were all-silver, but to replicate KM 272’s looks on the different airframe I kept it. As s side benefit, the dark panel stretches the Spitfire LF.16’s elegant lines with its low rear section even further.
Another dubious detail: the color of the codes. The Matchbox kit shows them in black, but roundel blue could have been an option, too. And even the ‘Dooleybird’ tag in red is not 100% certain: I have found an aftermarket decal sheet that shows it in blue! The more you look, the more confused you get… :-/
Painting started with an overall coat with a tone called “White Aluminum” from the rattle can, which yields a nice metallic shine. The cockpit was, typical for late WWII RAF aircraft, painted in a very dark grey (Revell 09 Anthracite), with dry-brushed details in a slightly lighter grey – but the cockpit is so tight that hardly anything can be discerned. The interior of the landing gear wells and of the radiators was painted with Humbrol 56 (Aluminum Dope), a more greyish silver tone.
The blue on the spinner and for the cheatlines is probably “Oxford Blue” (Humbrol 104), the same as the color used on the roundels, but I used a slightly lighter mix with some Humbrol 25, in an attempt to match the print color from the decals.
As mentioned above, the anti-glare panel became deep black. Since the contrast between the black and the blue was very weak I experimented with a white 0.5 mm demarcation line between the colors, but that looked weird and reduced the contrast even more, so that I eventually stuck to the original (Matchbox) design.
To liven up the silver airframe the fabric-covered surfaces on the tail were painted with Humbrol 56, too, and single panels all over the hull were painted with Revell 99 (Aluminum) for a light contrast. Then the model received a light black ink washing to emphasize the recessed surface details (esp. around the rudders/flaps), and some light post-panel-shading with Humbrol 27001 (Matt Aluminum Metallizer), slightly lighter than the overall White Aluminum, was done for an even more “uneven” surface.
The decals came next, and this took some improvisation. Roundels were, after some consideration, taken from the Matchbox sheet – even though these left me uncertain, too. These are still Type C roundels from the WWII period, but they are shown with a bright red that was AFAIK officially introduced in 1947 with the post-war Type D roundels? Or did KM 272 still use wartime “Identification Red (dull)“? I decided to stick with the brighter option, even if it was wrong, because it matches the aircraft’s overall rather bright complexion, and this is a what-if model, after all.
Fitting the checkered collar behind the propeller was quite challenging – from former builds of the Matchbox ‘Dooleybird’ many years ago I remembered that the decals already did not fit well around the original kit’s front end, and despite carrying a Merlin, too, the Spitfire’s cowling is quite different from the Mustang’s. To have more flexibility, I trimmed down the carrier film and cut each half of the ring into four segments and tried to apply them evenly – not perfect, but I think that I could not expect more.
The yellow ID markings on the outer wings’ leading edges were created with decal sheet material – again I was uncertain how long these would have been worn after WWII? KM 272 still had them, a successor one year later maybe not – but I kept them, too, to stay close to the original ‘Dooleybird’ and for the additional color on the airframe.
The serial number of this Spitfire, NR 761, is fictional and was AFAIK not assigned to an active RAF aircraft. To give the Spitfire a post-war look I decided to use a more modern font: all serial numbers on the fuselage and under the wings were created with material for respective decals from an Xtradecal BAC Lightning sheet. As an adaptation to the different underwing space due to the radiators I placed the large code letters in two lines instead of just one (as seen on KM 272, where the codes extend over the landing gear covers).
The tactical code on the flanks was created with single black 8 mm DIN font letters from TL Modellbau, which is similar to the RAF font but slightly bolder. Again, I was not certain how long the WWII practice with a pair of unit letters and a single letter for the individual aircraft had been kept by RAF units – but RAF Tempests in Europe were marked this way until at least mid-1946, and overseas even until 1949.
Once the decals were in place, the model received a light rubbing with graphite to apply an additional metallic shine and to emphasize the raised panel lines. Slightly more graphite was added behind the exhaust stubs. Finally, the model was sealed with semi-gloss acrylic varnish (Italeri), except for the anti-glare panel and the propeller blades, which became matt.
A project with many question marks – despite the simple idea and the alleged short building time. However, despite some twists and turns, the result looks very attractive, the fictional ‘Dooleybird’ successor is a real eye-catcher, esp. when you expect a Mustang at first glance behind the masquerade. 😉 Besides, I have plans to build the real ‘Dooleybird’ in 1:72, too, but based on the Academy P-51D/K and with some detail improvements to better match the real aircraft (which had, for instance, uncuffed propeller blades).
After almost ANOTHER year of visitng this store, they have FINALLY taken the site to store sign that was hanging from the ceiling, cut the "restrooms" tag from the bottom, and placed the sign OVER the Layaway sign...finally...
In the 1890s members of the parish of St. John's Church discussed the prospects of replacing the wooden church they used for worship, that was erected in 1868, with a more substantial structure, but no definite action was taken. The proposal was afterwards revived on various occasions, but it was not until the early 1930s that a preliminary sketch plan of a new building was prepared. However, in the Great Depression era, finance held the project up until 1936, when a definite move was made to erect a new Anglican Church on a site in Downey Street on the same block as the rectory.
The St John’s Anglican Church that we see today on Downey Street, Alexandra, opposite the State Offices, is the result. Plans for a notable improvement in local church architecture were prepared by Mr. L. R. Williams of Melbourne, and a contract awarded to Mr. George. A. Payne of Alexandra. The new church is built in Spanish Mission style and is constructed of the 1930s wonder building material; concrete. The current church building, which has a stuccoed treatment to its walls, is a notable landmark in the town because of its elegant lines, its elongated shape and the very tall belfry that stands above the single and double-storey buildings in its immediate vicinity. It has architectural features typical of the Spanish Mission style, including; groups of narrow arched windows, ornamental grillework over some of the windows, decorative parapets on the belfry, a hipped roof and Spanish style tiles. Together with interior furnishings, St John’s Anglican Church cost about £2,400.00.
Many pieces of the church’s furnishings, windows and supporting structures were gifts from the generous local community. The memorial gates leading onto the street were given by Mr. and Mrs. George. A. Payne in memory of their mothers – Mrs. Phoebe J. Payne and Mrs. M. A. Haning. Mr. George A. Payne also generously donated over £100.00 in order to provide for a more expensive terracotta tiled roof, instead of the cheaper alternative iron roof, which was provided for in the contract. The tiles give added beauty to the building. The pulpit, altar, and choir rails are outstanding examples of local craftsmanship, and are made from Ruoak timber obtained from the Rubicon forest close by. Mrs. G. Hall, contributed the cost of the pulpit, and the late Mr. Gordon Payne, the altar and rails. Both were dedicated to memory of their parents, the late Mr. and Mrs. G. Payne, of "Summerview," Messrs. Clark and Pearce provided and fixed the dado. The ladies' club supplied the carpet. Mr. G. Sapsford paid for the choir stall, which was dedicated to memory of his mother, the late Mrs. Mary Jane Payne. A Miss Magee had a stained glass window dedicated to the memory of her brothers and sister. A Mr. George A. Payne's family also dedicated a stained glass window, in memory of their mother, Phoebe J. Payne. Mr. E. Trenerry donated a prayer desk and seat. Mr. G. Grant donated a credence table. Miss L. Maddox donated a set of communion cruets. Mrs. Melville gave a pedestal and Mr. and Mrs. J. F. Webb dedicated a pedestal to the memory of their daughter Winifred.
St John’s Anglican Church was dedicated on a Saturday afternoon in 1937 by the Bishop of Wangaratta, the Right Rev. J. S. Hart, in the presence of over 350 people, who came from near and far to take part in an historic event of great in interest to the Anglican community around Alexandra. At 2.30 p.m. the choir and members of the clergy marched round the building, singing the hymn, "Through all the changing scenes of life." At the main entrance the Bishop was presented with a petition, on behalf of the congregation, praying that the building be dedicated. After prayers had been said the Bishop blessed the baptismal font, pulpit and altar, and dedicated the pulpit and altar. The church and various gifts were also dedicated, and the Bishop, in his address, said the old structure had outlived its usefulness, and now the people had given a beautiful present to the glory of God in a new church After referring to preliminary steps taken by the Rev, L. G. Ball, the Bishop said that under the able guidance of the present rector, the Rev. Douglas Blake, the work had been planned and carried out. The rector had the real gift of leadership, combined with common sense and artistic taste. The architect had given of his best, and the contractor had realised his dream of building a worthy structure. The visiting clergy included two former rectors – Cannons Scott and Rowed, the Revs. Robertson and Brown (Violet Town and Mansfield respectively) and Mr. Purbrick, Registrar of the Diocese. All present were afterwards entertained by the ladies in the church hall, where a bountiful supply of refreshments was provided.
The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Replaced one of our thermostats with a wifi enabled one. A few hours later the setup is all complete and I have decided to go ahead and replace the thermostat for the upstairs zone too.
Pictured is the iPad interface. There is also an iPhone interface and a good ol' website which I'll be using a bit until an Android version is released.
QEHP:.
Architect.
Hall & Dods.
Builder.
Crystall & Armstrong.
Construction period.
1906–1978, Maryborough City Hall (1906 - 1978).
`Replacing a smaller timber building constructed on a different site, the Maryborough City Hall was built in 1908 as the second Maryborough Town Hall. The building was designed by renowned Queensland architectural partnership, Hall and Dods..
.
The original township of Maryborough was situated, not in its current place, but on the north of the Mary River, after wharves were established in 1847-8, to provide transport for wool from sheep stations on the Burnett River. In 1852 the growing town was gradually transferred further north where ships were able to better navigate the river. Development followed and by March 1861, Maryborough was declared a municipality and Henry Palmer was appointed as the first Mayor. Meetings of the newly formed Council were held in various buildings until 1874 when a timber Town Hall was constructed, adjacent to the School of Arts in Kent Street. A Deed of Grant had been issued for the land in 1868 but construction of the building did not occur for several years. During the late 1860s and 1870s Maryborough developed rapidly as the port for the nearby gold rushes in the Gympie area. The new town hall, which was erected for about £400 was opened in 1876..
.
Dissatisfaction with the first town hall was voiced in the local press for many years, and attempts were made at various stages throughout the nineteenth century to replace the timer Town Hall with a masonry building reflecting the importance of Maryborough in regional Queensland. In 1884, The Maryborough Council sought permission from the State Government to exchange the land on which the Town Hall was built with land on the opposite side of Kent street facing the Town Hall, then used as a police and justice reserve. Though this permission was given in 1901 the construction of a new town hall did not commence until the several years after..
.
Lack of funds at the Council delayed the construction of a new Town Hall and meetings and business continued in the early timber building until 1908 when the current Town Hall was opened. Funding for the Town Hall was not forthcoming from the Council, but from a local benefactor, Mr George Ambrose White who donated £10,000 for the sole purpose of constructing a new Town Hall. Although generous this gift was to be offset by a annual payment by the Council to Mr White of 5% of the amount. White previously donated money for the construction of a public swimming pool in Maryborough and therefore he was already well known in the local community..
.
In 1906, work began on the new site in Kent Street, removing the early police and justice buildings many of which survived from the initial development of Maryborough in the 1850s and 1860s. An inspector's residence, stockade and stables were removed to the new police site in Lennox Street where a police station designed by the Public Works Department was being constructed. As well many buildings were removed from the site and sold including a court house, disused since the construction of a new court house in Richmond Street in 1877, lock-up, cells and police quarters..
.
What remained was for the Council to procure the services of an architect to design their new Town Hall, to be a fitting symbol of Maryborough's prominence. Initially it was thought that a competition to be assessed by LG Corrie, President of the Queensland Institute of Architects, along with Mr AB Brady, the Government Architect and a member of the council, would discover the most suitable design for the Town Hall. However this plan was abandoned when the assessors' fees and prize money was deemed to be too costly. Enquiries were made into which architects might be most suitable for the work and these pointed to the prominent Brisbane partnership of Francis Hall and Robin (Robert Smith) Dods. The Mayor travelled to Brisbane to interview Hall and Dods and they were commissioned to produce designs for the new Town Hall..
.
Hall and Dods formed in 1896 when Dods won a competition for the design of the nurses' home at the Brisbane Hospital. By 1906 the partnership was one of the premier architectural firms in Brisbane, achieving, in the words of local architect AE Brooks, "an architectural revolution in Brisbane" resulting largely from Dods' architectural sophistication and innovation from his professional experience in Britain where he became well versed in both the aesthetics and philosophical background of both the Arts and Crafts movement and Edwardian Classicism. Hall and Dods' projects was wide ranging and included hospital, ecclesiastical, domestic and commercial work..
.
After preparing plans and specifications for the Maryborough Town Hall, Robin Dods was invited to a special meeting of the Maryborough Council to discuss the plans which were adopted in October 1906. The design for the town hall was a substantial brick building with steeply pitched gabled roof and four Tuscan Order columns defining the portico. The building reflected the Victorian ideal of municipal buildings strongly influenced by classicism, in this case stripped and manipulated with the sophistication characteristic of the work of Hall and Dods. The building was designed to house a 900 seat auditorium, council offices and a council chamber..
.
Tenders were called in December 1906 for the construction of the Town Hall, and that of local contractors, Crystall and Armstrong for £8976.13.5 was accepted and completion was to be within twelve months. A Clerk of Works, Mr Sayers from Sydney, was appointed to oversee the work. Among the other contractors were Fairlie and Sons who completed the timberwork including the internal joinery; G Horbourgh and Co who undertook the plumbing; Mr Fulsig the painting and Messrs Walker the ironwork, including the rib and pan roof. Messrs Rolley and Pagett of Brisbane supplied the patented casement openers for the side casement windows. Local bricks from Meredith Brickworks were used on a foundation of cement blocks cast on site. The auditorium was supplied with 500 bentwood chairs from Finney Isles and Co, with older chairs and forms supplementing this seating..
.
After some delays the new Town Hall was opened by the leader of the Federal Labour Party, the Hon Andrew Fisher, MHR. The building was received with mixed reviews, the Maryborough community, as expressed in the local papers described the building as plain and with a quality of "red-brickiness" whereas the national architectural journal, Building, praised its "simplicity with dignity in a splendid fashion". The interior of the building was more universally appealing with well crafted internal moulding and joinery and well proportioned rooms. The final cost of the building was £9000..
.
Soon after the opening, plans were made to alter the entrance stairs to a design of George Halibut and this saw outward sweeps added to the stair and plinths for lighting incorporated. The council also undertook landscaping work to improve the surrounds of the building. The next additions were made in 1918 when four honour rolls, made by Fairlie and Sons, were erected in the auditorium..
.
Substantial additions were made to the Town Hall in 1934 to the design of Brisbane City Council architect, Walter Kerrison who was on loan to the Maryborough City Council. These additions included the erection of a clock tower, the construction of a fly tower and the widening and lengthening of verandahs flanking the auditorium. In 1948 a single storeyed extension to the western side of the building was added to supplement office accommodation in the building. This was designed by Colin Tesch. A second storey was added to this section in 1978. The lettering above the entrance door, which on completion of the building in 1908 was "TOWN HALL" was changed to "CITY HALL" in 1964, although Maryborough was proclaimed a city much earlier in 1905. In 1971 other alterations were made to the entrance doors to the design of architect, Werner Hug..
.
The most recent alterations to the building occurred in 1990 when a serious fire substantially damaged the building i
Replaces the old folding picnic table I had before. This one is made of blue tempered glass and steel legs. Bought from Staples, it's called the Z-Line Trinity Compact Desk.
My old desk pictured here: www.flickr.com/photos/mattjb/149775665/in/set-343321/
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
REPLACED: Some quality improvements necessary for larger printing, and a less panoramic crop.
I got up early today (Wednesday 9/26) and went out on the beach at the north end of Pea Island just below the bridge. If you walk out a ways there is a jetty with a remote automated weather station on it.
I got these out there just before the sun came up.
Another one that looks like HDR, but the light was just right to capture it as a single image.
Olympus OM-D E-M5 and M.Zuiko 9-18mm f/4-5.6 lens and 32x ND filter.
Please visit the Entropic Remnants website or my Entropic Remnants blog -- THANKS!
UPDATE: I've printed this at 36x24 inches on metallic paper and it's hanging in my living room and it's lovely as a large print. One of my favorite landscapes I've taken with the OM-D E-M5.
Replacing an earlier scanned photo with a better version.
This aircraft was visiting for Manchester Airport's 50th Anniversary celebrations.
Built in 1991 and closed only 10 years later. Glass block windows were smashed out over time and replaced with cinder block....
========================
Located on the PRR's Connecting Railway, this station replaced an earlier one known as Germantown Junction. Established in the early 1870's, Germantown served as a stop on the Connecting Railway, serving the neighborhoods and industries in the area. By the 1890's, after the completion of the Delair bridge, and the continuing growth of the area, Germantown Junction was woefully inadequate.
P.R.R. president, George P Roberts had plans put in place for a replacement facility designed by architect Theophilus P. Chandler Jr. Chandler designed the main building in the so-called Châteauesque style. Behind the terra-cotta clad structure containing the ticket offices and waiting rooms, a tunnel would stretch under the tracks accessing two platforms. Construction started in 1896, however the death of Roderts along with the Panic of 1896 caused work to be put on hold. Work finally resumed in 1900 under company president Alexander Cassatt, who considered this station as part of a massive capital expenditure that also involved the building of Penn Station in New York City and Union Station in Washington DC.
Upon opening in 1901, the new Germantown Junction served as the Philadelphia stop for service linking New York to Harrisburg and the west, as well as the Philadelphia Terminal for express service to New York (Broadway Limited and the American) As crowds continued to overwhelm the station, a renovation was carried out in 1912 by architect William Cookman to replace the two side platforms with island platforms that could serve two trains each. Major modifications were carried out to the main building as well with the basement opened up and expanded to form a new entrance level. Upon completion in 1915, the remodeled station was renamed North Philadelphia. With the completion of the Broad Street Subway in 1928, a passageway was constructed underground to link it's North Philadelphia station to the P.R.R. station as well as the Reading's North Broad Station nearby. Here passengers were able to travel to Center City, or the neighborhoods north, further taking pressure off Broad Street Station (eventually replaced by 30th Street/Suburban Stations)
After World War II, North Philadelphia Station and the surrounding neighborhoods suffered from the loss of industries, "white flight" to the suburbs as well as increased reliance on private cars. Despite a major renovation carried out in 1955, traffic continued to decline and the number of trains stopping there began to drop. Following a fire in 1976, now owner Amtrak undertook repairs that involved bricking off the windows among other things.
Amtrak built a new ticket office in 1991 situated at the north of the platform underpass, and a series of renovations were done throughout the decade. Platforms were rebuilt and elevators to allow disabled access were added. A developer transformed the main station house into retail space serving as the centerpiece of a new community shopping center. A new Pathmark Supermarket was added as part of the project giving people in the impoverished neighborhood access to basic groceries.
It would seem that all the efforts had gone to waste however. Amtrak closed the North Philadelphia ticket office in 2001. Although Amtrak and Septa trains still stop here, conditions deteriorated to a point where it seemed that station was flat-out abandoned. Platform windows were smashed and never fixed, while the elevators were decommissioned permanently because the vandalism had become so severe. Parking lots surrounding the station now sit virtually unused except as a dumping ground. A severe blow was dealt to the neighborhood in 2015, when the Pathmark store closed as part of parent company A&P's bankruptcy, returning the area to a "food desert".
Hope could be on the horizon however as an ambitious proposal has been unveiled calling for residential and commercial space on the former parking lots and refurbishment of a nearby abandoned factory. If pulled off, this project could easily serve as a catalyst in bringing one of the worst areas in Philadelphia back to it's former glory....
The Ferrari 212 Inter replaced Ferrari's successful 166 and 195 Inter grand tourers in 1951. Unveiled at the Brussels Motor Show that year, the 212 was an evolution of the 166 — a sports car for the road that could also win international races.
The chassis was similar to the 125 with double wishbones in front and live axles in back. Coachbuilders included Carrozzeria Touring, Ghia, Vignale, and now Pinin Farina. The latter was an important move for the company, as Farina was already well-known and adding his styling skills would be a tremendous boost for Maranello. However, Pinin Farina was as proud as Enzo Ferrari, and neither would go to the other to request business up to this point. A mutual meeting halfway between Maranello and Turin was the negotiated solution[1]
Both 2,500 mm (98.4 in) and 2,600 mm (102.4 in) versions were built (Export and Inter models, respectively), both with a larger 2.6 L (2563 cc/156 in³) version of Ferrari's Colombo V12 engine. Like the 195, the additional displacement over the 166 was achieved with a larger bore, this time to 68 mm. Output was 150 to 165 hp (111 to 123 kW) with one or three Weber 36DCF carburetors. The short-wheelbase Export model got the more-powerful engine. 5 hp (3.7 kW) more was on the table for 1952 thanks to better cylinder heads.
A single 212 Inter, Chassis was fitted with the available "225" or 2.7 L Colombo V12, creating a unique model that would be properly referred to as a 225 Inter. This one-off model was given a fetching Giovanni Michelotti penned berlinetta body by Vignale.
(Wikipedia)
- - -
Der Ferrari 212 ist ein 1951/1952 in verschiedenen Ausführungen gebautes Modell des italienischen Automobilherstellers Ferrari. Die Bezeichnung geht auf den gerundeten Inhalt eines einzelnen Zylinders zurück.
Beim 212 handelte es sich um den Nachfolger des Ferrari 195 mit dessen von 2,3 auf 2,55 Liter vergrößertem V12-Motor mit einer obenliegenden Nockenwelle (Bohrung×Hub 68×58,8 mm, Hubraum 2562 cm³). Wie der Vorgänger besaß der 212 einen Kastenrahmen, vordere Doppeldreieckslenker und eine hintere Starrachse.
(Wikipedia)
Replaced the original Bronco with greatly increased sales. However the original Bronco is more popular now.
Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 29-Jul-25.
Fleet No: "451".
First flown with the Airbus test registration D-AVZM, this aircraft was delivered to Air Canada as C-GITU in Nov-01. It was sold to Reisling (Germany) as D-AMTA in Jun-02 and immediately leased back to Air Canada as C-GITU (see note below).
The aircraft was repainted in 'Star Alliance' livery at Montreal-YUL in Nov-14. It was removed from service and stored at Kansas City, MO, USA in Jan-21 as a consequence of the COVID-19 Pandemic and returned to service on 16-Jun-21. Current, updated 29-Jul-25.
Note: A paper transaction. I've never seen this way of selling an aircraft to a lessor, either before or since! Air Canada sold it to Reisling (Germany) as D-AMTA on 17-Jun-02 and it was immediately leased back to them on the same day as C-GITU again. The German registration never appeared on the aircraft and it continued in service in Canada as C-GITU.
Railway Gazette reported on the 16th December 2016 that the leaders of the Liverpool City Region Combined Authority had givene the go-ahead for a £460m project to replace the Merseyrail suburban electric multiple-unit fleet. This includes the selection of Stadler to supply a fleet of 52 trainsets for entry into service from the end of 2020. Contracts are expected to be signed in early 2017.
‘This is a once in a generation opportunity for custom-built trains that will be safer and carry more people more quickly’, said Chair of the combined authority and Mayor of Liverpool Joe Anderson. ‘Unusually, these trains will be owned by us locally, meaning we can make sure the trains are exactly what passengers want and that they are ready for our future plans.’
The project is being financed from a reserve fund which had been established for the purpose, as well as loans which the combined authority is to secure from sources including the European Investment Bank. Transport authority Merseytravel will own the trains and lease them to the operating concessionaire, which will be paid a lower operating fee to account for the expected increase in revenue and lower running costs.
The fleet renewal programme also includes power supply, track, and station upgrades and refurbishment of the Kirkdale and Birkenhead North depots. The reduced journey times and better reliability means the decision has been made to order 52 EMUs to replace the current fleet of 59 trains.
The first EMU is scheduled to be delivered in summer 2019 for several months of testing ahead of the delivery of series-built trains by the end of 2020. A new timetable will be introduced in 2021 once the existing Class 507 and 508 units dating from the 1970s have been withdrawn; the new trains’ better acceleration and braking is expected to enable Hunt’s Cross – Southport journey times to be reduced by 9 min.
The 65 m long four-car EMUs will have the same number of seats as the existing three-car sets, but will be 4 m longer with wide through gangways to provide an increase in standing space. This will increase total capacity per EMU from 303 to 486 passengers.
There will be a mix of airline and facing seats, with more space for bicycles, pushchairs and persons with reduced mobility. The train body will be designed specifically for the Merseyrail network, with lower floors and a sliding step to provide near-level access.
There will be a passenger intercom and CCTV linked to the driver and control room. The doors will be illuminated red, amber and green inside and out to show when they are opening or closing and when it is safe to board and alight.
At 99 tonnes, the EMUs will be lighter than the current 105 tonne trains, and energy consumption is expected to be 20% lower, including regenerative braking; options for energy storage are to be studied.
The 750 V DC third-rail EMUs will be capable of conversion to dual-voltage operation for use on 25 kV 50 Hz lines with a view to serving Skelmersdale, Warrington and Wrexham in the longer term.
The trains will be equipped for driver controlled operation, which the combined authority said was ‘put forward by all bidders’ as way to meet the requirements of a report into a fatal incident in 2011. The driver will be responsible for opening and closing the doors and for train dispatch, eliminating the need for guards. Roving customer service roles will be created, with staff available to assist passengers ‘at key locations and times’. There will be fewer customer service roles than guards positions, and while the combined authority envisages there will be natural wastage over the next four years, it has endorsed proposal to guarantee continued employment for all guards currently permanently employed.
‘In an ideal world we’d like to have a second member of staff on every train to ensure the highest level of customer service, but there aren’t the resources to do that’, said Councillor Liam Robinson, Chair of the Merseytravel Committee. ‘Some guards will have the opportunity to be employed in a new on-board customer service role and others will be able to take advantage of other redeployment opportunities, all on the same terms and conditions as now.’
The contract came in slightly over budget (£460m vs target of £400m)
52 units, slightly over the tender requirement of 50 but a reduction from current fleet of 59 (increased reliability and faster journey speeds anticipated to compensate)
65m versus tender specification of 60m to allow doubling up, though that wasn't expected to be normal operating practise just for event strengthening (3m longer than current 62m fleet) and they have significantly higher capacity (60%) from being a wide aisle articulated design.
No mention of earlier proposed fleet extension options, the tender called for 60 options on top of original 50
99 tonnes, 6 tonnes lighter than existing trains and 20% more energy efficient.
DOO but with driver aides such as radar to detect obstructions and people standing too close.
The single doors in the end cars appear to be to allow them to work in multiples without having to extend the platforms. By having a single door in the middle of the car the front and or back could potentially overhang the platform ends to provide a capacity uplift without the additional infrastructure costs.
Images- Merseytravel/Stadler.
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 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