Replacing an earlier scanned slide with a better version 16-Dec-15.

 

Taken on a very dark, wet & misty day at Manchester.

 

Delivered to SABENA Belgian World Airlines in Apr-74 as OO-SDA, the aircraft was leased to Luxair in Jan-88 as LX-LGN and returned to SABENA as OO-SDA in Jan-92. It was leased to SABENA subsidiary, Sobelair, in Mar-92. Sobelair briefly sub-leased it to TransMed Airlines Dec-93/Jan-94 and it was returned to SABENA in Oct-95. However, it was leased to Sobelair again from Jun/Aug-96. The aircraft was sold to European Aviation (UK) in May-98 and leased back to SABENA. It was returned to European Aviation in Mar-99. The following day it was leased to West Aero as F-GVAC and immediately sub-leased to Aigle Azur Airlines. It was returned to West Aero in Mar-02 and was stored at Perpignan, France in Apr-03 before being returned to European Aviation in Jul-03 as G-GPFI. The same day, it was sold to another European Aviation company, European Skybus, and leased to European Aviation Air Charter. It was returned to European Skybus in Jul-05 and on 01-Aug-05 it departed Bournemouth en-route to Australia where it was leased to another European Aviation start-up company, OzJet Airlines Pty Ltd. It was re-registered VH-OZQ in Sep-05. OzJet didn't do too well on Australian domestic services up against the might of QANTAS and Virgin Blue operating more modern equipment and in Mar-06 the aircraft was returned to European Skybus as G-GPFI and ferried back to Bournemouth the following month. In Jun-06 it returned to Australia and was again leased to OzJet, becoming VH-OZQ again in Jul-06. In Jan-07 it again returned to European Skybus as G-GPFI and returned to the UK. It was leased to European Aviation Air Charter in Apr-07 and operated still in basic OzJet livery. The company went into administration in Dec-08 and this aircraft was returned to European Skybus and stored at Bournemouth in Jan-09. It was subsequently broken up there in Jul-11.

North chancel stained glass window designed by Glenn Carter, given by the Officers and Airmen of RAF Swanton Morley to celebrate the 50th anniversary of the Station in 1990.

This replaced stained glass recorded in 17c “On two of ye north Chancel windows are 2 persons kneeling in blue gowns but no arms or inscription.”

“On the south windows are some words in round pieces of glass. I believe J..hu Mcy and Lady Help.” . - Church of All Saints, Swanton Morley, Norfolk

 

The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.

 

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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL

  

Heritage Category: Listed Building

 

Grade: I

 

List Entry Number: 1371308

 

National Grid Reference: NU 18685 13574

  

Details

This list entry was subject to a Minor Amendment on 05/10/2011

 

NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330

 

Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School

 

GV I

 

Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.

 

Listing NGR: NU1863413479

  

historicengland.org.uk/listing/the-list/list-entry/137130...

 

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ALNWICK CASTLE

 

Heritage Category: Park and Garden

 

Grade: I

 

List Entry Number: 1001041

 

National Grid Reference: NU1739315366, NU2254414560

  

Details

 

Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.

 

Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).

 

NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.

 

HISTORIC DEVELOPMENT

 

In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.

 

Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).

 

In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).

  

Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.

 

Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.

 

Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.

 

During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.

 

As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.

 

Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.

 

SUMMARY DESCRIPTION

 

Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.

 

The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.

 

To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.

 

A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.

 

Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.

 

The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).

 

The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.

 

The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.

 

Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:

 

Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]

 

Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).

 

Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.

 

The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.

 

The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.

 

REFERENCES

 

Note: There is a wealth of material about this site. The key references are cited below.

 

The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)

 

Description written: August 2000 Resgister Inspector: KC Edited: June 2003

  

historicengland.org.uk/listing/the-list/list-entry/100104...

 

See also:-

 

www.alnwickcastle.com/

 

en.m.wikipedia.org/wiki/Alnwick_Castle

 

Acrylic paint on papyrus mounted on canvas, 20x20cm.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 23-Jan-24.

 

Fleet No: "674".

 

First flown with the Airbus test registration F-WWYB, this aircraft was delivered to US Airways as N673UW in Jun-00. It was re-registered N274AY in Aug-06.

 

US Airways was merged into American Airlines in Apr-15. The aircraft was withdrawn from service in Mar-20 due to the COVID-19 Pandemic and stored at Roswell, NM, USA in May-20.

 

In late summer 2020 American Airlines made the decision to permanently retire the whole A330 fleet and it continues to be stored at Roswell. Updated 23-Jan-24.

A Saturday morning, and on a second wild goose chase looking for the Wall Pennywort in Folkestone.

 

Problem was, I didn't have the photo with me so I could triangulate the plant with the church in the background. Instead, I (wrongly) assumed that it would be growing on a wall, so spent the morning looking on every wall in the churchyard, and nothing found.

 

But St Mary was open.

 

And I just had the 50mm with me, but I was delighted inside to find the harsh orange lights under the tower have been replaced with something kinder.

 

I did meet a warden who was very interested in the plant tale, and other stories, so I didn't get round to photograph everything, but did see the old clock mechanism for the first time, not sure where that had been kept up to now.

 

And the remains of St Eanswythe, or almost certainly her remains, now dated to the mid 7th century are in a niche in the Chancel ready for placing somewhere befitting a Kentish Queen.

 

A superb location in a leafy churchyard away from the busy shopping centre, and yet much more of a town church than that of a seaside resort. It was originally a thirteenth-century building, but so much has happened to it that today we are left with the impression of a Victorian interior. Excellent stained glass by Kempe, mosaics by Carpenter and paintings by Hemming show the enthusiasm of Canon Woodward, vicar from 1851 to 1898. His efforts encouraged others to donate money to beautify the building in an almost continuous restoration that lasted right into the twentieth century They were spurred on by the discovery, in 1885, of the bones of St Eanswythe, in a lead casket which had been set into the sanctuary wall. She had founded a convent in the town in the seventh century and died at the age of twenty-six.

 

www.kentchurches.info/church.asp?p=Folkestone+1

 

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FOLKESTONE.

THE parish of Folkestone, which gives name to this hundred, was antiently bounded towards the south by the sea, but now by the town and liberty of Folkestone, which has long since been made a corporation, and exempt from the jurisdiction of the hundred. The district of which liberty is a long narrow slip of land, having the town within it, and extending the whole length of the parish, between the sea shore and that part of the parish still within the jurisdiction of the hundred, and county magistrates, which is by far the greatest part of it.

 

THE PARISH, which is about three miles across each way, is situated exceedingly pleasant and healthy. The high chalk, or down hills uniclosed, and well covered with pasture, cross the northern part of it, and from a sine romantic scene. Northward of these, this part of the parish is from its high situation, called the uphill of Folkestone; in this part is Tirlingham, the antient mansion of which has been some years since pulled down, and a modern farm-house erected in its stead; near it is Hearn forstal, on which is a good house, late belonging to Mr. Nicholas Rolse, but now of Mr. Richard Marsh; over this forstal the high road leads from Folkestone to Canterbury. The centre of the parish is in the beautiful and fertile vale called Folkestone vale, which has downs, meadows, brooks, marshes, arable land, and every thing in small parcels, which is sound in much larger regions; being interspersed with houses and cottages, and well watered by several fresh streams; besides which, at Ford forstall, about a mile northward from the town, there rises a strong chalybeat spring. This part of the parish, by far the greatest part of it, as far as the high road from Dover, through it, towards Hythe, is within the jurisdiction of the hundred of Folkestone, and the justices of the county. The small part on the opposite, or southern side of that road is within the liberty of the town or corporation of Folkestone, where the quarry or sand hills, on the broken side of one of which, the town is situated, are its southern maritime boundaries. These hills begin close under the chalk or down hills, in the eastern part of this parish, close to the sea at Eastware bay, and extend westward along the sea shore almost as far as Sandgate castle, where they stretch inland towards the north, leaving a small space between them and the shore. So that this parish there crossing one of them, extends below it, a small space in the bottom as far as that castle, these quarry, or sand hills, keeping on their course north-west, from the northern boundary of Romney Marsh, and then the southern boundary of the Weald, both which they overlook, extending pretty nearly in a parallel line with the chalk or down hills.

 

The prospect over this delightful vale of Folkestone from the hill, on the road from Dover as you descend to the town, is very beautiful indeed for the pastures and various fertility of the vale in the centre, beyond it the church and town of Hythe, Romney Marsh, and the high promontory of Beachy head, boldly stretching into the sea. On the right the chain of losty down hills, covered with verdure, and cattle seeding on them; on the lest the town of Folkestone, on the knole of a hill, close to the sea, with its scattered environs, at this distance a pleasing object, and beyond it the azure sea unbounded to the sight, except by the above-mentioned promontory, altogether from as pleasing a prospect as any in this county.

 

FOLKESTONE was a place of note in the time of the Romans, and afterwards in that of the Saxons, as will be more particularly noticed hereafter, under the description of the town itself. By what name it was called by the Romans, is uncertain; by the Saxons it was written Folcestane, and in the record of Domesday, Fulchestan. In the year 927 king Athelstane, son of king Edward the elder, and grandson of king Alfred, gave Folkstane, situated, as is mentioned in the grant of it, on the sea shore, where there had been a monastery, or abbey of holy virgins, in which St. Eanswith was buried, which had been destroyed by the Danes, to the church of Canterbury, with the privilege of holding it L. S. A. (fn. 1) But it Seems afterwards to have been taken from it, for king Knute, in 1038, is recorded to have restored to that church, the parish of Folkstane, which had been given to it as above-mentioned; but upon condition, that it should never be alienated by the archbishop, without the licence both of the king and the monks. Whether they joined in the alienation of it, or it was taken from them by force, is uncertain; but the church of Canterbury was not in possession of this place at the time of taking the survey of Domesday, in 1080, being the 14th year of the Conqueror's reign, at which time it was part of the possessions of the bishop of Baieux, the conqueror's half-brother, under the general description of whose lands it is thus entered in it:

 

In Limowart lest, in Fulcbestan hundred, William de Acris holds Fulchestan. In the time of king Edward the Consessor, it was taxed at forty sulings, and now at thirty-nine. The arable land is one hundred and twenty carucates. In demesne there are two hundred and nine villeins, and four times twenty, and three borderes. Among all they have forty-five carcates. There are five churches, from which the archbishop has fifty-five shillings. There are three servants, and seven mills of nine pounds and twelve shillings. There are one hundred acres of meadow. Wood for the pannage of forty bogs. Earl Godwin held this manor.

 

Of this manor, Hugo, son of William, holds nine sulings of the land of the villeins, and there he has in demesne four carucates and an half, and thirty-eight villeins, with seventeen borderes, who have sixteen carucates. There are three churches, and one mill and an half, of sixteen shillings and five-pence, and one saltpit of thirty pence. Wood for the pannage of six bogs. It is worth twenty pounds.

 

Walter de Appeuile holds of this manor three yokes and twelve acres of land, and there he has one carucate in demesne, and three villeins, with one borderer. It is worth thirty shillings.

 

Alured holds one suling and forty acres of land, and there he has in demesne two carucates, with six borderers, and twelve acres of meadow. It is worth four pounds.

 

Walter, son of Engelbert, holds half a suling and forty acres, and there he has in demesne one carucate, with seven borderers, and five acres of meadow. It is worth thirty shillings.

 

Wesman holds one suling, and there he has in demesne one carucate, and two villeins, with seven borderers having one carucate and an half. It is worth four pounds.

 

Alured Dapiser holds one suling and one yoke and six acres of land, and there he has in demesne one carucate, with eleven borderers. It is worth fifty shillings.

 

Eudo holds half a suling, and there he has in demesne one carucate, with four borderers, and three acres of meadow. It is worth twenty shillings.

 

Bernard de St. Owen, four sulings, and there he has in demesne three carucates, and six villeins, with eleven borderes, having two carucates. There are four servants, and two mills of twenty-four shillings, and twenty acres of meadow. Wood for the pannage of two bogs.

 

Of one denne, and of the land which is given from these suling to ferm, there goes out three pounds. In the whole it is worth nine pounds.

 

Baldric holds half a suling, and there he has one carucate, and two villeins, with six borderers having one carucate, and one mill of thirty pence. It is worth thirty shillings.

 

Richard holds fifty-eight acres of land, and there he has one carucate, with five borderers. It is worth ten shillings.

 

All Fulchestan, in the time of king Edward the Consessor, was worth one hundred and ten pounds, when he received it forty pounds, now what he has in demesne is worth one hundred pounds; what the knights hold abovementioned together, is worth forty-five pounds and ten shillings.

 

¶It plainly appears that this entry in Domesday does not only relate to the lands within this parish, but to those in the adjoining parishes within the hundred, the whole of which, most probably, were held of the bishop of Baieux, but to which of them each part refers in particular, is at this time impossible to point out. About four years after the taking of the above survey, the bishop was disgraced, and all his possessions consiscated to the crown. After which, Nigell de Muneville, a descendant of William de Arcis, mentioned before in Domesday, appears to have become possessed of the lordship of Folkestone, and as such in 1095, being the 9th year of king William Rusus, removed the priory of Folkestone from the bail of the castle to the place where it afterwards continued. His son William dying in his life-time s. p, Matilda his sole daughter and heir was given in marriage with the whole of her inheritance, by king Henry I. to Ruallanus de Albrincis, or Averenches, whose descendant Sir William de Albrincis, was become possessed of this lordship at the latter end of that reign; and in the 3d year of the next reign of king Stephen, he confirmed the gifts of his ancestors above-mentioned to the priory here. He appears to have been one of those knights, who had each a portion of lands, which they held for the de sence of Dover castle, being bound by the tenure of those lands to provide a certain number of soldiers, who should continually perform watch and ward within it, according to their particular allotment of time; but such portions of these lands as were not actually in their own possession were granted out by them to others, to hold by knight's service, and they were to be ready for the like service at command, upon any necessity whatever, and they were bound likewife, each knight to desend a certain tower in the castle; that desended by Sir William de Albrincis being called from him, Averenches tower, and afterwards Clinton tower, from the future owners of those lands. (fn. 2) Among those lands held by Sir William de Albrincis for this purpose was Folkestone, and he held them of the king in capitle by barony. These lands together made up the barony of Averenches, or Folkestone, as it was afterwards called, from this place being made the chief of the barony, caput baroniæ, as it was stiled in Latin; thus The Manor of Folkestone, frequently called in after times An Honor, (fn. 3) and the mansion of it the castle, from its becoming the chief seat or residence of the lords paramount of this barony, continued to be so held by his descendants, whose names were in Latin records frequently speit Albrincis, but in French Avereng and Averenches, and in after times in English ones, Evering; in them it continued till Matilda, daughter and heir of William de Albrincis, carried it in marriage to Hamo de Crevequer, who, in the 20th year of that reign, had possession given him of her inheritance. He died in the 47th year of that reign, possessed of the manor of Folkestone, held in capite, and by rent for the liberty of the hundred, and ward of Dover castle. Robert his grandson, dying s. p. his four sisters became his heirs, and upon the division of their inheritance, and partition of this barony, John de Sandwich, in right of his wife Agnes, the eldest sister, became entitled to this manor and lordship of Folkestone, being the chief seat of the barony, a preference given to her by law, by reason of her eldership; and from this he has been by some called Baron of Folkestone, as has his son Sir John de Sandwich, who left an only daughter and heir Julian, who carried this manor in marriage to Sir John de Segrave, who bore for his arms, Sable, three garbs, argent. He died in the 17th year of Edward III. who, as well as his son, of the same name, received summons to parliament, though whether as barons of Folkestone, as they are both by some called, I know not. Sir John de Segrave, the son, died possessed of this manor anno 23 Edward III. soon after which it appears to have passed into the family of Clinton, for William de Clinton, earl of Huntingdon, who bore for his arms, Argent, crusulee, situchee, sable, upon a chief, azure, two mullets, or, pierced gules; which coat differed from that of his elder brother's only in the croslets, which were not borne by any other of this family till long afterwards, (fn. 4) died possessed of it in the 28th year of that reign, at which time the mansion of this manor bore the name of the castle. He died s. p. leaving his nephew Sir John de Clinton, son of John de Clinton, of Maxtoke, in Warwickshire, his heir, who was afterwards summoned to parliament anno 42 Edward III. and was a man of great bravery and wisdom, and much employed in state affairs. He died possessed of this manor, with the view of frank-pledge, a moiety of the hundred of Folkestone, and THE MANOR OF WALTON, which, though now first mentioned, appears to have had the same owners as the manor of Folkestone, from the earliest account of it. He married Idonea, eldest daughter of Jeffry, lord Say, and at length the eldest coheir of that family, and was succeeded in these manors by his grandson William, lord Clinton, who, anno 6 Henry IV. had possession granted of his share of the lands of William de Say, as coheir to him in right of his grandmother Idonea, upon which he bore the title of lord Clinton and Saye, which latter however he afterwards relinquished, though he still bore for his arms, Qnarterly, Clinton and Saye, with two greybounds for his supporters. After which the manor of Folkestone, otherwise called Folkestone Clinton, and Walton, continued to be held in capite by knight's service, by his descendants lords Clinton, till Edward, lord Clinton and Saye, which title he then bore, together with Elizabeth his wife, in the 30th year of Henry VIII. conveyed these manors, with other premises in this parish, to Thomas Cromwell lord Cromwell, afterwards created earl of Essex, on whose attainder two years afterwards they reverted again to the crown, at which time the lordship of Folkestone was stiled an honor; whence they were granted in the fourth year of Edward VI. to the former possessor of them, Edward, lord Clinton and Saye, to hold in capite, for the meritorious services he had performed. In which year, then bearing the title of lord Clinton and Saye, he was declared lord high admiral, and of the privy council, besides other favours conferred on him; and among other lands, he had a grant of these manors, as abovementioned, which he next year, anno 5 Edward VI. reconveyed back to the crown, in exchange for other premises. (fn. 5) He was afterwards installed knight of the garter, by the title of Earl of Lincoln and Baron of Clinton and Saye; and in the last year of that reign, constable of the tower of London. Though in the 1st year of queen Mary he lost all his great offices for a small time, yet he had in recompence of his integrity and former services, a grant from her that year, of several manors and estates in this parish, as well as elsewhere, and among others, of these manors of Folkestone and Walton, together with the castle and park of Folkestone, to hold in capite; all which he, the next year, passed away by sale to Mr. Henry Herdson, citizen and alderman of London, who lest several sons, of whom Thomas succeeded him in this estate, in whose time the antient park of Folkestone seems to have been disparked. His son Mr. Francis Herdson alienated his interst in these manors and premises to his uncle Mr. John Herdson, who resided at the manor of Tyrlingham, in this parish, and dying in 1622, was buried in the chancel of Hawking church, where his monument remains; and there is another sumptuous one besides erected for him in the south isle of Folkestone church. They bore for their arms, Argent, a cross sable, between four fleurs de lis, gules. He died s. p. and by will devised these manors, with his other estates in this parish and neighbourhood, to his nephew Basill, second son of his sister Abigail, by Charles Dixwell, esq. Basill Dixwell, esq. afterwards resided at Tyrlingham, a part of the estate devised to him by his uncle, where, in the 3d year of king Charles I. he kept his shrievalty, with great honor and hospitality; after which he was knighted, and in 1627, anno 3 Charles I. created a baronet; but having rebuilt the mansion of Brome, in Barham, he removed thither before his death. On his decease unmarried, the title of baronet became extinct; but he devised these manors, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William Dixwell, of Coton, in Warwickshire, who afterwards resided at Brome. He married Elizabeth, sister and heir of William Read, esq. of Folkestone, by whom he had Basill Dixwell, esq. of Brome, who in 1660, anno 12 Charles II. was created a baronet. His son Sir Basill Dixwell, bart. of Brome, about the year 1697, alientated these manors, with the park-house and grounds, and other estates in this parish and neighbourhood, to Jacob Desbouverie, esq. of LondonHe was descended from Laurence de Bouverie, de la Bouverie, or Des Bouveries, of an antient and honorable extraction in Flanders, (fn. 6) who renouncing the tenets of the Romish religion came into England in the year 1567, anno 10 Elizabeth, and seems to have settled first at Canterbury. He was a younger son of Le Sieur des Bouveries, of the chateau de Bouverie, near Lisle, in Flanders, where the eldest branch of this family did not long since possess a considerable estate, bearing for their arms, Gules, a bend, vaire. Edward, his eldest son, was an eminet Turkey merchant, was knighted by king James II. and died at his seat at Cheshunt, in Hertfordshire, in 1694. He had seven sons and four daughters; of the former, William, the eldest, was likewife an eminent Turkey merchant, and was, anno 12 queen Anne, created a baronet, and died in 1717. Jacob, the third son, was purchaser of these manors; and Christopher, the seventh son, was knighted, and seated at Chart Sutton, in this county, under which a further account of him may be seen; (fn. 7) and Anne, the second daughter, married Sir Philip Boteler, bart. Jacob Desbouverie afterwards resided at Tyrlingham, and dying unmarried in 1722, by his will devised these manors, with his other estates here, to his nephew Sir Edward Desbouverie, bart. the eldest brother son of Sir William Desbouverie, bart. his elder brother, who died possessed of them in 1736, s. p. on which his title, with these and all his other estates, came to his next surviving brother and heir Sir Jacob Desbouverie, bart. who anno 10 George II. procured an act to enable himself and his descendants to use the name of Bouverie only, and was by patent, on June 29, 1747, created baron of Longford, in Wiltshire, and viscount Folkestone, of Folkestone. He was twice married; first to Mary, daughter and sole heir of Bartholomew Clarke, esq. of Hardingstone, in Northamptonshire, by whom he had several sons and daughters, of whom William, the eldest son, succeeded him in titles and estates; Edward is now of Delapre abbey, near Northamptonshire; Anne married George, a younger son of the lord chancellor Talbot; Charlotte; Mary married Anthony, earl of Shastesbury; and Harriot married Sir James Tilney Long, bart. of Wiltshire. By Elizabeth his second wife, daughter of Robert, lord Romney, he had Philip, who has taken the name of Pusey, and possesses, as heir to his mother Elizabeth, dowager viscountess Folkestone, who died in 1782, several manors and estates in the western part of this county. He died in 1761, and was buried in the family vault at Britford, near Salisbury, being succeeded in title and estates by his eldest son by his first wife, William, viscount Folkestone, who was on Sept. 28, anno 5 king George III. created Earl of Radnor, and Baron Pleydell Bouverie, of Coleshill, in Berkshire. He died in 1776, having been three times married; first, to Harriot, only daughter and heir of Sir Mark Stuart Pleydell, bart. of Colefhill, in Berkshire. By her, who died in 1750, and was buried at Britford, though there is an elegant monument erected for her at Coleshill, he had Hacob, his successor in titles and estates, born in 1750. He married secondly, Rebecca, daughter of John Alleyne, esq. of Barbadoes, by whom he had four sons; William-Henry, who married Bridget, daughter of James, earl of Morton; Bartholomew, who married MaryWyndham, daughter of James Everard Arundell, third son of Henry, lord Arundell, of Wardour; and Edward, who married first Catherine Murray, eldest daughter of John, earl of Dunmore; and secondly, Arabella, daughter of admiral Sir Chaloner Ogle. His third wife was Anne, relict of Anthony Duncombe, lord Faversham, and daughter of Sir Thomas Hales, bart. of Bekesborne, by whom he had two daughters, who both died young. He was succeeded in titles and estates by his eldest son, the right hon. Jacob Pleydell Bouverie, earl of Radnor, who is the present possessor of these manors of Folkestone and Walton, with the park-house and disparked grounds adjacent to it, formerly the antient park of Folkestone, the warren, and other manors and estates in this parish and neighbourhood.

 

FOLKESTONE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.

 

The church, which is dedicated to St. Mary and St. Eanswith, consists of three isles and three chancels, having a square tower, with a beacon turret in the middle of it, in which there is a clock, and a peal of eight bells, put up in it in 1779. This church is built of sand-stone; the high chancel, which has been lately ceiled, seems by far the most antient part of it. Under an arch in the north wall is a tomb, with the effigies of a man, having a dog at his feet, very an tient, probably for one of the family of Fienes, constables of Dover castle and wardens of the five ports; and among many other monuments and inscriptions, within the altar-rails, are monuments for the Reades, of Folkestone, arms, Azure, a griffin, or, quartering gules, a pheon between three leopards faces, or; for William Langhorne, A.M. minister, obt. 1772. In the south chancel is a most elegant monument, having the effigies of two men kneeling at two desks, and an inscription for J. Herdson, esq. who lies buried in Hawkinge church, obt. 1622. In the south isle a tomb for J. Pragels, esq. obt. 1676, arms, A castle triple towered, between two portcullises; on a chief, a sinister hand gauntled, between two stirrups. In the middle isle a brass plate for Joane, wife of Thomas Harvey, mother of seven sons (one of which was the physician) and two daughters. In the north wall of the south isle were deposited the remains of St. Eanswith, in a stone coffin; and under that isle is a large charnelhouse, in which are deposited the great quantity of bones already taken notice of before. Philipott, p. 96, says, the Bakers, of Caldham, had a peculiar chancel belonging to them in this church, near the vestrydoor, over the charnel-house, which seems to have been that building mentioned by John Baker, of Folkestone, who by his will in 1464, ordered, that his executors should make a new work, called an isle, with a window in it, with the parishioners advice; which work should be built between the vestry there and the great window. John Tong, of Folkestone, who was buried in this church, by will in 1534, ordered that certain men of the parish should be enfeoffed in six acres of land, called Mervyle, to the use of the mass of Jhesu, in this church.

 

On Dec. 19, 1705, the west end of this church, for the length of two arches out of the five, was blown down by the violence of the wind; upon which the curate and parishioners petitioned archbishop Tillot son, for leave to shorten the church, by rebuilding only one of the fallen arches, which was granted. But by this, the church, which was before insufficient to contain the parishioners, is rendered much more inconvenient to them for that purpose. By the act passed anno 6 George III. for the preservation of the town and church from the ravages of the sea as already noticed before. After such works are finished, &c. the rates are to be applied towards their repair, and to the keeping in repair, and the support and preservation of this church.

 

¶This church was first built by Nigell de Muneville, lord of Folkestone at the latter end of king Henry I. or the beginning of king Stephen's reign, when he removed the priory from the precinct of the castle to it in 1137, and he gave this new church and the patronage of it to the monks of Lolley, in Normandy, for their establishing a cell, or alien priory here, as has been already mentioned, to which this new church afterwards served as the conventual church of it. The profits of it were very early appropriated to the use of this priory, that is, before the 8th of king Richard II. anno 1384, the duty of it being served by a vicar, whose portion was settled in 1448, at the yearly pension of 10l. 0s. 2½d. to be paid by the prior, in lieu of all other profits whatsoever. In which state this appropriation and vicarage remained till the surrendry of the priory, in the 27th year of king Henry VIII. when they came, with the rest of the possessions of it, into the king's hands, who in his 31st year demised the vicarage and parish church of Folkestone, with all its rights, profits, and emoluments, for a term of years, to Thomas, lord Cromwell, who assigned his interest in it to Anthony Allcher, esq. but the fee of both remained in the crown till the 4th year of king Edward VI. when they were granted, with the manor, priory, and other premises here, to Edward, lord Clinton and Saye, to hold in capite; who the next year conveyed them back again to the crown, in exchange for other premises, (fn. 23) where the patronage of the vicarage did not remain long; for in 1558, anno 6 queen Mary, the queen granted it, among several others, to the archbishop. But the church or parsonage appropriate of Folkestone remained longer in the crown, and till queen Elizabeth, in her 3d year, granted it in exchange, among other premises, to archbishop Parker, being then in lease to lord Clinton, at the rent of 57l. 2s. 11d. at which rate it was valued to the archbishop, in which manner it has continued to be leased out ever since, and it now, with the patronage of the vicarage, remains parcel of the possessions of the see of Canterbury; the family of Breams were formerly lessees of it, from whom the interest of the lease came to the Taylors, of Bifrons, and was sold by the late Rev. Edward Taylor, of Bisrons, to the right hon. Jacob, earl of Radnor, the present lessee of it.

 

www.british-history.ac.uk/survey-kent/vol8/pp152-188

 

-------------------------------------------

 

Saint Eanswith (Old English: Ēanswīþ; born c. 630, Kent, England. Died c. 650, Folkestone, England), also spelled Eanswythe or Eanswide, was an Anglo Saxon princess, who is said to have founded Folkestone Priory, one of the first Christian monastic communities for women in Britain. In 2020, osteoarchaeologists were given the opportunity to examine the remains of a skeleton long thought to be the remains of St. Eanswythe. They concluded that the bones belonged to a young female. Radiocarbon dating confirmed that the remains were from the mid-7th century, adding to the evidence that this may well be St. Eanswythe. The results of DNA and isotope analysis are pending. It can never be proven that the remains are St. Eanswythe but the evidence certainly indicates that this could be the case. If so, these are the earliest remains yet discovered of an English saint, and of a relative of the British monarch.

 

Tradition has it that Eanswith founded the Benedictine Folkestone Priory, the first nunnery in England. She was supported in this by her father, Eadbald, who ruled as king of Kent from 616 to 640 CE.[4]

 

While the monastery was under construction, a pagan prince came to Kent seeking to marry Eanswythe. King Eadbald, whose sister St. Ethelburga had married the pagan King Edwin two or three years before, recalled that this wedding resulted in Edwin's conversion. Eanswythe, however, refused.[5]

 

This was the first women's monastery to be founded in England. St. Eanswythe lived there with her companions in the monastic life, and they may have been guided by some of the Roman monks who had come to England with St. Augustine in 597.

 

She remained at the abbey until her death.[5]

 

The first monastic site became abandoned by the 10th century, and began to be eroded by the sea, a problem which also afflicted a new foundation of 1095. A site further inland was provided for a new foundation of Folkestone Priory by William de Abrincis in 1137, with a church dedicated to St Mary and St Eanswythe. Saint Eanswith's day falls on September 12.[6] Traditionally, this is the date on which her remains were translated to the new church in 1138. The priory was closed at the Reformation, and the Church became Folkestone Parish Church. During restoration work at the church in 1885 human remains were discovered in a lead reliquary, embedded within the church wall, which were identified as a 12th-century vessel, and the bones of a young woman.[7] This led to the conclusion that they could be the translated relics of Saint Eanswith, hidden away at the Reformation.[8] A new expert analysis by historians and archaeologists concluded in March 2020 that the remains are almost certainly that of Eanswith.

 

en.wikipedia.org/wiki/Eanswith

Our first berry bus ! We took a different route back to Perth, to see if we could find any of them, and this was the only one we came across. Still looking like it did the day it was withdrawn by East Midland, eight years earlier, this Leopard L1 / Willowbrook had been at Cranley farm since 1977.

 

It was later replaced by a Leopard Y-type, and I believe it sat here out of use for a number of years before being sold as a long-term preservation project in 2001 - and that is still the aim in 2024 !

 

Cranley farm, Lethendy, 20/6/85

 

Replacing an earlier scanned photo with a better version 10-Apr-14.

 

Another weather diversion from the southern UK. What looks like a 'dent' in the upper fuselage just behind the flight deck is actually a shadow from one of the ramp lighting towers!

 

Originally delivered to QANTAS Australia as VH-ECA in Oct-77. Sold to a leasing company and leased to Air Canada in Jul-87, it was sub-leased back to QANTAS until Jan-88 when it joined Air Canada as C-GAGC. It was retired at Marana, AZ, USA, in Jan-99 and was still stored there awaiting the breakers axe in Mar-11.

Replacing an earlier digital photo with a better version 29-Jun-19.

 

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

 

This aircraft was delivered to Condor Flugdienst as D-ABWE in Mar-88. It was leased to Lufthansa in Nov-90 and returned to Condor in Apr-91. It was converted to a 'Quick Change' (QC) aircraft with the addition of a main deck cargo door in Sep-93 and sold to Lufthansa Cargo Airlines the same month. The aircraft was withdrawn from service and stored at Berlin-Schoenfeld in Mar-02. It was returned to Lufthansa in Dec-02 and re-registered N837Y. It remained stored until Oct-03 when it was sold to Automatic Leasing. It was sold to Hainan Airlines (China) as B-5057 later that month and leased to Yangtze River Express the same day. The aircraft was sold to My Indo Airlines (Indonesia) as PK-MYZ in Mar-17 and sold to My Jet Xpress Airlines (Malaysia) as 9M-NEY in Aug-18. It's thought to be still operational. Updated (Jun-19).

Replacing an an earlier digital photo (taken just 4 days earlier) 31-Oct-23.

 

Operated on behalf of Aer Lingus Regional by Emerald Airlines UK.

 

Named: "St. Murghal / Murghal".

 

History to follow

We replaced our old red Ford Ranger with a very bright red 4WD Nissan that was sold to us by a friend for a good price. Somehow all our speleo-mobiles turn out to be red. It must be our Karma. We've added some Yakima rack bars to the top as well. It's a good truck!

Construction of the current castle started around 1325. This served to replace an older castle (known as 't Oude Huys ), which stood a few hundred meters west of the present castle, and whose excavations in 1981 have revealed the foundations of a stone keep and objects.

 

In the twelfth century, the area around Helmond was part of the possessions of the van Hornes. The current castle was initially owned by the van Berlaer family. In 1433 this family was succeeded by the van Cortenbach family. In 1683 the castle passed into the hands of the Arberg family by marriage. The mint master Carel Frederik Wesselman bought the manor with the castle Helmond in 1781.

 

In 1549 a fierce fire raged in the castle, in which especially the west wing and the roofs of the building were damaged. Complete destruction has certainly not taken place. Evidence of this was found in later renovations in the 20th century .

 

In 1921, the ownership of the castle was transferred to the municipality of Helmond by the widow of the last lord of the castle Carel Frederik Wesselman van Helmond, jkvr. Anna Maria de Jonge van Zwijnsbergen and her two daughters, on the condition that the castle was only used for the municipal administration. or intended for other public use. After a thorough renovation, the castle was taken into use as a town hall from 1923. The space became too small in the 1970s. A new town hall was put into use. Of the municipal functions, two wedding halls and the council chamber remained in use. In 2001 the council chamber moved to a new location in nearby Boscotondo . Museum Helmond has been in the castle since 1982.

 

The current castle was designed as a square water castle with a round tower at each corner and no central residential tower or keep, very similar in ground plan to similar castles such as Muiden Castle, Radboud Castle, or Ammersoyen Castle. These square castles turned out to have better defensive qualities than older round castles. The ground plan of the castle measures approximately 35 X 35 meters. The diameter of the corner towers is approximately 8 meters. The entrance is on the north side through a gatehouse that is almost integrated with the adjacent buildings.

 

The castle used to have a double ring of moats, only the moat around the building itself remains. The castle also included some outbuildings and entrance gates. Apart from two square towers and one entrance gate, these have to make way for the construction of the Kasteel-Traverse (a bridge crossing straight through the center of Helmond). Over the centuries, the building was adapted several times to the then current use. During the major renovation in 1923, a system of corridors was built in front of the original rooms. The cellar vaults have remained virtually authentic. Almost nothing remains of the original interior. A few authentic fireplaces can still be seen.

 

Source: wikipedia.org

Replacing an earlier digital photo with a better version 11-Dec-22.

 

Named: "Djerba" (in Arabic).

 

First flown in Sep-92 with the Airbus test registration F-WWIP, this aircraft was delivered to Tunisair as TS-IMF in Dec-92. The aircraft was withdrawn from use in Nov-22 and permanently retired at Tunis after 30 years in service. Updated 11-Dec-22.

replaced -

original now - SOOC -

 

postprocessing was not successfuller

-

small and handsome

 

Equipment: Bridge Camera

 

°°°

Formerly you have to deal with a DSLR to make better image quality shots and "high-end" photos, of course.

 

But that option is not quite viable for average folks.

 

Excellent DSLR equipment is very costly and have a quite complicated operation.

 

That’s one reason so many people are using outstanding point-and-shoot systems .

 

-effi - adapted

Posted via email from drspina's posterous

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 21-Jul-24.

 

Sabre Airways was later renamed Excel Airways and then XL Airways UK.

 

An early B737NG (Line No: 77), this aircraft was delivered to ILFC International Lease Finance Corporation and leased to Sabre Airways (UK) as G-OKDN in Jul-98.

 

It was sub-leased to GEC Marconi Avionics in Nov-98 for avionics system testing and returned to Sabre in Apr-99. In Oct-99 the aircraft was wet-leased to Air Berlin, returning to Sabre in Apr-00.

 

In Jan-01 Sabre Airways was renamed Excel Airways. The aircraft was re-registered G-XLAA in Mar-01. In Nov-06 Excel Airways became XL Airways UK. It was transferred to XL Airways Germany as D-AXLG in Apr-08 (XL Airways UK ceased operations on 12-Nov-08).

 

The aircraft was wet-leased to Jet4you (Morocco) in Jul-08 and returned to XL Airways Germany in Nov-08. It was wet-leased to Condor Flugdienst in May-12 and returned to XL Germany in Aug-12.

 

XL Airways Germany ceased operations on 14-Dec-12. The aircraft was returned to the lessor and ferried to Shannon, Ireland for storage a few days later. It was re-registered EI-EZP in Jan-13.

 

In Mar-13 the aircraft was leased to UTAir Ukraine as UR-UTP. The lease was transferred to Azur Air Ukraine in Nov-15. It was transferred to Azur Air Russia as VQ-BAL in Mar-18.

 

In Feb-22 Russia invaded Ukraine and sanctions were placed on Russia by many western countries and the insurance for western leased aircraft was cancelled. Russia then 'seized' all western registered aircraft and re-registered them in Russia.

 

This aircraft became RA-73475 in May-22. However, it was withdrawn from service and stored at Moscow-Domodedovo in Jun-22. Possibly permanently retired. Updated 20-Jul-24.

Replacing an earlier digital photo with a better version 17-Jul-23.

 

First flown in Aug-96 with the Airbus test registration D-AVZD, this aircraft was delivered to ILFC International Lease Finance Corporation and leased to BWIA International (West Indies) as 9Y-BWB in Oct-96.

 

It was wet-leased to Air Alfa (Turkiye) in Apr-97. The wet-lease became a dry-lease in Jun-97 when it became TC-ALO. The aircraft was returned to BWIA and the lessor as N511LF in Mar-01. It was stored at Singapore.

 

In Aug-01 it was leased to Region Air as S7-RGK (Seychelles) and immediately wet-leased to Myanmar Airways International. The 'International' was dropped when it was merged into Myanmar Airways in Sep-01.

 

The aircraft was returned to Region Air in Oct-01 and sub-leased to Pacific Airlines (Vietnam) the following day. It was returned to Region Air in Jan-05 and to the lessor as N761LF in Apr-05.

 

In Jun-05 it was leased to Onur Air (Turkiye) as TC-OAR, returning to the lessor in Mar-07. It was leased to Best Air (Turkiye) as TC-TUC a few days later. The aircraft was wet-leased to Ariana Afghan Airlines in Dec-07 and returned to Best Air in Jun-07.

 

The aircraft was wet-leased to AtlasJet International Airlines in Mar-09. Best Air returned it to the lessor in May-10 when it was leased direct to AtlasJet International and re-registered TC-ETN. It was permanently retired at St. Athan, Wales, UK in Dec-18. Updated 13-Jul-23.

+++ DISCLAIMER +++

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

  

Some background:

The Panther tank, officially Panzerkampfwagen V Panther (abbreviated PzKpfw V) with ordnance inventory designation Sd.Kfz. 171, was a German medium tank of World War II. It was used on the Eastern and Western Fronts from mid-1943 to the end of the war. The Panther was intended to counter the Soviet T-34 medium tank and to replace the Panzer III and Panzer IV. Nevertheless, it served alongside the Panzer IV and the heavier Tiger I until the end of the war. It is considered one of the best tanks of World War II for its excellent firepower, protection, and mobility although its reliability in early times were less impressive.

The Panther was a compromise. While having essentially the same Maybach V12 petrol (700 hp) engine as the Tiger I, it had better gun penetration, was lighter and faster, and could traverse rough terrain better than the Tiger I. The trade-off was weaker side armor, which made it vulnerable to flanking fire. The Panther proved to be effective in open country and long-range engagements.

 

The Panther was far cheaper to produce than the heavy Tiger I. Key elements of the Panther design, such as its armor, transmission, and final drive, were simplifications made to improve production rates and address raw material shortages. Despite this the overall design remain described by some as "overengineered". The Panther was rushed into combat at the Battle of Kursk in the summer of 1943 despite numerous unresolved technical problems, leading to high losses due to mechanical failure. Most design flaws were rectified by late 1943 and early 1944, though the bombing of production plants, increasing shortages of high-quality alloys for critical components, shortage of fuel and training space, and the declining quality of crews all impacted the tank's effectiveness.

 

Though officially classified as a medium tank, at 44.8 metric tons the Panther was closer to a heavy tank weight and the same category as the American M26 Pershing (41.7 tons), British Churchill (40.7 tons) and the Soviet IS-2 (46 tons) heavy tanks. The Panther's weight caused logistical problems, such as an inability to cross certain bridges, otherwise the tank had a very high power-to-weight ratio which made it highly mobile.

 

The Panther was only used marginally outside of Germany, mostly captured or recovered vehicles, some even after the war. Japan already received in 1943 a specimen for evaluation. During March–April 1945, Bulgaria received 15 Panthers of various makes (D, A, and G variants) from captured and overhauled Soviet stocks; they only saw limited (training) service use. In May 1946, Romania received 13 Panther tanks from the USSR, too.

After the war, France was able to recover enough operable vehicles and components to equip its army and offer vehicles for sale. The French Army's 503e Régiment de Chars de Combat was equipped with a force of 50 Panthers from 1944 to 1947, in the 501st and 503rd Tank Regiments. These remained in service until they were replaced by French-built ARL 44 heavy tanks.

In 1946, Sweden sent a delegation to France to examine surviving specimens of German military vehicles. During their visit, the delegates found a few surviving Panthers and had one shipped to Sweden for further testing and evaluation, which continued until 1961.

 

However, this was not the Panther’s end of service. The last appearance by WWII German tanks on the world’s battlefields came in 1967, when Syria’s panzer force faced off against modern Israeli armor. Quite improbably, Syria had assembled a surprisingly wide collection of ex-Wehrmacht vehicles from a half-dozen sources over a decade and a half timeframe. This fleet consisted primarily of late production Panzer V, StuGIII and Jagdpanzer IVs, plus some Hummel SPAAGs and a handful Panthers. The tanks were procured from France, Spain, and Czechoslovakia, partly revamped before delivery.

 

All of the Panthers Syria came from Czechoslovakia. Immediately after Germany’s collapse in May 1945, the Soviet army established a staging area for surrendered German tanks at a former Wehrmacht barracks at Milovice, about 24 miles north of Prague, Czechoslovakia. By January 1946, a total of roughly 200 operational Panzer IVs and Panthers of varying versions were at this facility. Joining them was a huge cache of spare parts found at a former German tank repair depot in Teplice, along with ammunition collected from all over Czechoslovakia and the southern extremity of the Soviet occupation zone in Germany. Throughout 1946, the Czechoslovak government’s clean-up of WWII battlefields recovered more than one hundred further tank wrecks, of which 80 were pieced back together to operational status and handed over to the Czechoslovakian Army,

 

In early 1948, the now-nationalized CKD Works began a limited upkeep of the tanks, many of which had not had depot-level overhauls since the war. A few were rebuilt with a Czechoslovak-designed steering system, but this effort was halted due to cost. These tanks remained operational in the Czechoslovak army until the end of 1954, when sufficient T-34s were available to phase them out.

 

A Syrian military delegation visited Prague from 8 April – 22 April 1955. An agreement was struck for the sale, amongst other items, of 45 Panzer IVs and 15 Panthers. Despite their obsolescence the Czechoslovaks were not about to just give the tanks away and demanded payment in a ‘hard’ western currency, namely British pounds. The cost was £4,500 each (£86,000 or $112,850 in 2016 money), far above what they were probably worth militarily, especially considering the limited amount of foreign currency reserves available to the Damascus government. The deal included refurbishment, a full ammunition loadout for each, and a limited number of spare parts. Nonetheless, the deal was closed, and the tanks’ delivery started in early November 1955.

 

The Syrians were by that time already having dire problems keeping their French-sourced panzers operational, and in 1958, a second contract was signed with CKD Works for 15 additional Panzer IVs and 10 more Panthers, these being in lesser condition or non-operational, for use as spare parts hulks. An additional 16 refurbished Maybach engines for both types were also included in this contract, as well as more ammunition.

 

The refurbished Panthers for Syria had their original 7.5 cm KwK 42 L70 replaced with the less powerful Rheinmetall 7.5 cm KwK 40 L48 gun – dictated by the fact that this gun was already installed in almost all other Syrian tanks of German origin and rounds for the KwK 42 L70 were not available anymore. and the Panther’s full ammo load was 87 rounds. The KwK 40 L48 fired a standard APCBC shell at 750 m/s and could penetrate 109 mm (4.3 in) hardened steel at 1.000 m range. This was enough to take out an M4 Sherman at this range from any angle under ideal circumstances. With an APCR shell the gun was even able to penetrate 130 mm (5.1 in) of hardened steel at the same distance.

 

Outwardly, the gun switch was only recognizable through the shorter barrel with a muzzle brake, the German WWII-era TZF.5f gunsight was retained by the Syrians. Additionally, there were two secondary machine guns, either MG-34s or MG-42s, one coaxial with the main gun and a flexible one in a ball mount in the tank’s front glacis plate.

A few incomplete Panther hulls without turret were also outfitted with surplus Panzer IV turrets that carried the same weapon, but the exact share of them among the Syrian tanks is unknown – most probably less than five, and they were among the batch delivered in the course of the second contract from 1958.

 

As they had been lumped all together in Czechoslovak army service, the Syrians received a mixed bag of Panzer IV and Panther versions, many of them “half-breeds” or “Frankensteins”. Many had the bow machine gun removed, either already upon delivery or as a later field modification, and in some cases the machine gun in the turret was omitted as well.

An obvious modification of the refurbished Czech export Panthers for Syria was the installation of new, lighter road wheels. These were in fact adapted T-54 wheels from Czechoslovakian license production that had just started in 1957 - instead of revamping the Panthers’ original solid steel wheels, especially their rubberized tread surfaces, it was easier to replace them altogether, what also made spare parts logistics easier. The new wheels had almost the same diameter as the original German road wheels from WWII, and they were simply adapted to the Panther’s attachment points of the torsion bar suspension’s swing arms. Together with the lighter main gun and some other simplifications, the Syrian Panthers’ empty weight was reduced by more than 3 tonnes.

 

The Czechoslovaks furthermore delivered an adapter kit to mount a Soviet-made AA DShK 12.7mm machine gun to the commander cupola. This AA mount had originally been developed after WWII for the T-34 tank, and these kits were fitted to all initial tanks of the 1955 order. Enough were delivered that some could be installed on a few of the Spanish- / French-sourced tanks, too.

 

It doesn’t appear that the Czechoslovaks updated the radio fit on any of the ex-German tanks, and it’s unclear if the Syrians installed modern Soviet radios. The WWII German Fu 5 radio required a dedicated operator (who also manned the bow machine gun); if a more modern system was installed not requiring a dedicated operator, this crew position could be eliminated altogether, what favored the deletion of the bow machine gun on many ex-German Syrian tanks. However, due to their more spacious hull and turret, many Panthers were apparently outfitted with a second radio set and used as command tanks – visible through a second whip antenna on the hull.

 

A frequent domestic Panther upgrade were side skirts to suppress dust clouds while moving and to prevent dust ingestion into the engines and clogged dust filters. There was no standardized solution, though, and solutions ranged from simple makeshift rubber skirts bolted to the tanks’ flanks to wholesale transplants from other vehicles, primarily Soviet tanks. Some Panthers also had external auxiliary fuel tanks added to their rear, in the form of two 200 l barrels on metal racks of Soviet origin. These barrels were not directly connected with the Panther’s fuel system, though, but a pump-and-hose kit was available to re-fuel the internal tanks from this on-board source in the field. When empty or in an emergency - the barrels were placed on top of the engine bay and leaking fuel quite hazardous - the barrels/tanks could be jettisoned by the crew from the inside.

 

Inclusive of the cannibalization hulks, Syria received a total of roughly 80 former German tanks from Czechoslovakia. However, at no time were all simultaneously operational and by 1960, usually only two or three dozen were combat-ready.

Before the Six Day War, the Syrian army was surprisingly unorganized, considering the amount of money being pumped into it. There was no unit larger than a brigade, and the whole Syrian army had a sort of “hub & spokes” system originating in Damascus, with every individual formation answering directly to the GHQ rather than a chain of command. The Panthers, Panzer IVs and StuG IIIs were in three independent tank battalions, grossly understrength, supporting the normal tank battalions of three infantry brigades (the 8th, 11th, and 19th) in the Golan Heights. The Jagdpanzer IVs were in a separate independent platoon attached to a tank battalion operating T-34s and SU-100s. How the Hummel SPGs were assigned is unknown.

 

The first active participation of ex-German tanks in Syrian service was the so-called “Water War”. This was not really a war but rather a series of skirmishes between Israel and Syria during the mid-1960s. With increasing frequency starting in 1964, Syria emplaced tanks on the western slope of the Golan Heights, almost directly on the border, to fire down on Israeli irrigation workers and farmers in the Galilee region. Surprisingly (considering the small number available) Syria chose the Panzer IV for this task. It had no feature making it better or worse than any other tank; most likely the Syrians felt they were the most expendable tanks in their inventory as Israeli counterfire was expected. The panzers were in defilade (dug in) and not easy to shoot back at; due to their altitude advantage.

 

In 1964, Syria announced plans to divert 35% of the Jordan River’s flow away from Israel, to deprive the country of drinking water. The Israelis responded that they would consider this an act of war and, true to their word, engaged the project’s workers with artillery and sniper fire. Things escalated quickly; in 1965, Israeli M4 Shermans on Israeli soil exchanged fire with the Syrian Panzer IVs above inconclusively. A United Nations peacekeeping team ordered both sides to disengage from the border for a set period of time to “cool off”, but the UN “Blue Berets” were detested and considered useless by both the Israelis and Syrians, and both sides used the lull to prepare their next move. When the cooling-off period ended, the Syrians moved Panzer IVs and now some Panthers, too, back into position. However, the IDF had now Centurion tanks waiting for them, with their fire arcs pre-planned out. The Cold War-era Centurion had heavy armor, a high-velocity 105mm gun, and modern British-made optics. It outclassed the WWII panzers in any imaginable way and almost immediately, two Syrian Panzer IVs and a Panther were destroyed. Others were abandoned by their crews and that was the end of the situation.

 

Syria’s participation in the Six Say War that soon followed in 1967 war was sloppy and ultimately disastrous. Israel initially intended the conflict to be limited to a preemptive strike against Egypt to forestall an imminent attack by that country, with the possibility of having to fight Syria and Jordan defensively if they responded to the operations against Egypt. The war against Egypt started on 5 June 1967. Because of the poor organization of the Syrian army, news passed down from Damascus on the fighting in the Sinai was scarce and usually outdated by the time it reached the brigade level. Many Syrian units (including the GHQ) were using civilian shortwave radios to monitor Radio Cairo which was spouting off outlandish claims of imaginary Egyptian victories, even as Israeli divisions were steamrolling towards the Suez Canal.

 

Syrian vehicles of German origin during the Six Day War were either painted overall in beige or in a dark olive drab green. Almost all had, instead of tactical number codes, the name of a Syrian soldier killed in a previous war painted on the turret in white. During the Six Day War, no national roundel was typically carried, even though the Syrian flag was sometimes painted to the turret flanks. However just as the conflict was starting, white circles were often painted onto the top sides of tanks as quick ID markings for aircraft, and some tanks had red recognition triangles added to the side areas: Syrian soldiers were notoriously trigger-happy, and the decreased camouflage effect was likely cancelled out by the reduced odds of being blasted by a comrade!

 

During the evening of 5 June, Syrian generals in Damascus urged the government to take advantage of the situation and mount an immediate invasion of Israel. Planning and preparation were literally limited to a few hours after midnight, and shortly after daybreak on 6 June, Syrian commanders woke up with orders to invade Israel. The three infantry brigades in the Golan, backed up by several independent battalions, were to spearhead the attack as the rest of the Syrian army mobilized.

There was no cohesion at all: Separate battalions began their advance whenever they happened to be ready to go, and brigades went forward, missing subunits that lagged behind. A platoon attempting a southern outflank maneuver tried to ford the Jordan River in the wrong spot and was washed away. According to a KGB report, at least one Syrian unit “exhibited cowardice” and ignored its orders altogether.

 

On 7 June, 24 hours into their attack, Syrian forces had only advanced 2 miles into Israel. On 8 June, the IDF pushed the Syrians back to the prewar border and that afternoon, Israeli units eliminated the last Egyptian forces in the Sinai and began a fast redeployment of units back into Israel. Now the Syrians were facing serious problems.

On 9 June, Israeli forces crossed into the Golan Heights. They came by the route the Syrians least expected, an arc hugging the Lebanese border. Now for the first time, Syria’s panzers (considered too slow and fragile for the attack) were encountered. The next day, 10 June 1967, was an absolute rout as the Syrians were being attacked from behind by IDF units arcing southwards from the initial advance, plus Israel’s second wave coming from the west. It was later estimated that Syria lost between 20-25% of its total military vehicle inventory in a 15-hour span on 10 June, including eight Panthers. A ceasefire was announced at midnight, ending Syria’s misadventure. Syria permanently lost the Golan Heights to Israel.

 

By best estimate, Syria had just five Panthers and twenty-five Panzer IVs fully operational on 6 June 1967, with maybe another ten or so tanks partially operational or at least functional enough to take into combat. Most – if not all – of the ex-French tanks were probably already out of service by 1967, conversely the entire ex-Spanish lot was in use, along with some of the ex-Czechoslovak vehicles. The conflict’s last kill was on 10 June 1967 when a Panzer IV was destroyed by an Israeli M50 Super Sherman (an M4 Sherman hull fitted with a new American engine, and a modified turret housing Israeli electronics and a high-velocity French-made 75mm gun firing HEAT rounds). Like the Centurion, the Super Sherman outclassed the Panzer IV, and the Panther only fared marginally better.

 

Between 1964-1973 the USSR rebuilt the entire Syrian military from the ground up, reorganizing it along Warsaw Pact lines and equipping it with gear strictly of Soviet origin. There was no place for ex-Wehrmacht tanks and in any case, Czechoslovakia had ended spares & ammo support for the Panzer IV and the Panthers, so the types had no future. The surviving tanks were scrapped in Syria, except for a single Panzer IV survivor sold to a collector in Jordan.

  

Specifications:

Crew: Five (commander, gunner, loader, driver, radio operator)

Weight: 50 tonnes (55.1 long tons; 45.5 short tons)

Length: 6.87 m (22 ft 6 in) hull only

7.52 m (24 ft 7¾ in) overall with gun facing forward

Width: 3.42 m (11 ft 3 in) hull only

3,70 m (12 ft 1¾ in) with retrofitted side skirts

Height: 2.99 m (9 ft 10 in)’

Ground clearance: 56 cm (22 in)

Suspension: Double torsion bar, interleaved road wheels

Fuel capacity: 720 liters (160 imp gal; 190 US gal),

some Syrian Panthers carried two additional external 200 l fuel drums

 

Armor:

15–80 mm (0.6 – 3.93 in)

 

Performance:

Maximum road speed: 56 km/h (35 mph)

Operational range: 250 km (160 mi) on roads; 450 km (280 mi)with auxiliary fuel tanks

100 km (62 mi) cross-country

Power/weight: 14 PS (10.1 kW)/tonne (12.7 hp/ton)

 

Engine & transmission:

Maybach HL230 V-12 gasoline engine with 700 PS (690 hp, 515 kW)

ZF AK 7-200 gearbox with 7 forward 1 reverse gear

 

Armament:

1× 7,5 cm KwK 40 (L/48) with 87 rounds

2× 7.92 mm MG 34 or 42, or similar machine guns;

one co-axial with the main gun, another in the front glacis plate

with a total of 5.100 rounds (not always mounted)

Provision for a 12.7 mm DShK or Breda anti-aircraft machine gun on the commander cupola

  

The kit and its assembly:

A rather exotic what-if model, even though it’s almost built OOB. Inspiration came when I stumbled upon the weird Syrian Panzer IVs that were operated against Israel during the Six Day War – vehicles you would not expect there, and after more than 20 years after WWII. But when I did some more research, I was surprised about the numbers and the variety of former German tanks that Syria had gathered from various European countries, and it made me wonder if the Panther could not have been among this shaggy fleet, too?

 

I had a surplus Dragon Panther Spähpanzer in The Stash™, to be correct a “PzBeobWg V Ausf. G”, an observation and artillery fire guidance conversion that actually existed in small numbers, and I decided to use it as basis for this odd project. The Dragon kit has some peculiarities, though: its hull is made from primed white metal and consists of an upper and lower half that are held together by small screws! An ambiguous design, because the parts do not fit as good as IP parts, so that the model has a slightly die-cast-ish aura. PSR is necessary at the seams, but due to the metal it’s not easy to do. Furthermore, you have to use superglue everywhere, just as on a resin kit. On the other side, surface details are finely molded and crisp, even though many bits have to be added manually. However, the molded metal pins that hold the wheels are very robust and relatively thin – a feature I exploited for a modified running gear (see below).

 

For the modified Panther in my mind I had to retrograde the turret back to a late standard turret with mantlet parts left over from a Hasegawa kit – they fitted perfectly! The PzBeobWg V only comes with a stubby gun barrel dummy. But I changed the armament, anyway, and implanted an aftermarket white metal and brass KwK 40 L48, the weapon carried by all Syrian Panzer IVs, the Jagdpanzer IVs as well as the StuG IIIs. This standardization would IMHO make sense, even if it meant a performance downgrade from the original, longer KwK 42 L70.

 

For a Syrian touch, inspired by installations on the Panzer IVs, I added a mount for a heavy DShK machine gun on the commander’s cupola, which is a resin aftermarket kit from Armory Models Group (a kit that consists of no less than five fiddly parts for just a tiny machine gun!).

To change and modernize the Panther’s look further, I gave it side skirts, leftover from a ModelCollect T-72 kit, which had to be modified only slightly to fit onto the molded side skirt consoles on the Panther’s metal hull. A further late addition were the fuel barrels from a Trumpeter T-54 kit that I stumbled upon when I looked for the skirts among my pile of tank donor parts. Even though they look like foreign matter on the Panther’s tail, their high position is plausible and similar to the original arrangement on many Soviet post-WWII tanks. The whip antennae on turret and hull were created with heated black sprue material.

 

As a modern feature and to change the Panther’s overall look even more, I replaced its original solid “dish” road wheels with T-54/55 “starfish” wheels, which were frequently retrofitted to T-34-85s during the Fifties. These very fine aftermarket resin parts (all real-world openings are actually open, and there’s only little flash!) came from OKB Grigorovich from Bulgaria. The selling point behind this idea is/was that the Panther and T-54/55 wheels have almost the same diameter: in real life it’s 860 vs. 830 mm, so that the difference in 1:72 is negligible. Beneficially, the aftermarket wheels came in two halves, and these were thin enough to replace the Panther’s interleaved wheels without major depth problems.

Adapting the parts to the totally different wheel arrangement was tricky, though, especially due to the Dragon kit’s one-piece white metal chassis that makes any mods difficult. My solution: I retained the inner solid wheels from the Panther (since they are hardly visible in the “3rd row”), plus four pairs of T-54/55 wheels for the outer, more rows of interleaved wheels. The “inner” T-54/55 wheel halves were turned around, received holes to fit onto the metal suspension pins and scratched hub covers. The “outside” halves were taken as is but received 2 mm spacer sleeves on their back sides (styrene tube) for proper depth and simply to improve their hold on the small and rounded metal pin tips. This stunt worked better than expected and looks really good, too!

  

Painting and markings:

Basically very simple, and I used pictures of real Syrian Panzer IVs as benchmark. I settled for the common green livery variant, and though simple and uniform, I tried to add some “excitement” to it and attempted to make old paint shine through. The hull’s lower surface areas were first primed with RAL 7008 (Khakigrau, a rather brownish tone), then the upper surfaces were sprayed with a lighter sand brown tone, both applied from rattle cans.

 

On top of that, a streaky mix of Revell 45 and 46 – a guesstimate for the typical Syrian greyish, rather pale olive drab tone - was thinly applied with a soft, flat brush, so that the brownish tones underneath would shine through occasionally. Once dry, the layered/weathered effect was further emphasized through careful vertical wet-sanding and rubbing on all surfaces with a soft cotton cloth.

The rubber side skirts were painted with an anthracite base and the dry-brushed with light grey and beige.

 

The model then received an overall washing with a highly thinned mix of grey and dark brown acrylic artist paint. The vinyl tracks (as well as the IP spare track links on the hull) were painted, too, with a mix of grey, red brown and iron, all acrylic paints, too, that do not interact chemically with the soft vinyl.

 

The decals/markings are minimal; the Arabian scribble on the turret (must be a name?), using the picture of a Syrian Panzer IV as benchmark, was painted in white by hand, as well as the white circle on the turret roof. The orange ID triangles are a nice contrast, even though I was not able to come up with real-life visual evidence for them. I just found a color picture of a burned T-34-85 wreck with them, suggesting that the color was a dull orange red and not florescent orange, as claimed in some sources. I also found illustrations of the triangles as part of 1:35 decal sets for contemporary Syrian T-34-85s from FC Model Trend and Star Models, where they appear light red. For the model, they were eventually cut out from decal sheet material (TL-Modellbau, in a shade called “Rotorange”, what appears to be a good compromise).

 

Dry-brushing with light grey and beige to further emphasize edges and details followed. Finally, the model was sealed with matt acrylic vanish overall, and some additional very light extra dry-brushing with silver was done to simulate flaked paint. Dirt and rust residues were added here and there with watercolors. After final assembly, the lower areas of the model were furthermore powdered with mineral pigments to simulate dust.

  

The idea of a modernized WWII Panther: a simple idea that turned into a major conversion. With the resin DShK machine gun and T-54/55 wheel set the costs of this project escalated a little, but in hindsight I find that the different look and the mix of vintage German and modern Soviet elements provide this Panther with that odd touch that sets it apart from a simple paint/marking variation? I really like the outcome, and I think that the effort was worthwhile - this fictional Panther shoehorns well into its intended historical framework. :-D

 

Replacing an earlier scanned photo with a better version 09-Jun-17 + DeNoise AI 09-Oct-22

1001v 4f 1/28/17

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Also known as McDonnell Douglas CF-18 Hornet.

 

McDonnell-Douglas F-18 Hornet CF-188B.

 

In the 1970s, the Air Force decided that a single multi-role fighter type would replace its CF-101 Voodoos , CF-104 Starfighters and CF-116 Freedom Fighters. The resulting New Fighter Aircraft competition culminated in the selection of the McDonnell-Douglas F/A-18 Hornet. Canada became the first export customer for the type in a contract worth $2.34 (Cdn) billion. A number of Canadian-unique modifications were incorporated into the aircraft design. These included changes for Canadian unique weapons, a 600,000 candle power searchlight in the starboard nose for night intercepts, a modified survival kit and a land based ILS system replacing the USN automatic carrier landing system. Deployed to Canadian air defence (NORAD) and NATO squadrons, the CF-18 Hornet has lived up to all expectations. The multi-role capability of the Hornet has been repeatedly proven in CF use and the aircraft have been operationally employed in the Gulf War and more recently, in the NATO campaign over Kosovo. In the Gulf War, the aircraft were employed in both CAP and conventional strikes. Flying from Aviano, Italy, in the skies over Kosovo and Serbia, the aircraft was primarily employed in the attack role dropping both conventional and precision guided munitions.

 

The need to upgrade the CF-18 was demonstrated during the Gulf War I deployment and during the 1998 Kosovo conflict as advances in technology had rendered some of the avionics on board the CF-18 obsolete and incompatible with NATO allies. In 2000, CF-18 upgrades became possible when the government increased the defence budget.

 

In 2001 the Incremental Modernization Project (IMP) was initiated. The project was broken into two phases over a period of eight years and was designed to improve air-to-air and air-to-ground combat capabilities, upgrade sensors and the defensive suite, and replace the datalinks and communications systems on board the CF-18 from the old F/A-18A and F/A-18B standard to the current F/A-18C and D standard. Boeing and L-3 Communications, was issued a contract for the modernization project starting in 2002. A total of 80 CF-18s, consisting of 62 single-seat and 18 dual-seat models were selected from the fleet for the upgrade program. The project along with the IMP II will extend the life of the CF-18 until around 2017 to 2020 when they are to be replaced by the F-35 Lightning II JSF.

  

Aircraft Specifications

 

CDN Reg: CF-188

US/NATO Reg.: F/A-18A

Manufacturer: McDonnell-Douglas Aircraft Corporation.

 

Crew / Passengers: 1 pilot (CF-18A) or 2 pilots (CF-18B).

 

Power Plant(s): 2 x General Electric F404-GE-400 low-bypass turbofans @ 16,000 lb (7,258 kg) thrust.

 

Performance: Max Speed: Mach 1.8 Service Ceiling: 49,000 ft (15,000 m) Unrefuelled Range: 2,300 mi (3,704 km) *(retractable air-to-air refueling probe fitted).

 

Weights: Empty: 23,400 lb (10,614 kg) Gross: 37,000 lb (16,783 kg) Maximum Take-off: 49,355 lb (22,387 kg).

 

Dimensions: Unfolded Span: 40 ft 5 in (12.32 m) (with missiles) Folded Span: 27 ft 6 in (8.38 m) Length: 56 ft 0 in (17.07 m) Height: 15 ft 3 in (4.66 m) Wing Area: 400 sq ft (37.16 sq m)

 

Armament: Internally mounted M61A1 20mm cannon & provisions for AIM9 Sidewinder and AIM7 Sparrow air-to-air missiles, Maverick air-to-ground missiles, conventional bombs and precision-guided bombs, unguided CRV7 rockets, fuel tanks etc.

 

Two CF-18 fighter squadrons are assigned the air defence role in North America. They maintain limited air-to-surface capability to provide support to maritime operations, as well as support to land operations in defence of Canada. They are also available for contingency operations anywhere in the world.

 

CFB Cold Lake - Cold lake, Alberta, Canada

■410 Cougar Tactical Fighter (Operational Training) Squadron

■409 Nighthawk Tactical Fighter Squadron*

 

CFB Bagotville - Bagotville, Quebec, Canada

■425 Alouétte Tactical Fighter Squadron**

 

*Detachment at CFB Comox, British Columbia, Canada

** Detachment at CFB Goosebay, Labrador, Canada

 

Note: Current operational aircraft strength is 60 aircraft with the additional 60 aircraft undergoing upgrading and rotation.

 

www.canadianwings.com/Aircraft/aircraftDetail.php?HORNET-37

 

www.aviation.technomuses.ca/collections/artifacts/aircraf...

 

en.wikipedia.org/wiki/McDonnell_Douglas_CF-18_Hornet

 

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Dassault Falcon 50EX.

 

Dassault Aviation was the first to create a private jet with intercontinental range: the Falcon 50. Seventeen years later, they re-created it, keeping the features that made it such a success, while modifying others with more advanced technology. The result is a private jet that looks and feels like its predecessor, but easily supersedes it. The Falcon 50EX cruises faster at high altitudes; flies further; burns less fuel; and generally outperforms the Falcon 50 in every respect.

 

The cabin of the Falcon 50EX is perhaps the part of the jet that has changed the least. It still has a height and width of 5.9 and 6.1 feet, respectively. At 23.5 feet in length the Falcon 50EX features a total cabin volume of 700 cubic feet. 115 cubic feet of baggage storage is available in internal compartments. Three closets in the cabin provide space for coats, suits, and briefcases. All baggage compartments are fully pressurized. A total of 2,205 pounds of bags can be stored.

 

The nine-passenger seating configuration is generally laid out in one four-seat club arrangement, and a separate section of two facing seats and a three-seat divan. Work tables fold out between facing seats so work can be completed in-flight. Power plugs are available for laptops and office equipment. Temperature control is separate for the cockpit and the cabin, so both parties are comfortable in-flight. Space and equipment for hot and cold food preparation come standard, including an oven, ice chest, and coffee maker.

 

The Falcon 50EX uses three Honeywell TFE731-40 turbofan engines, the second generation of the TFE731 series. They provide more thrust at cruise speeds and burn less fuel than the Falcon 50’s TFE731-3-1C engines. Providing the same amount of thrust for a sea level takeoff as the -3-1C engines, the -40s have an increased ambient temperature, meaning that they perform nearly the same at high altitudes and temperatures as they do at sea level. At an elevation of 5,000 feet and a temperature of 77°F, the -40 engines produce 3,440 pounds of thrust – 93% of the thrust produced at standard sea level conditions.

 

Furthermore, the -40 engines are equipped with FADEC (Full Authority N1-reference Digital Electronic Engine Control) systems, which automatically start and restart the engines on the ground, reducing pilot workload and optimizing fuel burn and performance. The engine manufacturing process used on the -40 engines is more precise, resulting in higher tolerances and reduced leakage.

 

The Falcon 50EX, like the Falcon 50, has great runway performance. It can take off in 4,935 feet at sea level and in 7,247 at an elevation of 5,000 feet and a temperature of 77°F. Its maximum takeoff weight (MTOW) has increased from 38,800 pounds to 39,700 pounds – a 900 pound increase. The Falcon 50EX can climb directly to an altitude of 37,000 feet in 17 minutes (13 minutes more quickly than the Falcon 50). It can cruise at 417 knots at an altitude of 43,000 feet for long range trips, or at 481 knots and an altitude of 39,000 feet for optimum speed. The maximum flight ceiling for the Falcon 50 is 49,000 feet.

 

The Falcon 50EX was designed using computer-molded fluid dynamics software and lightweight materials. Its primary structures are made of aluminum monocoque, while composites are used for some secondary structures. The aerodynamic design and materials slightly decrease the sound produced by the Falcon 50EX on takeoff to 83.8 EPNdB.

 

The three fuel tanks for the Falcon 50EX are regulated by electrical transfer pumps. These pumps can be used as emergency backup systems if both of the hydraulic systems that power the avionics fail. As unlikely as it would be to have all three systems fail, a fourth option is still available – all flight controls can be operated manually.

 

The avionics suite of the Falcon 50EX is based on the Collins Pro Line 4 suite. Four 7.25×7.25 inch screens display flight information. Flight controls are located close to the corresponding displays in an intuitive cockpit layout. The cockpit comes standard with a dual Pro Line II radio system, dual digital air-computers, a TWR-850 Doppler turbulence detection radar, an AlliedSignal dual Global GNS-XMS Flight Management System, and several other flight control and environmental awareness systems.

 

The Falcon 50 was a successful and high-performing private jet, but the Falcon 50EX outdoes it in every way. Everything from its cabin to its engines has been improved, resulting in a decidedly better private jet.

 

www.jetadvisors.com/falcon-50ex-performance/

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

 

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

 

Foundation

 

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

 

Consolidation

 

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

 

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

 

Difficulties

 

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

 

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

 

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

 

1⁄2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

 

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

 

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

 

Burials

 

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

 

Film location

 

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

Replacing an earlier scanned photo with a better version 16-Jan-21.

 

'Rendesvous', China World Tail c/scheme. The only example of this tail scheme to have a cream/yellow background. Most were either white or partial pink.

 

This aircraft was delivered to British Airways as G-BMRG in May-88. It was sold to Barclays Mercantile Finance (as trustee) in Feb-02 and sold on to EAT European Air Transport the same day. The aircraft was converted to freighter configuration with a main deck cargo door, sold to Boeing Capital and leased back to EAT as OO-DPI in Jul-02. It was operated on behalf of DHL Air. The aircraft was transferred to Blue Dart Aviation (India) in early Apr-06. It became VT-BDJ three weeks later, still operating on behalf of DHL. In Mar-14 it was transferred to DHL Aviation Services (Middle East) as A9C-DHF (Bahrain). The aircraft returned to the UK register as G-BMRG (again) with DHL Air Ltd in Apr-15. After 28.5 years in service, it was permanently retired at Madrid in Jan-18. It was broken up at Madrid in Jul-18. Updated Jan-21.

Replace the straw once a year.

Replaced. Capture One is GBP249 + VAT and this bug has been around for years. It seems to be almost unusable with the unsupported GR III showing drastic barrel distortion and a green tinge, so I will try in-camera JPEGs instead.

The Ferrari Berlinetta Boxer (BB) is a sports car that was produced by Ferrari in Italy between 1973 and 1984. Replacing the front engined Daytona, it was the first in a series of Ferraris to use a mid-mounted flat-twelve engine. The Boxer was designed by Leonardo Fioravanti and was the first mid-engined road-car to bear the Ferrari name and the Cavallino Rampante (prancing horse) logo. It was replaced by the Testarossa, which continued to use the flat-twelve engine.

 

Production of the BB was a major step for Enzo Ferrari. He felt that a mid-engined road car would be too difficult for his buyers to handle, and it took many years for his engineers to convince him to adopt the layout.[3] This attitude began to change as the marque lost its racing dominance in the late 1950s to mid-engined competitors. As a result, the rear-mid-engined 246 P Formula 1 car was introduced in 1960, followed by the Dino SP racing sports prototypes in 1961. In 1963, the company also moved its V12 engines to the rear with its P and LM racing cars.

 

The first "Boxer" was the 365 GT/4 BB shown at the 1971 Turin Motor Show. Designed to rival the Lamborghini Miura and the newly developed Lamborghini Countach, it was finally released for sale in 1973 at the Paris Motor Show. 387 were built, of which 88 were right-hand drive (58 of those for the UK market), making it the rarest of all Berlinetta Boxers. The Pininfarina-designed body followed the P6 show car with popup headlights.

 

Though it shared its numerical designation with the Daytona, the Boxer was radically different. It was a mid-engined car like the Dino, and the now flat-twelve engine was mounted longitudinally rather than transversely (as it was mounted in the Dino; the Daytona was a conventional front-engine, longitudinal design). The engine produced 253 kW; (339 hp) @ 7,200 rpm, slightly more than the Daytona.

 

The engine shared its internal dimensions with the V12 from the Daytona, but was spread out to 180° as on Ferrari's 1970 Formula One car and was mounted above a five-speed manual transmission. One major difference in this engine was its use of timing belts rather than chains. Although referred to as a Boxer, the 180° V12 was not a true boxer engine, but rather a flat engine.

I recently broke my Class of 1984 Texas A&M Aggie Ring and had to have it replaced with a new one. The new one is still a Class of ’84 ring, but it is of the newer one-piece cast design specification that all Texas Aggie Rings have been manufactured to since 1998. So, in effect, it is a 2014 ring with my old class year on it. (I’ll refer to it as the 2014 ring throughout this text).

 

While enjoying a wonderful Mason Jar full of Maker’s Mark at my favorite dive bar on the Jersey Shore, I was looking at my new ring (she’s a beautiful thing) and a Class of 1942 A&M College of Texas ring that I purchased from an estate sale a couple of years ago. The Class of ’42 ring apparently was never worn by the Texas Aggie who purchased it. I did the research on him (his name is inside the ring) and he won some very distinguished awards during WW II. He survived the war in Europe and died an old man in the early 2000s. The old ring is way too small for ANY of my fingers so I wear it occasionally on a leather cord around my neck.

 

While examining my new (2014) model Aggie Ring and the “experienced” 1942 Aggie Ring, I was taken back by the vast number of differences there are in the design of the two rings. There are many!!! I then went online and found out a few facts that helped to explain why the rings are so different:

 

1) My original Class of 1984 Aggie Ring (and the new 2014 replacement for it) were manufactured by Balfour Corporation of Austin, Texas which has been the sole manufacturer of Aggie rings since 1949.

 

2) My older Aggie decorated combat veteran’s ring from the Class of 1942 was manufactured by Josten’s Ring Division headquartered in Owatonna, Minnesota which was the sole manufacturer of Texas A&M Rings from 1940 to 1948.

 

As the two companies aren’t connected, it stands to reason that when Balfour Corporation was awarded the contract, their designer would have had to make new patterns for the A&M ring. Over the years, Balfour has continued to modify the “patterns” that are used to cast the Aggie rings.

 

While I’m sure I’m missing some of the differences in the two Aggie rings, here are some things that immediately jumped out at me while I was casually observing the two rings next to each other.

 

Beginning with the ring crest:

 

1) The large oval around the eagle and inner art is much more prominent on the Balfour 2014 model than the older Jostens one. In fact it’s almost sharp to the touch and stands up way above the crest content. The oval on the 1942 Jostens model is much lower (almost even with the eagle) and smoother. The only way I can explain the tactile feel of the difference between the two would be that the 2014 oval band feels like the top of a beer can while the band on the 1942 ring feels like the smooth bottom of a beer can. The 2014 ring is more of a long oval while the 1942 oval is more round as typical of most older college class rings. If I were to need to punch anyone in the face with one of these rings on, I’d definitely wear the Balfour model as that sharp edge on the oval could definitely do more damage to a human skull than the smooth edge on the older ring.

 

2) The text font on the two rings are totally different. While both rings use a serif font, the font on the 1942 ring is easier to read and not as harsh as the font on the 2014 ring. The font on the 2014 ring almost seems to be cast in a “false perspective” as if it were designed on a computer. The ampersand “&” on the 1942 ring is clearly distinguishable as such while the ampersand on the 2014 ring in the “A&M” is almost unrecognizable as that character and looks more like the cousin of a “6” or a “B.”

 

3) The class year on the 1942 ring is set in a font that is low and wide and blends into the background of the crest quite well. The 2014 ring class year is a bit harsh and tall. It almost looks like a sans-serif font and is so set apart from the art on the rest of the crest that it looks like the class year was added as an afterthought.

 

4) The shield in front of the eagle on both of the rings are very different. While both have 13 stripes in the shield that refer to the 13 original states and symbolize the intense patriotism of graduates and undergraduates of A&M and five stars in the shield refer to phases of development of the student; mind or intellect, body, spiritual attainment, emotional poise, and integrity of character, the aspect ratio and size of the two shields are completely different. The shield on the 1942 ring is much smaller and looks how a shield was depicted in artwork I have seen from the 1800s and early 1900s. The shield on the 1942 ring has five stars with the center of the five stars larger than the two stars on either side of it. The 2014 ring has a much taller and larger shield which unfortunately, obscures much more of the body of the eagle. Also, the stars on the newer ring are all of the same size and are almost distinguishable as stars. They almost look like “dots.”

 

5) The eagle which stands for agility and power is vastly different on the two different rings. The 1942 ring eagle’s head, while smaller than the one on the 2014 ring rises much higher in the crest and is more easily identifiable as an eagle than the one on the 2014 ring. The eagle’s wings on the 1942 ring are much higher on the crest and show distinctly three layers of the eagle’s wings while the wings on the 2014 ring are almost two dimensional at the bottom of the crest and an observer really has to look hard to distinguish any detail. The eagle on the 1942 ring is clearly perched on a rock and you can quite easily see its feet and talons. On the 2014 ring, I can’t really make out the eagle’s feet because of the size of the class year font and the larger shield. It “might” be perched on a branch, but I can’t really tell. It definitely isn’t on a large rock like it is on the 1942 ring. You can even seek the belly of the eagle on the 1942 ring. [Look at the photos of the two crests and note how significant the difference is between the two eagles and shields on the different rings!]

 

Moving on to the side of the ring with the Great Seal of the Republic (State) of Texas which includes the five-pointed star surrounded by a wreath of olive or laurel leaves symbolizing the strength to fight joined at the bottom by a circled ribbon indicating the necessity of joining the two traits to accomplish one’s ambition to serve [the military and the Republic of Texas.]:

 

1) The two “Lone Stars of Texas” on both rings are virtually identical. The olive / laurel leaves on the 1942 ring are more defined and not as obscured with other embellishment as the 2014 ring. The background behind the “Lone Star” on the 1942 ring is plain and simple which makes the star stand out more than on the 2014 ring where there are all sorts of indeterminate lines behind the star which tend to detract from it.

 

2) The ribbon tying the two pieces of vegetation on the 1942 ring is more “three dimensional” where the one on the 2014 ring looks just like a series of lines.

 

3) The American flag on the left of the wreath of the 1942 ring is much easier to identify. While you can only see three stars on the flag and even though they are much smaller on the older ring, they are much sharper than the ones on the 2014 ring which look more like three “dots” or even a raised triangle.

 

4) The “chevrons” at the bottom of the crest are of different proportions on the two rings. The 1942 ring having proportions more like one would have seen on military rank back in the 1800s/1900s.

 

The other side of the ring includes an artillery cannon, a saber, and an infantry rifle which allow us to remember that the men of the Republic of Texas fought for their land and are determined to defend the Republic.

 

1) This side of the ring is were both the 1942 ring and the 2014 ring are the most similar with only minor variations. One of note is that the 2014 ring correctly shows the opening on the cannon where the fuze would have been inserted while the 1942 ring omits this detail.

 

2) The cannon on the 1942 ring is in better proportion to a real cannon and looks slightly better than the cannon on the 2014 ring.

 

3) The “Lone Star” on the Texas flag is bigger on the 2014 ring which I like better than the smaller one on the 1942 ring while the stars on the 1942 ring US flag are more recognizable as stars than their counterparts on the 2014 ring.

 

4) There are minor differences between the rifle and saber on both rings, but they are trivial in nature.

 

The “holes” or pits on the bottom of the ring which any Aggie can tell you stand for “certain individuals who went to Texas University” are effectively identical.

 

Finally, the inside of the ring:

 

1) Both rings contain a mark indicating the gold content of the ring and the manufacturer’s symbol. The Balfour ring has “Balfour” spelled out and some additional letters and numbers that have no meaning to myself.

 

2) The inscribed name of the owner is in different places on the two rings. On the 1942 ring, the name inscription starts at the area that is effectively directly behind the top of the cannon and continues down towards the bottom of the left side of the ring. The 2014 ring inscribed owner’s name is centered underneath the crest so that the owner’s middle initial is effectively underneath the shield. The font on the 2014 ring is much larger than the font on the 1942 ring and a bit “rough.” The font on the 1942 ring is very smooth and formal. Almost reminiscent of old calling cards.

 

Either way, both rings work their “Aggie Magic” and I consider myself lucky to have more than one!!!

Replacing an earlier scanned photo with a better version 22-Nov-21 (DeNoise AI).

 

This aircraft was delivered new to Channel Airways in Mar-69 as G-AWKJ. It was leased to BUA British United Airways in Apr-69 and returned to Channel Airways at the end of the summer season in Oct-69.

 

At the end of Feb-72, Channel Airways ceased trading and the aircraft was returned to the British Aircraft Corporation and stored. In Jan-74 it was re-registered G-BIII and sold to Air Hanson Helicopters who fitted it out for their VIP Charter operation.

 

Obviously it wasn't terribly lucrative and in Jul-74 it was sold to the Philippine Government as RP-C1. In May-85 it was sold to Bryan Aviation and returned to the UK as G-NIII. It was stored at Manchester, UK, and remained there.

 

In Nov-86 it was sold to Okada Air, Nigeria, however it remained stored until Sep-87 when it became 5N-AYV. It operated for Okada Air for another 10 years until it was retired and stored at Benin City, Nigeria in Dec-97. It was eventually broken up.

 

I also have a photo of this aircraft with British United as G-AWKJ taken in May-69, see...

www.flickr.com/photos/kenfielding/6785559629

The Journey so far.

 

New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.

 

In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.

 

Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.

 

The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.

     

At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).

 

Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.

 

Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.

 

If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.

 

1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.

 

Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.

 

1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".

 

The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.

 

By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.

 

In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.

 

Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.

 

Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.

 

Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".

 

After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.

 

Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.

 

By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.

 

On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.

 

One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.

 

In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.

 

The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.

 

The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).

 

The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.

 

It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.

 

In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.

 

After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.

 

This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.

 

Replacing an earlier digital photo with better version 22-Jul-23.

 

Skyservice Airlines special livery promoting 'Sunquest Holidays'.

 

First flown with the Airbus test registration F-WWDR, this aircraft was delivered to SALE Singapore Aircraft Leasing Enterprise (now BOC Aviation Leasing) and leased to Skyservice Airlines (Canada) as C-FRAA in Mar-01.

 

It was sub-leased to Roots Air shortly after delivery. They didn't last and ceased operations in early May-01. The aircraft was returned to Skyservice. It was wet-leased to Pegasus Airlines (Turkey) between Oct/Dec-01.

 

It was sub-leased to MyTravel Airlines (UK) in Jun-03 as a replacement for C-GTDK (which had suffered a bad tail strike at Bristol, UK on 16-Jun-03). C-FRAA returned to Skyservice at the end of Jul-03.

 

It was sub-leased to MyTravel Airways as G-ERAA between Apr/Nov-05, May/Nov-06 and May/Oct-07. MyTravel had been merged into Thomas Cook Airlines UK in Mar-08 and the aircraft was sub-leased to them as G-TCAC between May/Oct-08 and again between Apr/Oct-09, returning to Skyservice as C-FRAA.

 

Skyservice ceased operations at the end of Mar-10 and the aircraft returned to the lessor. It was re-registered N411MP the following month. In May-10 it was leased to Thomas Cook Airlines UK as G-TCAC and returned to the lessor in Apr-11.

 

It was immediately leased to Small Planet Airlines - Polska as SP-HAB. It was sub-leased to Yes Airways in late Apr-11 and returned to Small Planet - Polska in Sep-11. The aircraft was transferred to Small Planet - Lithuania in as LY-SPK in early Sep-18.

 

It was stored at Sharjah, UAE in Oct-18. Small Planet - Polska ceased operations in early Nov-18 and Small Planet - Lithuania ceased operations in late Nov-18. The aircraft was returned to the lessor in Dec-18 as OE-IHM and remained stored at Sharjah.

 

In Apr-19 it was leased to Pan Pacific Airlines, Philippines as RP-C7935. The aircraft was withdrawn from service and stored at Luzon-Clark Field, Philippines in Oct-21. It was ferried to Castellon de la Plana-Costa Azahar, Spain in Dec-21 and permanently retired. Updated 19-Jul-23.

Garden City

. . . 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

Replacing an earlier scanned photo with a better version 05-Dec-17, plus Topaz DeNoise AI 26-Aug-23.

 

Fleet No: '756'.

 

This aircraft was delivered to Pacific Western Airlines as C-GTPW in Dec-81. Pacific Western was merged into Canadi>n Airlines International in Apr-87 (the '>' in the titles always faces forward).

 

The aircraft was sold to a lessor in Nov-87 and leased back to Canadi>n Airlines. In Apr-01 Canadi>n Airlines was merged into Air Canada. The aircraft continued in service until it was returned to the lessor and permanently retired at Mojave, Ca, USA in Jul-03.

 

It was re-registered N291TR in Nov-03 but the registration was never applied to the aircraft. The registration was finally cancelled in Jan-13.

The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.

 

The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.

 

Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.

 

Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.

 

The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.

 

History

Main article: History of the Palace of Versailles

An engraving of Louis XIII's château as it appeared in 1652

Versailles around 1652, engraving by Jacques Gomboust [fr]

In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.

 

When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.

 

Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.

 

Construction

Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.

 

Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.

 

Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.

 

War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.

 

Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.

 

Role in politics and culture

The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.

 

By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[

 

Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.

 

During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.

 

In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.

 

The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.

 

As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.

 

By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.

 

19th century – history museum and government venue

When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.

 

In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.

 

The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.

 

Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.

 

During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.

 

The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.

 

20th century

The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.

 

The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.

 

More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.

 

In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.

 

Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.

 

One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.

 

21st century

In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.

 

The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.

 

The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.

 

Architecture and plan

The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.

 

The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[

 

The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.

 

Royal Apartments

The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.

 

The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.

 

The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.

 

Ambassador's Staircase

The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.

 

The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.

 

The State Apartments of the King

The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.

 

The Salon of Hercules

This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.

 

The Salon of Abundance

The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.

 

The Salon of Venus

This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.

 

The Salon of Mercury

The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.

 

The Salon of Mars

The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.

 

The Salon of Apollo

The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.

 

The Salon of Diana

The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.

 

Private apartments of the King and Queen

The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.

 

The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.

 

The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.

 

The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.

 

Private apartments of The Queen

The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.

 

Hall of Mirrors

The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.

 

The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.

 

Royal Chapel

The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.

 

Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.

 

Royal Opera

The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.

 

In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.

 

Museum of the History of France

Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.

 

The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.

 

Estate of Versailles

The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts

 

The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.

 

The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.

 

Gardens

The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.

 

Subsidiary structures

The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.

 

In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.

 

La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.

 

Petit Trianon

The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.

 

In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.

 

The Grand Trianon

The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.

The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.

 

To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.

 

The Queen's hamlet and Theater

Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.

 

Modern political and ceremonial functions

The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).

 

In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.

Replacing phone pole snapped in windstorm previous night. 255 Blue Hill Avenue, Milton, MA 10/8/20

[replaced the controversial Reiterdenkmal]

Replacing the original number 19, this Leyland National was previously East Kent NFN71M then National Welsh N1504. It came to the Isle of Man in 1985. Seen in Douglas on 23 May 1986,

Replaced the belt tensioner, tensioner pulley and belt whilst the Mini is in front end service mode.

October 1976 (เหตุการณ์ 6 ตุลา), was an attack on students and protesters that occurred on the campus of Thammasat University and at Sanam Luang in Bangkok. Students from various universities were demonstrating against the return to Thailand of former military dictator Field Marshal Thanom Kittikachorn.

 

By the official count, forty-six people died in the attack, during which protesters were shot, beaten and their bodies mutilated. According to Puey Ungpakorn: "sources at the Chinese Benevolent Foundation, which transported and cremated the dead..., revealed that they had handled over a hundred corpses."

 

After Thanom was replaced by a civilian prime minister in October 1973, an army faction headed by Major-General Pramarn Adireksarn began plotting a return to military rule. Right-wing paramilitary groups were armed and trained and a crackdown on left-wing activists was prepared

 

- - - -

  

Thailand and the American war in Vietnam

April 26, 2015

Giles Ji Ungpakorn

uglytruththailand.wordpress.com/tag/giles-ji-ungpakorn/pa...

 

The year “1968” conjures up images of radicalism, especially opposition to the American war in Vietnam. When considering Thailand, it is important to understand that the “Seventies” movement in Thailand was linked to the struggles of the “Sixties” internationally. This link between the Sixties and Seventies occurs in two ways. Firstly, the wave of student revolts and the activism among young people in Western Europe and the United States, the “1968 movement”, were an inspiration which ignited the left-wing struggles in the early 1970s in Thailand. Libertarian left-wing ideas from the Western movement entered Thai society by way of news reports, articles, books, music and the return of Thai students from the West, especially art students in the first instance. Secondly, the victory of Communist Parties in Indochina after the U.S.A lost the war in Vietnam had a massive impact in igniting struggles for a new society in Thailand. These Asian Communist victories were also directly linked to the “Sixties” movement in the West in a dialectical manner. The radicals in the West were inspired by the struggles against imperialism in South-east Asia and other areas of the globe and the anti-war movement, which was an important part of the latter period of the “Western Sixties”, helped to destroy the ability of the U.S. to continue with the war.

 

What did the Thai “Seventies” look like? The first picture in one’s mind should be half a million people, mainly young school and university students, but also ordinary working people, protesting around the Democracy Monument on 14th October 1973. This resulted in the overthrow of the military dictatorship. It was the first mass popular uprising in modern Thai history. The 14th October and the following struggles, victories and defeats that make up the “Thai Seventies” have continued to shape the nature of politics and society to this day.

 

The military domination of Thai politics, started soon after the 1932 revolution. But its consolidation of power came with the Sarit military coup in 1957. The economic development during the years of this ruthless military dictatorship in the 50s and 60s took place in the context of a world economic boom and a localised economic boom created by the Korean and Vietnam wars. This economic growth had a profound impact on the nature of Thai society. Naturally the size of the working class increased as factories and businesses were developed. However, under the dictatorship trade union rights were suppressed and wages and conditions of employment were tightly controlled. By early 1973 the minimum daily wage, fixed at around 10 baht since the early 1950s, remained unchanged while commodity prices had risen by 50%. Illegal strikes had already occurred throughout the period of dictatorship, but strikes increased rapidly due to general economic discontent. The first 9 months of 1973, before the 14th October, saw a total of 40 strikes, and a one month strike at the Thai Steel Company resulted in victory due to a high level of solidarity from other workers.

 

Economic development also resulted in a massive expansion of student numbers and an increased intake of students from working class backgrounds. The building of the Ramkamhaeng Open University in 1969 was a significant factor here. Student numbers in higher education increased from 15,000 in 1961 to 50,000 by 1972. The new generation of students in the early 1970s were influenced by the revolts and revolutions which occurred throughout the world in that period, May 1968 in Paris being a prime example. Before that, in 1966 the radical journal, “Social Science Review”, was established by progressive intellectuals. Students started to attend development camps in the countryside in order to learn about the problems of rural poverty. By 1971 3,500 students had attended a total of 64 camps. In 1972 a movement to boycott Japanese goods was organised as part of the struggle against foreign domination of the economy. Students also agitated against increases in Bangkok bus fares.

 

In June 1973 the rector of Ramkamhaeng University was forced to resign after attempting to expel a student for writing a pamphlet criticising the military dictatorship. Four months later, the arrest of 11 academics and students for handing out leaflets demanding a democratic constitution, resulted in hundreds of thousands of students and workers taking to the streets of Bangkok. As troops with tanks fired on unarmed demonstrators, the people of Bangkok began to fight-back. Bus passengers spontaneously alighted from their vehicles to join the demonstrators. Government buildings were set on fire. The “Yellow Tigers”, a militant group of students, sent a jet of high-octane gasoline from a captured fire engine into the police station at Parn-Fa Bridge, setting it on fire. Earlier they had been fired upon by the police.

 

The successful 14th October 1973 mass uprising against the military dictatorship shook the Thai ruling class to its foundations. For the next few days, there was a strange new atmosphere in Bangkok. Uniformed officers of the state disappeared from the streets and ordinary people organised themselves to clean up the city. Boy Scouts directed traffic.

 

Success in over-throwing the military dictatorship bred increased confidence. Workers, peasants and students began to fight for more than just parliamentary democracy. In the two months following the uprising, the new Royal appointed civilian government of Sanya Tammasak faced a total of 300 workers’ strikes. A central trade union federation was formed. New radical student bodies sprang up. On the 1st May 1975 a quarter of a million workers rallied in Bangkok and a year later half a million workers took part in a general strike against price increases. In the countryside small farmers began to build organisations and they came to Bangkok to make their voices heard. Workers and peasants wanted social justice and an end to long-held privileges. A triple Alliance between students, workers and small farmers was created. Some activists wanted an end to exploitation and capitalism itself. The influence of the Communist Party of Thailand increased rapidly, especially among activists in urban areas.

 

One important area of activity for students was the struggle against U.S. imperialism. The military dictatorship had been a close ally of the United States, sending token numbers of Thai troops to support the U.S. in both Korea and Vietnam. In 1973 there were 12 U.S. military bases in the country, with 550 war planes and thousands of troops stationed on Thai soil in order to help the U.S. war effort in Indo-China.

 

In 1968 I was taken on a school trip to visit U Tapao airbase near Sattahip and Pattaya. This was one of the key USAF bases used for the B52 bombing raids in Vietnam. On the sides of these giant monsters of murder were painted a number of red bombs, one for each bombing raid which had been carried out. Around the base were wooden shacks where women from poverty-stricken villages lived. They were sex workers servicing the US soldiers.

 

The Thai government was also involved in CIA sponsored clandestine operations in Lao and Cambodia. My school girl friend’s father was a soldier who had been killed in Lao. She wore a black skirt instead of the usual blue, which was normally the required school uniform colour.

 

The presence of such a large number of U.S. forces, plus what was seen as the economic dominance of U.S. companies in the local economy, seemed to confirm the Maoist analysis by the Communist Party of Thailand (C.P.T.) that Thailand was a “semi-colony” of the U.S.A. After 1973 there was therefore a growing campaign to kick out U.S. bases.

 

This campaign against U.S. bases, which later on received a boost from the defeat of the U.S.A. in Vietnam and the resulting new geo-political consequences, led to Prime Minister Kukrit’s demand in March 1975 that the U.S. withdraw all troops from Thailand. This was backed up by a massive anti-U.S. base demonstration on 21st March 1976. The U.S. finally withdrew its troops from Thailand shortly after this.

 

The Thai elite’s fear of a rising left-wing movement eventually led to the 6th October 1976 blood bath at Thammasart University and the return of an extreme right-wing military regime.

  

Now replaced on the Two, these Volvo B7RLE Wright Eclipses work on the Comet, which currently has no branded vehicles, which was formerly Red Arrow between Derby and Chesterfield. Here is 746 FJ09XPE

The sea level continues to rise - so far it has been possible to build dikes and water barriers - and the former pavements have been replaced by large floating structures - all basements are filled with water. Damp and rot attack all buildings - the first old buildings have collapsed - when will entire districts collapse?

Replacing an earlier digital photo with a better version 06-Jan-23.

 

Additional '50 years' sticker.

 

First flown with the Boeing test registration N6069B, this aircraft was delivered to Condor Flugdienst as D-ABOC in May-99.

 

The airline was renamed Thomas Cook Airlines Germany in Jun-02 but the name change didn't go down well with the German public and in Jun-04 it returned to being called Condor.

 

Blended winglets were fitted in Apr-10. The Thomas Cook Group UK ceased operations on 23-Sep-19, however Condor Flugdienst managed to keep going with a bridging loan from the German Government. In May-21 a 51% majority stake in the company was purchased by Attestor Capital, a German Investment company.

 

It was withdrawn from service and sored at Tel Aviv, Israel at the end of Oct-20 due to the COVID-19 Pandemic and returned to service in Jun-21. After 23 years in service this aircraft was stored at Dusseldorf in Aug-22. It was ferried to Ciudad Real, Central Spain in Nov-22 for further storage. Permanently retired? Updated 27-Oct-24.

Replaced the original BW version with this one in desaturated color to better show the discoloration and age. The dolls looked very dingy and forlorn to me.

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

 

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

+++ 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:

Although Japan had designed and manufactured a number of military aircraft before and during World War II, it was forbidden according to the Potsdam Declaration from engaging in the production of airplanes and other products that could be used to rearm a military. These restrictions, however, were lightened by the United States during the Korean War, opening up the possibility for a Japanese company to produce a civilian aircraft.

 

Actually a consortium of several different manufacturing companies and university professors, NAMC was founded in April 1957 by executives from Mitsubishi Heavy Industries, Fuji Heavy Industries, Shin Meiwa Manufacturing, Sumitomo, Japan Aircraft, Showa Aircraft, and Kawasaki Heavy Industries with the goal of designing and manufacturing a Japanese civilian turboprop airliner to replace the successful but aging Douglas DC-3. The resulting aircraft, the YS-11, a low-winged twin-turboprop-engine monoplane, capable of seating up to 60 passengers, became a successful civilian airliner.

On 30 August 1962, the first YS-11 prototype performed its maiden flight. Deliveries commenced on 30 March 1965 and commercial operations began the following month. The majority of orders for the type were issued from various Japanese airliners. While sales to such customers were swift in the YS-11's initial years of availability, this limited market soon became saturated, leading to a slump in demand. By the late 1970s, after producing several variations of the YS-11, NAMC hoped to introduce a jet airliner in order to replace and upgrade the primarily domestic operators and compete with those short-haul airliners being produced in the U.S. by companies such as Boeing and McDonnell Douglas.

 

This project was called YS-21 and work started in 1968. During the design phase, a high level of attention was paid to market research and operator concerns – even though this was almost exclusively limited to the domestic, Japanese market. Amongst other changes made, the prospective jetliner was increased in size, changing its maximum seating capacity from the YS-11’s 60 to at least 85 passengers in a five-abreast configuration, with a maximum of 100 seats in a tight single-class arrangement.

The aircraft’s general layout resembled the contemporary Boeing 737: a low-wing twin-jet airliner with a conventional tail and podded engines slung under the only slightly swept (just 25°at quarter chord) wings. However, the engines were not directly mounted under the wings, but rather in pods on pylons that set them apart from the wings’ undersurfaces. Fuel was stored within both the outer wings and within the lower fuselage. As a special feature, additional pylon-mounted tanks could be installed under the outer wings for extended range operations if so required.

 

Special care was taken to allow the aircraft to operate from the same smaller airfields as the YS-11, and various elements of the YS-21 were designed to maximize passenger comfort and operator convenience during operations on 2nd class airfields. One such measure was the rear entry door with built-in stairs that, while adding structural complexity, meant that mobile airport stairs were unnecessary for boarding. In order to ensure operations on smaller airfields and reduce ground pressure, the aircraft received, despite its compact size, four-wheel bogies on its main landing gear. The machine furthermore feature an autonomous power unit (APU) for operations independent from most airfield equipment.

 

However, a central problem of the YS-21’s development became the powerplant: there was no indigenous engine available to power the aircraft, and developing one at a timely schedule for the YS-21 program turned out to be prohibitively expensive and time-consuming. At one stage of development, NAMC had reportedly intended the YS-21 to be powered by a pair of Bristol Siddeley BS.75 turbofans. However, this selection was hotly contested by rival British engine manufacturer Rolls-Royce, who proposed their Rolls-Royce Spey Junior, a simplified version of the Rolls-Royce Spey.

The engine procurement from foreign sources caused a lot of debate, not only among the NAMC engineers, but also on a political level, since the YS-21 was intended to be a 100% domestic product. Eventually, pragmatism prevailed and the Pratt & Whitney JT8D-9 with thrust reversers and an output of 14,500 lbf (64.50 kN) was chosen, because it was, at the time of the YS-21’s development, to be built under license by Mitsubishi for the Kawasaki C-1 JASDF military jet transport aircraft. A compromise that more or less saved face of the project leaders and the political powers that promoted the aircraft.

 

A distinctive design trademark of the YS-21 became its engine pods: in order to gain as much ground clearance as possible and keep the landing gear short, the JT8s’ auxiliary installations were mounted to the engines’ sides, resulting in a noticeable bulge on the pods’ outer flanks and a noticeable oval air intake orifice.

 

Initial domestic market response was quite positive, mostly boosted by national pride, though, and NAMC tried to attract the interest of major national airlines (primarily JAL and ANA, but also smaller companies) and several foreign regional airlines, touting the YS-21 as the better alternative to the foreign Douglas DC-9 or Boeing 737. A few airlines, also from other countries, showed some initial interest but only ANA and JAL placed concrete orders. These were (mis)interpreted as a very positive sign, though, and production was prematurely greenlighted with only 15 firm orders and 10 options in the books.

 

This lack of interest could be, despite the YS-21’s qualities, contributed to several factors. The main influence was the oil crisis of the 1970s, but another factor was the YS-21’s limited capacity and range – suitable for domestic service in Japan with many short routes, but unattractive for many other potential users. At maximum payload, the aircraft's range was only a mere 1,700 km (a comparable early Boeing 737 had a range of 2.800km), and the optional underwing tanks did not help much since drag and extra weight almost entirely compensated for the potential increase in range. This inherent flaw resulted in a high refueling frequency that grounded the aircraft more often than other types and, as a further effect, relatively high operating costs.

 

Consequently, the YS-21 achieved no foreign sales, and beyond JAL and ANA as launch customers and main operators of the type, only Japan Transocean Air ordered four machines. With a total of only thirty-three sales and with one of the three prototypes refurbished and sold as the 11th YS-21 to ANA, the airliner represented a severe failure for NAMC and the Japanese commercial airliner industry. Plans for an enlarged version with a stretched fuselage for up to 120 passengers never left the drawing board, since both the domestic and the international markets for short and medium range passenger aircraft were already dominated by other types like the Boeing 727 and 737.

 

In service, the YS-21 was quickly nicknamed “Karigane” (かりがね; Wild Goose), due to its slender fuselage, the streamlined cockpit section that resembled a goose’s head on a long neck, and the engine nacelles under the rather straight wings, which reminded of the bird’s stretched feet upon landing. This nickname was never officially adopted, though, but frequently used by the crews and in public.

 

The YS-21 turned out to be a reliable and sturdy aircraft, popular among its crews for its good low speed handling. On 29 April 1995, the last YS-21s in service flew their last commercial flights. Throughout their combined cumulative operational lifetimes, the YS-21s accumulated a total of 1.18 mio. flight hours, during which 80.4 million passengers were carried across 1.3 mio. individual flights, without any accidents and an impressive 98% in-service reliability.

  

General characteristics:

Crew: 3

Capacity: 85 with 8,400 kg (18,519 lb) payload

Length: 32.40 m (106 ft 1 1/2 in)

Wingspan: 34.3 m (112 ft 6 in)

Height: 10.80 m (35 ft 4 1/2 in)

Wing area: 146.7 m2 (1,579 sq ft)

Empty weight: 22,200 kg (48,943 lb)

Max takeoff weight: 46,000 kg (101,413 lb)

Powerplant:

2× Mitsubishi-built Pratt & Whitney JT8D-9 low bypass turbofans, 64 kN (14,500 lbf) thrust each

 

Performance:

Maximum speed: 590 mph (950 km/h, 510 kn) at 6,100 m (20,000 ft)

Cruise speed: 470–530 mph (750–850 km/h, 400–460 kn) at 6,100 m (20,000 ft)

Range: 1,700 km (1,100 mi, 920 nmi)

Service ceiling: 12,000 m (39,000 ft)

Rate of climb: 16.7 m/s (3,300 ft/min) at 2,135 m (7,005 ft)

Takeoff roll: 1,859 m (6,099 ft)

Landing roll: 1,755 m (5,670 ft)

  

The kit and its assembly:

Even though I am not a fan of small-scale airliners, I have recently (and successfully) built two what-if conversions, and I still had the idea of this short-haul airliner in the back of my mind since my Il-60 airliner build. The latter was based on a Caravelle airliner and featured two turboprops on the wings in new nacelles as well as a low tail. However, when I built it, I already considered a similar conversion, just with podded jet engines under the wings like the Dassault Mercure or the Boeing 737.

I had based the Il-60 on the rather crappy Caravelle kit from Mastercraft, so that I switched this time to the new (but much more expensive) Amodel kit – in this case the Caravelle 10R model, which comes with proper JT8 engine pods.

 

Despite a completely new layout of the aircraft, I wanted to change as little as possible and use only few donor parts. In fact, the only additional/new parts are the radome (actually a propeller spinner from a Matchbox He 115, simply glued onto the Caravelle’s nose and blended into the fuselage with PSR) and longer landing gear struts, because the re-located engines under the wings called for a bigger ground clearance. The front leg was completely replaced (taken from a 1:200 Space Shuttle, but still with OOB wheels), while on the main struts only the legs were replaced with longer parts from a 1:72 F4U. A weird detail: the kit comes with separate struts and bogies, but this makes this surgery relatively easy. In order to change the profile of the aircraft I replaced the round fin tip with a square one, scratched with styrene sheet and PSR.

 

Lots of PSR went into the build, in part because of peculiar solutions the mold designers chose. For instance, the window section consists of three clear panels per side, to be glued into recesses on the flanks, which have back walls. The benefit of this construction is beyond me, because it just causes surface mess and calls for sanding and filling. Naturally, the three panels per side do not lie perfectly flat or even in their recesses, and they are in total 2mm too long for their intended openings…? WHY!? If Amodel had wanted a clean solution, they could (and should) have molded the complete fuselage halves as clear parts? Another weak point I came across was the windshield, which comes (Minicraft style) as a clear cockpit area section and seemed to belong to an altogether different aircraft – it did not fit into the respective fuselage opening at all and called for massive trimming and more PSR…

 

These problems with the clear parts almost ruined everything, and that’s a shame because the Amodel Caravelle is a nice kit of this airliner, with fine, recessed surface details and delicate details. Nevertheless, even though it is a modern mold the kit does not get together easily, a typical short-run affair without locator pins.

 

As a typical feature of my airliner builds, I added a vertical styrene tube in the fuselage’s center of gravity as a display holder adapter for the in-flight scenes.

  

Painting and markings:

I had a hard time figuring out a potential manufacturer and operator for this aircraft – placed into the Seventies time frame, there were many similar designs on the market, so why add another short-/medium range airliner with a rather limited capacity which would rather be a Sixties design? After long considerations I settled upon a Japanese aircraft – national pride and stubborn processes might certainly lead to such an aircraft, and the YS-11 shows that the idea is not far-fetched.

 

I also considered a fictional airline as operator, but when I checked options for an aftermarket decal sheet, I realized that the early ANA livery, the so-called “Mohican” scheme due to the blue dorsal stripe, featured a da Vinci helicopter as a logo. I never noticed this before or wasn’t able to identify it, and I found this badge so charming and weird that I eventually settled for ANA as the aircraft’s operator. After some more search I even found a decal sheet from 26decals for an ANA Boeing 767 from 2009 in a retro scheme, and I was also able to organize a Mohican livery sheet from a Hasegawa 1:200 Boeing 737, because the 767 fin emblems were simply oversized for the Caravelle’s fin.

 

Creating and adapting the early ANA scheme to the model was complicated, though. In an initial step I gave the model’s underside and the upper wing surfaces a coat of White Aluminum from the rattle can – I opted for this simple quasi-NMF finish because of its retro look. The upper fuselage became white, with the help of decal sheet material and enamel paint (Humbrol 22). The blue spine and the fin were also painted with a brush in French Blue (Modelmaster), which came close to the cheat lines’ blue tone from the retro 767 sheet – even though these are IMHO a bit dark. Some fine-tuning and decal trimming had to be done in order to make the livery work, though, but I think the result looks quite good – better than expected after this material mish-mash.

 

Once the basic livery had been applied, the windows were added with decals. The cockpit windows had to be improvised, since Amodel’s Caravelle sheet does not offer a decal option for the windscreen. But I am not sure if it would have matched the modified nose section at all? So I trimmed down the Boeing 767 windscreen from the 26decal sheet and improvised. The cabin windows were taken from the 767, too. I wanted a very different look from the Caravelle’s original triangular window rows, and with the 767 windows' rather oval shape and higher density, this worked well. It also makes the YS-21 look bigger than it actually is.

After that, the airline markings and some more details like walkways on the wings (created with generic decal strips from TL Modellbau) were added.

 

In a final step, the landing gear was finished and some more detail painting (position lights, exhausts and thrust reversers) was done, before the kit was sealed with an overall coat of gloss acrylic varnish for a clean and shiny look.

 

I am torn about the outcome of this build, esp. the Amodel base. After long waiting, I hoped for a decent Caravelle kit in 1:144 scale. It is basically there, but the weird window panel construction really ruins what could have been a crisp up-to-date offering. This does not ruin the model as such, but the panel solution is IMHO far from perfect and user-friendly. :(

The layout conversion into the 737-style YS-21 whif worked well, despite some problems, and I think there’s only little left of what reminds of the model’s Caravelle heritage. The ANA Mohican livery also looks stylish, it adds a nice retro touch to the aircraft, very Seventies (if not Sixties?). With the glossy and bright finish, the model even looks, from certain angles, like a vintage Chinese tin toy?

Railway Gazette reported on the 16th December 2016 that the leaders of the Liverpool City Region Combined Authority had givene the go-ahead for a £460m project to replace the Merseyrail suburban electric multiple-unit fleet. This includes the selection of Stadler to supply a fleet of 52 trainsets for entry into service from the end of 2020. Contracts are expected to be signed in early 2017.

‘This is a once in a generation opportunity for custom-built trains that will be safer and carry more people more quickly’, said Chair of the combined authority and Mayor of Liverpool Joe Anderson. ‘Unusually, these trains will be owned by us locally, meaning we can make sure the trains are exactly what passengers want and that they are ready for our future plans.’

The project is being financed from a reserve fund which had been established for the purpose, as well as loans which the combined authority is to secure from sources including the European Investment Bank. Transport authority Merseytravel will own the trains and lease them to the operating concessionaire, which will be paid a lower operating fee to account for the expected increase in revenue and lower running costs.

The fleet renewal programme also includes power supply, track, and station upgrades and refurbishment of the Kirkdale and Birkenhead North depots. The reduced journey times and better reliability means the decision has been made to order 52 EMUs to replace the current fleet of 59 trains.

The first EMU is scheduled to be delivered in summer 2019 for several months of testing ahead of the delivery of series-built trains by the end of 2020. A new timetable will be introduced in 2021 once the existing Class 507 and 508 units dating from the 1970s have been withdrawn; the new trains’ better acceleration and braking is expected to enable Hunt’s Cross – Southport journey times to be reduced by 9 min.

The 65 m long four-car EMUs will have the same number of seats as the existing three-car sets, but will be 4 m longer with wide through gangways to provide an increase in standing space. This will increase total capacity per EMU from 303 to 486 passengers.

There will be a mix of airline and facing seats, with more space for bicycles, pushchairs and persons with reduced mobility. The train body will be designed specifically for the Merseyrail network, with lower floors and a sliding step to provide near-level access.

There will be a passenger intercom and CCTV linked to the driver and control room. The doors will be illuminated red, amber and green inside and out to show when they are opening or closing and when it is safe to board and alight.

At 99 tonnes, the EMUs will be lighter than the current 105 tonne trains, and energy consumption is expected to be 20% lower, including regenerative braking; options for energy storage are to be studied.

The 750 V DC third-rail EMUs will be capable of conversion to dual-voltage operation for use on 25 kV 50 Hz lines with a view to serving Skelmersdale, Warrington and Wrexham in the longer term.

The trains will be equipped for driver controlled operation, which the combined authority said was ‘put forward by all bidders’ as way to meet the requirements of a report into a fatal incident in 2011. The driver will be responsible for opening and closing the doors and for train dispatch, eliminating the need for guards. Roving customer service roles will be created, with staff available to assist passengers ‘at key locations and times’. There will be fewer customer service roles than guards positions, and while the combined authority envisages there will be natural wastage over the next four years, it has endorsed proposal to guarantee continued employment for all guards currently permanently employed.

‘In an ideal world we’d like to have a second member of staff on every train to ensure the highest level of customer service, but there aren’t the resources to do that’, said Councillor Liam Robinson, Chair of the Merseytravel Committee. ‘Some guards will have the opportunity to be employed in a new on-board customer service role and others will be able to take advantage of other redeployment opportunities, all on the same terms and conditions as now.’

 

The contract came in slightly over budget (£460m vs target of £400m)

52 units, slightly over the tender requirement of 50 but a reduction from current fleet of 59 (increased reliability and faster journey speeds anticipated to compensate)

65m versus tender specification of 60m to allow doubling up, though that wasn't expected to be normal operating practise just for event strengthening (3m longer than current 62m fleet) and they have significantly higher capacity (60%) from being a wide aisle articulated design.

No mention of earlier proposed fleet extension options, the tender called for 60 options on top of original 50

99 tonnes, 6 tonnes lighter than existing trains and 20% more energy efficient.

DOO but with driver aides such as radar to detect obstructions and people standing too close.

The single doors in the end cars appear to be to allow them to work in multiples without having to extend the platforms. By having a single door in the middle of the car the front and or back could potentially overhang the platform ends to provide a capacity uplift without the additional infrastructure costs.

 

Images- Merseytravel/Stadler.

 

replaced.

I finally had the three broken windows replaced. Damn expensive, but really makes a difference how the house feels.

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

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

 

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

 

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

 

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

 

the full story can be seen in this set.

 

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