+++ DISCLAIMER +++

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

 

Some Background:

The Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor.

The aircraft reached operational service in May 1950 with Air Defense Command, replacing the propeller-driven North American F-82 Twin Mustang in the all-weather interceptor role. The F-94 was the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.

 

The initial production model was the F-94A, which entered operational service in May 1950. Its armament consisted of four 0.50 in (12.7 mm) M3 Browning machine guns mounted in the fuselage with the muzzles exiting under the radome. Two 165 US Gallon (1,204 litre) drop tanks, as carried by the F-80 and T-33, were carried on the wingtips. Alternatively, these could be replaced by a pair of 1,000 lb (454 kg) bombs under the wings, giving the aircraft a secondary fighter bomber capability. 109 were produced.

 

The subsequent F-94B, which entered service in January 1951, was outwardly virtually identical to the F-94A. The Allison J33 turbojet had a number of modifications made, though, which made it a very reliable engine. The pilot was provided with a more roomy cockpit and the canopy was replaced by a canopy with a bow frame in the center between the two crew members, as well as a new Instrument Landing System (ILS). 356 of these were built.

 

The following F-94C was extensively modified and initially designated F-97, but it was ultimately decided to treat it as a new version of the F-94. USAF interest was lukewarm, since aircraft technology developed at a fast pace in the Fifties, so Lockheed funded development themselves, converting two F-94B airframes to YF-94C prototypes for evaluation.

 

To improve performance, a completely new, much thinner wing was fitted, along with a swept tail surface. The J33 engine was replaced with a more powerful Pratt & Whitney J48, a license-built version of the afterburning Rolls-Royce Tay, which produced a dry thrust of 6,350 pounds-force (28.2 kN) and approximately 8,750 pounds-force (38.9 kN) with afterburning.

 

The fire control system was upgraded to the Hughes E-5 with an AN/APG-40 radar in a modified nose with an enlarged radome. The guns were removed and replaced with an all-rocket armament, which was – at that time – regarded as more effective against high-flying, subsonic bomber formations. The internal armament consisted of four flip-up panels in a ring around the nose, each containing six rockets. External pods on the wings augmented the offensive ordnance to 48 projectiles. Operational service began with six squadrons by May 1954.

 

According to test pilot Tony LeVier, the F-94C was capable of supersonic flight, but Lockheed felt that the straight wing limited the airframe's potential, esp. with the uprated engine. Besides, the earlier F-94 variants already saw the end of their relatively brief operational life, already being replaced in the mid-1950s by the Northrop F-89 Scorpion and North American F-86D Sabre interceptor aircraft in front-line service and relegated to National Guard service. Therefore, Lockheed launched another update program for the F-94 in 1953, again as a private venture.

 

The resulting F-94E (the F-94D was a proposed fighter bomber variant which made it to prototype staus) was another, evolutionary modification of the basic concept, which, in the meantime, had almost nothing left in common with its F-80/T-33 ancestry.

It was based on the F-94C, most obvious change was the introduction of swept wings for supersonic capability in level flight. This change also necessitated other aerodynamic adjustments, including a new, deeper fin with increased area and a modified landing gear that would better cope with the increased AUW.

 

Under the hood, the F-94E was constructed around the new Hughes MG-3 fire control system, similar to the early F-102, but kept the AN/APG-40, even though it was coupled with an enlarged antenna. The respective new radome now covered the complete nose cross section. Furthermore, the F-94 E introduced innovations like a Texas Instruments infrared search/tracking system (IRST), which allowed passive tracking of heat emissions, mounted in a canoe fairing under the nose, passive radar warning receivers, transponders as well as backup artificial horizons.

 

With this improved equipment the interceptor was now able to deploy semi-active radar homing GAR-1s and/or infrared GAR-2s (later re-designated AIM-4A/B Falcon), operating at day and night as well as under harsh weather conditions.

 

All missiles were carried externally on underwing pylons. Beside the original main wet hardpoints outside the landing gear (typically a pair of 165 US Gallon (1,204 litre) drop tank, that were carried on the wing tips on the former versions), two additional pairs of lighter pylons were added under the wing roots and the outer wings.

 

Typically, a pair of SARH- and IR-guided AIM-4s were carried, one per pylon, plus a pair of drop tanks. Alternatively, the F-94E could carry up to 4.000 lb (1,816 kg) of ordnance, including up to six streamlined pods, each holding nineteen 2 ¾” in (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets. Any internal armament was deleted.

 

The F-94E's new wings allowed a top speed of 687mph at sea level and a top speed of 693 mph (1,115 km/h) at height – compared with the F-94C’s 640 mph (556 kn, 1,030 km/h) a rather mild improvement. But the enlarged wing area resulted in a considerably improved rate of climb as well as good maneuverability at height. The F-94E's performance was overall on par with the F-86D, with the benefit of a second crew member, while its weapon capability was comparable with the much bigger (but slower) F-89.

 

Both of these types were already introduced, so the Air Force's interest was, once more, less than enthusiastic. Eventually the F-94's proven resilience to harsh climate conditions, esp. in the Far North, earned Lockheed in 1955 a production contract for 72 F-94Es for interceptor squadrons based in Alaska, New Foundland, Greenland and Iceland.

 

These production machines arrived to the Northern theatre of operations in summer 1956 and featured an improved weapon capability: on the wet wing hardpoints, a pair of MB-1 Genie (formerly known as ‘Ding Dong’ missile, later re-coded AIR-2) nuclear unguided rockets could be carried.

 

For the missile pylons under the wing roots, twin launch rails were introduced so that the F-94E could theoretically carry a total of up to eight AIM-4 missiles, even though the wet pylons were typically occupied with the drop tanks and only two pairs of AIM-4A and B were carried under the wing roots. The J48 engine was slightly uprated, too: the F-94E’s P-9 variant delivered now 6,650 lbf (29.5 kN) dry thrust and 10,640 lbf (47.3 kN) at full afterburner.

 

Keflavik Airport, Iceland, although controlled by Military Air Transport Service (MATS), was the first base to be equipped with F-94Es as part of the 82d Fighter-Interceptor Squadron in early 1957, where the machines replaced F-94Bs and F-89Cs.

 

The type was popular among the crews, because it coupled a relatively high agility (compared with the F-89 Scorpion) with the psychological benefit of a two men crew, not to be underestimated during operations in the Far North as well as over open water.

 

The F-94's career didn't last long, though, the aircraft soon became outdated. The last F-94E was already retired from USAF front-line service in November 1962, only three years after the last F-94C Starfires were phased out of ANG service. Eventually, the fighters were replaced by the F-101, F-102 and the F-106.

  

General characteristics:

Crew: 2

Length: 44 ft 11 in (13.71 m)

Wingspan: 39 ft 10 in (12.16 m)

Height: 14 ft 6 in (4.43 m)

Wing area: 313.4 sq ft (29.11 m²)

Empty weight: 12,708 lb (5,764 kg)

Loaded weight: 18,300 lb (8,300 kg)

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

 

Powerplant:

1× Pratt & Whitney J48-P-9 turbojet, rated at 6,650 lbf (29.5 kN) dry thrust

and 10,640 lbf (47.3 kN) at full afterburner.

 

Performance:

Maximum speed: 693 mph (1,115 km/h) at height and in level flight

Range: 805 mi (700 nmi, 1,300 km) in combat configuration with four AAMs and two drop tanks

Ferry range: 1,275 mi (1,100 nmi, 2,050 km)

Service ceiling: 51,400 ft (15,670 m)

Rate of climb: 12,150 ft/min (61.7 m/s)

Wing loading: 78.6 lb/ft² (384 kg/m²)

Thrust/weight: 0.48

 

Armament:

Six underwing pylons for a mix of AIM-4 Falcon AAMs (IR- and SARH-guided),

pods with unguided 19× 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets,

a pair of 165 gal. drop tanks or a pair of unguided nuclear MB-1 Genie air-to-air missiles

  

The kit and its assembly:

Another entry for the Cold War GB at whatifmodelers.com. This build was originally inspired by profiles of a P-80/F-86 hybrid, and respective kitbashings from other modelers. An elegant, though fictional, aircraft! Nevertheless, I wanted to build one, too, and take the original idea a step further. So I chose the F-94 as an ingredient for the kit mix – a rather overlooked aircraft, and getting hands on a donation kit took some time, since there are not many options.

 

I wanted to use the F-94C as starting point, which is already considerably different from the F-80/T-33. Adding swept wings (from a Hobby Boss F-86F, with larger “6-3” wings) changed this look even more. So much that I decided to modify the fin, which did not look appropriate anymore.

 

The fin and the spine’s rear end was replaced with the fin of a Kangnam/Revell Yak-38. In order to unify shapes and make the donation less obvious, the Yak-38 fin’s characteristic, pointed tip was clipped and replaced by a more conventional design, scratched from a piece of 1.5mm styrene sheet. In the wake of this modification, the round elevator tips were clipped, too.

 

Using the F-94’s landing gear wells as benchmarks, the F-86 wings (which had to be cut off of the Hobby Boss kit’s integral, lower fuselage part) were sanded into shape and simply glued into a proper position.

 

This worked so well that a completely new and plausible main landing gear installation was created. As a consequence, I used the F-86’s landing gear struts - they are much better detailed than the Emhar F-94C’s parts. The front wheel strut (it’s a single piece) was transplanted too, even though the suspension was switched 180°.

 

The Emhar F-94C’s cockpit is pretty good (esp. the seats) and were taken OOB. I just covered some gaps in the cockpit walls and under the windscreen with paper tissue, soaked with white glue.

 

The nose was replaced by a bigger radome, taken from an Armstrong Whitworth Meteor NF.14 (Matchbox kit). Its diameter and shape fit almost perfectly onto the F-94C’s front end, and the result reminds a lot of the EF-94C photo reconnaissance test aircraft! Under the nose, a shallow fairing for the IR sensor was added, and all four air brakes were mounted in open position.

 

The underwing pylons come from the scrap box (one pair from an Airfix A-1 Skyraider, another from an ESCI Kamow Ka-34 ‘Hokum’ which also provide the launch rails for the ordnance). The drop tanks come probably from an Italeri F-16 (not certain) while the four AIM-4s come from a Hasegawa USAF air-to-air weapons set.

  

Painting and markings:

This was supposed to become a classic USAF aircraft of the late Fifties, since the F-94 had never been exported. I was actually tempted to add Red Stars, though, because the overall shape has a certain Soviet look to it - esp. the nose, which reminds a lot of the contemporary Yak-25 interceptor?

 

But the original USAF idea won, with an all-metal finish. In order to brighten things up I chose a squadron that served with the Northeast or Alaskan Air Command, which added orange-red high-viz markings to wings and fuselage.

 

The NMF sections were primed with a base coat of Revell’s acrylic Aluminum. On top of that, single panels and details were painted with Alu Plate and Steel Metallizer from Modelmaster.

The International Orange markings were created with Humbrol 132, slightly shaded with orange (Humbrol 18).

 

Part of the nose section and the spine were painted in ADC Grey (FS 16473, Modelmaster), just for some diversity. Cockpit interior and landing gear wells received a coat of US Cockpit Green (Humbrol 226), while the interior of the air brakes was painted in Zinc Primer (Humbrol 81), according to pictures of operational F-94s.

 

The landing gear struts and the inside of their covers became Aluminum (Humbrol 56). The anti glare panel in front of the cockpit was done with dark olive drab (Humbrol 66), the radome flat black and weathered with wet-in-wet streaks of sand brown.

Operational F-94s show serious weathering on their di-electric noses, so this detail was taken over to the kit. Other weathering with paint, beyond a basic black ink wash and some shading on the orange areas, was not done.

 

The drop tanks were painted with Steel Metallizer, for a different metallic shade from the fuselage, and the AIM-4’s received a typical outfit in white and bright red with different seeker heads.

 

Primary decals come from a Heller F-94B kit, which have the benefit of a silver background – even though this does not match 100% with the paint. Squadron markings come from an Xtradecal F-102 sheet, tailored to the kit. Most stencils come from the Emhar OOB sheet, plus some more from the aforementioned F-102 sheet.

 

After some soot stains around the exhaust were added with graphite, the kit was sealed under a coat of semi-glossy acrylic varnish. The anti glare panel and the radome were kept matt, though.

  

A pretty result. Mixing parts from a Shooting Star and a Sabre (a Shooting Sabre, perhaps?) results in a very elegant aircraft. And while the F-94 lost much of its original, elegant appeal, the combo still works with this later interceptor variant of the F-80. Very plausible, IMHO.

PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO

Vienna, around 1740

Ke 6201/1912

In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.

Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).

Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.

1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.

Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.

 

PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN

Wien, um 1740

Ke 6201/1912

Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.

Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).

Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.

1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.

Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

I was driving to Otterden, using John Vigar's book as a guide to the East Kent churches I had missed.

 

I was using the Sat Nav, at least to get me to the village, so I could concentrate on the roads and sights as I went along, just on the offchance I passed another church unexpectedly.

 

And so I came to Eastling, and across a walled field, I saw the church, so, finding there was a large car park, I pulled up.

 

To get into the church yeard, one could either climb over a wooden stile, one built into the wall, or through the gate a few metres further along. I chose the gate.

 

Through the churchyard, and under the shadow of a huge yew tree to find the porch door, and church door beyond both unlocked.

 

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A huge church entered across a meadow along a path which passes a huge Yew tree. The porch is high Victorian with the jazziest floor in Kent, no doubt the work of Richard Hussey who restored the church in the mid nineteenth century. This leads to a church with origins in the 12th century but owing more to the 13th and even more to the 19th century! The arcades are built in a much replaced Early English style but work well. In the centre alley is the lovely ledger slab of a man who put it there a few years before his death and inscribed lest someone else steal his pole position! In the south transept is a pretty monument showing kneeling children and a most colourful shield of arms displaying sea creatures. The chancel contains some rare blank arcading in the north wall which may have formed sedilia elsewhere or which may be part of a monument. Its arches are held up by four strong men with bulging shoulders. What a surprise it is! Next to it is one of the finest 14th century tomb recesses in the county, though the faces at either end are Victorian fantasies. This is a much-loved and rewarding Downland church, which is open daily.

 

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

 

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It is widely accepted that there has been a place of worship on the site of the Parish Church of St Mary's at Eastling since Anglo-Saxon times.

The oldest surviving parts of the present building are the base of the south-west Tower, the Nave and the western part of the Chancel. All are thought to have been built by the 11th century, possibly on the foundations of an earlier church. The remainder of the Tower and the central part of the Chancel are Norman.

The North and South Aisles and the Arcades between the Aisles and the Nave were built in the 13th century. In the 14th century, the Chancel was extended eastwards to create a Sanctuary. Also in that century, the St Katherine Chapel and an Arcade was added to the south-east corner of the building.

In 1855-56, the Nave, North Aisle and the South Arcade were substantially rebuilt, the West Porch added and the Nave re-roofed.

 

The Nave - or central area of the church - dates from the 12th century and is notable for its unusually narrow original walls (later, the Arcade walls). Fractionally over 2ft thick, they are considered to be attributable to Saxon workmanship which favoured relatively "thin" solid walls against the Norman style of "thicker" walls comprising two leaves with a filled cavity.

The western end of the Nave is thought to be a late 12th-century extension.

The South Aisle was constructed in the early part of the 13th century and substantially rebuilt by Victorian architect R. C. Hussey in 1855. Some original 13th-century material was re-used, and the eastern respond located against the Chancel remains substantially untouched.

The North Aisle was also created in the 13th century and completely rebuilt by Hussey as part of his major "modernisation" of the building. The South Aisle incorporates a 14th-century window.

The Victorians' enthusiasm for remodelling churches also extended to the Nave which was rebuilt by Hussey in 1855-56. He also added the West Porch, constructed a Vestry and re-built the Chancel arch. It's worth comparing the ceilings of the South Aisle which is said to have escaped Hussey's attentions and that of the Nave where he left only the tie beams and principal trusses visible.

The box pews, pulpit, lectern, rector's stall and choir stalls all date from the Victorian era. The wooden wall benches pre-date the pews.

 

The alignment of the Tower and Chancel is considered attributable to Saxon, rather than Norman, workmanship. If you stand in front of the east window and look back to the west door you will see that the Nave and Chancel are out of alignment, and this suggests that the Chancel pre-dates the Nave.

Examples of Norman workmanship to be seen in St Mary today are:

• the upper part of the Tower;

• perhaps the belfry stage with its pairs of round-headed openings;

• the re-styling of the western part of the Chancel; and

• the west end of the Nave (possibly a late 12th century extension).

Early in the 13th century, the Chancel was re-styled and given Early English lancet windows.

A further period of rebuilding-took place during the 14th century. The Chancel was extended eastwards by a further 22ft, so creating the Sanctuary.

The stained glass in the Chancel windows are memorials to the Birch Reynardson family. The east window contains picture panels, the work of famous church glass artist Thomas Willement of Davington.

 

On the north wall of the Sanctuary at Eastling Church is a double Aumbry.

Built as a cupboard in the wall - usually with a wooden door - this would have been used to house the Church Plate.

 

A piscina is, in effect, a medieval stone bowl near the altar where a priest carried out ceremonial cleaning tasks.

The piscina in Eastling Church dates from the late 13th century and takes the form of a stone cill incorporating twin bowls - one for hand washing, the other for cleaning the chalice and other sacred vessels.

It was originally located in the Chancel. When this part of the building was extended during the 14th century, the piscina was moved to its present position on the south wall of the Sanctuary.

 

The sedilia at Eastling Church comprise three recessed stone seats with trefoiled canopies. By convention, sedilia were placed south of the altar and used by the priest, deacon and sub-deacon.

Created late in the 13th century, Eastling's sedilia were moved, during the 14th century, from the Chancel to their present position in the (then) new Sanctuary.

 

The Stone Stalls, on the north side of the Chancel, would have once served as choir stalls. These recessed seats have unusual carved stone canopies in the form of four trefoiled arches carried on caryatids (columns sculpted as female figures).

In his "Notes on the Church", Eastling Church historian Richard Hugh Perks says that a 19th century ecclesiologist, Francis Grayling, theorised that they were mural recesses. Mr Perks considers the church might once have been decorated extensively with murals - born out by the traces of wall paintings found in the 1960s when the Chancel was re-decorated. However, the paintings were in such very poor condition that they were covered over. Mr Perks also draws attention to the fragment of the former Chancel east wall which can be seen at the east end of the Stone Stalls.

 

The St Katherine Chapel was built around 1350. As part of the scheme, an arcade was formed on the south side of the Chancel. The fluted (concave-sided) pillars are an unusual design, also found in Faversham Parish Church and at Eastchurch, Sheppey. It is thought that the workmanship might be by masons from either Leeds Priory or Faversham Abbey.

The Chapel houses a 19th century organ, the Martin James monument and a fine oak chest with an inscription of "1664 H" carved inside. The "H" is the mark of a Michael Shilling, who was churchwarden at the time.

 

There is evidence that Eastling Church once had a Rood Screen, possibly extending across both the Chapel and the Chancel. On this would have stood a Cross with a carving representing a crucified Jesus. The Reformation saw the destruction of the Rood and no trace remains, apart from the base of a stairs turret at the south-east corner of the South Aisle.

 

The West Porch was built in 1855, by Victorian architect R.C. Hussey as part of his major alterations to the church.

However, the fine Norman west doorcase is much older, possibly dating from 1180. It is carved from chalk blocks; some of the internal wall faces are also chalk, a common feature of many Downland churches. It was partly restored by the Victorians.

 

The churchyard owes much to a generous bequest for its maintenance by Dorothy Long (d. 1968). It used to be part of the 'Gods Acre Project' setup by the Vicar of Eastling Parish Caroline Pinchbeck (who departed the parish in 2012) but from 2013 has been returned to previous landscaping regimes.

When the churchyard was being managed with wildlife in mind, it preserved the diversity of nature alongside well kempt areas. This means parts of the old graveyard were left to grow from springtime onwards and were cut in September. Many species of wild flowers grew in a spring meadow and were followed by grasses. This encouraged wildlife into the graveyard, owls, field mice, voles, multiple species of insects and birds. The uncut areas were managed, which means to say they were not left to grow out of control. Brambles, the majority of stinging nettles and other unwanted plants were removed by hand and the graves were always tended so that the vegetation did not disturb them.

Areas of the churchyard that were mown were done so with a petrol mower but the grass was not collected, It was left on the ground as a mulch. No pesticides were used, they damaged the graves, leaving contaminated black rings around them and killed any wild flowers or grass in the affected areas. The emphasis of the gods acre project management process, started in 2008, was balance. By maintaining the churchyard in this way it was both cost effective and beneficial to local wildlife and preservation. (N. Perkins/ Grounds man Eastling Church 2007-2012)

The original graveyard has a modern extension with spaces still available for burials and close to the entry gate is an area dedicated to the burial of ashes.

Several graves date from the 17th and 18th centuries and include memorial stones to Mary Tanner who was born in the year of the Battle of Naseby; to Christopher Giles born in 1674 and his wife Susannah born in 1691; and to Thomas Lake of Eastling Gent died February the 19th 1717.

Close to the West Porch is a 13th century stone coffin slab, in the form of a cross with a sword, a style sometimes referred to as a "Crusader Tomb".(original text) This is infact incorrect, an archaeologist has confirmed that the stone is a medieval headstone most likely from the back of the church which was once standing that has been moved and placed by the entrance for asthetic qualities. There is another stone to the left of the entrance from a sarcophagus which again has been moved and placed by the entrance.

  

There is a Yew Tree by the West Door and It is said to be an ancient which would put it's minimum age at 2000 years, predating the church. However dating methods for Yew Trees are inconclusive.. It is hard to reliably scientifically date a Yew Tree due to several factors.. Information on the dating process can be found here. (source: ancient-yew.org) Also Yew trees can grow fast and ages can be exaggerated, a large Yew is most likely the age of the Church but unlikely to be older than it's Anglo-Saxon predecessor. There is no firm evidence to link Yew trees to pagan religions or the theory that Church's were built on Pagan Ritual Sites. (source: Illustrated History of the Countryside, Oliver Rackham)

The circle of yews which continue around the church have been said to have sprouted from the ancient Yew Tree, however archeologists and Yew Tree Specialists have put forward that actually the Yew Trees have been landscaped to look like that. In the past Yew Trees were planted to ward of witches and evil spirits. It is clear if you measure out the trees and use dimensions for aging that the trees have been landscaped.

 

Work carried out on the tower in 2010 to install a compostable toilet has radically changed the dimensions and structure of the lower and middle of the tower.

The base of the south-west Tower is said to date from the early 11th century, possibly earlier. Much of the remainder of the Tower is Norman.

The Tower - five feet thick at its base - is of flint and chippings, with ragstone quoins, and is heavily buttressed. The external brick buttress to the tower is 18th century. Brick was also used in rebuilding sections of the north-west angle of the Tower, the belfry openings and the Tower doorcase. Today's slated spire would once have been clad with wooden shingles.

The door to the Tower is set in a large arch with "Articles" of the Ringing Chamber, on wooden boards above it.

 

Eastling has six bells, four of them made by Richard Phelps during the time he occupied the Whitechapel Bell Foundry. Click here for more info. Unfortunately, the present condition of the timber bell frame with its elm headstocks (constructed around 1700) and the upper part of the Tower do not allow the bells to be rung safely.

 

www.eastlingvillage.co.uk/st-mary-s-church.html

 

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THE next parish south-eastward from Newnham, is Easling, written in old deeds likewise Esling, and Iseling.

 

It is situated among the hills, on very high ground, about five miles southward from Faversham, and a little more than a mile south-eastward from Newnham valley, in a healthy but cold and forlorn country, being much exposed to the north-east aspect. The village, with the church and parsonage in it, a near pretty dwelling, stands on the road leading from Otterden to Newnham valley; in it there is a large well-timbered house, called Gregories, formerly of some account, and rebuilt in 1616, it formerly belonged to Hoskins, and then to Parmeter, in which name it still continues.—Though there is some level land in the parish, yet it is mostly steep hill and dale, the soil in gen ral a red cludgy earth, poor, and much covered with flints. It is very woody, especially in the eastern parts of it.

 

A fair is held in the village on Sept. 14, yearly, for toys and pedlary ware. On Nov. 30, being St. Andrew's, there is yearly a diversion called squirrel bunting, in this and the neighbouring parishes, when the labourers and lower kind of people assembling together, form a lawless rabble, and being accoutred with guns, poles, clubs, and other such weapons, spend the greatest part of the day in parading through the woods and grounds, with loud shoutings, and under the pretence of demolishing the squirrels, some few of which they kill, they destroy numbers of hares, pheasants, partridges, and in short whatever comes in their way, breaking down the hedges, and doing much other mischief, and in the evening betaking themselves to the alehouses, finish their career there in drunkenness, as is usual with such sort of gentry.

 

THIS PLACE, at the time of the taking of the general survey of Domesday, was part of the extensive possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in that record:

 

Herbert held of the bishop of Baieux Nordeslinge. The arable land is one carucate. It was taxed at half a suling. There two borderers pay two shillings. In the time of king Edward the Confessor, and afterwards, it was worth twenty shillings, now twenty-five shillings. Turgod held it in the time of king Edward the Confessor.

 

These two manors, (one of which was Throwley, described immediately before in this record) Herbert, the son of Ivo, Held of the bishop of Baieux.

 

And a little below,

 

Roger, son of Ansebitil, held of the bishop, Eslinges. It was taxed at one suling. The arable land is one carucate. There is in demesne . . . . and one borderer has half a carucate. There is a church, and one mill of ten shillings, and two acres of meadow. In the time of king Edward the Confessor it was worth sixty shillings, and afterwards twenty shillings, now forty shillings. Unlot held it of king Edward, and could go where he pleased with his land.

 

Fulbert held of the bishop, Eslinges. It was taxed at five suling, in the time of king Edward the Confessor, and now for two, and so it did after the bishop gave the manor to Hugh son of Fulbert. The arable land is six carucates. In demesne there are two carucates, and thirty villeins having three carucates. There is a church, and twenty-eight servants, and one mill of ten shilings. Wood for the pannage of thirty bogs In the time of king Edward the Confessor it was worth ten pounds, and when he received it six pounds, now four pounds, and yet the bishop had eight pounds. Sired held it of king Edward.

 

The three estates described before, included North Easting and its appendages, Huntingfield and Diven manors, with others estates in this parish, then esteemed as part of them.

 

On the bishop's disgrace four years afterwards, all his possessions were confiscated to the crown.

 

Fulbert de Dover, mentioned above as tenant to the bishop of Baieux for one of these estates, appears afterwards to have held all three of them of the king in capite by barony, the tenant of them being bound by tenure to maintain a certain number of soldiers from time to time, for the defence of Dover castle, in which there was a tower called Turris dei inimica, which he was bound by his tenure likewise to repair.

 

Of him and his heirs these estates were held by knight's service, of the honor of Chilham, which they had made the caput baroniæ, or chief of their barony. (fn. 1) That part of the above-mentioned estates, called in Domesday Nordeslinge, was afterwards known by the name of THE MANOR OF EASLING, alias NORTHCOURT, which latter name it had from its situation in respect to the others, being held of the lords paramount by a family of the name of Esling, one of whom, Ralph de Esling, died possessed of it in the 26th year of king Edward I. anno 1297, then holding it by knight's service of the honor of Chilham. He left an only daughter and heir Alice, who carried this manor, with that of Denton, alias Plumford, in marriage to Sir Fulk de Peyforer, who, with Sir William de Peyforer, of Otterden, accompanied king Edward. I. in his 28th year, at the siege of Carlaverock, where, with many other Kentish gentlemen, they were both knighted. They bore for their arms, Argent, six fleurs de lis, azure.

 

Sir Fulk de Peyforer, in the 32d year of the above reign, obtained a grant of a market weekly on a Friday, and one fair yearly on the feast of the exaltation of the Holy Cross at Esling, and free-warren for his lands there. Before the end of which reign, the property of these manors was transferred into the family of Leyborne, and it appears by an inquisition taken in the 1st year of Edward III. that Juliana, the widow of William de Leyborne, who died anno 2 Edward II. was possessed of these estates at her death, and that their grand-daughter Juliana, was heir both to her grandfather and father's possessions, from the greatness of which she was usually stiled the Infanta of Kent.

 

She was then the wife of John de Hastings, as she was afterwards of Sir William de Clinton, created earl of Huntingdon, who paid aid for the manor of Northcourt, alias Easling. She survived him, and afterwards died possessed of this estate in Easling, together with Denton, alias Plymford, in the 41st year of king Edward III. and leaving no issue by either of her husbands, these manors, among the rest of her estates, escheated to the crown, for it appears by the inquisition taken that year, after her death, that there was no one who could make claim to her estates, either by direct or even by collateral alliance.

 

These manors remained in the crown till the beginning of king Richard the IId.'s reign, when they became vested in John, duke of Lancaster, and other seoffees, in trust for the performance of certain religious bequests in the will of Edward III. in consequence of which, the king Afterwards, in his 22d year, granted them, among other premises, to the dean and canons of St. Stephen's college, in Westminster, for ever. (fn. 2) In which situation they continued till the 1st year of king Edward VI. when, by the act passed that year, they were surrendered into the king's hands.

 

After which the king, by his letters patent, in his 3d year, granted these manors, among others lately belonging to the above-mentioned college, to Sir Thomas Cheney, privy counsellor and treasurer of his houshold, with all and singular their liberties and privileges whatsoever, in as ample a manner as the dean and canons held them, to hold in capite by knight's service. (fn. 3) whose son Henry, lord Cheney, of Tuddington, had possession granted to him of his inheritance anno 3 Elizabeth, and that year levied a fine of all his lands.

 

He passed these manors away by sale, in the 8th year of that reign, to Martin James, esq. prothonotary of the court of chancery, and afterwards a justice of the peace for this county, who levied a fine of them anno 17 Elizabeth, and died possessed of them in 1592, being buried in the south chancel of this church, under a monument, on which are the effigies of himself and his wife. He bore for his arms, Quarterly, first and fourth, vert, a dolphin naiant; second and third, Ermine, on a chief gules, three crosses, or. His great-grandson Walter James, esq. was possessed of them at the time of the restoration of king Charles II. whose heirs sold them in the latter end of that reign, to Mr. John Grove, gent. of Tunstall, who died possessed of them in 1678, after which they descended down to Richard Grove, esq. of Cambridge, but afterwards of the Temple, in London, who died unmarried in 1792, and by his will devised them to Mr. William Jemmet, of Ashford, and Mr. William Marshall, of London, who continue at this time the joint possessors of them.

 

THE MANOR OF HUNTINGFIELD, situated in the eastern part of this parish, was, at the time of the takeing of the general survey of Domesday, part of the possessions of Odo, bishop of Baieux, as has been already taken notice of before, and on his disgrace came, with the rest of his estates, to the crown, about the year 1084.

 

After which, Fulbert de Dover appears to have held it, with others in this parish, of the king in capite by barony, by the tenure of ward to Dover castle for the defence of it. Of him and his heirs it was held by knight's service, of the honor of Chilham, the head or chief of their barony.

 

Simon de Chelsfield held it of them, as lords paramount, in the reign of Henry III. but at the latter end of that reign, this manor was come into the possession of that branch of the eminent family of Huntingfield settled in this county, descended from those of Suffolk, in which county and in Norfolk they had large possessions. Hence this manor assumed the name of Huntingfield-court, and it appears by the roll of knights fees, taken at the beginning of the reign of Edward I. that Peter de Huntingfield then held it. He resided at times both here and at West Wickham, of which manor he was likewise possessed, though it seems when he was sheriff in the 11th, 12th, and 13th years of that reign, he kept his shrievalty at Huntingfield-court. In the 9th year of it he obtained a charter of free-warren for his lands at Eslynge and Stalesfeld, and in the 28th year of it attended the king at the siege of Carlaverock, in Scotland, for which service he, with others, received the honor of knighthood. He died in the 7th year of Edward II. anno 1313, leaving by the lady Imayne his wise, who was buried in the church of the Grey Friars, London, Sir Walter de Huntingfield his son and heir, who having obtained several liberties for his manor of Wickham, and liberty to impark his grounds there, (fn. 4) seems to have deserted this place, which in the next reign of Edward III. was sold either by him or by his son, Sir John de Huntingfield, to one of the family of Sawfamere, and in the 20th year of that reign, the lady Sawfamere, Dna' de Sawsamero, as she is written in the book of aid, paid respective aid for it.

 

But before the end of that reign, it had passed into the name of Halden, for it appears by the escheat-rolls that William de Halden died in the 50th year of it, possessed of Easling manor, called Huntingfield, held of the castle of Chilham; soon after which it became the property of Sir Simon de Burleigh, who being attainted in the 12th year of Richard II. this manor, among the rest of his possessions, came to the crown. After which, anno 2 Henry IV. John, son and heir of Sir John de Burley, cousin and heir of Sir Simon de Burley, was, upon his petition, restored in blood, and the judgment against Sir Simon was revoked, and three years afterwards the king, with the assent of the lords, wholly restored him to all his hereditaments, except as to those excepted by him. (fn. 5) How long this manor remained in this name I have not found, but in the reign of Henry VI. it was in the possession of Sir James Fienes, who anno 25 of that reign, by reason of his mother's descent, was created Lord Say and Sele, and was afterwards made lord treasurer, but becoming unpopular, from his being so great a favorite, he was seized on in the insurrection raised by Jack Cade, and beheaded in the 29th year of that reign. He was at his death possessed of this manor, which by his will be devised to his son Sir William Fienes, who became likewise lord Say and Sele, but the unhappy contention which then subsisted between the houses of York and Lancaster, in which he risked not only his person, but his whole fortune, brought him soon afterwards into great distresses, and necessitated him to mortgage and sell the greatest part of his lands. How this manor was disposed of I have not found, but within a very few years afterwards it appears to have been in the hands of the crown, for king Richard III. in his first year, granted to John Water, alias Yorke Heraulde, an annuity out of the revenues of his lordship of Huntingfield, and afterwards by his writ, in the same year, on the resignation of John, garter, principal king at arms, and Thomas, clarencieux, king at arms, he committed to Richard Champeney, alias called Gloucestre, king of arms, the custody of this manor.

 

But the see of it seems to have remained in the crown till king Henry VIII. in his 35th year, granted it to John Guldford and Alured Randall, esqrs. to hold in capite by knight's service. John Guildford was the next year become the sole proprietor of it, and then alienated it to Sir Thomas Moyle; he sold it, in the 7th year of Edward VI. to John Wild, esq. of St. Martin's hill, Canterbury, with its members and appurtenances in Esling, Sheldwich, Whitstaple, Reculver, and Ulcombe. However, it appears that he was not possessed of the entire see of it at his death in 1554, for he by his will devised his two thirds of this manor, (besides the third part due to the queen, after his wife's death) to his son Thomas Wild, then an infant, whose son John Wild, esq. of St. Martin's hill, alienated his share, or two thirds of it, which included the courts, sines, amerciaments, and other privileges belonging to it, to Martin James, esq. prothonotary of the court of chancery, owner of the manor of North-court, alias Easling, as above-mentioned, whose great-grandson, Walter James, esq. possessed it at the restoration of Charles II. at the latter end of which reign his heirs sold it to Mr. John Grove, gent. of Tunstall, who died possessed of it in 1678, and his great-grandson Richard Grove, esq. of London, proprietor likewise of North-court above-described, died in 1792, having by his will devised these manors (which having been for many years united in the same owners, are now consolidated, one court being held for both, the stile of which is, the manor of Easling, alias North court, with that of Huntingfield annexed, in Easling, Ulcomb, and Sheldwich) among the rest of his estates, to Wm. Jemmet, gent. of Ashford, and William Marshall, of London, and they continue at this time the joint possessors of these manors.

 

BUT THE REMAINING THIRD PART of the manor of Hunting field, in the hands of the crown in the reign of Philip and Mary, as before-mentioned, in which was included the mansion of Huntingfield court, with the demesne lands adjoining to it, continued there till it was granted, in the beginning of the next reign of queen Elizabeth, to Mr. Robert Greenstreet, who died possessed of it in the 14th year of that reign, holding it in capite by knight's service. His descendant Mr. Mathew Greenstreet, of Preston, leaving an only daughter Anne, she carried this estate in marriage to Mr. Richard Tassell, of Linsted, and he alienated it in 1733 to Edward Hasted, esq. barrister-at law, of Hawley, near Dartford, whose father Mr. Joseph Hasted, gent. of Chatham, was before possessed of a small part of the adjoining demesne lands of Huntingfield manor, which had been in queen Elizabeth's reign become the property of Mr. Josias Clynch.

 

The family of Hasted, or as they were antiently written, both Halsted and Hausted, was of eminent note in very early times, as well from the offices they bore, as their several possessions in different counties, and bore for their arms, Gules, a chief chequy, or, and azure. William Hausted was keeper of the king's exchange, in London, in the 5th year of Edward II. from whom these of Kent hold themselves to be descended, one of whom, John Hausted, clerk, or as his descendants wrote themselves, Hasted, born in Hampshire, is recorded to have been chaplain to queen Elizabeth, and a person much in favor with her, whom he so far displeased by entering into the state of marriage, which he did with a daughter of George Clifford, esq. of Bobbing, and sister of Sir Coniers Clifford, governor of Connaught, in Ireland, that he retired to the Isle of Wight, where he was beneficed, and dying there about the year 1596, was buried in the church of Newport. His great grandson Joseph Hasted, gent. was of Chatham, and dying in 1732, was buried in Newington church, as was his only son Edward, who was of Hawley, esq. the purchaser of Huntingfield court as before-mentioned. He died in 1740, leaving by his wife Anne, who was descended from the antient and respectable family of the Dingleys, of Wolverton, in the isle of Wight, one son, Edward Hasted, esq. late of Canterbury, who has several children, of whom the eldest, the Rev. Edward Hasted, late of Oriel college, in Oxford, is now vicar of Hollingborne. He bears for his arms the antient coat of the family of Halsted, or Hausted, as mentioned before, with the addition in the field, of an eagle displayed,ermine,beaked and legged, or, with which he quarters those of Dingley, Argent, a fess azure, in chief, two mullets of the second between two burts, which colours Charles, the third son of Sir John Dingley, of Wolverton, in James the 1st.'s reign, changed from those borne by his ancestors and elder brothers, i.e. from sable to azure.

 

Edward Hasted, esq. of Canterbury, above-mentioned, succeeded his father in this estate, which he, at length, in 1787, alienated to John Montresor, esq. of Throwley, who continues the possessor of it.

 

The foundations of slint and stone, which have continually been dug up near this house, shew it to have been formerly much larger that it is at present. There was once a chapel and a mill belonging to it, the fields where they stood being still known by the name of chapel-field and mill-field, which answers the description of this estate given in Domesday.

 

DIVEN is A MANOR, situated almost adjoining to the church of Easting, which is so corruptly called for Dive-court, its more antient and proper name. This estate was likewise one of those described before in Domesday, as being part of the possessions of the bishop of Baieux, on whose disgrace it was, among, the rest of his estates, forfeited to the crown; after which, Fulbert de Dover appears to have held it, with others in this parish therein-mentioned, of the king in capite by barony, by the tenure of ward to Dover cattle, and of him and his heirs it was held, as half a knight's fee, of the honor of Chilham, the caput barouiæ, or head of their barony.

 

In the reign of Henry III. John Dive held this estate as before-mentioned, of that honor; and his descendant Andrew Dive, in the 20th year of king Edward III. paid aid for it as half a knight's fee, held of the above barony, when it paid ward annually to Dover castle. In this name the manor of Diven continued till the beginning of the next reign of king Richard II. when it was alienated to Sharp, of Ninplace, in Great Chart, in which it remained till the latter end of Henry VII. when it was conveyed to Thurston, of Challock, from which, some year after, it was passed by sale to John Wild, esq. who, before the reign of queen Elizabeth, sold it to Gates, and he alienated it to Norden, who conveyed it to Bunce, where it remained after the death of king Charles I. in 1648; soon after which this manor was sold to John Adye, esq of Down court, in Doddington, who died possessed of it in 1660, and his two sons, Edward and Nicholas, seem afterwards to have possessed it in undivided moieties.

 

Edward Adye, esq. was of Barham, and left seven daughters his coheirs, of whom Susanna, married to Ruishe Wentworth, esq. son and heir of Sir George Wentworth, a younger brother to Thomas, the noted but unfortunate earl of Strafford, entitled her husband to the possession of her father's moiety of this manor, with other lands in Doddington, upon the division of his estates among them. He left an only daughter and heir Mary, who married Thomas, lord Howard, of Essingham, who died possessed of this moiety of Diven-court in 1725, and leaving no male issue, he was succeeded in this estate by Francis his brother and heir, who was in 1731 created Earl of Essingham, and died in 1743. His son Thomas, earl of Effingham, afterwards alienated this moiety of Divencourt to Oliver Edwards, esq. of the six clerks office, as will be further mentioned hereafter.

 

The other moiety of this manor, which, on the death of his father, came into the possession of Nicholas Adye, esq. of Down-Court, in Doddington, was devised by him to his eldest son John Adye, esq. of Down court, who anno 23 Charles II. suffered a recovery of it. (fn. 6)

 

He left an only daughter and heir Mary, married to Henry Cullum, sergeant-at-law; but before that event, this estate seems to have been passed away by him to Thomas Diggs, esq. of Chilham castle, Whose descendant of the same name, in 1723, conveyed it, with Chilham-castle, and the rest of his estates in this county, to Mr. James Colebrook, citizen and mercer of London, who died possessed of this moiety of Diven-court in the year 1752, after which it passed in like manner with them, till it was at length sold by his descendants, under the same act of parliament, in the year 1775, to Thomas Heron, esq. of Newark upon Trent, afterwards of Chilham-castle, who about the year 1776, joined with Oliver Edwards, esq. the proprietor of the other moiety, as has been mentioned beforce, to Mr. Charles Chapman, of Faversham, who then became possessed of the whole of it, which, at his death in 1782, he devised by his will to his nephews and nieces, of the name of Leeze, two of whom are now entitled to the fee of it.

 

THE MANOR OF ARNOLDS, which is situated about a mile eastward from the church of Easling, was likewise part of the estates of the bishop of Baieux, mentioned before, and on his disgrace came with the rest of them, to the crown, of which it was held afterwards in capite by barony, by Fulbert de Dover, by the tenure of ward to Dover castle, and of him and his heirs it was again held, as half a knight's fee, as of the honor of Chilham, the head of their barony.

 

Of them it was held by Arnold de Bononia, whence it acquired the name of Arnolds, alias Esling. His son John Fitzarnold afterwards possessed it in the reign of Edward III. after which Peter de Huntingfield was owner of it, but in the 20th year of Edward III. the lady Champaine, or Champion, and the earl of Oxford paid aid for it, as half a knight's fee, held of the barony above-mentioned. How it passed afterwards I have not seen, but in the next reign of Richard II. it was become part of the endowment of the dean and canons of the collegiate free chapel of St. Stephen's, Westminster, with whom it remained till the suppression of it in the 1st year of Edward VI. when it came into the hands of the crown; after which it became the property of Gates, and after that of Terry, in which it continued several years, and by that acquired the name of Arnolds, alias Terrys, from which name it was sold, in the reign of queen Anne, one part to the Rev. William Wickens, rector of this parish, who bore for his arms, Party, per pale, or, and sable, a chevron coupee, between three trefoils, all counter changed, whose son Mr. William Wickens, succeeded to it on his death in 1718. He died without male issue, and by his will devised it to his two daughters, one of whom marrying Elvy, he bought the other sister's share in it, and his widow surviving him now possesses both of them; another part was sold to Chapman, and a third to Avery. Since which it has become more inconsiderable, by the two parts last-mentioned having been again parcelled out, so that now it is sunk into that obscurity, as hardly to be worthy of notice, but the manerial rights of the manor are claimed by John Wynne and Lydia his wife.

 

Charities.

 

EDWARD GRESWOLD, by his will in 1677, gave 20l. for the benefit of the poor not receiving alms, to be laid out in land or otherwise, by his executors, who in 1680 purchased a piece of land, called Pinkes-cross, in Easling, containing two acres, in trust, for this purpose, the rent of it is now 154. per annum, vested in the minister and parish officers.

 

The poor constantly relieved are about twelve, casually twenty-five.

 

EASLING is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Mary, consists of three isles and a south chancel, called St. Katherine's. The steeple, which is a low pointed one, stands at the west end; there are six bells in it.

 

Alicia de Esling, wife of Robert de Eschequer, and lady of the manor of Esling, with the consent of archbishop Theobald, in the reign of king Stephen, granted the church of Elinges, situated on her estate, to the priory of Ledes, in perpetual alms, together with the temporalities, or appropriation of it, to be possessed by them for ever after the death of Gervas then incumbent of it. Which gift was confirmed by archbishop Hubert, in the reign of Richard I.

 

Notwithstanding which, there was no vicarage endowed here, nor did the canons of Ledes ever enjoy the parsonage of it; but archbishop Stephen Langton, who succeeded archbishop Hubert, with the consent and approbation of William de Eslinges, patron of this church, granted to the canons of Ledes twenty shillings yearly, to be received from it in the name of a benefice; and he ordained, that beyond that sum, they should not claim any thing further from it, but that whenever it should become vacant, the said William de Esling should present to it. But it should seem that after this, they had not given up all pretensions to it, for they obtained, seventy years after this, viz. in 1278, of the prior, and the convent of Christchurch, Canterbury, a confirmation of the archbishops Theobald and Hubert's charters to them, in which this church is particularly mentioned. (fn. 7) How long it continued in the hands of the family of Esling I do not find, or in those of private patronage; but before the 22d year of Edward III. it was become part of the possessions of the college founded by Sir John Poultney, in the church of St. Laurence, Canon-street, London, with which it remained till the suppression of the college, in the reign of Edward VI. when it came, with the rest of the possessions of it, into the hands of the crown.

 

After which it seems to have been granted to Sir Thomas Moyle, of Eastwell, whose sole daughter and heir Catherine married Sir Thomas Finch, of that place, and afterwards Nicholas St. Leger, esq. who in her right presented to this rectory in 1574; after which Sir Moyle Finch, knight and baronet, the eldest son of Sir Thomas and lady Catherine, succeeded to it, in whose descendants, earl of Winchelsea and Nottingham, this advowson continued down to Daniel, earl of Winchelsea and Nottingham, who died possessed of it in 1769, without male issue, leaving his four daughters his coheirs. He was succeeded in titles by his nephew George Finch, esq. only son of his next brother William; but this advowson, with Eastwell, and the rest of his Kentish estates, he gave by his will to his nephew George Finch Hatton, esq. only son of his third brother the hon. Edward Finch Hatton, (fn. 8) who is the present owner of it.

 

The pension of twenty shillings payable from this church to the priory of Ledes, at its suppression in the reign of Henry VIII. came into the hands of the crown; after which it was settled, among other premises, by the King, in his 33d year, on his newerected dean and chapter of Rochester, who are now entitled to it.

 

¶This rectory is valued in the king's books at sixteen pounds, and the yearly tenths at 1l. 12s. In 1587 the communicants here were eighty-seven.

 

In 1640 it was valued at 120l. Communicants one hundred. It is now worth upwards of 200l. per annum.

  

www.british-history.ac.uk/survey-kent/vol6/pp422-437

Replacing an earlier scanned slide with a better version 27-Jan-16.

 

Built for the United States Air Force, designated as a C-118A, it was delivered to the USAF in Aug-55 serialled 53-3281. In Jul-65 it was transferred to the United States Border Patrol and registered N2816J. It was sold to Bellomy-Lawson Aviation in Aug-73 and converted to civil DC-6A standard before being leased to SAHSA (Honduras) in Oct-73 as HR-SHB. SAHSA bought it in 1974. In early 1977 it was due to be sold to Tide Air Inc as N47029 but the deal fell through and it was sold back to Bellomy-Lawson Aviation as N2816J in Aug-77. The aircraft was transferred to Transport Aircraft Service and leased to Guyana Airways in Oct-77, returning to Bellomy-Lawson in Mar-78. They sold it to S & R Air Freight Inc in Apr-78 and it was sold again in Mar-79 to North Star Sales & Leasing. Hill Air Company Inc bought it in Jul-80 and it was sold in Jul-84 to LACSA Cargo (Costa Rica) as TI-LRM. It was eventually retired, stored and then broken up but I'm unable to find dates.

Replacing a Sound Transit bus on route 550

for sunday phlow

(original replaced with tint changed)

. . . 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

+++ 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 Waffenträger (Weapon Carrier) VTS3 “Diana” was a prototype for a wheeled tank destroyer. It was developed by Thyssen-Henschel (later Rheinmetall) in Kassel, Germany, in the late Seventies, in response to a German Army requirement for a highly mobile tank destroyer with the firepower of the Leopard 1 main battle tank then in service and about to be replaced with the more capable Leopard 2 MBT, but less complex and costly. The main mission of the Diana was light to medium territorial defense, protection of infantry units and other, lighter, elements of the cavalry as well as tactical reconnaissance. Instead of heavy armor it would rather use its good power-to-weight ratio, excellent range and cross-country ability (despite the wheeled design) for defense and a computerized fire control system to accomplish this mission.

 

In order to save development cost and time, the vehicle was heavily based on the Spähpanzer Luchs (Lynx), a new German 8x8 amphibious reconnaissance armored fighting vehicle that had just entered Bundeswehr service in 1975. The all-wheel drive Luchs made was well armored against light weapons, had a full NBC protection system and was characterized by its extremely low-noise running. The eight large low-pressure tires had run-flat properties, and, at speeds up to about 50 km/h, all four axles could be steered, giving the relatively large vehicle a surprising agility and very good off-road performance. As a special feature, the vehicle was equipped with a rear-facing driver with his own driving position (normally the radio operator), so that the vehicle could be driven at full speed into both directions – a heritage from German WWII designs, and a tactical advantage when the vehicle had to quickly retreat from tactical position after having been detected. The original Luchs weighed less than 20 tons, was fully amphibious and could surmount water obstacles quickly and independently using propellers at the rear and the fold back trim vane at the front. Its armament was relatively light, though, a 20 mm Rheinmetall MK 20 Rh 202 gun in the turret that was effective against both ground and air targets.

 

The Waffenträger “Diana” used the Luchs’ hull and dynamic components as basis, and Thyssen-Henschel solved the challenge to mount a large and heavy 105 mm L7 gun with its mount on the light chassis through a minimalistic, unmanned mount and an autoloader. Avoiding a traditional manned and heavy, armored turret, a lot of weight and internal volume that had to be protected could be saved, and crew safety was indirectly improved, too. This concept had concurrently been tested in the form of the VTS1 (“Versuchsträger Scheitellafette #1) experimental tank in 1976 for the Kampfpanzer 3 development, which eventually led to the Leopard 2 MBT (which retained a traditional turret, though).

 

For the “Diana” test vehicle, Thyssen-Henschel developed a new low-profile turret with a very small frontal area. Two crew members, the commander (on the right side) and the gunner (to the left), were seated in/under the gun mount, completely inside of the vehicle’s hull. The turret was a very innovative construction for its time, fully stabilized and mounted the proven 105mm L7 rifled cannon with a smoke discharger. Its autoloader contained 8 rounds in a carousel magazine. 16 more rounds could be carried in the hull, but they had to be manually re-loaded into the magazine, which was only externally accessible. A light, co-axial 7,62mm machine gun against soft targets was available, too, as well as eight defensive smoke grenade mortars.

 

The automated L7 had a rate of fire of ten rounds per minute and could fire four types of ammunition: a kinetic energy penetrator to destroy armored vehicles; a high explosive anti-tank round to destroy thin-skinned vehicles and provide anti-personnel fragmentation; a high explosive plastic round to destroy bunkers, machine gun and sniper positions, and create openings in walls for infantry to access; and a canister shot for use against dismounted infantry in the open or for smoke charges. The rounds to be fired could be pre-selected, so that the gun was able to automatically fire a certain ammunition sequence, but manual round selection was possible at any time, too.

 

In order to take the new turret, the Luchs hull had to be modified. Early calculations had revealed that a simple replacement of the Luchs’ turret with the new L7 mount would have unfavorably shifted the vehicle’s center of gravity up- and forward, making it very nose-heavy and hard to handle in rough terrain or at high speed, and the long barrel would have markedly overhung the front end, impairing handling further. It was also clear that the additional weight and the rise of the CoG made amphibious operations impossible - a fate that met the upgraded Luchs recce tanks in the Eighties, too, after several accidents with overturned vehicles during wading and drowned crews. With this insight the decision was made to omit the vehicle’s amphibious capability, save weight and complexity, and to modify the vehicle’s layout considerably to optimize the weight distribution.

 

Taking advantage of the fact that the Luchs already had two complete driver stations at both ends, a pair of late-production hulls were set aside in 1977 and their internal layout reversed. The engine bay was now in the vehicle’s front, the secured ammunition storage was placed next to it, behind the separate driver compartment, and the combat section with the turret mechanism was located behind it. Since the VTS3s were only prototypes, only minimal adaptations were made. This meant that the driver was now located on the right side of the vehicle, while and the now-rear-facing secondary driver/radio operator station ended up on the left side – much like a RHD vehicle – but this was easily accepted in the light of cost and time savings. As a result, the gun and its long, heavy barrel were now located above the vehicle’s hull, so that the overall weight distribution was almost neutral and overall dimensions remained compact.

 

Both test vehicles were completed in early 1978 and field trials immediately started. While the overall mobility was on par with the Luchs and the Diana’s high speed and low noise profile was highly appreciated, the armament was and remained a source of constant concern. Shooting in motion from the Diana turned out to be very problematic, and even firing from a standstill was troublesome. The gun mount and the vehicle’s complex suspension were able to "hold" the recoil of the full-fledged 105-mm tank gun, which had always been famous for its rather large muzzle energy. But when fired, even in the longitudinal plane, the vehicle body fell heavily towards the stern, so that the target was frequently lost and aiming had to be resumed – effectively negating the benefit from the autoloader’s high rate of fire and exposing the vehicle to potential target retaliation. Firing to the side was even worse. Several attempts were made to mend this flaw, but neither the addition of a muzzle brake, stronger shock absorbers and even hydro-pneumatic suspension elements did not solve the problem. In addition, the high muzzle flames and the resulting significant shockwave required the infantry to stay away from the vehicle intended to support them. The Bundeswehr also criticized the too small ammunition load, as well as the fact that the autoloader magazine could not be re-filled under armor protection, so that the vehicle had to retreat to safe areas to re-arm and/or to adapt to a new mission profile. This inherent flaw not only put the crew under the hazards of enemy fire, it also negated the vehicle’s NBC protection – a serious issue and likely Cold War scenario. Another weak point was the Diana’s weight: even though the net gain of weight compared with the Luchs was less than 3 tons after the conversion, this became another serious problem that led to the Diana’s demise: during trials the Bundeswehr considered the possibility to airlift the Diana, but its weight (even that of the Luchs, BTW) was too much for the Luftwaffe’s biggest own transport aircraft, the C-160 Transall. Even aircraft from other NATO members, e.g. the common C-130 Hercules, could hardly carry the vehicle. In theory, equipment had to be removed, including the cannon and parts of its mount.

 

Since the tactical value of the vehicle was doubtful and other light anti-tank weapons in the form of the HOT anti-tank missile had reached operational status, so that very light vehicles and even small infantry groups could now effectively fight against full-fledged enemy battle tanks from a safe distance, the Diana’s development was stopped in 1988. Both VTS3 prototypes were mothballed, stored at the Bundeswehr Munster Training Area camp and are still waiting to be revamped as historic exhibits alongside other prototypes like the Kampfpanzer 70 in the German Tank Museum located there, too.

  

Specifications:

Crew: 4 (commander, driver, gunner, radio operator/second driver)

Weight: 22.6 t

Length: 7.74 m (25 ft 4 ¼ in)

Width: 2.98 m ( 9 ft 9 in)

Height: XXX

Ground clearance: 440 mm (1 ft 4 in)

Suspension: hydraulic all-wheel drive and steering

 

Armor:

Unknown, but sufficient to withstand 14.5 mm AP rounds

 

Performance:

Speed: 90 km/h (56 mph) on roads

Operational range: 720 km (445 mi)

Power/weight: 13,3 hp/ton with petrol, 17,3 hp/ton with diesel

 

Engine:

1× Daimler Benz OM 403A turbocharged 10-cylinder 4-stroke multi-fuel engine,

delivering 300 hp with petrol, 390 hp with diesel

 

Armament:

1× 105 mm L7 rifled gun with autoloader (8 rounds ready, plus 16 in reserve)

1× co-axial 7.92 mm M3 machine gun with 2.000 rounds

Two groups of four Wegmann 76 mm smoke mortars

  

The kit and its assembly:

I have been a big Luchs fan since I witnessed one in action during a public Bundeswehr demo day when I was around 10 years old: a huge, boxy and futuristic vehicle with strange proportions, gigantic wheels, water propellers, a mind-boggling mobility and all of this utterly silent. Today you’d assume that this vehicle had an electric engine – spooky! So I always had a soft spot for it, and now it was time and a neat occasion to build a what-if model around it.

 

This fictional wheeled tank prototype model was spawned by a leftover Revell 1:72 Luchs kit, which I had bought some time ago primarily for the turret, used in a fictional post-WWII SdKfz. 234 “Puma” conversion. With just the chassis left I wondered what other use or equipment it might take, and, after several weeks with the idea in the back of my mind, I stumbled at Silesian Models over an M1128 resin conversion set for the Trumpeter M1126 “Stryker” 8x8 APC model. From this set as potential donor for a conversion the prototype idea with an unmanned turret was born.

 

Originally I just planned to mount the new turret onto the OOB hull, but when playing with the parts I found the look with an overhanging gun barrel and the bigger turret placed well forward on the hull goofy and unbalanced. I was about to shelf the idea again, until I recognized that the Luchs’ hull is almost symmetrical – the upper hull half could be easily reversed on the chassis tub (at least on the kit…), and this would allow much better proportions. From this conceptual change the build went straightforward, reversing the upper hull only took some minor PSR. The resin turret was taken mostly OOB, it only needed a scratched adapter to fit into the respective hull opening. I just added a co-axial machine gun fairing, antenna bases (from the Luchs kit, since they could, due to the long gun barrel, not be attached to the hull anymore) and smoke grenade mortars (also taken from the Luchs).

 

An unnerving challenge became the Luchs kit’s suspension and drive train – it took two days to assemble the vehicle’s underside alone! While this area is very accurate and delicate, the fact that almost EVERY lever and stabilizer is a separate piece on four(!) axles made the assembly a very slow process. Just for reference: the kit comes with three and a half sprues. A full one for the wheels (each consists of three parts, and more than another one for suspension and drivetrain!

Furthermore, the many hull surface details like tools or handles – these are more than a dozen bits and pieces – are separate, very fragile and small (tiny!), too. Cutting all these wee parts out and cleaning them was a tedious affair, too, plus painting them separately.

Otherwise the model went together well, but it’s certainly not good for quick builders and those with big fingers and/or poor sight.

  

Painting and markings:

The paint scheme was a conservative choice; it is a faithful adaptation of the Bundeswehr’s NATO standard camouflage for the European theatre of operations that was introduced in the Eighties. It was adopted by many armies to confuse potential aggressors from the East, so that observers could not easily identify a vehicle and its nationality. It consists of a green base with red-brown and black blotches, in Germany it was executed with RAL tones, namely 6031 (Bronze Green), 8027 (Leather Brown) and 9021 (Tar Black). The pattern was standardized for each vehicle type and I stuck to the official Luchs pattern, trying to adapt it to the new/bigger turret. I used Revell acrylic paints, since the authentic RAL tones are readily available in this product range (namely the tones 06, 65 and 84). The big tires were painted with Revell 09 (Anthracite).

 

Next the model was treated with a highly thinned washing with black and red-brown acrylic paint, before decals were applied, taken from the OOB sheet and without unit markings, since the Diana would represent a test vehicle. After sealing them with a thin coat of clear varnish the model was furthermore treated with lightly dry-brushed Revell 45 and 75 to emphasize edges and surface details, and the separately painted hull equipment was mounted. The following step was a cloudy treatment with watercolors (from a typical school paintbox, it’s great stuff for weathering!), simulating dust residue all over the hull. After a final protective coat with matt acrylic varnish I finally added some mineral artist pigments to the lower hull areas and created mud crusts on the wheels through light wet varnish traces into which pigments were “dusted”.

  

Basically a simple project, but the complex Luchs kit with its zillion of wee bits and pieces took time and cost some nerves. However, the result looks pretty good, and the Stryker turret blends well into the overall package. Not certain how realistic the swap of the Luchs’ internal layout would have been, but I think that the turret moved to the rear makes more sense than the original forward position? After all, the model is supposed to be a prototype, so there’s certainly room for creative freedom. And in classic Bundeswehr colors, the whole thing even looks pretty convincing.

 

I have been to Throwley on at least three previous occasions, the fourth was going to be during Ride and Stride in September, but another crawler told me it had failed to open as per the list.

 

St Michael and All Angles is a large and from the outside and interesting looking church, looked like it had a story to tell. So, last week, I contacted the wardens through the CofE A church Near You website, I got a reply and a date and time agreed for Saturday morning.

 

We arrived 15 minutes early, and it was as locked as ever, but on a fine if frosty morning took the time to study the church ad churchyard, and saw yet more fine details we had missed previously.

 

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St Michael & All Angels is the parish church of Throwley. The first church on the site was probably built between 800 and 825. This would have been a small wooden structure, barely distinguishable from a farm building.

 

After the Norman Conquest in 1066 this was replaced by a Romanesque stone structure.

 

This was still small, but as the population of the parish increased the church was enlarged, until in about 1510 it reached its present size. Since then its appearance has changed little, although an extra storey was added to the tower - now far seen - in the 1860s.

 

The church has an elaborate Romanesque west entrance; its east window in the chancel, by Curtis, Ward & Hughes of Soho, London, is a memorial to Throwley men who gave their lives in the First World War.

 

In the Harris chapel is the church's newest stained-glass window, commemorating Dorothy Lady Harris who died in 1981. It was designed and executed in the Canterbury Cathedral Workshops by Frederick Cole (see pictures on left).

 

The church has more than its fair share of fine 16th to 19th century monuments, mainly to members of the local Sondes and Harris families, and these are all described.

 

www.faversham.org/community/churches/throwley.aspx

 

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TQ 95 NE THROWLEY THROWLEY

ROAD

(west side)

4/181

Church of

St. Michael

and All

24.1.67 Angels

 

GV I

 

Parish Church. C12, C13 north chapel, C14 south chapel, C15

nave arcades, restored 1866 and tower heightened. Flint and

plain tiled roofs. Chancel, north and south chapels, nave and

aisles, south tower and south porch. West doorway, C12, with

attached shafts and 3 orders, the outer panelled with X's on

circles, the centre roll moulded with the blocks offset and

alternately projecting, the inner with more X's on circles,

with 2 offset buttresses either side of doorway. South aisle

with plinth, string course and parapet, 3 offset buttresses and

C15 Perpendicular windows. South tower of 2 stages with square

south-eastern stair turret and C16 moulded brick surround

sundial. Water spouts on each corner in the 4 Evangelical

symbols. Half-timbered C19 south porch, south doorway with

rolled and double hollow chamfered surround, and outer surround

with label and quatrefoil spandrels. North aisle under 1 roof

with nave, with C15 fenestration, and C19 chimney to north west.

North and south chapels with C14 cusped 'Y' tracery fenestration,

with hollow chamfered and ogee drip moulds. Chancel east

window C19 curvilinear style. Interior: 2 bay nave arcades,

double hollow chamfered arches on octagonal piers. C12 single

arches to north and south eastern bay, that to south recessed

and double chamfered through tower wall. Barrel roof.

Chamfered arch on corbels from south aisle to tower, itself

with corbel table on south wall, and triple arch through to south

chapel C19 chancel arch. Chancel with 2 bay double chamfered

arcade to north chapel with octagonal capitals on round piers, and

single double chamfered arch on round responds to south chapel.

Fittings: hollow chamfered piscina and sedile in window reveal in

chancel and cusped recess in north wall. C19 reredos and altar

rail. Cusped piscina and four centred arched wall recess in

south chapel. Choir stalls, some C19, the four on the south C15

with carved misericords. Monuments: south chapel C16 chest tomb,

with shields in panelled sides, moulded plinth, lozenge-shaped

flowers, fluting and frieze. Chest tomb, Sir George Sondes,

Earl of Faversham, d.1677. Black marble with blank panelled sides.

Inscription on the top panel (made 1728). Standing monument,

Sir Thomas Sondes, died 1592. Marble tomb chest, gadrooned with

achievements on side panels. Kneeling alabaster figures of

knight and his Lady on opposite sides of central prayer desk,

carrying inscription. Mary Sondes, died 1603. Smaller and

identical to Sir Thomas Sonde's monument, with 2 adults and 2

infant sons and daughters on either side of sarcophagus. Misplaced

scrolled and enriched carved achievement on floor to east of

those monuments. Wall plaque, Captain Thomas Sondes, died 1668.

Black and white marble, with draped apron, swagged and draped

sides with military trophies. Broken segmental pediment with male

bust. Signed W.S. (B.0.E. Kent II, p.477 suggests William Stanton).

North chapel C16 chest tomb, moulded plinth, panelled sides with

shields (1 panel reset in south chapel south wall). Early C16

tomb recess with moulded jambs, with rope work, crenellated,

with late Perpendicular motifs in spandrels, and tomb with 3

panelled recesses with 2 shields on each panel. Wall plaque,

Charles Harris, d.1814, by Flaxman. White plaque on white

background; dead soldier lifted from the grave by Victory, with

palms and cannon in background. Statue, to George, first Lord

Harris, life size soldier with sword and plans, on four foot

plinth. By George Rennie, 1835. Nave, wall plaque, Stephen

Bunce, d.1634. Black plaque on coved base and apron. Foliated

sides. Scrolled nowy cornice and pediment with achievement.

(See B.O.E. Kent II, 1983, 476-7.)

  

Listing NGR: TQ9883454254

 

www.britishlistedbuildings.co.uk/en-176587-church-of-st-m...

 

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LIES the next parish north-eastward from Stalisfield. It is called in the record of Domesday, Trevelei, in later records Truley and Thruley, in Latin ones Trulega and Truilla; it is now written both Throwley and Throwleigh.

 

THROWLEY is mostly situated on high ground, it is a more pleasant and open country than that last described, for though wild and romantic among the hills and woods, it is not so dreary and forlorn, nor the soil so uncomfortable, being much drier. Besides it has a more chearful and brighter aspect from the width of the principal valley which leads through it, from north to south, whence the hills rise on each side, with smaller delves interspersed among them. There is a good deal of wood-ground, mostly of beech, interspersed at places with oak and hazel, with some good timber trees of oak among them, especially in the northern and southern parts; much of the former belongs to the dean and chapter of Canterbury. The soil is mostly chalk, the rest a heavy tillage land of red cludy earth, the whole mixed with quantities of flint stones. There are some level lands, especially in the disparked grounds of Throwley park, which are tolerably good, much more so than those in the other parts of the parish; on the east side of the park are the foundations of the antient seat of the Sondes's, with the church close to them, the whole lying on high ground, with a good prospect of the surrounding country; not far from it is Town place, now only a farm-house. There is no village, excepting the few houses in Abraham-street may be so called, the rest of the houses, which are mostly cottages, standing dispersed throughout it, either single, or built round the little greens or softalls, of which there are several in different parts of the parish. On a larger one of these called Wilgate-green, there is a house belonging to the estate of Mr. Philerenis Willis's heirs, and another larger antient one, which with the estate belonging to it, was formerly the property of the Chapmans, and sold by them to Christopher Vane, lord Barnard, in 1789, gave it, with his other estates in this county, to David Papillon, esq. of Acrise, the present owner of it. (fn. 1)

 

There was a family named Wolgate, from whose residence here this green seems to have taken its name of Wolgate, or Wilgate-green. After they had remained here for some generations they ended in a daughter, for Mr. Ralph Wolgate dying in 1642, his daughter Anne married Mr. William Genery, and entitled him to her father's possessions here, at Posiers, in Borden, and other parts of this county. The Woodwards seem afterwards to have possessed their estate here, several of whom lie buried under a tomb in Throwley church-yard.

 

About half a mile distant south-westward from Wilgate-green, in Abraham-street, there is a seat, called, from its high situation and expensive prospect, BELMONT; it was built in the year 1769, by Edward Wilks, esq. storekeeper of the royal powdermills at Faversham, who inclosed a paddock or shrubbery round it, and occasionally resided here, till he alienated it in 1779 to John Montresor, esq. the present proprietor, who resides in it.

 

THE BEECH TREE flourishes in the greatest plenty, as well single to a large size, as in stubs in the coppice woods, which consist mostly of them, as well in these parts as they do in general on the range of chalk hills throughout this county, in some places extending two or three miles in width, and in others much more. The large tracts of ground in this and other counties, overspread with the beech-tree, the random situation of their stubs, and other circumstances which occur in viewing them, are strong proofs of their being the indigenous growth of this island, notwithstanding Cæfar's premptory assertion, in his Commentaries, of there being none here in this time. The Britons, he says, had every material for use and building, the same as the Gauls, excepting the fir and the beech. The former there is positive proof of his being grossly mistaken in, which will in some measure destroy that implicit credit we might otherwise give to his authority, as to the latter; indeed, the continued opposition he met with from the Britons, during his short stay here, assorded him hardly a possibility of seeing any other parts of this country than those near which he landed, and in the direct track through which he marched to wards Coway-stakes; too small a space for him to form any assertion of the general products of a whole country, or even of the neighbouring parts to him. Of those he passed through, the soil was not adapted to the growth of the beech tree; from which we may with great probability suppose, there were none growing on them, nor are there any throughout them, even at this time, a circumstance which most likely induced him to suppose, and afterwards to make the assertion beforementioned.

 

The slints, with which the cold unfertile lands in these parts, as well as some others in this county, are covered, have been found to be of great use in the bringing forward the crops on them, either by their warmth, or somewhat equivalent to it. Heretofore the occupiers of these lands were anxious to have them picked up and carried off from their grounds, but experiencing the disadvantage of it in the failure of their crops, they, never practice it themselves, and submit to the surveyors of the highways taking them off with great reluctance.

 

In the parish there are quantities of the great whitish ash coloured shell snail, which are of an unusual large size; they are found likewise near Darking, in Surry, and between Puckeridge and Ware, in Hertsordshire. They are not originally of this island, but have been brought from abroad, many of them are at this time observed in different parts of Italy.

 

MR. JACOB, in this Plantœ Favershamienses, has enumerated several scare plants observed by him in this parish, besides which, that scarce one, the Orchis myodes, or fly satrition, has been found here, growing on the side of the path, in a small wood, midway between the church and Wilgate green.

 

THIS PLACE, at the taking of the general survey of Domesday, about the 15th years of the Conqueror's reign, was part of the possessions of Odo, bishop of Baieux, and earl of Kent, the king's half brother, under the general title of whose lands it is thus described in it:

 

Hersrid holds Trevelai. It was taxed at three sulings. The arable land is eight carucates. In demesne there is one, and twenty-four villeins, with five borderers having six carucates and an half. There is a church, and five servants. Wood for the pannage of twenty bogs, and in the city three houses of thirty-two pence. In the time of king Edward the Conssessor it was worth seven pounds, and afterwards six pounds. Ulnod held it of king Edward.

 

On the bishop of Baieux's disgrace, about four years afterwards, this among his other estates, became consiscated to the crown.

 

After which it was held of the king in capite, by barony, by Jeffry de Peverel, and together with other lands made up the barony of Peverel, as it was called, being assigned to him for the defence of Dover-castle, for which purpose he was bound to maintain a certain number of soldiers from time to time for the desence of it, and to repair and defend at this own charge a particular tower or turret there, called afterwards Turris Gattoniana, or Gatton's tower.

 

In the reign of king Henry III. Robert de Gatton, who took his name from the lordship of Gatton, in Surry, of which his ancestors had been some time owners, was in possession of the manor Thrule, and died in the 38th year of that reign, holding it by knight's service of the king, of the honor of Peverel, by reason of the escheat of that honor, &c. (fn. 2) He was succeded in it by this eldest son Hamo de Gatton, who resided here, and served the office of sheriff in the 14th year of Edward I. His eldest son of the same name left one son Edmund, then an instant, who afterwards dying under age, his two sisters became his coheirs, and divided his inheritance, of which Elizabeth entitled her husband William de Dene to this manor, and all the rest of the estates in Kent; and Margery entitled her husband Simon de Norwood to Gatton, and all the other estates in Surry.

 

William de Dene had a charter of free warren for his lands in Thurley, in the 10th year of Edward II. He died anno 15 Edward III. then holding this manor by the law of England, as of the inheritance of Elizabeth his late wife deceased, of the king in capite, as of the castle of Dover, by knight's service, and paying to the ward of that castle. His son Thomas de Dene died possessed of it in the 23d year of that reign, leaving four daughters his coheirs, of whom Benedicta, the eldest, married John de Shelving, and entitled him to this manor, on whose death likewise without male issue, his two daughters became his coheirs, of whom, Joane married John Brampton, alias Detling, of Detlingcourt, and Ellen married John de Bourne, the former of whom, in his wife's right, became possessed of this manor. He lest only one daughter Benedicta his heir, who carried it in marriage to Thomas at Town, who was possessed of much land about Charing, and bore for his arms, Argent, on a chevron, sable, three crosscrostess, ermine, which coat is in the windows of Kennington church, impaled with Ellis, of that place. He removed hither in the reign of Henry VI. and built a feat for his residence in this parish, about a quarter of a mile from the church, which he named, from himself, Town-place, soon after which he died, leaving his possessions to his three daughters and coheirs, of whom Eleanor was married to Richard Lewknor, of Challock; Bennet to William Watton, of Addington, and Elizabeth to William Sondes, of this parish and of Lingfield, in Surry, in which county his ancestors had been seated as early as the reign of Henry III. at Darking, where their seat was named, from them, Sondes-place. (fn. 3) Upon the division of their inheritance, the manor of Throwley was allotted to William Sondes, and Town-place, with the lands belonging to it in Throwley, to Richard Lewknor, who sold it to Edward Evering, the eldest son of Nicholas, third son of John Evering, of Evering, in Alkham, and his daughter and heir Mary marrying in 1565, with John Upton, of Faversham, entitled him to this estate, which he very soon afterwards alienated to Shilling, from whom it as quickly afterwards passed by sale to Anthony Sondes, esq. of this parish, whose ancestor William Sondes, on the division of the inheritance of the daughters and coheirs of Thomas at Town as before mentioned, had become possessed of the manor of Throwley, and the antient mansion of it, in which he afterwards resided, and dying in 1474, anno 15 Edward IV. was buried in the north chapel of this church, though he ordered by his will a memorial for himself to be put up in the church of Lingfield. The family of Sondes bore for their arms, Argent, three blackmores heads, couped, between two chevronels, sable, which, with the several quarterings borne by them, are painted on their monuments in this church.

 

His descendant, Anthony Sondes, esq. of Throwley, in the 31st year of Henry VIII. procured his lands in this county to be disgavelled, by the act then passed, and died in 1575, having married Joane, daughter of Sir John Fineux, chief justice of the king's bench, by whom he had two sons, Thomas and Michael, and two daughters.

 

He was succeeded by his eldest son Sir Thomas Sondes, sheriff anno 22 Elizabeth, who founded the school in this parish. He died in 1592, leaving issue only by his second wife, one daughter Frances, married to Sir John Leveson, so that on his death without male issue, his only brother Sir Michael Sondes, of Eastry, succeeded to this manor and seat of his ancestors, in which he afterwards resided. He was sheriff in the 26th year of queen Elizabeth's reign, and died in the 16th year of king James I. having had by his first wife Mary, only daughter and heir of George Fynch, esq. of Norton, six sons and six daughters.

 

Sir Richard Sondes, the eldest son, resided at Throwley, where he died in the 8th year of Charles I. having had by his two wives a numerous issue, of both sons and daughters. He was succeeded in this manor and seat, with the rest of his estates, by his eldest son Sir George Sondes, who was made a knight of the Bath at the coronation of king Charles I. soon after which he began to rebuild his seat of Lees-court, in Sheldwich, and fixed his residence there, under the description of which a more particular account of him and his descendants may be seen. Not long after which this seat was entirely pulled down, and the park adjoining to it disparked. The foundations of the former still remain, and the disparked lands still retain the name of Throwley park.

 

Sir George Sondes was afterwards created Earl of Faversham, Viscount Sondes, of Lees court, and Baron of Throwley, whose two daughters became his coheirs; Mary was married to Lewis, lord Duras, marquis of Blanquefort, and afterwards earl of Faversham, and Katherine to Lewis Watson, esq. afterwards earl of Rockingham, who each successively, in right of their respective wives, inherited this manor and estate, which has since descended in like manner as Lees-court, in Sheldwich, to the right hon. Lewis-Thomas, lord Sondes, and he is the present possessor of this manor, with Town-place and the estate belonging to it. Acourt baron is held for this manor.

 

The denne of Toppenden, alias Tappenden, in Smarden, in the Weald, is an appendage to the manor of Throwley, and is held of it.

 

WILDERTON, alias Wolderton, called also in antient deeds Wilrinton, is a manor in this parish, which was once part of the possessions of the eminent family of Badlesmere, of which Bartholomew de Badlesmere was possessed of it in the reign of Edward II. of whom, for his services in the Scottish wars, he obtained in the 9th year of it many liberties and franchises for his different manors and estates, among which was that of free-warren in the demesne lands of this manor of Wolrington. (fn. 4) Having afterwards associated himself with the discontented barons, he was taken prisoner, and executed in the 16th year of that reign. By the inquisition taken after his death, which was not till anno 2 Edward III. at which time both the process and judgement against him was reversed, it was found that he died possessed of this manor, among others, which were then restored to his son Giles de Badlesmere, who died in the 12th year of Edward III. s. p. being then possessed of this manor. Upon which his four sisters became his comanor fell to the share of Margery, wife of William, manor fell to the share of Margery, wife of William, lord Roos, of Hamlake, who survived her husband, and died in the 37th year of Edward III. possessed of it, as did her grandson John, lord Roos, in the 9th year of Henry V. leaving no issue by Margaret his wife, who survived him, and had this manor assigned to her as part of her dower. She afterwards married Roger Wentworth, esq. whom she likewise survived, and died anno 18 Edward IV.

 

On the death of John, lord Roos, her first husband, s. p. the reversion of this manor, after her death, became vested in Thomas his next surviving brother and heir, whose son Thomas afterwards became a firm friend to the house of Lancaster, for which he was attainted anno 1 Edward IV. and his lands were consiscated to the crown.

 

On the death of Margaret, the widow of Roger Wentworth, esq. the manor of Wulrington, but whether by grant or purchase, I have not found, came into the possession of Richard Lewknor, of Challock, owner likewise of Town-place, as before-mentioned, who sold it to Edward Evering, already mentioned before, whose daughter and heir Mary marrying in 1565 with Mr. John Upton, of Faversham, entitled him to it. He joined with his brother Nicholas Upton, in 1583, in the sale of the manor-house, with all the demesne lands belonging to it, excepting one small piece called the manor-croft, and a moiety of the ma nor, which, from its situation, from that time was known by the name of NORTH-WILDERTON, to Anthony Terry, of North Wilderton, yeoman, upon whose death it came to his four sons, Arnold, William, Thomas, and George Terry, who in 1601 made a partition of their father's estates, in which this manor was allotted to Arnold Terry, and William his brother, from whom it descended to Anthony Terry, of Ospringe, who in 1689 sold it to Mr. Thomas Knowler, of Faversham, who devised it to his sister Abigail for her life, and after her death to John Knowler, gent. of Ospringe, in fee. She afterwards married John Bates, and they, together with John Knowler above-mentioned, about the year 1694, joined in the sale of it to Mr. Edward Baldock, of Aylesford, and Bennet his wife. He survived her, and by deed of gift in 1717, vested the fee of it in his son Edward Baldock, who passed it away to Mr. Thomas Greenstreet, of Norton, whose niece Elizabeth marrying with Mr. Thomas Smith, of Gillingham, entitled him to this manor, which has been since sold to John Montresor, esq. of Belmont, in this parish, the present owner of it. A court baron is held for this manor.

 

There was antiently a chapel at this manor of Wilrintune, as appears by a charter, dated anno 1217, lately in the treasury of St. Bertin's monastery at St. Omers, concerning the privilege of a bell to it.

 

BUT THE REMAINING MOIETY of the manor, with a small crost called the manor-croft, lying at the west end of Hockstet green, remained with John Upton, and thenceforward acquired the name of SOUTH, alias GREAT WILDERTON. After whose death it came to his eldest son John Upton, who died possessed of it in 1635, and was buried with his ancestors in Faversham church. They bore for their arms, Quarterly, sable, and or; in the first and fourth quarters, a cross flory, argent, each charged with a trefoil, azure. (fn. 5)

 

John Upton, his eldest son, inherited this manor, and at his death in 1664, by his will gave it to his daughter Anne, wife of Charles Castle, gent. who in 1688 devised it to her brother-in-law George Naylor, and George White, the former of whom becoming solely possessed of it, in 1705 devised it to his nephew Mr. John Dalton, gent. of St. Edmundsbury, for his life, and afterwards to his son Thomas Dalton, and his issue, in consequence of which it descended to Benjamin Shuckforth, of Diss, in Norfolk, who in 1741 sold it to Mr. Giles Hilton, of Lords, in Sheldwich, on whose death it descended to his three sons, John, William, and Robert Hilton, the youngest of whom, Mr. Robert Hilton, as well as by the devise of his two elder brothers, afterwards became the sole proprietor of this manor. He died in 1782, and his son Mr. John Hilton, of Sheldwich, as next in the entail, succeeded to it, and is the present possessor of it.

 

IN THE REIGN of king Stephen there was AN ALIEN PRIORY established in this parish, as a cell to the Benedictine abbey of St. Bertin, at St. Omers, the capital of Artois, in Flanders, William de Ipre, in 1153, having given this church, with that of Chilham, to it for that purpose; which gift was confirmed by king Stephen the same year, as it was by the several archbishops afterwards, and by the charters of Henry II. and III. The charter of this gift was till lately in the treasury of the monastery of St. Bertin, as were all the others hereafter mentioned relating to this church and priory.

 

There are very few formal foundations of these cells, the lands of them being usually granted to some monastery abroad, as an increase to their revenues, after which, upon some part of them they built convenient houses, for the reception of a small convent. Some of these cells were made conventual, having a certain number of monks, who were mostly foreigners, and removeable at pleasure, sent over with a prior at their head, who were little more than stewards to the superior abbey, to which they returned the revenues of their possessions annually; others were permitted to chuse their own prior, and these were entire societies within themselves, and received their revenues for their own use and benefit, paying perhaps only a yearly pension as an acknowledgement of their subjection, or what was at first the surplusage to the foreign house.

 

The cell at Throwley was of the former sort, for which reason, during the wars between England and France, as their revenues went to support the king's enemies, these kind of houses were generally seized on by the king, and restored again upon the return of a peace. (fn. 6)

 

In the 25th year of king Edward I. Peter, prior of Triwle, as it was spelt in the record, made fine to the king at Westminster, and had a privy seal for his protection, by which he had the custody of his house and possessions committed to his care, to retain them during the king's pleasure, answering to his exchequer for the profits of them, according to the directions of him and his council.

 

The scite of this priory was that of the parsonage of the church of Throwley, which, with that of Chilham, seems to have been all their possessions in this kingdom. These were valued in the 8th year of king Richard II. anno 1384, each at forty pounds annually, and their temporalities at 20s. 6d. at which time the parsonage of Throwley was become appropriated to this cell, and a vicarage was endowed in it. In which situation this priory remained till the general suppression of the alien priories throughout England, in the 2d year of Henry V. anno 1414, which was enacted in the parliament then held at Leicester, and all their houses, revenues, &c. were given to the king and his heirs for ever. (fn. 7)

 

This priory, with its possessions, seems to have remained in the hands of the crown till Henry VI. in his 22d year, settled them on the monastery of Sion, in Middlesex, founded by his father Henry V. with which they continued till the general suppression of religious houses, this being one of those greater monasteries dissolved by the act of the 31st year of king Henry VIII. How this priory was disposed of afterwards by the crown, may be further seen hereafter, under the description of the parsonage of the church of Throwley.

 

The only remains left of this priory are some few foundations, and two walls of flint, which support a building, standing behind the parsonage-house and garden.

 

THERE IS A FREE SCHOOL in this parish, the house of which is situated adjoining to the church-yard, which was founded by Sir Thomas Sondes, who died in 1592, who by his will devised a house and six poundes per annum to the master of it, to dwell in, and as a recompence for his pains; but having charged his executors and not his heirs to the fulfilling of this bequest, and charged the payment of the above sum, among other charitable legacies, on several leasehold estates, the terms of which expired in his nephew Sir Richard Sondes's time, and the house having tumbled down for want of repairs, Sir George Sondes, son of Sir Richard above-mentioned, thought it unreasonable, as he had none of the estates, that he should be bound to maintain the school; however, he voluntarily paid the master his salary, and gave him a house to live in, both which have been continued by the possessors of Throwley manor to this time, as far as I can learn, as of their own free gift.

 

The present right hon. lord Sondes appoints the schoolmaster as such during pleasure, and pays him a salary of twelve pounds per annum, besides which, he allots him an house and garden, worth about six pounds per annum, which his lordship repairs from time to time, and for which no parochial or church-dues are paid. There are at present fourteen boys taught reading, writing, and arithmetic, gratis, in this school, which though taken mostly from the parishes of Throwley, Badlesmere, and Leveland, are not confined to those parishes.

 

Charities.

 

CATHERINE, LADY SONDES, gave by will the sum of 40s. a year, to be received yearly on St. Barnabas's day, towards the relief of the poor, payable from a farm in it, called Bell-horn, now belonging to lord Sondes, and now of that annual produce.

 

THERE WERE three alms-houses in this parish, the gift of one of the Sondes family; one of them was some time since burnt down, and has not been rebuilt, but lord Sondes allows the person nominated to it the value of it in money yearly.

 

The poor constantly relieved are about thirty, casually double that number.

 

THROWLEY is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. Michael, consists of three isles and three chancels. The steeple is a square tower, and stands in the centre of the south side of it, in which there is a peal of six bells, given in 1781, at the expence of Mr. Montresor, of Belmont. In the south isle is a memorial for Francis Hosier Hart, gent. obt. 1761, leaving three daughters, Mary, Elizabeth, and Diana Hosier. In the middle isle is a small monument for Stephen Bunce, esq. of this parish, one of the Antients of New-Inn, who died there in 1634, and was buried in St. Clement's church, London. In the middle chancel there are two stalls of wood, which are not fixed, and in the north isle three more of the like sort, joined together, with a desk before them, which seem to have been removed from the chancel, and were both intended for the use of the religious of the priory here. In the middle of this chancel is a memorial for Dr. Thomas Horsemonden, patron and rector of Purleigh, in Essex, prebendary of Lincoln, &c. who died anno 1632. In the north and south chancel are several monuments for the family of Sondes, with their essigies, arms and quarterings; one of them in the latter, a plain altar tomb of black marble for Sir George Sondes, earl of Faversham, his lady and descendants; many more of this family, as appears by the parish register, are buried in the vault underneath, but the family of Watson burying at Rockingham, this vault has not been opened for several years. The north and south chancels above-mentioned belonged, one to the possessors of Throwley manor, the other to those of Townplace, but they both belong now to lord Sondes.

 

There were formerly in the windows the arms of Sondes, Finch, and Gatton, and in the north window this inscriptin, Pray for the good estate of Alice Martyn, the which did make this window, MCCCCXLV.

 

In the church yard, at the west end of the north isle, there is a circular door-case of stone, having several bordures of Saxon ornaments carved round it. In the church-yard is an altar tomb for William Woodward, gent. of Wilgate-green, obt. 1681, and Anne his wife.

 

It appears by the will of William Sondes, esq. anno 1474, that this church had then constantly burning in it lights, dedicated to St. Michael, the Holy Trinity, the Holy Cross, St. Mary, St. Thomas, St. Christopher, St. George, St. Katherine, St. Margaret, St. Mary Magdalen, and St. Nicholas.

 

An account of the antient patronage of the church of Throwley has already been given, as first belonging to the alien priory here, and then to the monastery of Sion, to the time of the dissolution of the latter in the 31st year of Henry VIII. the year after which, the king granted the rectory, with the advowson of the vicarage of the church of Throwley, to the prebendary of Rugmer, in the cathedral church of St. Paul, London, in exchange for lands belonging to that prebend, to be inclosed within the king's park of Marybone, in pursuance of an act then passed. Since which this parsonage and advowson have continued part of the abovementioned prebend. The former is leased out by the present prebendary to the right hon. lord Sondes, but the advowson of the vicarage he retains in his own hands, and is the present patron of it.

 

¶There was a rent of 4l. 18s. 4d. reserved from the parsonage by king Henry VIII. nomine decimœ, which was granted by queen Elizabeth, in her third year, to archbishop Parker, among other premises, in exchange for several manors, lands, &c. belonging to that see, which rent still continues part of the revenue of the archbishopric.

 

A vicarage was endowed here in 1367, anno 42 king Edward III. by archbishop Langham, at which time the chapel of Wylrington belonged to it. (fn. 8)

 

It is valued in the king's books at 7l. 11s. 8d. and the yearly tenths at 15s. 2d.

 

In 1578 there were one hundred and eighty communicants here. In 1640 it was valued at forty-five pounds, communicants two hundred and twenty.

 

www.british-history.ac.uk/survey-kent/vol6/pp445-461

Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Acton, London*. Here are the details of the project

 

Brief: The plot for this design was a mid-size family garden, which had recently benefited from the addition of a large sunroom on the back of the property. It was a fairly blank canvas, with nothing of note to be retained in the re-design. The garden had side access and worn boundary fences which required replacing. There was no clear brief other than that the design include a seating area and some lawn, and that the transition from sunroom to garden be fairly seamless.

 

Solution: The focus of this design was to create an exterior space that serves as an extension to the interior, featuring several distinct and versatile areas that can be adapted to a variety of uses.

 

The garden's boundaries were replaced with new fencing to provide a uniform and attractive backdrop to the transformation within, while the long sideway down the right of the house was renovated with the addition of attractive 'bamboo' slate tile flooring in a random lay pattern.

 

The first section of the space comprises a large area of Western Red Cedar decking adjoining the house, and offers ample room for entertaining, with a long L-shaped fixed-bench seat stretching width-ways across the space from the left-hand side to the centre. This was backed with a rendered block raised bed, planted with fragrant lavender and capped with 'bamboo' slate tile, to provide a sense of enclosure and separation from the rest of the garden.

 

A decked walkway running down the right hand side of the space provides access to a 'spa' area, featuring a large square hot tub housed upon a reinforced paved hard-standing and nestled between existing and additional trees, shrubs and foliage to provide a secluded and intimate area for bathing throughout the seasons. Hidden behind mature and new planting in the bottom left corner, a large shed provides ample storage for the client's garden accessories. The middle of the space has been given over to a large lawn edges with slate.

 

A purple and yellow planting scheme of soft, cottage-style evergreen shrubs and flowering perennials will help to bring year round lightness and subtle colouring to the space.

 

After-dark hot tub bathing is enhanced by several strings of pea-lights woven through the existing shrubbery. Deck lights demark the main area of decking and guide one's journey along the decked walkway. Finally, spot lights in the beds highlight certain area while providing a gentle wash throughout the space.

 

Testimonial: "After months of planning and a full year of having builders everywhere, we had finally got the house into good shape but the garden was a nightmare. It had been somewhat overgrown before the builders moved in, but after a year of being used as a builders yard, it needed shock treatment.

 

We needed help fast so we searched the web. We were looking for garden designers with creative ideas for smaller London gardens. We didn't want anything too traditional but at the same time, nothing too extreme.

 

Earth Designs fitted the bill and after a design session with Katrina, we engaged them for the project. They had offered us a design service only, but as we only had a 4 week window in which to complete the job, we gave them the whole project.

 

We had built a new extension with wide glass doors that opened out into the garden, so the brief to Earth Designs was to "bring the outside, inside" and create a strong link between the new room and the garden beyond. The actual garden space was not large so we wanted to use the space as an extension of the living space - to be an "outside room".

 

Monday 18th April and three very charming men arrived on our doorstep at 8.0am sharp. Arlo was the project manager, ably aided and abetted by Paul and Phillip. They worked brilliantly as a team and always hit all the deadlines. In particular they did a great job in working with our neighbours to ensure the whole project ran smoothly.

 

The first week involved clearing the site - no mean feat with 30-year-old ivy stems that looked more like tree trunks.

 

The second week involved levelling the garden, putting up new fencing, building the corner seating base and planters, plus marking out the garden shape. It was good to be able to make minor changes to the design on the ground at this stage. The hot tub arrived too and was winched into place for connection later.

 

Week 3 saw the decking and seating built.

 

Then in week four the turf arrived, the lawn went down and on the last day, Katrina arrived with a truckload of wonderful specimens (and Matt) and we had a wonderful time planting. Ground Force Mk II - a complete garden from start to finish in just 4 weeks!

 

There were a few things that needed to be sorted out after the main work was complete. Earth Designs were great about coming back until all was complete and finished.

 

Our thanks to Katrina, Matt, Arlo, Paul and Phillip for a great job, completed on time and on budget with a great looking result."

 

If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.

 

Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.

 

Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.

Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.

 

Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.

 

Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.

 

If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.

 

Great Sampford, Essex

 

The beautiful church of St Michael the Archangel at Great Sampford is not the first church to stand on the rising ground at the centre of the village overlooking the cornfields along the valley of the river Pant. It is possibly sited on an ancient place of cult or religious significance. The proximity of the Stow farm may be of some importance, for the word ‘Stow’ in Old English can mean a ‘holy place’ or ‘place of assembly’. A pre-Conquest church, presumably of timber and thatch construction, followed perhaps, by a simple stone-built church, was replaced by the 13c on the same site by a major church building of which one of the transepts remains as the vestry of the present church which was built between 1320 and 1350. The original dedication of the church, if different, is not known as the first documentary reference to St Michael occurs as late as 1540 in a Sampford will. Dedications were sometimes changed and the use of the proper style, St. Michael the Archangel, is in fact quite rare. However, dedications to St. Michael or St. Michael and All Angels are numerous and were popular as the Archangel is an important figure in Christian tradition and art, symbolising the victory of God over evil, as an intercessor for the sick and as a leader of the Church militant. Churches dedicated to him, as at Great Sampford, are often found on hill—top sites or on high ground .a possible allusion to St. Michael’s pre-eminence in the Angelic Host of Christian belief. His Feast Day is 29th September.

 

Knowledge of the origins of the Christian Church in Essex relies largely on the fragile but growing evidence of archaeology and landscape interpretation. An ill-defined and mobile pattern of contemporaneous pagan and early Christian practices in the Roman era comes into historical focus with the missionary endeavours of the Roman and Celtic Churches when such names as Augustine, Mellitus and Cedd are prominent in Essex history. Within that tradition there are various, as yet unproven, theories about the establishment of a church at Great Sampford.

 

On entering the church the first impression that the visitor receives is of its elegant dignity; the next, the incongruence of its scale in such a tiny rural community. An interesting aspect of this enigma is the search for a convincing explanation of its status, from the mid-13c until 1907, as a deanery church serving twenty-one surrounding parishes in the Freshwell Hundred and in part of Uttlesford. It may have been a consequence of an early ‘minster’ (i.e.: missionary) role or as the result of a parochial compromise in an area with more important communities such as (Saffron) Walden. We do not know. However, it is a fact that the missionary work of the early minsters often extended to and beyond the boundaries of the administrative hundreds and became the sites of the hundredal centres themselves. There may well be historic linkages, not yet understood, between the Freshwell and Uttlesford Hundreds and the Sampford Deanery that relate to the early status of the church at Great Sampford.

 

The earliest historical fact about St. Michael’s is the grant by William Rufus, son and successor of William the Conqueror, of the church at Sampford along with the subordinate chapel at Hempstead with their lands and tithes to Battle Abbey in 1094. According to Philip Morant, the most famous of Essex historians, this was a formal confirmation of the Conqueror's original royal grant. This act of confirmation was a necessary and regular practice in regard to the efficacy of grants and early charters which were frequently forged. The church at Hempstead was within the jurisdiction of the vicar of Great Sampford until as late as 1979. Great Sampford remained in the hands of Battle Abbey until the Dissolution of the Monasteries in 1539 when it was transferred to the Dean and Chapter of Canterbury. In 1836 it passed to the newly-established Church Commissioners. In 1982 Great Sampford was combined with the parish of Little Sampford.

 

For perhaps a thousand years, even more, the Church at Sampford pursued its mission and, like others of medieval foundation, did not escape the consequences of religious, political and parochial events or circumstances. An astonishing flowering of spiritual faith and social commitment led to the building and re-building of these lovely churches. This phase was followed by the painful disruption of the Reformation, the Commonwealth and the Restoration, all of which led to anxious change and despoliation. In the course of these events much of the magnificence of the church at Great Sampford and its furnishings was lost or abandoned. All his was compounded by periods of neglect and the chronic problems of maintaining a great building in a small village bereft of wealthy resident patrons.

 

The loss, confiscation or sale of the rood, images, church plate and "such other goods as could be spared" was mirrored by decay of the fabric as is evident from the Parochial Inventories and Visitations of the l6c and l7c. The l7c saw the introduction of new arrangements for the railing of the Lord’s Table and seating for the congregation, a school was held in the south transept and the village musicians performed in a gallery under the tower. The inevitable ‘restorations’ by the Victorians led to the removal of furnishings, the installation of new pews, patterned floor tiling and the stripping of the stucco from the exterior walls of the church to expose the original flint and rubble surfaces. In more recent times the spiral staircase in the tower was removed and the roof structure of the south aisle replaced. We are, fortunately, left with a church of beauty and distinction.

 

It is hoped that the following brief notes on the architectural features and minor objects and details of interest in the church will help visitors to enjoy their visit.

  

The significance of St. Michael the Archangel in the village scene is apparent from the scale of the building, its strong profiles and conspicuous English Gothic idiom of the Decorated period. Internally, the major architectural theme is that of a restrained, uncomplicated elegance that is enhanced by the ample light admitted by plain glass windows. A dominant feature is the fine range of trefoiled, cinquefoiled and sexfoiled lights of the nave, chancel and aisle windows all dating from the period c. 1320-50. The cusped tracery of the windows is complemented by the symmetrical refinement of the arcading which is only lightly embellished by mouldings and carved capitals, typical of the period, and among the best in the county. Although not devoid of interesting detail, there is nothing to detract from the simple elegance and spatial qualities with which the fenestration and graceful arcading endow this fine building.

 

In 1769 Peter Muilman referred to the church at Great Sampford which "stands pleasantly on a small eminence by the roadside". Pleasantly indeed, the church is handsomely set in the Essex cornfields and seen to advantage from the high ground on the opposite side of the river. Close to, the sturdy profiles and somewhat severe external textures, relieved by some decorative areas of knapped flint flushwork, offer little hint of the quality of its Gothic interior. The main structure is built with random-faced flint and rubble set in lime mortar with limestone and clunch dressings. The roof is tiled and slated. The prominent west tower was built in the mid-l4c and, like the south aisle, has an embattled parapet. The south porch is of the same period. Unhappily, the window tracery of the 13c transept has been lost and is now disfigured by brickwork of two phases which seem to date from the late-18c to early-19c. Conspicuous in the churchyard are the fine lime trees planted in about 1835. The only monument of significance is the obelisk near the east wall of the churchyard which commemorates members of the Watson Family of Sampford. Colonel Jonas Watson was a distinguished soldier who was killed in action at the siege of Cartagena in 1741. But spare a moment to look at the adjacent grave stone of William Ruffle who died in 1881, a village worthy who served Great Sampford as shopkeeper, constable, clerk and in other public offices for over half a century.

 

External details of note are a rare series of consecration crosses of varying designs around the church, an early scratch dial, now displaced and seen on a doorstep in the north wall, a benchmark and the slot for the surveyor’s bench on the south-west buttress of the tower and miscellaneous graffiti mainly in the porch. Other details of interest include the rainwater heads, the vigorous carvings on the label of the south transept and niches in the south transept and the north and west walls. The clock on the church tower was installed in l9ll to mark the coronation of King George V.

 

On entering, visitors will appreciate the impressive dimensions and architectural refinement of this handsome village church. Standing in the centre of the nave the dominant curvilinear idiom of the Gothic styling will be apparent. The nave is flanked by north and south arcaded aisles with plain two-centred arches datable to the l4c. The piers of the north arcade are quatrefoil in plan with slender engaged shafting; those of the south arcade are octagonal in plan. All of the piers have moulded bases and capitals.

 

The 14c west tower is constructed in four stages. Internally it is open to the nave under a two-centred moulded arch. There is access to the belfry but, sadly, the brick-built circular Tudor staircase was removed about fifty years ago. The carved head of a woman recovered from this staircase, although it presumably originated from elsewhere in the church, can be seen in the vestry. But the finest aspects of this church are to be seen in the early chancel which is remarkable for its size and the splendour of its architectural expression. It dates from the first decades of the l4c. This fine chancel is framed by an exceptionally large east window of five cinquefoiled lights, the curvilinear bar tracery and verticality of which enhance the powerful impact of this aspect of the building. Most interesting, and presumably deriving from the deanery status of the church, there is a series on the north and south walls of twenty-one stalls recessed under a canopied arcade with mouldings and cusping. At the east end of the south arcade there are the piscina and sedilia. The chancel arch, of the same period and sprung from the capitals of clustered shafts, shows residual traces, near the base on either side of the step, of a former stone screen which is possibly significant in view of the rare stone screens in the nearby churches of Stebbing and Great Bardfield. Note also the small blocked low window by the north side of the arch. The panels behind the altar on which the Creed, Lords Prayer and Commandments are painted were made in 1837 for the church at Danbury and brought to Great Sampford in 1894.

 

The vestry, formerly a chapel, is of great interest as a surviving major element of the previous church of the late - 13c (however when I visited this was locked). In the east wall there are good coupled windows of two trefoiled lights with two quatrefoil and sexfoil circular openings, interesting examples of pierced plate-tracery. The large brick-filled window in the south wall is of the mid-13c with good mouldings and the surviving arch and shafting in the splays. Below this window, fragments of medieval glass were found buried in the ground outside. The contemporary archway in the west wall has some intriguing carved capitals richly adorned with robust oak-leaf foliage and vibrant figures including an owl, snail, pig and a human face in a good state of preservation. One is assumed to be a representation of a ‘Green Man’ a symbolic figure of English folklore. The north wall has four quatrefoil openings. There is, under the south window, a triple gabled recess with crockets and linear moulding, pinnacles and a neat acanthus motif which was probably once a fine tomb of an important local family, perhaps a member of the de Kemesek family. It is said to have served as a fireplace in the time when the vestry housed the village school! The battened and studded oak door leading into the chancel is 16c.

 

The open church roof structures are well worth close study. The best is in the vestry which is roofed with twelve pairs of collared scissor-braced trusses supporting the steep-pitched rafters on moulded wall plates. The chancel roof is also of trussed-rafter construction of seven cants, as is that of the nave roof which also has three tie-beams which may have been installed at a later date, perhaps when, as we know from church records, the roof was repaired in the 16c. The lean-to roof of the north aisle is attractively braced with graceful curved members sprung from a good moulded wall-plate. Unfortunately, the original roof of the south aisle has been replaced by a modern structure, but three of the amusing stone corbels which supported it remain. The trussed-rafter roof of the south porch with seven cants should be noted as it rests on extremely fine early moulded plates. Visitors should not miss the intriguing carved medieval wooden head which is fastened onto the wall above the chancel arch at the north-west corner facing the nave. This appears to have been repositioned, perhaps from a figure that was once part of church statuary. On the south side in the clerestory will be seen an attractive 15c Perpendicular style rectilinear and cinquefoiled window of three ogee lights which was devised to throw light onto the former rood.

 

Originally the church would have been resplendent with a comprehensive range of wall paintings for visual instruction depicting scenes of biblical or religious significance. A few fragments survive, having been discovered during restoration work in 1979, above the arches on the walls of the north arcade. Although faint and incomplete the two remaining paintings are of interest. One represents the seven deadly sins in the form of a diagrammatic tree which is comparatively rare. The other may be of St. Christopher, a saintly figure normally positioned, as possibly here, opposite the church entrance as a reassuring gesture to the worshippers. There are traces, too, possibly of another period, that suggest a dragon was depicted which would imply an association with St. Michael to whom the church is dedicated or, possibly, St. Margaret. Traces of colour in the wall plaster of the vestry may eventually yield further paintings.

 

Worthy of note are some special features beginning with the door at the church entrance. This is thought to be contemporary with the building of the church in the early l4c and, although damaged at the base, is still a fine example and retains the original wrought iron strap-work and studding. According to expert opinion it is the most elaborate of all saltire-braced doors in Essex. The boards of which it is constructed are pegged together. The font in the south aisle has a plain moulded octagonal bowl of the 15c. Its stem is earlier and has complex decoration which combines ogee-headed panels with intricate tracery on a chamfered 14c plinth. The Victorian pews were recently detached and the nave flooring paved. The beautiful series of kneelers worked with flower motifs were recently embroidered by local people. The lovely embroidered runner on the step of the sanctuary was made in 1990 and is an exact copy of the Victorian runner it replaced.

 

It is valid to observe that St. Michael’s benefits aesthetically from the absence of monumental clutter which, although sometimes historically useful, can be detrimental to the architectural purity of the building as a whole. The only remaining monuments of antiquity in the church are the tomb slabs (Calthorp and Burrows) of the 17c and 18c in the chance]. They commemorate a family whose name persists at a local farm and another of textile merchants who lived opposite the church. There is another (Gretton) in the south aisle. The pulpit, the provenance of which is unknown, is Victorian. There are also a few notable pieces of furniture. These include a 17c desk with a writing slope and cupboard which once served the school in the church. There is also a standing cupboard or hutch of the late 16c and a 16c church chest, iron-banded with strap hinges and an interior ‘till’ which may have been built-in as a response to a Parochial Visitation of 1686 which ordered it to be provided and lockable. The modern portable altar at the east end of the north aisle was given to the church by an anonymous donor in 1991. The small bronze of the Madonna and Child is of German provenance.

 

The five church bells which were once rung for church services as well as for special village occasions like harvest and gleaning can no longer be pealed. This is because of structural weaknesses in the belfry though they are still hung on the original stocks. Nowadays one is chimed for church services, as a Sanctus bell and used to ring the hours for the clock. The first, third and fourth bells were cast by William Land in 1624; the second (which bears the Royal Arms and a medallion with a bust of Charles II) by Henry Yaxley in 1684; the fifth by John Hodson in 1664. The church plate includes an interesting early Elizabethan silver cup of 1562 with a paten cover of c1567 and another paten dated 1630. None of these is inscribed although they carry makers' marks. An electro-plated flagon of 1854 was purchased by the vicar for five guineas in 1856. The organ, installed in 1976, is said to have come from a nonconformist chapel and to have been built in c1830 by G.M. Holdich. The eagle lectern in the south aisle was placed in the church in 1909 as a tribute to the incumbency of the Rev. Robert Eustace, vicar from 1850 to 1905.

 

Almost every ancient church has a range, most of which cannot be satisfactorily explained, of markings and graffiti, ostensibly symbolic figuring, idle scratchings and numerous initials and dates. Great Sampford has a generous quota of such. Of genuine interest is a 3-men’s (or 9-men's) Morris cut into the second stall on the north side of the chancel inside the altar rail. These are gaming boards of some antiquity, the play having affinities with ludo and allegedly used to relieve the boredom of long sermons or tedious ritual. On the opposite side one of the sedilia has a set of unexplained grooves, possibly another game.

 

This guide has so far been concerned mostly with events, architecture and objects of beauty or interest. More important are the people, clergy, church officers and villagers who have worked for and worshipped in the church. They all emerge from the obscurity of the past through the church records and the village archives as personalities or in human situations which help us to share their hopes, commitment or despair. The clergy, ever since Thomas de Sampford, dean in 1163, have served the church and ministered to the people throughout the ages and struggled with the traumas of turbulent and anxious times. The churchwardens, like Richard Petytt and John Mylner in the l6c and their successors, have striven to preserve the church from decay and neglect and carried out their onerous and multifarious duties with devotion if not always with alacrity. There have been too the countless parishioners whose recurring family names fill the registers recording the joy of marriage and birth and the sadness of illness and death. They are all part of the story and the reality of the church and its life in the village. They too were familiar with the building we admire. They sat in the pews and looked upon the beauty that is now our heritage. Their responsibility has passed to successive generations, and now to us. We hope that they would have approved of this little booklet and that it will play its part in safeguarding the continuity of that inheritance.

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

Submitted by: Marie-Claire Boyle

Country: United Kingdom

Organisation: St John Eye Hospital

 

Category: Amateur

Caption: 'Nothing can replace a mother's love when a child is sick, but we try our best to fill that gap." St John Jerusalem Eye Hospital nurses take extra care of Gazan child patients who are often not allowed to come with their primary care givers due to permit restrictions.

 

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Photo uploaded from the #EyeCareEverywhere Photo Competition (photocomp.iapb.org) held for World Sight Day 2018

+++ DISCLAIMER +++

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

 

Some background:

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

General characteristics:

Crew: 2

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

Wingspan: Span: 43ft

Height: 13 ft 11 in (4.2 m)

Wing area: 350 ft² (32.52 m²)

Empty weight: 12.620 lb (5.725 kg)

Loaded weight: 21.200 lb (9.625 kg)

 

Powerplant:

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

 

Performance:

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

Range: 875 mi (765 nmi, 1.408 km)

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

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

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

Thrust/weight: 0.45

  

Armament:

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

  

The kit and its assembly:

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

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

 

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

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

 

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

  

Painting and markings:

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

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

 

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

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

 

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

 

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

 

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

 

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

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

 

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

  

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

 

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

 

British European was just becoming 'FlyBe'

 

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

 

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

 

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

It returned to Jersey European in Sep-99.

 

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

  

Replacing the familiar Transunion logos with the revamped version introduced in 2013 is progressing slowly. I still remain to be convinced that this is an improvement. The new style is demonstrated by 6361 GMH, a Beulas Cygnus-bodied MAN 14.284.

+++ DISCLAIMER +++

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

 

Some background:

The AH-64 Apache originally started as the Model 77 developed by Hughes Helicopters for the United States Army's Advanced Attack Helicopter program to replace the AH-1 Cobra. The prototype YAH-64 was first flown on 30 September 1975. The U.S. Army selected the YAH-64 over the Bell YAH-63 in 1976, and later approved full production in 1982. After purchasing Hughes Helicopters in 1984, McDonnell Douglas continued AH-64 production and development. The helicopter was introduced to U.S. Army service in April 1986. The first production AH-64D Apache Longbow, an upgraded Apache variant, was delivered to the Army in March 1997. Production has been continued by Boeing Defense, Space & Security, and more than 2,000 AH-64s have been produced to date.

 

The Boeing AH-64 Apache is a four-blade, twin-turboshaft attack helicopter with a tailwheel-type landing gear arrangement and a tandem cockpit for a two-man crew. It features a nose-mounted sensor suite for target acquisition and night vision systems. It is armed with a 30 mm (1.18 in) M230 chain gun carried between the main landing gear, under the aircraft's forward fuselage. It has four hardpoints mounted on stub-wing pylons, typically carrying a mixture of AGM-114 Hellfire missiles and Hydra 70 rocket pods. The AH-64 has a large amount of systems redundancy to improve combat survivability.

 

The U.S. Army is the primary operator of the AH-64; it has also become the primary attack helicopter of multiple nations, including Greece, Japan, Israel, the Netherlands, Singapore, and the United Arab Emirates; as well as being produced under license in the United Kingdom as the AgustaWestland Apache. American AH-64s have served in conflicts in Panama, the Persian Gulf, Kosovo, Afghanistan, and Iraq. Israel used the Apache in its military conflicts in Lebanon and the Gaza Strip; British and Dutch Apaches have seen deployments in Afghanistan and Iraq.

 

Studies for a naval version of the Apache were begun during 1984 and since that time the McDonnell Douglas Helicopter Company has proposed several modified Apaches to both the U.S. Marine Corps and U.S. Navy. The navalized Apache was viewed as a replacement for the aging Bell AH-1 Sea Cobras that are in service with the Navy and Marines. With the introduction of a four-blade rotor system to the then current Marine Sea Cobra, the AH-1W, the Bell Cobra was believed to have reached the limit of its development. While older Sea Cobra airframes could be brought up to AH-1W standards, the Marines saw the need for a replacement for the Sea Cobra with some urgency.

 

The proposed Sea Apache (also known as the ‘Gray Thunder’) was intended for operations from smaller Navy ships such as frigates and cruisers and by the Marines from Amphibious Assault Ships (LHA) and smaller helicopter capable amphibious ships of a Marine Amphibious Ready Group (ARG). These ships would frequently operate outside the air cover of a carrier task group, so that the Sea Apache was also tasked with limited air defense duties and regarded as an offensive surface strike platform, with more capable weapons than the Army's version.

 

Since 1984, several design studies and formal proposals had evolved, with the Navy requesting changes in the Sea Apache configuration as it refined the aircraft's missions and roles. All in all the project went through no less than three stages, and each of these proposed navalized versions of the Apache differed in several ways from the standard Army AH-64A, although all three proposals had the same powerplants in common, two 1,723shp naval standard General Electric T700-GE-401 engines.

Also in common were increased corrosion preventive measures, improved electro-magnetic interference protection, a Doppler navigation system, upgraded brakes, additional tie down points, and a powered automatic rotor blade fold system.

 

Some of the missions envisioned by the Navy for the Sea Apache were:

- Escort for amphibious assault craft

- Anti-shipping strike

- Combat Air Patrol (CAP) with up to six Sidewinders

- Over the Horizon (OTH) targeting for surface ships

- Air support for SEAL special warfare teams

- Standoff surveillance

- Long range coastal patrol

 

Originally (designated “Stage 1”), the Sea Apache was to be a basic AH-64A airframe modified with a folding tail boom, a relocated tail wheel, a mast-mounted radar for surface/air search and attack, and provisions for Harpoon and Sidewinder missiles. Over time, however, the engineering studies and changing roles/missions requirements revealed that the Sea Apache's final configuration would have to be altered drastically.

 

One of the early problems encountered with navalizing the Apache was the narrow wheel base of the main landing gear. Engineering studies found that the standard Apache main wheel track was too narrow, causing the aircraft to be very unstable on the deck of a small ship. The roll of the deck in heavy seas, coupled with the aircraft's narrow wheel base and a relatively high center of gravity, could easily cause the Sea Apache to tip over. To solve this problem, McDonnell Douglas engineers redesigned the main landing gear, relocating it from the fuselage to the tips of the stub wings. The revised main landing gear was also retractable, with the gear retracting into streamlined housings (although the wheel itself remains uncovered) on the end of each reinforced stub wing. These housings also had provisions for mounting Sidewinder missile launcher rails.

 

The revised landing gear configuration was put forward in the second proposal (Stage 2) which also deleted the 30mm Chain Gun and its associated ammunition storage system. Furthermore, the Stage 2 Sea Apache featured a revised nose contour and replaced the TADS/PNVS with a nose mounted radar.

Extended fuselage side sponsons carried additional electronics and fuel cells. The sponsons themselves were smoothly faired into the fuselage to lower drag and extended almost to the tip of the nose. This aircraft was to also have provision for carrying two AIM-9L Sidewinder air-to-air missiles on short racks on the fuselage underside, a folding tail assembly and a retractable tail wheel.

 

This design had been refined still further, and the Stage 3 Sea Apache proposal had the side fuselage sponsons deleted and featured a larger nose radome intended to house an APG-65 Sea Search radar. This radar, developed from the multi-mode radar used on the F/A-18 Hornet fighter/attack aircraft, was compatible for both air-to-surface attack and air-to-air engagements. The forward fuselage was deepened to house additional fuel cells and the relocated avionics bays.

 

Projected armament included both the Harpoon or Penguin air-to-surface missiles (although the number of stations had been reduced to two) as primary weapons against surface targets, plus two Sidewinder air-to-air missiles for self-defense.

Additional weapons included Stinger, Sidearm, AMRAAM, and Hellfire missiles, as well as 127mm Zuni and 70mm FFAR rockets. Performance goals specified for the Sea Apache by the Navy at this stage included a 370km mission radius, and a four hour endurance on station. To extend the Sea Apache's time on station even further, an extendable in-flight refueling probe would be mounted on the starboard fuselage side below the cockpit. Consideration was also being given to installing the Canadian developed Bear Trap automatic haul-down landing system, which allowed operations during heavy sea states.

 

In 1989 the Navy gave serious consideration to the purchase of the Sea Apache once adequate funding was made available to finance prototype construction. The Navy desires the Sea Apache not only for its capabilities, but also because the aircraft would cost far less to acquire than to undertake the design of a totally new aircraft to replace the AH-1W in service.

 

It took until 1992 that the AH-64N, how the Sea Apache was now officially called, was given green lights and a total of seven prototypes were ordered (five for flight tests and in different configurations from Stage 2 and 3, plus two static airframes), and trials took another four years. During this time, one prototype was lost in a fatal crash and the overall budget for the new helicopter was slimmed down, so that the service aircraft became less drastically changed from the Army helicopter, and was eventually designated “Stage 2+”. It carried the Stage 3 avionics suite, but the performance goals became less ambitious, so that the deepened fuselage was not necessary anymore, improving aerodynamics and compensating a little for the reduced internal fuel capacity.

 

The first production AH-64Ns were delivered in 1998 and entered service on board of US Navy Wasp-class amphibious assault ships, e. g. the newly built USS Bataan (LHD-5), in 1999. Bataan was also one of many vessels in the Middle East region at the beginning of the Iraq war on or about 20 March 2003. After delivering her attack and transport helicopters, troops and vehicles she was employed as a "Harrier Carrier" with primary duties supporting two Marine AV-8B Harrier II squadrons along with USS Bonhomme Richard. USN AH-64Ns of the newly formed HLA-80 light attack helicopter squadron served successfully in the Combat Air Patrol (CAP) role, armed with AIM-120 AMRAAM and AIM-9L Sidewinders, as well as in the escort role for emergency medical care transports in the conflict region.

 

Until 2003, a total of 80 AH-64Ns were built, exclusively for the US Navy. The US Marines showed interest in the new helicopter, but budget restrictions forced the USMC to stay with its AH-1W helicopters and the AV-8B fleet. A proposed Marine Corps variant would retain the TADS/PNVS and Hellfire missile system, for use in the close air support role and for anti-shipping duties while escorting amphibious vessels. This variant would also relocate the radar dome back to the top of the rotor mast. Another option favored by the Marines was the capability to use the four tube TOW missile system as a back-up to the Hellfire missile system. But due to further budget restrictions, this variant that resembled the initial Stage 1 design of the AH-64N, never left the drawing board.

 

Further export ambitions received a blow when the British Army successfully deployed license-built AgustaWestland Apaches in 2003 upon the Royal Navy's HMS Ocean, a Landing Platform Helicopter, demonstrating that the land-based Army helicopter was quite capable of naval operations.

  

General characteristics:

Crew: 2 (pilot, and co-pilot/WSO)

Length: 58.17 ft (17.73 m) (with both rotors turning)

Fuselage length: 49 ft 5 in (15.06 m)

Rotor diameter: 48 ft 0 in (14.63 m)

Height: 12.7 ft (3.87 m)

Disc area: 1,809.5 ft² (168.11 m²)

Empty weight: 11,387 lb (5,165 kg)

Loaded weight: 17,650 lb (8,000 kg)

Max. takeoff weight: 23,000 lb (10,433 kg)

 

Powerplant:

2× General Electric T700-GE-701C turboshaft engines, delivering 1,890 shp (1,409 kW) each,

driving a foldable 4 blade main rotor and a 4 blade tail rotor in non-orthogonal alignment

 

Performance:

Never exceed speed: 197 knots (227 mph, 365 km/h)

Maximum speed in level flight: 165 knots (190 mph, 306 km/h)

Cruise speed: 143 knots (165 mph, 265 km/h)

Range: 290 nmi (332 mi, 535 km) with two AGMs and four AAMs

Combat radius with two hours loitering time: 162 nmi (186 mi, 300 km)

Ferry range: 1,080 nmi (1,242 mi, 2,000 km)

Service ceiling: 21,000 ft (6,400 m) minimum loaded

Rate of climb: 2,500 ft/min (12.7 m/s)

Disc loading: 9.80 lb/ft² (47.9 kg/m²)

Power/mass: 0.18 hp/lb (0.31 kW/kg)

 

Armament:

No internal gun;

Four pylon stations on the stub wings; the inner pair under the wings can carry a wide range of

AGMs and AAMs, including AGM-84 Harpoon and AGM-119 Penguin against surface targets.

Alternatively, up to eight AGM-114 Hellfire missiles or pods with Hydra 70 70 mm, CRV7 70 mm,

and APKWS 70 mm air-to-ground rockets can be carried

Stations on each wingtip and under the fuselage can carry launch rails for up to four

AIM-120 AMRAAM and/or AIM-9 Sidewinder AAMs.

  

The kit and its assembly:

Another entry for the 2016 “In the Navy” group build at whatifmodellers.com, and to my surprise I was so far the only builder of this interesting “real” what-if project – even though the navalized Apache had been tackled by other modelers several times before.

 

The three design stages, plus USMC options, offer a wide range of potential builds – but I did not want to build a 1:1 copy of any of these. I wanted a sleek helicopter, purely armed with guided missiles, so I settled for “something between Stage 2 and 3”, or rather something that combines design elements from these:

- Nose radome (Stage 2)

- Recontoured upper fuselage (Stage 2 onwards)

- Retractable landing gear in wing tip pods & relocated tail wheel (Stage 2 onwards)

- Deleted sponsons (Stage 3), but also no deepened Stage 3 fuselage

 

A nice basis for my plan was Academy’s new AH-64 kit – it’s selling point in my case was the fact that it is the only kit that comes with separate sponson parts. Any other kit I know has them as integral part of the fuselage halves, so that Stage 1 would be fairly easy to build, Stage 2 challenging and Stage 3 a total re-sculpting of the forward fuselage. But in this case, the sponsons can simply be left away and a floor panel needs some modifications.

 

The thimble radome is an aftermarket resin piece, actually for a WWII FuG 240 Morgenstern radar on board of a Ju 88G night fighter. It simply replaces the original nose and it was blended into the fuselage through a 2C putty “plug”.

 

Stage 2 and 3 of the navalized Apache feature a higher upper deck around the rotor gear cover. On a 1:72 kit it’s not much, maybe 2mm, but recognizable to keen eyes. I scratched it through donation parts (including an air brake from an Airfix A-1 Skyraider…), styrene strips and some putty. The rotor mast was also extended by the same amount, compensating for the higher dorsal line. Subtle, but worked out fine.

 

I was a little uncertain concerning the stub wings. Stage 3 had a reduced span, and I found the OOB wings a little too small for the wingtip pods (scratched from styrene profiles and some 2C putty) with the landing gear. I eventually added 3mm depth to the wings through inserted styrene profiles – probably hard to recognize at all when hidden under paint, but proportions look IMHO more balanced, also with the missile ordnance on board and the longer nose. Any means to move the landing gear forward is helpful!

 

Work on struts and wheels started once the wings and the pods were in place, for a proper ground clearance. The struts are modified parts from the Academy kit, I just replaced the fat low-pressure main wheels for the land-based version with donations from a Hobby Boss MiG-15: similar diameter, but less wide and an interesting wheel hub cover.

 

For the retractable tail wheel, a well opening was cut of the tail boom and an interior plus covers added.

The whole tail wheel comes OOB from the kit, the struts were just re-arranged for a more vertical position in the well.

 

The ordnance comes from a Hasegawa US weapon set and encompasses a pair of AGM-119 Penguins, a pair of AIM-120 AMRAAM and a pair of AIM-9 Sidewinder, plus the missiles’ respective launch rails.

 

Anyway, nothing goes without trouble. In this case, disaster struck in the form of a cracked canopy while trying to dry-fit the clear part over the finished cockpit and fuselage. Sh!t.

I was lucky to have a spare AH-64A canopy at hand, from an early Italeri kit. While not as sharp in detail as the Academy part, the shape and outline of both pieces was almost identical, the Italeri part only turned out to be 2-3mm too short at its rear end, a gap that could be bridged with styrene strips, though.

 

Overall, the implantation called for some modifications around the cockpit opening, but for a donor part solution the result is thankfully pretty good, phew! When painting started, I was even more happier, because the putty work associated with the implantation turned out to be better than expected. On the downside, the donor part seems to bear a lot of micro-cracks – they are only visible from certain angles and in direct light, though, and once I discovered them the piece had already been blended into the fuselage, so I stuck with the solution.

 

Another final modification was a little rhinoplasty – I did not assess the amount of putty correctly that was needed to blend the radome with the rest of the fuselage, it added 4-5mm in length. The result, once the fuselage was completed and overall proportions clearer, looked a littel Pinocchio-esque, though. So, with a bleeding heart and shaky hands, I cut a 5mm disc out of the massive resin nose and fitted the two remaining parts together again, blending the cut and the differences in diameter with putty. This worked out fine, too, and I also used the opportunity to re-shape the radome’s underside a little, so that the whole outline would come closer to the Stage 2 sketches. Looks better, in the end.

  

Painting and markings:

I stuck to the livery many illustrations of this fictional helicopter show: a typical, all-gray low-viz scheme, similar to the USMC’s late AH-1 helicopters. Everything very straightforward and based on contemporary USN benchmarks.

 

Basic colors are FS 35237 for all upper surfaces and FS 36375 for the undersides – as a personal twist I added a third tone, FS 36320, to the flanks – after all, it’s a whif kit.

A light black ink wash and some dry-brushing on panels were used for weathering, as well as some grinded graphite around the engines and the stabilizers for exhaust soot stains.

 

The cockpit and visible parts of the rotor system became very dark gray (a mix of black and FS 36081), while the blades became neutral gray (FS 36173). The landing gear and its wells standard all-white in order to reveal leaks in the hydraulic system, as well as all six launch rails. The ordnance was painted according to the real world, I just chose a medium grey finish for the Penguins.

 

The decals were puzzled together from various sources, HLA-80 as a unit and its markings are purely fictional. The grey walkways are grey decal strips (TL Modellbau stuff).

  

Despite the canopy and nose trouble on the way, the result looks pretty good. O.K., my build does not match any of the three proposed design stages, but many characteristic details are there – and who knows how a real navalized AH-64 might finally have looked like?

 

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.

We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"

 

We promise we wont crunch your credit.... we'll only crunch your Christmas!!

 

GPW Heavyweight Title Match

Bubblegum © vs. Dirk Feelgood

 

Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?

 

Tag Team Special, Skeletor vs. Stella

Lethal Dose vs. Voodoo & "Sober" Mike Holmes

 

Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?

 

GPW British Title Match

Jak Dominotrescu vs. "Super" Sam Bailey

 

After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?

 

And, the main event for the evening is...

 

GPW Tag Team Title 2/3 Falls Match

MIl-Anfield Connection © vs. Young Offenders

 

The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?

 

GPW British Title No.1 Contenders Match

Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo

 

After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?

 

Lumberjack Match

Si Valour vs. Heresy

 

A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?

  

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!

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

 

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

 

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

 

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

 

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

+++ 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.

Big payoffs for Greater Sage-Grouse habitat restoration may come as tiny seeds with roots from Sheridan, Wyoming. Native plants replaced alfalfa on an acre of land at the Welch Ranch, managed by BLM’s Buffalo Field Office (BFO), to test the ranch as a native plant research and development facility.

 

In a land exchange completed in 2004, the BFO acquired 1,747 acres of land in exchange for federal minerals north of Sheridan, Wyoming, commonly called Welch Ranch.

 

In December 2005, the BLM and the Welch grazing lessee, entered into a cooperative farming agreement where portion of Welch Ranch would continue to be farmed for the production of hay. In the acquisition of the Welch Ranch, the BLM also acquired the ranch’s water right to the Tongue River.

 

The combination of the BLM farmland and a water right provides the unique opportunity for the BFO to grow locally collected seed for research and development, primarily for range and wildlife reclamation and restoration projects. The produced seed would be used in trials, experiments, and also to rehabilitate and restore native plant communities in the Powder River Basin (PRB). Various wildlife species (i.e. mule deer, pronghorn antelope, elk, small mammals, and non-game birds) as well as the Greater Sage-Grouse would benefit from restoration of disturbed lands with native seeds.

 

Seeds from local collections in support of the Seeds of Success program were cleaned in the Bend Seed Extractory and the Upper Colorado Plant Materials Center, then transferred to UW, Sheridan, cultivated in the UW greenhouse, and planted on July 1, 2014.

 

The focus of the initial project is to test the viability of creating a native plant research and development facility on the Welch Ranch. Future years will focus on research and development of native plants for restoration activities as determined by the BLM.

 

In 2015, BLM entered into an assistance agreement with the University of Wyoming for research and development to improve the effectiveness of reclamation within the BFO, particularly within the Power River Basin Sage-Grouse Focal Areas.

 

The wet spring was great for grass growth and for a huge crop of mustard that was shading the grass. A few days of hard work with BLM and Conservation and Land Management Interns (or Chicago Botanic) cleaned the area, except where a prairie rattle snake had homesteaded.

 

BLM has used the garden for education and outreach with the Boys and Girls Club of the Bighorns and the Sheridan, Wyoming based Science Kids.

 

On August 11, 2015 BLM Wyoming partnered with the Wyoming Conservation Corp to collect seed.

 

Photo by BLM Wyoming.

WSDOT has marked a major milestone in its effort to replace the aging and vulnerable State Route 520 floating bridge. After 13 years of thorough analysis and input from thousands of people, the state has announced a preferred alternative for the I-5 to Medina: Bridge Replacement and HOV Project.

 

Major safety, transit and environmental improvements are in store for the SR 520 corridor from I-5 in Seattle across Lake Washington to Medina. The SR 520 preferred alternative takes key steps to get ready for future light rail, help manage traffic in the Arboretum and transform the future highway with a landscaped lid and median for a parkway experience.

 

The new floating bridge and highway will have six lanes, including two general-purpose lanes and a new transit/HOV lane in each direction. Adding transit/HOV lanes makes travel in the corridor faster and more reliable for buses and carpools and supports regional plans for completing the HOV system to reduce the number of single-occupancy vehicles.

 

Details are on our website, including images of what a new, larger landscaped lid at Montlake Boulevard would look like. The preferred SR 520 alternative directly responds to input we received from the public, the City of Seattle, the University of Washington and environmental regulatory agencies. Work continues on design refinements for the Montlake area with those groups as well as transit agencies.

 

Highlights include:

 

Room for future light rail: The bridge deck will accommodate future light rail trains and the west end of the floating bridge will have room for trains to leave the corridor and head to the University of Washington area. Pontoons could be added to the floating bridge in the future to carry the weight of the trains.

 

Less traffic in the Arboretum: The project removes the ramps that currently carry traffic directly to Lake Washington Boulevard and the Washington Park Arboretum. Westbound off-ramps instead will carry buses and general purpose traffic to 24th Avenue E. and continue on to Montlake Boulevard.

 

Buses and a lid at Montlake: New direct-access ramps will carry buses to a new landscaped park lid at the Montlake Boulevard interchange. The open space will extend from Montlake Boulevard into the Arboretum.

 

Parkway on Portage Bay: A slimmed-down Portage Bay Bridge will be built as a 45-mph landscaped parkway with a 6-foot-wide planted median. The 105-foot-wide bridge is narrower than the 154 feet previously planned in the 2006 draft environmental impact statement.

 

Identifying a preferred design keeps us on track for opening a new bridge to traffic in 2014.

 

www.wsdot.wa.gov/Communications/ExpressLane/2010/05_07.htm

 

www.wsdot.wa.gov/Projects/SR520Bridge/I5ToMedina/Default....

 

SR 520 - I-5 to Medina: Bridge Replacement and HOV Project

 

Status

February 2011

 

ESSB 6392 reports now available

  

We've sent two final reports to the governor and state legislators (High Capacity Transit Planning and Financing and the Washington Park Arboretum Mitigation Plan). This completes the requirements of Senate Bill 6392.

Floating bridge construction

  

Three teams have until spring to submit their bids and proposals for the new SR 520 floating bridge. Construction starts in 2012 and the bridge opens in 2014.

Overview

 

The I-5 to Medina: Bridge Replacement and HOV Project will replace the interchanges and roadway between I-5 in Seattle and the eastern end of the floating bridge.

   

Why is WSDOT pursuing this project?

About 115,000 vehicles and more than 190,000 people cross Lake Washington every day on the SR 520 floating bridge. It’s a key regional route for commuters and freight.

 

After floating for nearly 50 years, the four-lane bridge is often clogged by traffic and is showing its age.

 

The floating bridge pontoons are vulnerable to windstorms, and bridge support columns are vulnerable to earthquakes.

  

The End Result

  

The I-5 to Medina Bridge Replacement and HOV Project includes a new floating bridge and highway with six lanes, including two general-purpose lanes and one new transit/HOV lane in each direction.

 

The project also takes key steps to get ready for future light rail, help manage traffic in the Arboretum and transform the future corridor from Montlake to I-5 into a city parkway with landscaped lids and medians.

  

Project Benefits

  

The new SR 520 corridor through Seattle will:

 

Provide transit connections and priority.

Create a pedestrian-friendly urban interchange at Montlake Boulevard.

Restore park area and connections next to the Washington Park Arboretum.

Reduce noise levels from the Portage Bay Bridge.

Be ready for light rail if the region chooses to fund it in the future.

 

What is the project timeline?

  

Spring 2011: Publish final environmental impact statement

Mid-2011: Select contractor team for new SR 520 floating bridge

2012: Begin construction of floating bridge

2014: Open new floating bridge to drivers

The schedule for constructing the segments of the corridor west of Lake Washington is pending additional funding.

  

Financial Information

 

We are moving forward with construction on a new SR 520 floating bridge, which is fully funded by a variety of state and federal sources, including SR 520 tolling that is set to begin in spring 2011.

 

We are continuining to work with the Legislature to fund the elements of the project from I-5 to the floating bridge.

 

Visit the SR 520 Costs, Funding and Tolling page for additional information.

  

How can I get more information?

Contact:

E-mail: SR520bridge@wsdot.wa.gov

 

Phone: 206-770-3500

 

Infoline: 1-888-520-NEWS (6397)

 

Mail: I-5 to Medina: Bridge Replacement and HOV Project

SR 520 Bridge Replacement and HOV Program

600 Stewart Street, Suite 520

Seattle, WA 98101

Some background:

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

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

 

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

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

 

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

 

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

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

 

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

  

Building the kit and its display box:

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

 

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

 

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

 

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

 

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

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

 

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

 

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

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

 

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

 

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

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

 

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

  

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

 

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

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

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

 

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

 

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

 

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

  

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

 

Opened in fall 2004 to replace the older McDonald's nearby in town.

 

As of March 2022, that Mickey D's is getting #McBoxed.

 

The Rockville McDonald’s will be entirely CLOSED starting Sunday, through Monday, Tuesday, and Wednesday. This will give them time to install a 2-way drive thru. When the new drive thru is installed, it will be a new system for those employees that they will have to go through and two lanes definitely create more pressure than 1, so it may start off a little slow as the employees adjust to the change.

 

The lobby at Rockville McDonald’s is also going to be closed entirely for the installation of the Kiosks. Their lobby isn’t expected to reopen until sometime in April. Deming Street and especially the Vernon location is definitely probably going to feel the affects of Rockville store closing for four days, it is also one of the busiest stores, if not the busiest.

So for those who regularly go to Rockville, this is a heads up for you, they will not be open starting this weekend starting Sunday until Wednesday.

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

 

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

 

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

 

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

 

The bridge was not built.

 

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

 

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

 

The committee considered six options:

 

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

 

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

 

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

 

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

 

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

 

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

 

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

 

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

 

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

 

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

 

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

 

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

 

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

 

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

 

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

 

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

 

WIKIPEDIA

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

 

Named: "Al Riggah".

 

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

 

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

 

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

 

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

 

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

Cherry Blossom. Washington, DC. USA. Mar/2016

 

A cherry blossom is the flower of any of several trees of genus Prunus, particularly the Japanese cherry, Prunus serrulata, which is called sakura after the Japanese (桜 or 櫻; さくら).

Cherry blossom is speculated to be native to the Himalayas.[4] Currently it is widely distributed, especially in the temperate zone of theNorthern Hemisphere including Europe, West Siberia, India, China, Japan, Korea, Canada, and the United States. The cherry blossom is considered the national flower of Japan.

Japan gave 3,020 cherry blossom trees as a gift to the United States in 1912 to celebrate the nations' then-growing friendship, replacing an earlier gift of 2000 trees which had to be destroyed due to disease in 1910. These trees were planted in Sakura Park in Manhattan and line the shore of the Tidal Basin and the roadway in East Potomac Park in Washington, D.C. The first two original trees were planted by first ladyHelen Taft and Viscountess Chinda on the bank of the Tidal Basin. The gift was renewed with another 3,800 trees in 1965.In Washington, D.C. the cherry blossom trees continue to be a popular tourist attraction (and the subject of the annual National Cherry Blossom Festival) when they reach full bloom in early spring

 

Todos os anos o Festival Nacional das Cerejeiras celebra a floração das cerejeiras dadas à cidade de Washington, em 1912, pelo prefeito de Tóquio. O presente foi uma homenagem do prefeito à longa história de amizade entre Estados Unidos e Japão. As cerejeiras floridas marcam a chegada da primavera na cidade e proporcionam uma das vistas mais apreciadas da região. Um dos lugares mais bonitos para observação é ao redor do Tidal Basin, espelho d’água no centro de Washington próximo ao Washington Monument, ao Lincoln Memorial, ao Jefferson Memorial e ao Franklin Delano Roosevelt Memorial. O pico da florada é definido como o dia em que 70% das flores do Tidal Basin estão abertas

 

Houve a coordenação de muitas pessoas para assegurar a chegada das cerejeiras. Um primeiro lote de 2.000 árvores chegou doente em 1910, mas isso não impediu as partes envolvidas de envidarem todos os esforços para a concretização do intento. Entre os governos dos dois países, com as coordenações do Dr. Jokichi Takamine, um químico famoso mundialmente e fundador da Sankyo Co., Ltd. (hoje conhecida como Daiichi Sankyo), Dr. David Fairchild, do Departamento de Agricultura dos Estados Unidos, de Eliza Scidmore, primeiro membro da diretoria feminina da National Geographic Society e da primeira-dama Helen Herron Taft, mais de 3.000 árvores chegaram a Washington, D.C. em 1912. Em uma cerimônia simples, em 27 de março de 1912, a primeira-dama Helen Herron Taft e a Viscondessa Chinda, esposa do embaixador do Japão, plantaram as duas primeiras árvores do Japão na margem norte do Tidal Basin em West Potomac Park. Ao longo dos anos, os presentes foram trocados entre os dois países. Em 1915, o Governo dos Estados Unidos retribuiu com um presente de árvores chamadas “dogwood” (que também tem belas florações) para o povo do Japão. (tradução:nationalcherryblossom)

  

Cherry Blossom. Washington, DC. USA. Mar/2016

 

A cherry blossom is the flower of any of several trees of genus Prunus, particularly the Japanese cherry, Prunus serrulata, which is called sakura after the Japanese (桜 or 櫻; さくら).

Cherry blossom is speculated to be native to the Himalayas.[4] Currently it is widely distributed, especially in the temperate zone of theNorthern Hemisphere including Europe, West Siberia, India, China, Japan, Korea, Canada, and the United States. The cherry blossom is considered the national flower of Japan.

Japan gave 3,020 cherry blossom trees as a gift to the United States in 1912 to celebrate the nations' then-growing friendship, replacing an earlier gift of 2000 trees which had to be destroyed due to disease in 1910. These trees were planted in Sakura Park in Manhattan and line the shore of the Tidal Basin and the roadway in East Potomac Park in Washington, D.C. The first two original trees were planted by first ladyHelen Taft and Viscountess Chinda on the bank of the Tidal Basin. The gift was renewed with another 3,800 trees in 1965.In Washington, D.C. the cherry blossom trees continue to be a popular tourist attraction (and the subject of the annual National Cherry Blossom Festival) when they reach full bloom in early spring

 

Todos os anos o Festival Nacional das Cerejeiras celebra a floração das cerejeiras dadas à cidade de Washington, em 1912, pelo prefeito de Tóquio. O presente foi uma homenagem do prefeito à longa história de amizade entre Estados Unidos e Japão. As cerejeiras floridas marcam a chegada da primavera na cidade e proporcionam uma das vistas mais apreciadas da região. Um dos lugares mais bonitos para observação é ao redor do Tidal Basin, espelho d’água no centro de Washington próximo ao Washington Monument, ao Lincoln Memorial, ao Jefferson Memorial e ao Franklin Delano Roosevelt Memorial. O pico da florada é definido como o dia em que 70% das flores do Tidal Basin estão abertas

 

Houve a coordenação de muitas pessoas para assegurar a chegada das cerejeiras. Um primeiro lote de 2.000 árvores chegou doente em 1910, mas isso não impediu as partes envolvidas de envidarem todos os esforços para a concretização do intento. Entre os governos dos dois países, com as coordenações do Dr. Jokichi Takamine, um químico famoso mundialmente e fundador da Sankyo Co., Ltd. (hoje conhecida como Daiichi Sankyo), Dr. David Fairchild, do Departamento de Agricultura dos Estados Unidos, de Eliza Scidmore, primeiro membro da diretoria feminina da National Geographic Society e da primeira-dama Helen Herron Taft, mais de 3.000 árvores chegaram a Washington, D.C. em 1912. Em uma cerimônia simples, em 27 de março de 1912, a primeira-dama Helen Herron Taft e a Viscondessa Chinda, esposa do embaixador do Japão, plantaram as duas primeiras árvores do Japão na margem norte do Tidal Basin em West Potomac Park. Ao longo dos anos, os presentes foram trocados entre os dois países. Em 1915, o Governo dos Estados Unidos retribuiu com um presente de árvores chamadas “dogwood” (que também tem belas florações) para o povo do Japão. (tradução:nationalcherryblossom)

Replaced the rocker cover gasket as I noticed traces of oil underneath the car and at the back of the rocker cover.

 

Not too bad of a job and worth it in the end. Also replaced the rusty bolts with new stainless hex bolts & new rubber washers.

This is City Hall in Norwich. The home of Norwich City Council. It is near the markets.

 

I think it was built to replace the old Guildhall nearby, as it was too small for the local political needs of Norwich.

 

The tower of the City Hall from St Giles Street, with 1930s clock face and topped off in copper.

 

It is an Art Deco building finished in 1938. Designed by the architects Charles Holloway James and Stephen Rowland Pierce, after Robert Atkinson had prepared a layout for the whole Civic Centre site at the request of Norwich City Council.

 

It was opened in 1938 by King George VI and Queen Elizabeth.

 

It is a Grade II* listed building.

 

City Hall with attached police station. 1932-38 by C. H. James and S. R. Pierce. Brick with stone dressings, lower 2 storeys of stone. Flat roof. 5 storeys, with tower to right-hand side. Twenty-five 4th floor windows. Central entry with 6 polygonal columns above rising from the first-floor balcony and supporting entablature. Triple doors and steps up flanked by lions. Metal casement windows with glazing bars throughout. Small semi-circular balconies in penultimate end bays with small fan-lights above doors. The three end bays project. Parapet. Square clock tower topped with square cupola and finial. The exterior also has applied and freestanding sculpture in stone and stone. The bronze lions either side of the main stairs are by Alfred Hardiman, and the three pairs of main bronze doors with 18 plaques depicting Norwich history and trades were sculpted by James Woodford. The Bethel Street façade has the entrance to the Rates Hall with a stone relief panel of the City arms by Eric Aumonier who was also responsible for London Underground station sculpture. The former entrance to the Police Station within this wing has an ornate bronze lantern and relief stone panels depicting police helmets by H. Wilson Parker. The left of the wing, the police station, was extended 1965-7 in a similar style by the City Architect, David Percival. The north wing was unfinished but the Council Chamber projects to the rear in the middle of the main range and the wall facing the rear has, as well as decorative brickwork, three tall narrow niches from which project sculptures also by Alfred Hardiman of Recreation, Wisdom and Education.

 

INTERIOR: The extremely impressive interior includes an entrance hall with stone and marble clad walls and columns, stairs lit by a window with textured engraved and painted glass and a ceiling painting designed by Eric Clarke and painted by James Michie. The hall above is also marble clad, and leads to a long suite of committee and reception rooms including the Lord Mayor's parlour. This suite stretches all along the main front and there is a long (365') balcony outside and most rooms are finely panelled with various varieties of wood, including inlay, and have original fine fireplaces, fittings and textiles. The Lord Mayor's Parlour is very fine being an octagon with shallow vaulted ceiling and fully panelled in sycamore with the veneers cut using the highest expertise to produce a brilliant effect of intensely rich dado figuring and lighter cloud-like wall figuring. In addition the Council Chamber itself is very fine with curving seating in mahogany with inlaid brass edges and mahogany entrance wall columns, and also wall panelling to half height with a variety of panel designs. Many light fittings which were designed for the building by the architects also survive.

 

Other elements of the fine interior include the third floor hall with lift entrance, lantern and balcony, all in austere classical Art Deco styling, and the former marriage suite on the lower ground floor.

 

HISTORY:

Norwich City Hall was designed in 1931 and built in 1937-8. The design by the architects James and Pierce was the winning entry in a public competition which attracted 143 entries. The there had long been felt a need for a fitting city hall and an area to the north of the market place was cleared to provide a suitable space which would be still at the very centre of the city. Following discussions with the R.I.B.A., Robert Atkinson was appointed as the supervisor of the development of the Market Place and produced his own plans. In the end there was competition with Atkinson as the sole judge and his ground plan was retained as one of the many conditions.

 

SUMMARY OF IMPORTANCE:

Norwich City Hall is one of the landmarks of the city and one of the finest municipal buildings of the interwar period in England. It is in an austere Classical style with Art Deco detailing and makes reference also to Scandinavia and in particular Stockholm City Hall. The prominent tower contrasts successfully with the long principal front standing above the sizeable Market Place. The exterior is very impressive, being on 5 storeys with a prominent portico and applied and freestanding sculpture in stone and bronze. The interior is also impressive with a long suite of committee and reception rooms including the Lord Mayor's Parlour. The rooms are finely panelled with various varieties of wood and original fine fittings and textiles. In addition the Council Chamber itself is very fine with curving seating in walnut with inlaid brass edges and wall panelling to half height with a variety of panel designs. The sculpture and plaques in bronze and stone include work by Alfred Hardiman and Eric Aumonier. The totality of the exterior and interior, complete with fine sculpture in stone and bronze and the finest interior fittings in contemporary style, is particularly successful.

 

City Hall, Norwich - Heritage Gateway

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

Key Points:

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

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

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

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

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

 The new fire station would have lower running costs.

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

 Targeted community safety and risk reduction work would continue.

  

1. Foreword

 

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

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

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

 

2. Introduction

 

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

 The fire station area covers approximately 8.45 square miles.

 There is a population of 75,316.

 There are approximately 2015 commercial properties within the area.

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

 The station area covers approximately 14.39 square miles

 There is a population of 42,452

 There are approximately 663 commercial properties within the area.

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

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

 

3. Community Impact Assessment

 

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

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

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

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

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

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

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

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

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

Site Locations

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

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

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

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

Determining where resources should be located

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

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

 

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

3.14. Local Impact – Figure 3 identifies that:

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

Fire Service Emergency Cover (FSEC) toolkit

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

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

 Reduce the risk to the community.

 Result in significant efficiencies. 9

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

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

Predicted Risk Level

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

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

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

Risk Reduction

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

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

 

4 Firefighter Safety Impact Assessment

 

Risk and firefighters gathering risk information about premises.

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

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

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

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

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

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

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

8

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

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

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

The arrival times of the 2nd fire appliance

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

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

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

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

 

5. Equality Impact Assessment

 

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

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

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

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

9

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

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

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

 

6. Organisational Impact Assessment

 

Efficiencies

 

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

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

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

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

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

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

 Reduction of Personal Protective Equipment.

 Reduction in consumables and station maintenance costs.

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

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

10

Impact across West Yorkshire and Resilience

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

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

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

 

7. Conclusions

 

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

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

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

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

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

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

 

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

Northbound GNER HST on the curve at Morpeth.

 

*Original image replaced with larger sized, slightly higher quality negative scan - 17 July 2014

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

 

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  

Replacing an earlier scanned photo with a better version 04-Apr-22 (DeNoise AI).

 

An early B777-200ER (line No:78), this aircraft was delivered to Malaysia Airlines as 9M-MRC in Jun-97. It was sold to GECAS in Jun-99 and leased back to Malaysia Airlines. It was returned to the lessor as N284CG in Nov-15 and stored at San Bernardino, CA, USA.

 

It was thought to have been permanently retired (not many ageing aircraft come back out of San Bernardino!) but it was ferried to Shanghai-PVG in Jun-16 for further storage. It was re-registered VP-BDX in Dec-16 to Wells Fargo Bank Northwest (owner trustee) and leased to VIM Airlines (Russia) in Mar-17.

 

VIM ceased operations in Oct-17. The aircraft was returned to the lessor and stored at Teruel, Spain in Nov-17. In Jan-18 it was re-registered N821JT and remained stored at Teruel until it was moved to Goodyear, AZ, USA in Mar-18.

 

It was stored at Goodyear until Nov-18 when it was ferried to Kansas City, MO, USA and stored again. The aircraft was sold to Avolon Aerospace in Jan-19 and remained stored. It was sold to Eastern Airlines in Oct-20, still in full VIM livery.

 

It's now 25 years old and has been in storage for the last 5 years. I can't see it returning to service, although with Eastern Airlines you never know! More likely that it's being used for spares. Updated 04-Apr-22.

Corduroy (Nelvana TV series) season 2-present, Timothy Goes to School More Disney Snow White and Pinocchio contents, and early classic Hanna-Barbera cartoons such as The Flintstones, The Jetsons, Top Cat, Yogi Bear, and Huckleberry Hound will all replace Arthur and Foster's Home for Imaginary Friends because Arthur's younger sister D.W. always scream and throw temper tantrums and she is evil and she is also even worse than Caillou in season 1 of Caillou. Caillou became mature but D.W. didn't so the PBS Kids TV series Arthur MUST BE BANNED and get replaced by Corduroy the Bear which is the friendly TV show I am writing and producing at Nelvana and Timothy Goes to School. So I agree with Tbone Animate for this one. Arthur's younger sister D.W. screaming and throwing temper tantrums is why Arthur Gets Grounded on Vyond is way better than the PBS Kids TV series Arthur. And the reason why I am banning Arthur is because in one episode Arthur punched D.W. which is one of the reasons why D.W. always screams and throws temper tantrums and this goes for the same thing as that Frankie Foster yells, screams, makes freaky spikey eyelashes and triangular eyes when she gets mad which is not okay to do when you get mad whereas Corduroy (Nelvana TV series), Timothy Goes to School, Walt Disney's animated films Snow White and Pinocchio, and early classic Hanna-Barbera cartoons like The Flintstones, The Jetsons, Top Cat, Yogi Bear, and Huckleberry Hound are are entirely kind-spirited (school appropriate) and especially a lot of the underscore music in Walt Disney's animated films Snow White and Pinocchio are kind-spirited (School appropriate). Frankie Foster MUST BE BANNED Frankie Foster yells, screams, makes freaky spikey eyelashes and triangular eyes replicating that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and meanly gnashing her teeth when she gets mad which is mean-spirited because it is okay to get mad but it is not okay to yell, scream, make freaky spikey eyelashes triangular eyes, aim guns, destroy people's toys and belongings or any other mean spirited things when getting mad whereas Raggedy Ann and Raggedy Andy MUST BE KEPT FOREVER because Raggedy Ann and Raggedy Andy are kind-hearted, caring, respectful, helpful and other kind-spirited stuff just like the Disney Character Pinocchio which makes Raggedy Ann, Raggedy Andy, and the Disney Character Pinocchio extremely school appropriate because media does have to be kind-spirited like Walt Disney's animated films Snow White and Pinocchio, Corduroy The Bear with two buttons on his overalls, Blue's Clues, and Raggedy Ann and Andy and other kind-spirited media in order for it to be school appropriate not with mean inappropriate anger with freaky spikey eyelashes and triangular eyes etc replicating that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used have on Gordon in the old live action model version of Thomas and Friends like Frankie Foster does in Forster's Home for Imaginary Friends. Mean teachers getting students arrested for having autism or other disabilities MUST BE BANNED because that is very mean and hurtful and causes trauma to students with autism and other disabilities especially in modern Simpsons (The Simpsons seasons 19 to 30) Chief Wiggums was getting people arrested for having autism and other disabilities is why modern Simpsons MUST END IMMEDIATELLY and that Nelvana's version of Corduroy the Bear MUST BE REVIVED with the premiere of Two Buttons again and Forever IMMEDIATELY and a lot of big schools with Bogen Multicom 2000 also have mean teachers getting students arrested for having autism or other disabilities is another reason why Bogen Multicom 2000 is a very mean-spirited PA System along their bell tones not sounding like a bell at all especially the in this picture of a mean teacher getting a boy arrested for having autism is in a school with a Bogen Multicom 2000 and allowing mean spirited stuff and allowing an ice cream truck to keep the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO is why I am dead furious with Bogen Communications and Fox Broadcasting and getting students arrested for having autism or other disabilities is one of the extremely bad impact modern Simpsons (The Simpsons seasons 19 to 30) has gave us along with reusing bad things they used to make in the past and how to be mean and scary which are extremely bad. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation and Fuzzy Door Productions. And from now on the only childrens' books from the McDonald's double-sloped mansard era people MUST reuse in schools, republish, restore, reprint, and re-create are ONLY little golden books with the classic character train back cover template with Tootle pulling the long train of characters and Donald duck waving the flag saying "The World of Little Golden Books" not any of those old Thomas books with pictures from the old live action model version of Thomas and Friends so we will never ever have to deal with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends ever again. That mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Original photo credited to TrustaMann on Deviantart.com. Parents and Teachers being mean to them and destroying their kid's toys and belongings and yelling "GOD DAM HELL" and "GOD IN HELL" as a punishments MUST BE BANNED AND ILLEGAL EVERYWHERE FOREVER!!!!!!!! because Parents and Teachers taking away and destroying kid's toys and stuff as a punishment is being mean to kids and hurts their feelings real bad and cry which is extremely bad and parents and teachers use scary inappropriate behaviors like yelling "GOD DAM HELL" and meanly yell I'm so god dam cross with you whey they take away kid's toys and stuff needs to stop forever. And at Holly Springs school in my 5th grade school year there were mean teachers that got mean and super mad at me and took away my Steve notebook and forced me to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends which scared me and other kids real bad when they meanly called me bad just because I made one bad choice and I am a good boy and always try to be kind and respectful. And in the old model version of Thomas and Friends, Gordon looked like an evil man with a gun when he gets grumpy is why I hate the old model version of Thomas and Friends and say that the old model version of Thomas and Friends MUST BE BANNED and good thing I the kind and respectful teachers gave me back my Steve Notebook. Also in my 5th grade year at Holly Springs there was a preschool class with a secondary teachers being mean and got super mad at the little kid and took away his toys and stuff and destroyed them and made the little kid sit in the hallway and and forced and made the little kid to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends and the little kid cried real hard and I felt bad for the little kid but at least Santa mended the little kids destroyed toys back together at his workshop and gave the toys back to the little kid and at also it is a good thing Thomas and Friends moved to from live action models to CGI animations which is better and friendlier and made Gordon have a more accurate grumpy face similar to Homer Simpson in classic Simpsons episodes. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Eventhough I am not worried about the mean teachers at Holly Springs school anymore, I still occasionally have nightmares about the mean teachers at Holly Springs school, one night I had 2 nightmares of the mean teachers at Holly Springs school and the first nightmare was in Mrs. Monic's room with the mean teachers at Holly Springs threatening to give me a punishment day by destroying my Steve notebook and forcing me to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean then the mean teachers told me to shut up in a slow monster voice with teeth sticking together and then I woke up and realized it was only a dream and the second nightmare with the mean teachers at Holly Springs school the mean teachers were forbidding me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good and the mean teachers then were calling me a bad boy and then destroyed my Steve notebook and had Gordon in the old live action model version of Thomas and Friends kill me by running me over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and sending my soul to where the devil lives but good thing God came and angrily confronted the mean teachers at Holly Springs school and angrily destroyed that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and angrily put a grinning smile face on the live action model version of Gordon the Big engine and made the live action model version of Gordon the Big engine inanimate forever as his punishment and revived me and mended my Steve notebook back together and God told me that I am not a bad boy and then allowed me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. Especially when I was in 5th grade at Holly Springs, my anxiety had in my head of the mean teachers making evil magic giant steel crates to lock kids in with slamming lift doors forcing kids to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having live action model version of Gordon the Big engine shoot a gun at the kids in the steel crate with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having the live action model version of Gordon the Big engine kill the kids in the steel crate by running them over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and I had been having this scary thought since 5th grade at Holly Springs when the mean secondary teachers from Mrs. Monic's room was giving a little kid a punishment day in the hall and was giving me the idea of killing myself by setting my own body on fire I had this bottled up since 5th grade at Holly Springs school. This is why I am collaborating to make everything great again as when I revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. And parents and teachers being mean to kids and destroying their kid's toys and belongings as punishments was giving me the idea of killing myself by setting my own body on fire. And schools with a Bogen Multicom 2000 even recommend the inappropriate phrases about body parts from American Dad and Family Guy and the goofs Mickey Mouse's iconic red short overalls with yellow buttons and no shoulder straps being low waisted and looking like a loincloth they used to make Before Blue's Clues was ever created they used to make minor goofs of Mickey Mouse's iconic red short overalls with yellow buttons and no shoulder straps occasionally being low waisted and looking like a loincloth and having the buttons marking the human penises referencing the inappropriate phrases about body parts from American Dad and Family Guy is extremely vulgar and reminds me of when Corduroy's button was in a storm drain at the end of Cute as a Button which made me extremely upset but good thing I am working for Nelvana reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. They MUST CENSOR the inappropriate phrases about body parts in ALL future American Dad and Family Guy broadcasts because the inappropriate phrases about body parts from American Dad and Family Guy are so gross and inappropriate and so annoying and cringy like Dee Dee's laugh from Dexter's Laboratory and the inappropriate phrases about body parts from Family Guy are making me worried for Corduroy's button and the author of the Corduroy (Nelvana TV series) episode Betty Quan was also watching Dexter's Laboratory and having on DeeDee laughing in the episode of Dexter's Laboratory she was watching while writing the Corduroy episode Cute as a Button is why the Corduroy episode Cute as a Button does have an upsetting ending where Corduroy's button fell in a storm drain across the street from Lisa and Corduroy's apartment Building and forgot to show that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that Corduroy the Bear does have two buttons on his green corduroy overalls forever and in that storm drain, right after when the button fell in DeeDee from Dexter's Laboratory made Mowgli from Disney's 1967 animated film The Jungle Book fall on Corduroy's button and lay his stomach on the bottom of the storm drain and Corduroy's button was going on the front of Mowgli's bright red cotton fabric loincloth shorts and DeeDee was laughing about it which made me super upset which caused me to have guilt of Corduroy the Bear on December 2009 and what made my guilt of Corduroy the Bear worse was that a student at my middle school Dean Rusk in Canton Georgia named Jessie Burris told me a mean lie that an alligator ate Corduroy's button, yelled out the inappropriate phrases about body parts from American Dad and Family Guy at me, and then she punched me in the shoulder, then she told me to move on from my golden nostalgic toddler stuff like riding on school buses and bring back the bad things from the early 90s such as pear-shaped wrecking balls and ice cream trucks with the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO (which are extremely confusing to people who are deaf, color blind, can't read, or don't speak English and we need to help out those people out too) and then she told me that she liked DeeDee's annoying idiotic laugh from Dexter's Laboratory and the inappropriate phrases about body parts from American Dad and Family Guy which made me even more upset and worried for Corduroy and his button causing me to have anxiety with my guilt of Corduroy the Bear and all of that I was overeating so much food on December 2009 by making my bowl of Fruity Pebbles super big, munching giant stacks of salt and Vinegar Pringles Potato ships, and having a lot of extra school lunches and I was eating all of these foods all at once nervously for Corduroy and his button and then on exams week on my 8th grade school year on December 2009, I was having a sick stomach with green spots from overeating and then I had to rush to the restroom at my middle school Dean Rusk in Canton, Georgia and I was puking in the restroom bin at my middle school Dean Rusk in Canton Georgia and they had to send me home and skip the exam eventhough I wanted to take the exam and succeed in school. But good thing I am fixing Betty Quan's upsetting mistake by reviving the Nelvana TV show Corduroy with the premiere of an entirely new episode titled Two Buttons again and Forever which is the sequel to Cute as a Button showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and that Corduroy the Bear does have two buttons on his green corduroy overalls forever and that I am writing and producing a lot more entirely new Corduroy episodes with Corduroy the Bear having two buttons on his green corduroy overalls instead of one and I am re-editing all season 1 episodes with Corduroy the Bear having two buttons on his green corduroy overalls instead of one and re-editing Betty Quan's Cute as a Button with the beginning of Two Buttons again and Forever as the alternative ending. Good thing I have decided to give up Family Guy because the inappropriate phrases about body parts from American Dad and Family Guy are making me worried for Corduroy's button and the other reason why I have decided to give up Family Guy is because I will have kids of my own when I live in Toronto reviving Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy The Bear does have two buttons on his green corduroy overalls forever. And my own kids will be a son named Pinocchio William Joseph Rich and a daughter named Pollyanna Wendy Lisa Rich. Good thing Disney now always have the waist of Mickey Mouse's iconic red short overalls with yellow buttons and no shoulder straps have the waist going all the way up to the chest and no longer having minor goofs of the overalls being low waisted and looking like a loincloth and I know for a fact all pants with two buttons going horizontally up in the front are overalls no matter if they have shoulder straps or not because pants always have the waist going all the way up to the chest if they have two buttons going horizontally up in the front no matter if they have shoulder straps or not. As one of my collaborations when I revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever Fixing Betty Quan's upsetting mistake for good I will censor these stupid minor goofs of Mickey Mouse's overalls.

Replacing an earlier scanned photo with a better version 15-Aug-17, plus Topaz DeNoise AI 24-Dec-23.

 

West-Ex Cargo (Western Express Air Lines)

 

First flown with the Fokker test registration PH-FGK, this aircraft was delivered to Condor Flugdienst as D-BARI in Feb-65. It was sold back to Fokker as PH-ARI in Jun-68 and leased to Air Congo the following month (try it before you buy it? They didn't!). It returned to Fokker in Aug-68.

 

The aircraft was sold to Euralair International (France) as F-BRQL in Oct-68. It was sold to Balair (Switzerland) as HB-AAZ in Jul-73 and leased to the United Nations between Nov-73/Feb-74. Balair was merged with CTA to form Balair CTA in Jan-93.

 

It was sold to Farner Air Transport in Mar-96 and Farner was renamed Farnair Europe in Jun-97. The aircraft was sold to Western Express Air Lines (operating as West-Ex Cargo) as C-GWXC in May-99.

 

It was sold to Air Panama as HP-1543PST in May-05 and was permanently retired at Panama City in 2010 after 45 years in service.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

This is a photograph from the 3rd Annual Meath Spring Half Marathon and 10KM Road Races hosted by Bohermeen AC on the 2nd March 2014 at 12:00 at Bohermeen, Ardbraccan, Navan, Co. Meath, Ireland. This year's event included a 10KM race which replaced the 5KM event held on the previous years. This event has grown quickly in popularity over the past few years with this year's entry of 700 beating the previous race numbers of 680. This half marathon event is perfectly placed in the Irish running calendar as it provides runners of all levels and abilities an opportunity to test the half marathon distance in preparation for a Spring Marathon or as the first serious running goal of the New Year. Bohermeen AC is steeped in Irish athletics history since 1927 and it is this experience and exceptional community spirit and volunteering which has made this event today so successful. The very heavy rain that fell on the 10KM race and the begining of the Half Marathon did nothing to dampen the spirits of the participants. In fact, despite a head wind at certain parts of the course, this was a perfect day for road racing.

 

Our full set of photographs from today's event are available on Flickr at the following link http://www.flickr.com/photos/peterm7/sets/72157641717197563/. This set of photographs is mostly of the Half Marathon race but there are some from the 10KM event.

 

Don't forget to scroll down to see more information about the race and these photographs!

 

Event Management was provided by Irish Company PRECISION TIMING who provided electronic timing for both events. The results from today's events can be found on Precision Timing's website at this URL [www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...]

 

The Satellite Navigation Coordinates to Bohermeen are [53.650882,-6.77989] and is accessible using the M3, N2 and N52

 

The routing for the 2014 event has changed slightly from previous year. In 2014 the race starts about 100m away from the Bohermeen Club Race HQ [See Google StreetView in the direction of the imagery goo.gl/maps/rtj1X] and the race proceeds down the road towards Navan. Just before the 1st mile the race takes a right turn [see Google Streetview goo.gl/maps/iGrR0] which brings runners on the route of the famous Patrick Bell 5KM Road Race route held at Bohermeen every summer. Then the route turns slightly eastwards and this brings the race along a beautiful stretch of rural countryside road. This connects runners with the main loop [see Google StreetView goo.gl/maps/gLI1l] where the race follows the N51 towards Navan. The race must now complete this loop (which passes through the start area and past the finish) and then a full loop again before finishing in the Athletics track. The only hills to speak of in this course are on the the stretch where the race route crosses the M3 motorway (see Google Streetview - as of March 2014 their imagery is a little out of date for the M3 goo.gl/maps/tcdJX). The only major climb on the course must be tackled twice as the road rises up over the M3 Motorway. This comes at about the 5M and 11.5 Mile mark in the race.

 

Some useful links to other web-resources related to this race

 

Bohermeen AC Facebook Page: www.facebook.com/bohermeen.ac?fref=ts

 

2014 Spring Half Marathon Route: www.runningmap.com/?id=641747

2014 Spring Half Marathon 10KM Race Option Route: www.runningmap.com/?id=641752

Google Streetview of the Race Start: goo.gl/maps/rtj1X

Google Streetview of the Race Finish and Race Headquarters: goo.gl/maps/qVttR

Internet Homepage for the Spring Half Marathon [www.meathspringhalfmarathon.com/]

 

Results from 2013 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...

Results from 2012 from Precision Timing: www.precisiontiming.net/result/racetimer?v=%252Fen%252Fra...

 

The Boards.ie Athletics Forum Thread For 2013 Race [www.boards.ie/vbulletin/showthread.php?t=2056785036&p...]

The Boards.ie Athletics Forum Thread For 2014 Race [www.boards.ie/vbulletin/showthread.php?t=2057078579]

 

Photographs from previous events

 

Our Flickr Photograph set from the 2nd Spring Marathon 2013: www.flickr.com/photos/peterm7/sets/72157632906920970/

Our Flickr set from the 1st Spring Marathon (2012) www.flickr.com/photos/peterm7/sets/72157629146137284/with...

Photographs from the 2013 event from our friend Paul Reilly [pjrphotography.zenfolio.com/p670974697]

  

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

 

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

 

Can I use these photographs directly from Flickr on my social media account(s)?

 

Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

 

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

How can I get full resolution, print-quality, copies of these photographs?

 

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

 

I would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

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If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

Bath, New York. April 2014.

 

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

 

This Sign used to house both companies logos.

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

"The building replaced an older one on the site known as "India Building's", built in the 1830s for George Holt, the father of Alfred. The new building was constructed in two stages, the first stage being alongside the earlier building, and the second stage demolishing and replacing it. The two stages straddled the former Chorley Street. Before the design was approved, Liverpool Corporation stipulated that an arcade of shops should run through the centre of the building on the route of the street, and this was incorporated into the design. The original occupants included Lloyds Bank, a Post Office, commercial and insurance companies, solicitors, and government offices. Alfred Holt and Company occupied most of the sixth, seventh and eighth floors. Also in the building were a public hall and a constitutional club. India Building was badly damaged by bombing in 1941, and was later restored to its original condition under the supervision of Herbert J. Rowse."

www.indiabuilding.co.uk/

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

 

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

 

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

 

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

 

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

 

Photos taken Thursday 22nd January 2015.

  

References:

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

Amid the brightly coloured non-figurative windows on the southern side of Saint George's Presbyterian Church stands one figurative window. Created by Melbourne stained glass manufacturer Brooks Robinson and Company, the Samuel Lyons McKenzie memorial stained glass window is a fine late example of post-war Art Deco design, still being used commonly in Australia in the period immediately following the Second World War. Installed in 1949 to honour the memory of the congregation’s beloved minister who served from 1930 to 1948, the window is the only one in the church not made by Melbourne manufacturer Ferguson and Urie. Replacing one of the non-figurative stained glass windows by Ferguson and Urie, when this window was made the Victorian powerhouse of stained glass manufacturing had gone out of business. Several businesses filled the gap they left, including Brooks Robinson and Company.

 

The window depicts a more modern, multicultural, Twentieth Century interpretation of Jesus with the children. Jesus with the children comes from the Book of Matthew, where Jesus said, "Let the little children come to me, and do not hinder them, for the Kingdom of Heaven belongs to such as these." One window depicts Jesus with a young child sitting upon each of his knees, whilst a dark skinned islander child with flowers in their hair sitting at Jesus' feet. On the other window, other children, some in nationalistic costumes, gather to hear Jesus preach including one of Arabic descent, another of Chinese ancestry and two European children. The latter two wear contemporary costumes of children in 1940s Australia. The top round ventilator window emulates the Ferguson and Urie depiction of the Burning Bush; perhaps paying homage to what came before this new window.

 

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

 

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

 

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

 

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

 

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

 

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

 

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

 

Replacing/upgrading the stock ceramic fuse in my Pioneer DV676a player.

 

Not a snake oil.

We had a weekend in Borrowdale recently, a Christmas present that we tagged a day on to. After calling at work on Saturday morning to open for business we headed up the motorway to Penrith. The road through the central lakes was washed away in the recent floods and it is going to be a long job replacing it. This made the diverted journey around 145 miles but we had a good run up there. We wanted to get walking ASAP so we pulled in at Threlkeld with a view to heading up Clough Head, and subject to conditions, head over the Dodds and back by the Old Coach Road. We had left appalling weather at home, wind, rain, fog and sleet on the tops. Thankfully it was better further north. There was laying snow on the summits, it was fairly calm low down and some summits were cloud free.

 

We left the car at 11.10 in our winter gear, straight up through the quarries and the steep scree slope (another Red Screes), by now we were into the snow line. The cloud was down, the wind gale force and the summit frozen hard – a different world up here. South next to Calfhow Pike, the wind made it difficult to talk and it was around -4 so the there was a fair wind-chill factor. It was tough going to our next top – Great Dodd, part of the Helvellyn massif – It was to icy to walk in places which meant deviating from the path, and losing our bearings, visibility was around ten yards with spindrift creating a whiteout at times. We battled on to the top and found the summit cairn. Great Dodd isn’t the easiest top to find your way off in low visibility, we would have gone further but in these conditions it was pointless so we retraced our steps to Calfhow and clear conditions. From here we followed Mosedale beck to Mariel Bridge, which is on the Old Coach Road, this gave us a circular route back to our start. The Old Coach Road has been wrecked by the floods and the 4x4 off roaders are making it a lot worse. 9.25 miles in 3 ¼ hours and we were in Brysons Tearooms in Keswick for Coffee and cake by 3.45pm. We carried on to Borrowdale and checked in at our hotel, not a bad day really.

 

After a poor night in a poor bed we were breakfasted and out for 8.30. We drove the few miles up to Seatoller and we were kitted up and away at 9.10. A bitterly cold and icy morning, there was some sun but not as much as promised. We could see the summit of Great End covered in cloud, we were heading up there on to the Sca Fell massif. We followed the valley to the east of Seathwaite Fell, a new path for us. Once in the snow the going was very icy with the path ice covered in places. The snow was dry and powdery and in places it had blown over the underlying ice. At this point I might add, we do own crampons. After a winter of splashing around soaked we didn’t expect to need them and they were at home – very clever! This was our first real winters day this winter, other than an hour on Sca Fell Pike on Christmas Day, we haven’t seen winter conditions this winter. By the time we got to Esk Hause it was difficult to stay upright and on our way to Great End we had to pick our way very carefully around the worst of the ice. The spindrift made it difficult to see the ground at times, spinning around our feet in a mist. Once on the summit the cloud was thick and the wind speed high. We had been here fairly recently so I knew the layout of the summit and we had little difficulty finding the summit cairn. We were cursing our lack of crampons and the cloud. Instead of heading into the cloud along the Sca Fell Pike path we decided to get under the cloud, back to Esk Hause and head over Allen Crags and Glaramara. At this point we both took some heavy falls, as did others up there, a lot turned around and headed back down, it was deadly. The cloud had thickened, there wasn’t a ray of sun to soften things. Our chosen route was one of the hardest afternoons we had ever had. Everywhere was frozen solid, we had to kick toe or heel holes to move on slopes that we wouldn’t have broken stride on normally. Minor rock scrambles down steep crags had become life threatening in places and we proceeded with extreme care. The knees were creaking on the long descent to Seathwaite. 10.3 miles in six hours, almost half the speed of yesterday. We made it Keswick for afternoon tea – and bought some Micro Spikes for unfinished business to deal with tomorrow. A beautiful day was forecast so fingers crossed we headed back for a soak in the tub.

 

Day three, a gorgeous icy, sunny winters day. Things looked promising. We left along yesterday’s route at the same start time – with walking poles and Micro Spikes! At the top of the valley we met a guy who had set off before us, two guys known to him were picking their way through the crags, tiny specks on the 800 foot rocky crag. Some appeared to have tried to climb the snow filled chimney that runs to the summit but we heard later that conditions weren’t suitable. Even though it was minus four the sun had softened the snow just enough to get a grip and it was easier to avoid the worst of the ice, unlike yesterday. The summit of Great End was incredible with never ending vistas. We could see a steady stream of walkers on every path by now. Word had got out that we were in for a rare treat today, plus it was school half term so a lot of people were off work. I visited every possible viewpoint as we went to the summit of Ill Crag , Broad Crag and finally Sca Fell Pike. It was 1.00 PM by now and a steady stream of elated walkers were arriving on England’s highest point. It was bitter but beautiful. We had around five miles back to the car along the Corridor Route to Styhead, Stockley Bridge and Seathwaite. Part of this route we had covered recently on Christmas Day and despite the snow and ice we powered along. We would have been back in two hours but! A mile from the car, following the manmade path down Taylorgill Force to Stockley Bridge Jayne Stumbled. It’s not often she walks in front. I normally lead and relay instructions and warnings back to her. She hit the rock path with her head and face really hard, stunned, she rolled off the path over a drop. She was vertical, resting on a rock on her knees and clinging on to the edge of the path with her fingertips. I grabbed her rucksack and held her whilst I checked her injuries. She had a bad bump on her temple, another on her forehead, split the bridge or her nose, her glasses had gone flying but would straighten. Being left handed she had stuck her left hand out and it had been bent back, it was swelling and discolouring pretty fast. When I had established that nothing was serious enough to stop her moving I got her back on to the path to see to her injuries. The pain initially made her think that she was in a worse state than ( I thought) she really was. She could move her fingers and wrist, albeit with some pain but not enough for it to be broken. The wound to the bridge of her nose although very painful wasn’t going to be a problem. The bumps on her head were turning into eggs by now. I gave her Ibuprofen and Paracetemol and she sat and composed herself for the final mile. We made it to the café in Keswick and got a slightly later afternoon break, our first of the day again. 11.3 miles today in 6 ¼ hours and fairly tough going. It was nothing more than a careless, tired perhaps, stumble on one of the horrible ( our own opinion, I might add) manmade paths made out of irregular stones which are laid at odd angles and are a nightmare to descend when wet on tired legs. A few days later and Jayne is sat on reception at the doctors looking like she’s been boxing, with a purple eye and nose, her left hand swollen and purple – otherwise she’s OK. I came down with mild food poisoning during the night and had to drive 145 miles home at 8.00 the morning after feeling extremely ill. I was due to start fasting for a Colonoscopy in three days. I ended up eating six slices of toast over a four day period – Monday evening to Thursday evening- Having had over 40 stomach endoscopies in twenty years the colonoscopy was nothing more than uncomfortable and , subject to biopsy results, everything looked OK. The trapped wind was another matter – for two days! All in all a very traumatic week. Needless to say we didn’t use the Micro Spikes.