+++ 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?

. . . sadly Non-Hindus are not allowed inside the temple complex

__________________________________________

 

The Jagannath Temple of Puri (Odia: ଜଗନ୍ନାଥ ମନ୍ଦିର) is a famous, sacred Hindu temple dedicated to Jagannath and located on the eastern coast of India, at Puri in the state of Odisha.

 

The temple is an important pilgrimage destination for many Hindu traditions, particularly worshippers of god Krishna and god Vishnu, and part of the Char Dham pilgrimages that a Hindu is expected to make in one's lifetime.

 

Even though most Hindu deities that are worshiped are made out of stone or metal, the image of Jagannath is wooden. Every twelve or nineteen years these wooden figures are ceremoniously replaced by using sacred trees, that have to be carved as an exact replica. The reason behind this ceremonial tradition is the highly secret Navakalevara ('New Body' or 'New Embodiment') ceremony, an intricate set of rituals that accompany the renewal of the wooden statues.

 

The temple was built in the 12th century atop its ruins by the progenitor of the Eastern Ganga dynasty, King Anantavarman Chodaganga Deva. The temple is famous for its annual Rath Yatra, or chariot festival, in which the three main temple deities are hauled on huge and elaborately decorated temple cars. Since medieval times, it is also associated with intense religious fervour.

 

The temple is sacred to the Vaishnava traditions and saint Ramananda who was closely associated with the temple. It is also of particular significance to the followers of the Gaudiya Vaishnavism whose founder, Chaitanya Mahaprabhu, was attracted to the deity, Jagannath, and lived in Puri for many years.

 

DEITIES

The central forms of Jagannath, Balabhadra and the goddess Subhadra constitute the trinity of deities sitting on the bejewelled platform or the Ratnabedi in the inner sanctum. The Sudarshan Chakra, deities of Madanmohan, Sridevi and Vishwadhatri are also placed on the Ratnavedi. The deities of Jagannath, Balabhadra, Subhadra and Sudarshan Chakra are made from sacred Neem logs known as Daru Brahma. Depending on the season the deities are adorned in different garbs and jewels. Worship of the deities pre-date the temple structure and may have originated in an ancient tribal shrine.

 

ORIGINS OF THE TEMPLE

According to the recently discovered copper plates from the Ganga dynasty, the construction of the current Jagannath temple was initiated by the ruler of Kalinga, Anantavarman Chodaganga Dev. The Jaga mohan and the Vimana portions of the temple were built during his reign (1078 - 1148 CE). However, it was only in the year 1174 CE that the Oriya ruler Ananga Bhima Deva rebuilt the temple to give a shape in which it stands today.

 

Jagannath worship in the temple continued until 1558, when Odisha was attacked by the Afghan general Kalapahad. Subsequently, when Ramachandra Deb established an independent kingdom at Khurda in Orissa, the temple was consecrated and the deities reinstalled.

 

LEGENDS

Legendary account as found in the Skanda-Purana, Brahma Purana and other Puranas and later Oriya works state that Lord Jagannath was originally worshipped as Lord Neela Madhaba by a Savar king (tribal chief) named Viswavasu. Having heard about the deity, King Indradyumna sent a Brahmin priest, Vidyapati to locate the deity, who was worshipped secretly in a dense forest by Viswavasu. Vidyapati tried his best but could not locate the place. But at last he managed to marry Viswavasu's daughter Lalita. At repeated request of Vidyapti, Viswavasu took his son-in-law blind folded to a cave where Lord Neela Madhaba was worshipped.

 

Vidyapati was very intelligent. He dropped mustard seeds on the ground on the way. The seeds germinated after a few days, which enabled him to find out the cave later on. On hearing from him, King Indradyumna proceeded immediately to Odra desha Orissa on a pilgrimage to see and worship the Deity. But the deity had disappeared. The king was disappointed. The Deity was hidden in sand. The king was determined not to return without having a darshan of the deity and observed fast unto death at Mount Neela, Then a celestial voice cried 'thou shalt see him.' Afterwards the king performed a horse sacrifice and built a magnificent temple for Vishnu. Sri Narasimha Murti brought by Narada was installed in the temple. During sleep, the king had a vision of Lord Jagannath. Also an astral voice directed him to receive the fragrant tree on the seashore and make idols out of it. Accordingly, the king got the image of Lord Jagannath, Balabhadra, Subhadra and Chakra Sudarshan made out of the wood of the divine tree and installed them in the temple.

 

INDRADYUMNA´S PRAYER TO LORD BRAHMA

King Indradyumna put up for Jagannath the tallest monument of the world. It was 1,000 cubits high. He invited Lord Brahma, the cosmic creator, consecrate the temple and the images. Brahma came all the way from Heaven for this purpose. Seeing the temple he was immensely pleased with him. Brahma asked Indradyumna as to in what way can he (Brahma) fulfill the king's desire, since was very much pleased with him for his having put the most beautiful Temple for Lord Vishnu. With folded hands, Indradyumna said, "My Lord if you are really pleased with me, kindly bless me with one thing, and it is that I should be issueless and that I should be the last member of my family." In case anybody left alive after him, he would only take pride as the owner of the temple and would not work for the society.

 

THE EPISODE OF THE LORD´S GRACE DURING A WAR WITH KANCHI

At one time, a king of Kanchi in the down south remarked that the king of Orissa was a chandala (a man of very low caste or status) because, he performs the duties of a sweeper during the Car Festival. When this news reached the ears of the king of Orissa, he led an expedition to Kanchi. Before that, he implored the mercy of Lord Jagannath. The soldiers of Orissa marched towards Kanchi from Cuttack (earlier capital city of Orissa, located on the banks of Mahanadi, at a distance of 30 km from Bhubaneswar. It so happened that when the soldiers, headed by the king Purusottam Dev, reached a place near the Chilika lake, a lady, who was selling curd (yogurt) met him (the king) and presented a golden ring studded with precious gems and submitted. "My Lord, kindly listen to me. A little earlier, two soldiers riding over two horses (white and black in colour), approached me and said we are thirsty give us curds to drink.' I gave them curds. Instead of giving me money, they gave me this ring and said,'the king of Orissa will come here, after some time, on his way to Kanchi. You present it to him and he will pay you the money.' So my Lord, you take it and give me my dues.

 

It took no time for the king to know that the ring belongs to Lord Jagannath. He was convinced that Jagannath and Balabhadra were proceeding to the battle field ahead of him to help him there. To perpetuate the memory of this great incident, the king founded a village in the Chilika lake area. As the name of the lady was Manika, the name given to the village was Manika Patana. Even to this day, the curds of this village are famous.

 

LEGEND SURROUNDING THE TEMPLE ORIGIN

The traditional story concerning the origins of the Lord Jagannath temple is that here the original image of Jagannath (a deity form of Vishnu) at the end of Treta yuga manifested near a banyan tree, near seashore in the form of an Indranila nilamani or the Blue Jewel. It was so dazzling that it could grant instant moksha, so the god Dharma or Yama wanted to hide it in the earth, and was successful. In Dvapara Yuga King Indradyumna of Malwa wanted to find that mysterious image and to do so he performed harsh penances to obtain his goal. Vishnu then instructed him to go to the Puri seashore and find a floating log to make an image from its trunk.

 

The King found the log of wood. He did a yajna from which god Yajna Nrisimha appeared and instructed that Narayana should be made as fourfold expansion, i.e. Paramatma as Vasudeva, his Vyuha as Samkarshana, Yogamaya as Subhadra, and his Vibhava asSudarsana. Vishwakarma appeared in the form of artist and prepared images of Jagannath, Balabhadra and Subhadra from the tree. When this log, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work.

 

But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. The idol was devoid of any hands. But a divine voice told Indradyumana to install them in the temple. It has also been widely believed that in spite of the idol being without hands, it can watch over the world and be its lord. Thus the idiom.

 

INVASIONS AND DESECRATIONS OF THE TEMPLE

The temple annals, the Madala Panji records that the Jagannath temple at Puri has been invaded and plundered eighteen times. The invasion by Raktabahu has been considered the first invasion on the temple by the Madalapanji.

 

RANJIT SINGH´S WILL

Sikh ruler Maharaja Ranjit Singh, had donated massive amounts of gold to the Jagannath temple. In his last will, he also ordered that Koh-i-noor, the most precious and greatest diamond in the world, to be donated to this temple, but the diamond could never actually make its way to the temple because the British, by that time, had annexed the Punjab and all its royal possessions. Thus, claiming that the Koh-i-noor was theirs. It is currently a part of British crown jewels and is located in the Tower of London.

 

ENTRY AND DARSHAN

Temple has 4 entrances in all directions.Temple security is selective regarding who is allowed entry. Practicing Hindus of non-Indian descent are excluded from premises, as are Hindus of non-Indian origin. Visitors not allowed entry may view the precincts from the roof of the nearby Raghunandan Library and pay their respects to the image of God Jagannath known as Patitapavana at the main entrance to the temple. There is some evidence that this came into force following a series of invasions by foreigners into the temple and surrounding area. Buddhist, and Jain groups are allowed into the temple compound if they are able to prove their Indian ancestry. The temple has slowly started allowing Hindus of non-Indian origin into the area, after an incident in which 3 Balinese Hindus were denied entry, even though Bali is 90% Hindu.

 

The temple remains open from 5 am to 12 midnight. Unlike many other temples devotees can go behind the idols(go round the idols).All devotees are allowed to go right up to the deities during the Sahana Mela without paying any fees . The Sahana mela or the public darshan is usually following the abakasha puja between around 7 to 8 am in the morning. Special darshan or Parimanik darshan is when devotees on paying 50 Rupees are allowed right up to the deities. Parimanik darshan happens after the dhupa pujas at around 10 am, 1 pm and 8 pm . At all other times devotees can view the deities from some distance for free. The rathyatra occurs every year some time in the month of July. 2 or 6 weeks before Rathyatra (depending upon the year) there is a ritual of Lord undergoing "Bhukaar" (sick) hence the idols are not on "Darshan". Devotees to make a note of this before they plan to visit the lord.

 

CULTURAL INTEGRITY

Shrikshetra of Puri Jagannath, as is commonly known, can verily be said to be a truthful replica of Indian culture. To understand this culture, one has to have some idea of the history of this land, which again is different from that of other countries of the world.

 

Starting from Lord Jagannath himself, history has it that he was a tribal deity, adorned by the Sabar people, as a symbol of Narayan. Another legend claims him to be Nilamadhava, an image of Narayana made of blue stone and worshipped by the aboriginals. He was brought to Nilagiri (blue mountain) or Nilachala and installed there as Shri Jagannath in company with Balabhadra and Subhadra. The images made of wood are also claimed to have their distant linkage with the aboriginal system of worshipping wooden poles. To cap it all the Daitapatis, who have a fair share of responsibilities to perform rituals of the Temple, are claimed to be descendants of the aboriginals or hill tribes of Orissa. So we may safely claim that the beginning of the cultural history of Shrikshetra is found in the fusion of Hindu and Tribal Cultures. This has been accepted as a facet of our proud heritage. The three deities came to be claimed as the symbols of Samyak Darshan, Samyak Jnana and Samyak Charita usually regarded as Triratha (of the Jain cult), an assimilation of which leads to Moksha (salvation) or the ultimate bliss...

 

Jagannath is worshipped as Vishnu or Narayana or Krishna and Lord Balabhadra as Shesha. Simultaneously, the deities are regarded as the bhairava with Vimala (the devi or the consort of Shiva) installed in the campus of the temple. So ultimately we find a fusion of Saivism, Shaktism and Vaishnavism of the Hindu religion with Jainism and up to an extent Buddhism in the culture of Jagannath and the cultural tradition so reverently held together in Shrikshetra.

 

ACHARYAS AND JAGANNATHA PURI

All of the renowned acharyas including Madhvacharya have been known to visit this kshetra. Adi Shankara established his Govardhana matha here. There is also evidence that Guru Nanak, Kabir, Tulsidas, Ramanujacharya, and Nimbarkacharya had visited this place. Sri Chaitanya Mahaprabhu of Gaudiya Vaishnavism stayed here for 24 years, establishing that the love of god can be spread by chanting the Hare Krishna mantra. Srimad Vallabhacharya visited Jagannath Puri and performed a 7-day recitation of Srimad Bhagvat. His sitting place is still famous as "baithakji." It confirms his visit to Puri. A famous incident took place when Vallabhachrya visited. There was a discourse being held between the Brahmins and 4 questions were asked. Who is the highest of Gods, What is the highest of mantras, What is the highest scripture and What is the highest service. The discourse went on for many days with many schools of thought. Finally Shri Vallabh said to ask Lord Jagannath to confirm Shri Vallabh's answers. A pen and paper were left in the inner sanctum. After some time, the doors were opened and 4 answers were written. 1) The Son of Devaki (Krishna) is the God of Gods 2) His name is the highest of mantras 3) His song is the highest scripture (Bhagavat Geeta) 4) Service to Him is the Highest service. The king was shocked and declared Shri Vallabh the winner of the discourse. Some of the pandits who participated became jealous of Shri Vallabh and wanted to test Him. The next day was Ekadashi, a fasting day where one must fast from grains. The pandits gave Shri Vallabh rice Prasad of Shri Jagannathji (The temple is famous for this). If Shri Vallabh ate it, He would break His vow of fasting but if He did not take it, He would disrespect Lord Jagannath. Shri Vallabh accepted the prasad in his hand and spent the rest of the day and night explaining slokas of the greatness of Prasad and ate the rice the next morning.

 

CHAR DHAM

The temple is one of the holiest Hindu Char Dham (four divine sites) sites comprising Rameswaram, Badrinath, Puri and Dwarka. Though the origins are not clearly known, the Advaita school of Hinduism propagated by Sankaracharya, who created Hindu monastic institutions across India, attributes the origin of Char Dham to the seer. The four monasteries lie across the four corners of India and their attendant temples are Badrinath Temple at Badrinath in the North, Jagannath Temple at Puri in the East, Dwarakadheesh Temple at Dwarka in the West and Ramanathaswamy Temple at Rameswaram in the South. Though ideologically the temples are divided between the sects of Hinduism, namely Saivism and Vaishnavism, the Char Dham pilgrimage is an all Hindu affair. There are four abodes in Himalayas called Chota Char Dham (Chota meaning small): Badrinath, Kedarnath, Gangotri and Yamunotri - all of these lie at the foot hills of Himalayas The name Chota was added during the mid of 20th century to differentiate the original Char Dhams. The journey across the four cardinal points in India is considered sacred by Hindus who aspire to visit these temples once in their lifetime. Traditionally the trip starts at the eastern end from Puri, proceeding in clockwise direction in a manner typically followed for circumambulation in Hindu temples.

 

STRUCTURE

The huge temple complex covers an area of over 37,000 m2, and is surrounded by a high fortified wall. This 6.1 m high wall is known as Meghanada Pacheri. Another wall known as kurma bedha surrounds the main temple. It contains at least 120 temples and shrines. With its sculptural richness and fluidity of the Oriya style of temple architecture, it is one of the most magnificent monuments of India. The temple has four distinct sectional structures, namely -

 

- Deula, Vimana or Garba griha (Sanctum sanctorum) where the triad deities are lodged on the ratnavedi (Throne of Pearls). In Rekha Deula style;

- Mukhashala (Frontal porch);

- Nata mandir/Natamandapa, which is also known as the Jagamohan (Audience Hall/Dancing Hall), and

- Bhoga Mandapa (Offerings Hall).

 

The main temple is a curvilinear temple and crowning the top is the 'srichakra' (an eight spoked wheel) of Vishnu. Also known as the "Nilachakra", it is made out of Ashtadhatu and is considered sacrosanct. Among the existing temples in Orissa, the temple of Shri Jagannath is the highest. The temple tower was built on a raised platform of stone and, rising to 65 m above the inner sanctum where the deities reside, dominates the surrounding landscape. The pyramidal roofs of the surrounding temples and adjoining halls, or mandapas, rise in steps toward the tower like a ridge of mountain peaks.

 

NILA CHAKRA

The Nila Chakra (Blue Discus) is the discus mounted on the top shikhar of the Jagannath Temple. As per custom, everyday a different flag is waved on the Nila Chakra. The flag hoisted on the Nila Cakra is called the Patita Pavana (Purifier of the Fallen) and is equivalent to the image of the deities placed in the sanctum sanctorum .

 

The Nila Chakra is a disc with eight Navagunjaras carved on the outer circumference, with all facing towards the flagpost above. It is made of alloy of eight metals (Asta-dhatu) and is 3.5 Metres high with a circumference of about 11 metres. During the year 2010, the Nila Chakra was repaired and restored by the Archaeological Survey of India.

 

The Nila Chakra is distinct from the Sudarshana chakra which has been placed with the deities in the inner sanctorum.

 

Nila Chakra is the most revered iconic symbol in the Jagannath cult. The Nila Chakra is the only physical object whose markings are used as sacrament and considered sacred in Jagannath worship. It symbolizes protection by Shri Jagannath.

 

THE SINGHADWARA

The Singahdwara, which in Sanskrit means The Lion Gate, is one of the four gates to the temple and forms the Main entrance. The Singhadwara is so named because two huge statues of crouching lions exist on either side of the entrance. The gate faces east opening on to the Bada Danda or the Grand Road. The Baisi Pahacha or the flight of twenty two steps leads into the temple complex. An idol of Jagannath known as Patitapavana, which in Sanskrit, means the "Saviour of the downtrodden and the fallen" is painted on the right side of the entrance. In ancient times when untouchables were not allowed inside the temple, they could pray to Patita Pavana. The statues of the two guards to the temple Jaya and Vijaya stand on either side of the doorway. Just before the commencement of the Rath Yatra the idols of Jagannath, Balabhadra and Subhadra are taken out of the temple through this gate. On their return from the Gundicha Temple they have to ceremonially placate Goddess Mahalakshmi, whose statue is carved atop the door, for neglecting to take her with them on the Yatra. Only then the Goddess allows them permission to enter the temple. A magnificent sixteen-sided monolithic pillar known as the Arun stambha stands in front of the main gate. This pillar has an idol of Arun, the charioteer of the Sun God Surya, on its top. One significant thing about Arun stambha is that prior it was located in the Konark Sun temple, later, the Maratha guru Brahmachari Gosain brought this pillar from Konark. The Puri Jagannath Temple was also saved by Maratha emperor Shivaji from being plundered at his times from the Mughals.

 

OTHER ENTRANCES

Apart from the Singhadwara, which is the main entrance to the temple, there are three other entrances facing north, south and west. They are named after the sculptures of animals guarding them. The other entrances are the Hathidwara or the Elephant Gate, the Vyaghradwara or the Tiger Gate and the Ashwadwara or the Horse Gate.

 

MINOR TEMPLES

There are numerous smaller temples and shrines within the Temple complex where active worship is regularly conducted. The Vimala Temple (Bimala Temple) is considered one of the most important of the Shaktipeeths marks the spot where the goddess Sati's feet fell. It is located near Rohini Kund in the temple complex. Until food offered to Jagannath is offered to Goddess Vimala it is not considered Mahaprasad.

 

The temple of Mahalakshmi has an important role in rituals of the main temple. It is said that preparation of naivedya as offering for Jagannath is supervised by Mahalakshmi. The Kanchi Ganesh Temple is dedicated to Uchchhishta Ganapati. Tradition says the King of Kanchipuram (Kanchi) in ancient times gifted the idol, when Gajapati Purushottama Deva married Padmavati, the kanchi princess. There are other shrines namely Muktimandap, Surya, Saraswati, Bhuvaneshwari, Narasimha, Rama, Hanuman and Eshaneshwara.

 

THE MANDAPAS

There are many Mandapas or Pillared halls on raised platforms within the temple complex meant for religious congregations. The most prominent is the Mukti Mandapa the congregation hall of the holy seat of selected learned brahmins. Here important decisions regarding conduct of daily worship and festivals are taken. The Dola Mandapa is noteworthy for a beautifully carved stone Torana or arch which is used for constructing a swing for the annual Dol Yatra festival. During the festival the idol of Dologobinda is placed on the swing. The Snana Bedi is a rectangular stone platform where idols of Jagannath, Balabhadra and Subhadra are placed for ceremonial bathing during the annual Snana Yatra

 

DAILY FOOD OFFERINGS

Daily offerings are made to the Lord six times a day. These include:

 

- The offering to the Lord in the morning that forms his breakfast and is called Gopala Vallabha Bhoga. Breakfast consists of seven items i.e. Khua, Lahuni, Sweetened coconut grating, Coconut water, and popcorn sweetened with sugar known as Khai, Curd and Ripe bananas.

- The Sakala Dhupa forms his next offering at about 10 AM. This generally consists of 13 items including the Enduri cake & Mantha puli.

- Bada Sankhudi Bhoga forms the next repast & the offering consists of Pakhala with curd and Kanji payas. The offerings are made in the Bhog Mandapa, about 200 feet from the Ratnabedi. This is called Chatra Bhog and was introduced by Adi Shankaracharya in the 8th century to help pilgrims share the temple food.

- The Madhyanha dhupa forms the next offering at the noon.

- The next offering to the Lord is made in the evening at around 8 PM it is Sandhya Dhupa.

- The last offering to the Lord is called the Bada Simhara Bhoga.

 

The Mahaprasad of Lord Jagannath are distributed amongst the devotees near the Ratnavedi inside the frame of Phokaria, which is being drawn by the Puja pandas using Muruj, except for the Gopal Ballav Bhog and Bhog Mandap Bhoga which are distributed in the Anabsar Pindi & Bhoga Mandap respectively.

 

ROSAGHARA

The temple's kitchen is considered as the largest kitchen in the world. Tradition maintains that all food cooked in the temple kitchens are supervised by the Goddess Mahalakshmi, the empress of Srimandir herself. It is said that if the food prepared has any fault in it, a shadow dog appears near the temple kitchen. The temple cooks, or Mahasuaras, take this as a sign of displeasure of Mahalakshmi with the food, which is, then, promptly buried and a new batch cooked. All food is cooked following rules as prescribed by Hindu religious texts, the food cooked is pure vegetarian without using onions and garlic. Cooking is done only in earthen pots with water drawn from two special wells near the kitchen called Ganga and Yamuna. There are a total of 56 varieties of naivedhyas offered to the deities, near Ratnabedi as well as in Bhoga Mandap on five particular Muhurta. The most awaited Prasad is Kotho Bhoga or Abadha, offered at mid-day at around 1 pm, depending upon temple rituals. The food after being offered to Jagannath is distributed in reasonable portions as Mahaprasad, which is considered to be divine by the devotees in the Ananda Bazar (an open market, located to the North-east of the Singhadwara inside the Temple complex).

 

FESTIVALS

There are elaborate daily worship services. There are many festivals each year attended by millions of people. The most important festival is the Rath Yatra or the Chariot festival in June. This spectacular festival includes a procession of three huge chariots bearing the idols of Jagannath, Balabhadra and Subhadra through the Bada Danda meaning the Grand Avenue of Puri till their final destination the Gundicha Temple. Early European observers told tales of devotees being crushed under the wheels of these chariots, whether by accident or even as a form of meritorious suicide akin to suttee. These reports gave rise to the loan word juggernaut suggesting an immense, unstoppable, threatening entity or process operated by fanatics. Many festivals like Dol Yatra in spring and Jhulan Yatra in monsoon are celebrated by temple every year.Pavitrotsava and Damanaka utsava are celebrated as per panchanga or panjika.There are special ceremonies in the month of Kartika and Pausha.

 

The annual shodasha dinatmaka or 16 day puja beginning 8 days prior to Mahalaya of Ashwin month for goddess Vimala and ending on Vijayadashami, is of great importance, in which both the utsava murty of lord Madanmohan and Vimala take part.

 

- Pana Sankranti: Also known or Vishuva Sankranti and Mesha Sankranti: Special rituals are performed at the temple.

 

RATH YATRA AT PURI

The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel (3 km) to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is approximately 45 feet high and 35 feet square and takes about 2 months to construct. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra.

 

The most significant ritual associated with the Ratha-Yatra is the chhera pahara." During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.

 

Chera pahara is held on two days, on the first day of the Ratha Yatra, when the deities are taken to garden house at Mausi Maa Temple and again on the last day of the festival, when the deities are ceremoniously brought back to the Shri Mandir.

 

As per another ritual, when the deities are taken out from the Shri Mandir to the Chariots in Pahandi vijay.

 

In the Ratha Yatra, the three deities are taken from the Jagannath Temple in the chariots to the Gundicha Temple, where they stay for nine days. Thereafter, the deities again ride the chariots back to Shri Mandir in bahuda yatra. On the way back, the three chariots halt at the Mausi Maa Temple and the deities are offered Poda Pitha, a kind of baked cake which are generally consumed by the Odisha people only.

 

The observance of the Rath Yatra of Jagannath dates back to the period of the Puranas. Vivid descriptions of this festival are found in Brahma Purana, Padma Purana, and Skanda Purana. Kapila Samhita also refers to Rath Yatra. In Moghul period also, King Ramsingh of Jaipur, Rajasthan has been described as organizing the Rath Yatra in the 18th Century. In Orissa, Kings of Mayurbhanj and Parlakhemundi were organizing the Rath Yatra, though the most grand festival in terms of scale and popularity takes place at Puri.

 

Moreover, Starza notes that the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. Friar Odoric of Pordenone visited India in 1316-1318, some 20 years after Marco Polo had dictated the account of his travels while in a Genoese prison. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.

 

CHANDAN YATRA

In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra.

 

SNANA PURNIMA

On the Purnima of the month of Jyestha the Gods are ceremonially bathed and decorated every year on the occasion of Snana Yatra.

 

ANAVASARA OR ANASARA

Literally means vacation. Every year, the main idols of Jagannath, Balabhadra, Subhadra & Sudarshan after the holy Snana Yatra on the jyestha purnima, go to a secret altar named Anavasara Ghar where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called 'Navayouvana. It is said that the gods fall in fever after taking a huge bath and they are treated by the special servants named, Daitapatis for 15 days. During this period cooked food is not offered to the deities.

 

NAVA KALEBARA

One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha. This can take place in 8, 12 or even 18 years. Literally meaning the “New Body” (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that are currently being worshipped in the temple premises were installed in the year 1996. Next ceremony will be held on 2015. More than 3 million devotees are expected to visit the temple during the Nabakalevara of 2015 making it one of the most visited festivals in the world.

 

NILADRI BIJE

Celebrated on Asadha Trayodashi. Niladri Bije is the concluding day of Ratha yatra. On this day deities return to the ratna bedi. Lord Jagannath offers Rasgulla to goddess Laxmi to enter in to the temple.

 

GUPTA GUNDICHA

Celebrated for 16 days from Ashwina Krushna dwitiya to Vijayadashami. As per tradition, the idol of Madhaba, along with the idol of Goddess Durga (known as Durgamadhaba), is taken on a tour of the temple premises. The tour within the temple is observed for the first eight days. For the next eight days, the idols are taken outside the temple on a palanquin to the nearby Narayani temple situated in the Dolamandapa lane. After their worship, they are brought back to the temple.

 

THE NAME PURUSHOTTAMA KSHETRA AND ITS SIGNIFICANCE

Lord Jagannath is the Purushottama as per the scripture, Skanda Purana. In order to teach human beings how to lead a life full of virtue, he has taken the form of Saguna Brahman or Darubrahman. He is the best brother to his siblings, Lord Balabhadra and Devi Subhadra. He is the best husband to goddess Shri. The most noteworthy aspect is still in the month of Margashirsha, on three consecutive days during amavasya he does Shraddha to his parents (Kashyapa-Aditi, Dasharatha-Kaushalya, Vasudeva-Devaki, Nanda-Yashoda), along with the king Indradyumna and queen Gundicha. As a master he enjoys every comfort daily and in various festivals. He grants all wishes to his subjects, and those who surrender before him he takes the utmost care of.

 

CULTURE AND TRADITION OF PURI

Puri is one of the fascinating littoral districts of Orissa. The Cultural heritage of Puri with its long recorded history has its beginnings in the third century B.C. The monuments, religious sanctity, and way of life of the people with their rich tradition is the cultural heart of Orissa. Indeed, Puri is considered the cultural capital of Orissa. The culture here flourished with its manifold activities.

 

The District has the happy conglomerate of different religions, sects and faith. In the course of history, Hindu, Buddhist, Jaina, Muslim, Christian, and Sikh are found here in the District.

 

Chaitanya Mahaprabhu, an incarnation of Lord Krishna, appeared 500 years ago, in the mood of a devotee to taste the sublime emotions of ecstasy by chanting the holy name of Krishna. Stalwart scholars of Puri like Sarvabhauma Bhattacharya (a priest & great Sanskrit pandit) and others followed His teachings. Even kings and ministers of His period became His disciples. Especially King Prataparudra became His great admirer and ardent follower. Thus all cultures and religion became one in Puri after his teachings were given to all with no consideration of caste and creed.

 

MANAGEMENT

After independence, the State Government, with a view to getting better administrative system, passed " The Puri Shri Jagannath Temple (Administration) Act, 1952. It contained provisions to prepare the Record of Rights and duties of Sevayats and such other persons connected with the system of worship and management of the temple. Subsequently Shri Jagannath Temple Act, 1955 " was enacted to reorganize the management system of the affair of the temple and its properties.

 

SECURITY

The security at the 12th century Jagannath Temple is increased ahead of Ratha Yatra, the homecoming festival of the deities of Jagannath temple. In the wake of terror alert on 27 June 2012, the security forces were increased to ensure smooth functioning of the crowded Ratha Yatra and Suna Besha.

 

WIKIPEDIA

Replacing an earlier scanned photo with a better version 23-Jan-21, plus Topaz DeNoise AI 25-Jul-24.

 

Fleet No: "609".

 

First flown with the Airbus test registration F-WWJY, this aircraft was delivered to Maple Leaf Leasing and leased to Air Canada as C-FYLU in May-97.

 

It was withdrawn from service in Jan-08 and sub-leased to Swiss International Airlines as HB-JMO in Feb-08. The lease was later transferred direct to Swiss International.

 

The aircraft was sold to Airbus Financial Leasing in Jul-13 while the lease to Swiss International continued. It was returned to the lessor as 2-HJMO at the end of Apr-16 and permanently retired at Lourdes, France. It was broken up there in 2019.

Replaces the 737 Service

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

Replacing a soundbar and found a RadioShack cable

Rathfarnham Castle on a sunnier day.

 

Origins:

 

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

 

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

 

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

 

Civil war:

 

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

 

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

 

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

 

The eighteenth century:

 

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

The castle in 1774

 

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

 

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

 

The nineteenth and twentieth centuries:

 

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

 

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

 

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

 

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

 

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

 

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

 

Preservation:

 

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

In a rare West Coast performance, celebrated Fluxus artist Alison Knowles (replaced by √me√ due to flight cancellations) and her daughter, art historian Hannah Higgins, present the performance lecture, Fluxus with Tools, in conjunction with the ongoing exhibition, Happy Birthday: A Celebration of Chance and Listening, curated by Mack McFarland for the Feldman Gallery + Project Space to celebrate what would have been John Cage’s 100th birthday. The exhibition features work by Cage and Knowles, among many other artists.

 

Alison Knowles is a founding member of Fluxus, an art movement greatly influenced by ideas generated in Experimental Composition, a class taught by John Cage at the New School for Social Research in New York in the late 50s. Over the years, Knowles association with Cage included such varied activities as joining the New York Mycological Society with Cage and Dick Higgins, hunting wild mushrooms in New York City, and a decade later, designing and co-editing Cage’s book of visual music scores, Notations.

 

Author and academic, Hannah Higgins, is the daughter of Knowles and Fluxus artist Dick Higgins. She has published a history of the Fluxus movement, Fluxus Experience, and in 2009, The Grid Book with MIT Press. Photos by Micah Fischer 13'

. . . 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

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.

 

My three-year old Regenyei Federschwert is in need of replacing the grip cord wrapping but it's good to check over the entire steel longsword trainer to check on its overall condition. Not counting the times I took breaks or used other simulators the total time used where there was impact is closer to a year and a half. That's anywhere from light contact to full force depending on what kind of exercise, drills, or sparring conditions.

 

It has been used mostly with Ensifers, Regenyeis, and a few Chlewbowskis. The most damage came from blunts such as Albion which have thinner edges and softer steel that knurl and create sharp edges that can produce notches. Potentially the most non-visual damage may probably be from old Angus Trim I-Beam with its shorter length and massively thicc edge.

 

Fortunately sparring against I-Beams is generally limited to people who have some very good control over power delivery. One-handed swords with bucklers, wooden shaft spears with rubber tips, and tires round out the remaining physical contacts.

 

Regenyei steel feders on average lasts two years. I've seen ones that break in about a year and others that are close to four years. Most reputable smiths will replace feders that break under a year when it's used reasonably.

 

Inspection

 

One of the insightful things pointed out by a Victorian practitioner in the club is that chips along the blade edges can over time act as points of stress such as the triangular cut outs of a potato chip bag. I use a green Scotch-Brite half-sponge to smooth these out while others use files.

 

The blade while clearly worn is smooth and one of the interesting things that happened to it was that I lent it to a Japanese sword practitioner early on. His tendency to parry was to use the flat of the sword instead of the edge which makes total sense for the system he was familiar with. Even now there is this interesting pattern of burning embers fanned by a breeze that slowly fades up along the lower blade flat.

 

The guards have a number of chips from attempts to control opposing blades that has been smoothed out. The pommel has a few dents and scratches mostly from bashing - lightly - against drill partners and opponent's faces in close distances but otherwise the peen at the bottom is still smooth. No monologues here when opponents are trying to push the blades into your face.

 

The grip on the other hand has dents. Our club's master at arms has experimented with 3D-printed handles and while I noted that these plastics cave in from grip strikes which is expected, the wood has that as well. It seems to be two to three times more resilient from cave-ins and there's no cracks or rot so and that's very good news.

 

I'm glad that I choose a cord wrapping instead of leather. Cords are easily treated and fixed using bees wax and can be done as field repairs. Eventually there was more wax than cord and the cords exploded out spectacularly during a Swordsquatch sparring session while twisting the grip into a Zwerchau. The cord on the grip needs to be entirely replaced.

 

General Maintenance

 

Always keep in mind that I'm just another random voice on the internet so while I make an effort to verify things it's best to ask those who are much more knowledgeable. It's best to considered what's said here as a starting point to ask questions rather than an infallible instructional. Anyway this is what works for me, other people will have different suggestions that will work too. I mentioned most of this previously in other places except now it's been informed by real-world use and time.

 

Safety - Personal Protective Equipment

 

During sanding I wear a 3M Ultimate FX FF-402 full-face respirator with olive-coded 3M multi gas vapor cartridges that are NIOSH P100 rated. I recommend cheaper full-face respirators if lightness and the ability to speak are not as important. This isn't a test to be used for proper equipment check but after putting on the respirator I cup the cartridge intakes with my hands and breathe in and out to check for leaks. I do this facing forward and once again looking down to see if the straps are loose.

 

I had conversations with a surprising number of people outside of the martial art community saying that a full face respirator is a waste of money because they know metal smiths don't use them. Fair enough they do what they want. I sometimes wear a Petzl headlamp and during cleaning see lots of Scothc-Brite strands and metal dust in the air and am used to wearing full-faced respirators. Your health is more important than convenience and that's all I have to say on that.

 

Wearing a full-face respirator is sweaty even when it's cold so for cleaning I put isopropyl alcohol on a paper towel and wipe down anything that came into contact with my face and fair. This includes the straps too because it's not good to have things growing while the respirator is sitting in a bag for a week or more. I have a sacrificial plastic face shield over the respirator face but unless there's paint or an accident then it probably doesn't need to be replaced for years. I still use the original removable shield.

 

Disposable gloves are also useful to avoid chemicals, rubbing metal particulates into eyes, or ingesting metal while eating.

 

Preparation and Sanding

 

If a file is being use make sure it's for steel and not wood and I've seen sandpaper used just fine too. Low grit number is rougher, higher grit number is smoother.

 

For corrosion and notches I use a green Scotch-Brite half-sponge while others use files. The 3M Scotch-Brite pads have grit ratings classified by color. Green pads are about 600 grit and the blue pad I sometimes use for light anti-corrosion work that is equivalent to a 3M white pad is a finer 1000 grit. It's important to keep in mind that unless the federschwert's purpose is to be hung on a wall or non-contact solo drills then the blade is going to get marred so I wouldn't bother with immaculate polishing with Metal Glo. This is a workhorse, each mark tells a story.

 

All metal surfaces are wiped down with isopropyl alcohol with a towel to remove oil before Scotch-Brite is used. It seems strange to say this but it's best not to ever get a Scotch-Brite sponge wet because they get less pliable and can crack after drying.

 

The feder has a blunt edge so it's fine to go back and forth over the entire blade with a Scotch-Brite linearly along the blade length. The only time I spot clean is if I know I'll be going over the entire blade anyway. I admit avoiding noticeable scuff spots is partly for aesthetic reasons although a blade that has a predictable pattern will make looking for problems so much easier.

 

I place the tip down on cardboard and clean the guards, pommel, and the flared schilt at the base of the blade easily this way. The blade can be cleaned like this although I find it easier to just run it horizontally like a fiddle. I occasionally let it cool down which gives me an excuse to take a break.

 

Red is active rust while black marks tend to be inactive. Dents and what not along the edges should be sanded smooth. A good rule of thumb is if you still don't want the blade edge or other surfaces to drag across your skin or clothing then it needs more smoothing. This applies to the guards as I and many others have had forearms shredded during grappling.

 

A very noticeable sign for the need for sanding the blade is during sparring or heavy contact drills that have blades sparking. While extremely cool looking those are pieces of metal burned off form impact and friction leaving a jagged edge behind.

 

Cleaning and Corrosion Prevention

 

All surfaces are then wiped with isopropyl alcohol towel to remove as much of the steel dust. Dust increases surface area, attracts more dust and moisture, and breaks the protective barrier of the thin film of oil that prevents corrosion. Usually I find that a followup with a separate oily rag will fully wipe off metal particulates.

 

I use food grade mineral oil that's also good for knives and wooden butcher blocks. This is absolutely not corn oil or olive oil as they will eventually go rancid. Regular mineral oil will work fine as well as gun oil. Choji sword oil as far as I can tell is basically expensive scented mineral oil.

 

WD-40 is primarily for water displacement so that oils intended for corrosion prevention can be used. For short durations of a few days WD-40 is better than nothing but it evaporates too quickly for long term corrosion prevention.

 

Once applied the oil should add a glossy effect on metal surfaces but it shouldn't be thick to reduce attracting dust. An hour or two after applying oil if there's a sweating effect on the surfaces then there's too much oil and a simple wipe should fix it.

 

Optionally I use a cotton swap with a little bit of oil to wipe the inside of the feder's back-folded tip, the top and bottom gaps between the blade schilt and the guard, the depressed ring at the base of the pommel, and the flattened peen.

 

I often wipe down the feder with oil after class. If there is skin contact such as during blade grabs then I will wipe down surfaces with isopropyl alcohol before applying oil. This is because there's a chance that salt and moisture can get trapped between the surface the fresh application of oil causing corrosion and ultimately pitting. I've seen this out at sea with tools where the environment has a high salt content in the moisture but it has happened with my feder.

 

Once oiled there's no issues with storing the feder out in the open for a month. Once there's dust then it needs to be wiped down with oil again as one time I've actually seen the beginnings of pitting from where the oil film barrier was compromised by the dust. That took an hour to slowly sand without leaving a noticeable sanding spot mark. Corrosion prevention done consistently will save tons of time down the road.

 

I knew someone who used floor wax to good effect giving the blade a slightly duller matte look. Unfortunately edges and strikes along the flat easily removes the protection. The best bet is to wipe down everything after practice. It's probably a good idea to avoid storing the feder in scabbard for long periods. If placed on a sword hangar or display make sure to research if galvanic corrosion will occur with any metal in contact with the steel.

 

Corded Wrap Grip Maintenance

 

I really liked the look and feel of leather wraps but even before finding out that one of things we drill for is hand strikes from other's experiences that leather gets damaged easily and is a pain to repair compared to cord. I wear leather gloves anyway. After a month of using the corded grip I noticed that there were very small fibers starting to appear almost like a fuzz. The cord was very slowly coming apart from use so a few people suggested I use bees wax and work it into the cord with heat to prevent fraying.

 

For melting bees wax I use a Xikar Tech 525BK Lighter refillable with butane. It's a cigar lighter with an adjustable flame dial at the bottom. I also have a Zippo lighter using traditional lighter fluid and one with a Thunderbird butane insert and neither has a flame as predictable as a jet flame. I've use double jets and it was annoying trying to figure out where the sweet spot is for melting things without under or overcooking especially with shock cords so single flame is the way to go.

 

The wax will darken the color of the cord so mine went from an almost cherry brown to a chocolate brown. The cord will be a little grippier too which is a nice bonus. Some people use epoxy or other kinds of shellac-like covering for the grip and they work quite well up until they crack from a hand strike. The wax does very well with keeping cut cords onto the grip and using a finger nail it can be shaped with thread lines that will hide the repair at first glance.

 

Epilogue

 

Everything seems to have held up well and the cord is the only thing that is in need of replacement. Thanks for reading this far and I hope this is a useful starting point to ask others about basic maintenance for your federschwert.

I spotted the sign for the church from a nearby crossroads, I don't seem to recall the name, so we take the turning and drive across the fields.

 

The road came to a 90 degree bend, and from out of the corner of my eye, I spot a gravestone and a glimpse of a tower.

 

I park dangerously near to the corner, there was no where else really, but then the road wasn't busy, so should be alright.

 

The exterior of the church looked modern and not at all promising, it seemed to have been coated, skimmed, in something like concrete, giving the feeling of a village hall.

 

Inside it was a delight, clearly an ancient building, recesses in the east wall showing where the original windows had sat, now replaced, and above, sturdy roof kept up by large kingposts.

 

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The land between the North Downs and the north Kent marshes was once wealthy through agriculture and country estates grew as hubs of thriving communities. One such was Badlesmere which gave its name to a family whose peak of power occurred in the early fourteenth century. Their fall was almost as quick as their rise, the family falling foul of political intrigues in the reign of Edward II. They would have known the tiny church of St Leonard, although its character is now an unusual hybrid of medieval woodwork, box pews from the time of Jane Austen and stained glass of the present time. There is fine Royal Arms of George I and a hatchment to the First Earl Sondes. By far the most important furnishings are the medieval bench ends to be found in the chancel. One shows the frequently illustrated carving of the Trinity, represented by a triangle. The two west windows by Frederick W. Cole represent St Francis of Assisi and The Sower. Apart from that the church is very simple - just nave and chancel, and so beautifully cared for that it is obviously a building which excites great passion. Indeed it should do, for as the north Kent corridor gets ever covered with concrete, it is little pockets like this bring us closer to our ancestors.

 

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

 

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BADLESMERE.

THE next adjoining parish to Leveland, still further eastward, is Badlesmere, usually called Basmere.

 

It is a parish but little frequented, and with hardly any thoroughfare, lying on the opposite side of the high road from Faversham to Ashford, which runs along its western boundaries; it is situated about six miles from the former, mostly on high ground, the soil of it in this part of it is tolerable good and level, much like the part of Leveland adjoining to it, but the eastern side of the parish is very hilly and chalky, a poor soil covered with flints, a very forlorn rough country, with much woodland in it. At a field's distance from the above road stands the court-lodge, called Basmerecourt, a mean farm-house, with the church almost adjoining to it northward.

 

In the next field south-eastward of the church, the foundations of the antient seat of the Badlesmeres are easily traced out, by the different colours of the corn, and from the number of apartments in it appears to have been a very large and noble mansion; among them is a large pond, called the Cellar pond, which, as its name implies, was no doubt the place where the cellars of this seat were formerly. At the south-west extremity of the parish is Basmere-lees, over which the Ashford road passes. There are several houses round it, those on the north-east side only, one of which is the parsonage, are in this parish, the rest being in those of Leveland and Sheldwich.

 

A fair is held here on St. Leonard's day, now by the alteration of the stile on Nov. 17, yearly.

 

Sir Thomas Randolph, an eminent statesman in queen Elizabeth's reign, son of Avery Randolph, of Badlesmere, was born in this parish in 1523, and was much favored and distinguished by the queen, being employed in no less than eighteen different embassies. He died in 1590, and was buried in St. Peter's church, Paul's wharf, in London, leaving a numerous issue by one of his wives, a sister of Sir Francis Walsingham. (fn. 1)

 

BARTHOLOMEW DE BADLESMERE was by writ summoned to parliament, in the 3d year of king Edward II. among the barons of this realm, by the title of Bartholomew de Badlesmere, of Badlesmere, chevalier. This barony, by the death of Giles, lord Badlesmere, his son, s. p. devolved by the marriage of Maud, the eldest of his four sisters and coheirs, to John de Vere, earl of Oxford, and it continued in his descendants down to John de Vere, the fourteenth earl of Oxford, and baron of Badlesmere in king Henry the VIIIth.'s reign, who dying s. p. the earldom descended to the heir male of the Vere's, but the barony of Badlesmere descended to the three sisters of the earl John last-mentioned, viz. Ursula, married to George Windsor, and afterwards to Edward Knightly, of Northamptonshire; Dorothy to John Nevil, lord Latimer, and Elizabeth to Sir Anthony Wingfield, but this dignity being entire, and not divisable, they became incapable of it, otherwise than by gift from the crown, and it in strictness of law reverted to, and was in the king's disposition, but the crown seemingly dispensed with this, for the four several earls of Oxford successively after this, assumed and used among their titles, that of baron of Badlesmere. At length, after the death of Henry, earl of Oxford, and baron of Badlesmere, in 1625, there arose a dispute concerning these titles, which was in 1626, by solemn adjudication of parliament, determined, that the earldom belonged to the heir male of the Vere's, and that the barony of Badlesmere was wholly vested in the king to dispose of at his pleasure, which judgment the king approved of, at which time the office of great chamberlain of England, which had for so many descents been vested in the Vere's, earls of Oxford, was claimed by Robert de Vere, earl of Oxford, as heir male, and by Robert, lord Willoughby, of Eresby, as heir-general, and by the adjudication of the house of lords, though the earldom was adjudged to the heir male, yet the office of chamberlain was adjudged to the lord Willoughby. (fn. 2)

 

THIS PLACE, in the 15th year of the reign of William the Conqueror, was part of the possessions of Odo, bishop of Baieux, the king's half-brother, accordingly it is thus entered, under the general title of that prelate's lands, in the survey of Domesday, taken about that time:

 

The same Anfrid holds of the bishop (of Baieux) Badelesmere. It was taxed at one suling. The arable land is two carucates and an half. In demesne there is one, and ten villeins, having one carucate and an half. There is a church, and two servants, and a fishery of twelve-pence. Wood for the pannage of four hogs. In the time of king Edward the Confessor, it was worth sixty shillings, and afterwards sixty shillings, now four pounds. The abbot of St. Augustine's claimed this manor, because he had it in the time of king Edward the Confessor, and the hundred witnessed for him, but the son of the tenant said, his father could turn himself over wherever he would, and this the monks did not deny.

 

Four years after this, the bishop of Baieux fell into disgrace, and the king seized on this estate among the rest of his possessions.

 

After which the manor of Badlesmere was granted by the king to Hamo de Crevequer, and together with other lands made up the barony of Crevequer, as it was called, being held of the king in capite by barony, as of his castle of Dover, for the desence of which he was bound by his tenure. (fn. 3)

 

Of his heirs this manor was held by the eminent family of Badlesmere, who took their surname from their possessing it. Guncelin de Badlesmere, with his brother Ralph, accompanied king Richard I. to the siege of Acon, in Palestine. Guncelin de Badlesmere held this manor, 2s before-mentioned, in the reign of king John, and was a justice itinerant, as was his brother Giles de Badlesmere, who was slain in a conflict with the Welsh in the 43d year of Henry III. anno 1248. The former left one son Bartholomew, and two daughters, Joane, married to John de Northwood, and another to John de Coningsby.

 

Bartholomew de Badlesmere afterwards possessed this manor, and on his death was succeeded in it by his son Guncelin, who was chief justice of Chester in the 2d year of Edward I. He died in the 29th year of that reign, and was buried in Badlesmere church, where his effigies lying cross-legged, cut in wood, was remaining in Philipott's time, then holding this manor of the king in capite, as of the barony of Crevequer, by knight's service, and paying to the ward of Dover castle, and making suit to the king's court of Ledes. He left by Margaret his wife, heir of Ralph Fitzbernard, one son Bartholomew de Badlesmere, who from the greatness of his wealth and possessions, afterwards acquired the title of the rich lord Badlesmere of Ledes, of which castle, in the 5th year of Edward II. he was appointed constable, and obtained a grant in see of the castle and manor of Chilham, among other lands; after which, in the 9th year of that reign, he obtained several more grants of lands, and a special charter of liberties within his manors, and free-warren in all his demesne lands in this manor of Badlesmere among others; in the 11th year of Edward II. he was once more made governor of Ledes-castle, two years after which he obtained the king's licence to found a priory within his manor here, which was held in capite, for canons regular; and that he might, of the demesnes of the manor, grant to them twenty-four acres, to be possessed by them in pure and perpetual alms, for their inhabiting and building there a church, and other buildings, with a non-obstante to the statute of mortmain. But by the troubles which immediately after this ensued to the lord Badlesmere, nothing further was done towards it till the 4th year of Edward III. when the king confirmed this endowment, together with the advowsons of this church of Badlesmere, with those of Whitstaple, Redlingweld, Old Romney, Northfield, and Charleton, in this county; Northmyms, in Hertfordshire, and Luddington, in Huntingdonshire; notwithstanding which, it appears by their afterwards continuing in the possession of lay proprietors, and by no further mention being to be found of this priory, that the design of erecting it fell to the ground, and that nothing further was afterwards done towards it. The year after king Edward the IId.'s granting this licence to Bartholomew de Badlesmere, he was constituted governor of Tunbridge castle, and having been for several years steward of the king's houshold, he had, in reward for his services, the grant of the castle of Ledes in fee, in exchange for other lands which he had purchased.

 

But this great and powerful baron, after having had such continual favors heaped on him, and having been summoned to parliament till the 14th year of that reign, then withdrew his allegiance, and joined with the earl of Lancaster and the other discontented barons; for which he had a full pardon granted next year, but within a small time afterwards, queen Isabel being denied entrance into his castle of Ledes, the king became highly incensed against him, and immediately besieged and took it, with Margaret his wife, Giles his infant son, and all his children in it, who were sent prisoners to the Tower, and all his lands were seized into the king's hands. (fn. 4) After which, flying into the north, and being overtaken at Burrowbridge, he received a total defeat, and being sent to Canterbury, was hanged at the gallows of Blean, near that city, and his head being cut off, was set on a pole at Burgate, and his body buried in the White Friars church, in that city. The Badlesmeres bore for their arms, Azure, a sess between two gemelles, gules; which coat was afterwards quartered by the Veres, earls of Oxford, Manners's, dukes of Rutland, the lord Scroope, Nevill lord Latimer, the lord Wentworth of Nettlested, and other noble families.

 

The inquisition of his lands was not taken till the 2d year of Edward III. when the king directed his writs to the several sheriffs of Kent, and many other counties, (by which the wide extent of his possessions in different parts of the kingdom may be seen) (fn. 5) to restore to Margaret his widow, all manors, lands, &c. forfeited in those counties, &c. By this it appears that he died possessed, among others, of this manor of Badlesmere, leaving by Margaret his wife, sister and coheir of Richard de Clare, who survived him, and died anno 5 Edward III. a son Giles, and four daughters, Maud, married first to Roger Fitzpain, and secondly to John de Vere, earl of Oxford; Margery to William, lord Roos, and afterwards to Sir Thomas Arundel; Elizabeth first to Edmund Mortimer, and secondly to William Bohun, earl of Northampton; and Margaret to Sir John Tibetot.

 

Giles de Badlesmere, the son, the process and judgment against his father having been reversed, had his manors and lands restored to him, and having been much trusted and employed by the king in his wars, and having received summons to parliament, he died s. p. in the latter of them, and was buried near his father in the same church, being then possessed of this manor, and leaving his four sisters his coheirs; upon the division of their inheritance, this manor among others was assigned to Maud, the eldest sister, wife of John de Vere, earl of Oxford, who in her right became possessed of it, and he accordingly paid aid for it, in the 20th year of Edward III. He was descended of a family which took its name from the town of Vere, in Zealand, where they had flourished as earls of Guisne for several generations, of whom Alberic, or Aubrey de Vere, came over into England with William the Conqueror, as appears by the roll of Battle-abbey, and was rewarded by him with divers lordships, which are recorded in Domesday. After which he married Beatrix, the Conqueror's sister. (fn. 6) They bore for their arms, Gules, and or, in the first quarter, a mullet, argent; which arms are in several places on the roof of the cloysters, and in the windows of the cathedral of Canterbury.

 

He was a nobleman of high courage, and performed great and exemplary services in the wars in France, during which he died in the English army encamped before Rheims, anno 34 Edward III.

 

In his descendants, earls of Oxford, and barons of Badlesmere likewise, by their descent from Maud, the sister and coheir of Giles, lord Badlesmere, beforementioned, men illustrious not only from their high birth and alliances, but from the noble actions they performed, and the highest offices of state which they held from time to time, among which was the hereditary office of lord chamberlain, this manor continued down to John, earl of Oxford and baron of Badlesmere, who in king Henry the VIth.'s reign, being firmly attached to the house of Lancaster, was, on Edward IV. attaining the crown, attainted in parliament, being then far advanced in years, and with Aubrey his eldest son, afterwards beheaded on Tower-hill. (fn. 7) By this act of attainder the manor of Badlesmere became vested in the crown, and it appears to have been granted by the king next year, being the second of his reign, to Richard, duke of Gloucester, his uncle, on whose obtaining the crown by the title of king Richard III. it became part of the royal possessions. After which the king having in his first year, constituted John Howard, duke of Norfolk, lord high admiral, granted to him, among many others, in special tail, the manor of Badlesmere; but the duke did not long enjoy those great possessions, for next year he was slain, with the king, at the battle of Bosworth, on August 22, 1485, from whence he was conveyed to Thetford, and there buried, after which he was attainted in parliament, in the 1st year of the next reign of Henry VII. (fn. 8)

 

After which the manor of Badlesmere having been granted in special tail as before-mentioned, came into the possession of the duke's only son and heir Thomas Howard, earl of Surry, who after having been confined in the tower for near four years, was in the 4th year of that reign restored in parliament to the title of earl of Surry, and wholly to the king's favor, and having served him with great honor and fidelity, he had, in the 22d of that reign, a special grant of all the manors and lands of which the duke of Norfolk his father died possessed. In the next reign of Henry VIII. he continued highly in the king's favor, and in the 4th year of that reign, having by his prudence and valour, gained the memorable victory over the Scots at Floden-field, he had for that eminent service an augmentation added to his arms, to him and his heirs male, and was advanced to the title of duke of Norfolk, with a grant of divers lands in special tail. He died in the 16th year of that reign, and was succeeded in titles and estates by his eldest son Thomas, who had been in his life-time created earl of Surry, and was intrusted by the king in great and high offices of state, but notwithstanding his performing signal services both as a soldier and a statesman, he was through the king's jealousy of his greatness, which was not a little somented by several of the new raised nobility, in the 38th year of that reign, committed to the Tower, and both he and his son the earl of Surry were attainted by special bills in parliament; the earl was soon afterwards beheaded, and a warrant was signed for the execution of the duke, but the king dying the same day, his executors did not venture to enforce the sentence at so critical a juncture.

 

This manor, thus coming to the crown, among the rest of the duke's possessions, seems to have been granted to Sir Robert Southwell, master of the rolls, whose brother Sir Richard had been the chief accuser of the late earl of Surry. This family of Southwell, according to Mr. Camden, takes its name from the town of Southwell, in Nottinghamshire, where they were first seated; the descendants of which in king Henry the VIth.'s reign had spread themselves into Norfolk, Suffolk, and other counties, at which time John Southwell, M. P. for Lewes, in Sussex, had two sons, John, of Norwich, who was ancestor of the lords Southwell, of the kingdom of Ireland, and of those seated at Kings-Weston, in Gloucestershire; and Robert, who was ancestor of Sir Robert Southwell, master of the rolls above-mentioned, who bore for his arms, Argent, three cinquefoils, gules, charged with six annulets, or. He immediately afterwards, anno 2 king Edward VI. alienated this manor of Badlesmere, with 2000 acres of land in Badlesmere, and the adjoining parishes, to Sir Anthony Aucher, of Otterden, who died anno 4 and 5 king Philip and queen Mary, possessed of this manor, held in capite by knight's service. His eldest son John Aucher, of Otterden-place, by his first wife, daughter of Sir William Kellawny, left an only daughter and heir Anne, who in queen Elizabeth's reign marrying with Sir Humphry Gilbert, entitled him to the possession of this manor. Sir Humphry Gilbert was equally distinguished in the reign of queen Elizabeth, by his eminent abilities and great courage, being usually stiled in the Latin writers of that time egregius Miles. He was descended of an antient family in Devonshire, and was second son of Otho Gilbert, esq. of Greenway, by his wife Katherine, daughter of Sir Philip Champernon, of Modbury, in that county, who afterwards married Walter Raleigh, esq. of Fardel, and by him was mother of the famous Sir Walter Raleigh. They bore for their arms, Argent, on a chevron, sable, three roses of the first, seeded, or. Sir Humphry's genius led him to the studies of cosmography, navigation, and the art of war. He by his merit acquired the honorable post of commander in chief, and governor of the province of Munster, in Ireland; but what rendered him most famous was his great skill in mathematics, which induced him to undertake a voyage for the discovery of the northwest passage to the East-Indies, and to plant unknown countries, to facilitate which he published more than one discourse; for these adventurous designs he procured a patent from the queen in 1578, wherein he had full powers to undertake such discoveries, and to inhabit and possess any lands which were at that time unsettled by Christian princes, or their subjects. With this view he made two voyages to Newfoundland, and made several discoveries; but whilst in those seas, the vessel in which he was being too small to resist the swell of them, about midnight on Sept. 9, 1583, she was swallowed up and never seen more, Sir Humphry and all the crew perishing in her. (fn. 9) Before his death however, he sold this manor in the 23d year of that reign to Sir Michael Sondes; (fn. 10) afterwards of Throwley, whose grandson Sir George Sondes, of Lees-court, in Sheldwich, K. B. was in the reign of king Charles II. created earl of Faversham. He left two daughters his coheirs, of whom Mary was married to Lewis, lord Duras, afterwards earl of Faversham, and Katherine to Lewis Watson, earl of Rockingham, each of whom successively, in right of their respective wives, inherited this manor, which has since descended in like manner as Lees-court, in Sheldwich, (to the account of which the reader is referred) down to the right hon. Lewis-Thomas, lord Sondes, who is the present possessor of it. A court baron is held for this manor.

 

WOODS-COURT is a manor in the north-east part of this parish, which was antiently, from the possessors of it, called Godislands. William de Godisland held it in the reign of Edward I. by knight's service, as did his descendant Richard de Godisland at his death in the 19th year of Edward III. then holding it of the king in capite, by the service of one sparrow-hawk, or two shillings at the king's exchequer yearly. He was succeeded in it by his son and heir William de Godisland, but before the end of that reign, this family seems to have been extinct here, for Robert at Wood died possessed of it in the 6th year of Richard II. anno 1382, as was then found by inquisition, at which time it had acquired from him the name of the manor of Atwoods, and was held of the king in capite, as of his castle of Dover, by rent to the ward of that castle yearly, and that William Attwood, his uncle, was his next heir.

 

Guido atte Wode, of the parish of Bocton, was possessed of it in the reign of Edward IV. in the 6th year of which he died, and was buried in Bocton church, before the high cross. By his will he gave this manor, called Woodys court, to his wife Joane for life, and afterwards to his brother Thomas atte Wode, except one piece of land called Geroldysdane, which he ordered to be sold. Thomas atte Wode above-mentioned was of Ickham, and died possessed of this manor three years afterwards, as appears by his will that year.

 

¶After this name was gone from hence, this manor was become the property of Sayer, one of whom, John, son of Henry Sayer, of Faversham, in 1517, conveyed it to John Cheney, gent. of Eastchurch, in Shepey, who in the 14th year of that reign, sold it to Reynold Snode, gent. of Sheldwich, descended of a family of good account in these parts of Kent so early as king Henry III.'s reign. Isabella de Snode is mentioned, among the gentry of this neighbourhood, as living at that time, in the leiger-book of Davington priory, and there is yet, not far from hence, a hamlet of houses, called from them, Snode-street. His son Samuel Snode became possessed of it on his father's death in the 11th year of queen Elizabeth; he sold it to Gabriel Giles, of Sheldwich, who in the 25th year of it alienated it to Thomas and Henry Unkle, the former of whom, in 1591, conveyed it to Mildred, widow of the latter, and sister of Nicholas Pemble, and she, in the 41st year of queen Elizabeth, marrying with Arthur Franklyn, gent. of Badlesmere, he, in her right, became possessed of it, and by fine levied in 1599, settled it upon their issue, which was Arthur Franklyn, from whom it descended to Mr. John Franklyn, who dying intestate it came to his kinsman Mr. James Franklin, who in 1743 devised it by his will to his eldest son Mr. Arthur Franklyn, gent. who resided in it, and in the year 1764 passed it away by sale to Lewis, lord Sondes, whose son the right hon Lewis-Thomas, lord Sondes, is the present owner of it.

 

BADLESMERE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of O'pringe.

 

The church, which is dedicated to St. Leonard, is but a very small mean building, consisting of one isle and one chancel, with a small turret at the west end, in which is one bell; there were formerly three bells here, but two were taken down and sold many years ago, towards the repair of the church.

 

In the chancel is a memorial, in old English letters, for Barbara, late wife of John Writhe, alias Dict, garter king at arms, daughter and heir of John Castlecombe, of Cricklade, in Wiltshire, who died in 1483.

 

There was formerly a small chapel adjoining to the south side of it, the foundations of which still remain, but it was fallen to ruin before the middle of the last century; in this chapel or chancel, which had a door opening into the middle of the isle of the church, were the tombs of several of the family of Badlesmere.

 

This church has ever been an appendage to the manor of Badlesmere, for though Bartholomew de Badlesmere, and his son Giles, assigned it as part of the endowment of the priory they intended to erect in this parish, yet as that design never took place, this church has continued in the possession of the several proprietors of the manor from that time to the present, and as such is now become vested in the right hon. Lewis-Thomas, lord Sondes.

 

It is a rectory, and a discharged living, of the clear yearly certified value of forty-six pounds, the yearly tenths being 10s. 2¼d.

 

In 1578 there were communicants here thirty-four; in 1640 it was valued at eighty pounds per annum, communicants forty.

 

www.british-history.ac.uk/survey-kent/vol6/pp467-481

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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.

    

On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably.

  

These days I take a far more leisurely approach to my photographic exploits, a Nikon D850 FX Pro body as my trusted companion, I travel light with less constraints and more emphasis on the pure capture of the beauty that I see, more akin to my original persuits and goals some five decades previously when starting out. I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 25.087+ Million visitors to my FLICKR site.

  

***** Selected for sale in the GETTY IMAGES COLLECTION on August 30th 2018

  

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This photograph became my 3,252nd frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

  

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Photograph taken at an altitude of One hundred and sixteen metres at 07:48pm on Thursday 23rd August 2018, off Rue Foyatler, having taken the Funiculaire up to Sacre-Coeur located at 35 Rue du Chevalier de la Barre, 75018 Paris, France.

  

The Basiica of the Sacred Heart of Paris (Sacre-Coeur Basilica) is a Roman Catholic church dedicated to the sacred heart o9f Jesus, located on the summit of the butte Montmartre, the highest point in the city of Paris. Designed by Paul Abadie, the church was built between 1875-1914 and stands 83 metres high. Entrance fees in August 2018 are 9 euros for adults.

    

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Nikon D850 40mm. Hand held with Nikkor VR Vibration reduction enabled in Normal mode). 1/100s f/8.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space. Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.

  

Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.

  

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LATITUDE: N 48d 53m 9.20s

LONGITUDE: E 2d 20m 34.90s

ALTITUDE: 116.0m

  

RAW (TIFF) FILE: 130.00MB NEF: 89.8MB

PROCESSED (JPeg) FILE: 54.40MB

  

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PROCESSING POWER:

 

Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)

 

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A pulled rickshaw (or ricksha) is a mode of human-powered transport by which a runner draws a two-wheeled cart which seats one or two people.

 

In recent times the use of human-powered rickshaws has been discouraged or outlawed in many countries due to concern for the welfare of rickshaw workers.

Pulled rickshaws have been replaced mainly by cycle rickshaw and auto rickshaws.

 

OVERVIEW

Rickshaws are commonly believed to have been invented in Japan in the 1860s, at the beginning of a rapid period of technical advancement.

 

In the 19th century, rickshaw pulling became an inexpensive, popular mode of transportation across Asia.

 

Peasants who migrated to large Asian cities often worked first as a rickshaw runner.

 

It was "the deadliest occupation in the East, [and] the most degrading for human beings to pursue."The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. In China, the rickshaw's popularity began to decline in the 1920s. In Singapore, the rickshaw's popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930.

 

DESCRIPTION

The initial rickshaws rode on iron-shod wooden wheels and the passenger sat on hard, flat seats. In the late 19th century and early 20th century. Rubber or pneumatic rubber tires, spring cushions, and backrests improved the passenger's comfort. Other features, such as lights were also added.

 

In the city of Shanghai, public rickshaws were painted yellow to differentiate from the private vehicles of the wealthy citizens, which were described as:

 

... always shiny, were carefully maintained, and sported 'a spotless white upholstered double seat, a clean plaid for one's lap, and a wide protective tarpaulin to protect the passenger (or passengers, since sometimes up to three people rode together) against the rain.'

 

The rickshaws were a convenient means of travel, able to traverse winding, narrow city streets. During monsoon season, passengers might be carried out of the carriage, above the flooded streets, to the door of their arrival. They offered door-to-door travel, unlike scheduled public bus and tram service.

 

COUNTRY OVERVIEW

AFRICA

EAST AFRIKA

In the 1920s, it was used in Bagamoyo, Tanga, Tanzania and other areas of East Africa for short distances.

 

MADAGASCAR

Rickshaws, known as pousse-pousse, were introduced by British missionaries. The intention was to eliminate the slavery-associated palanquin. Its name pousse-pousse, meaning push-push, is reportedly gained from the need to have a second person to push the back of the rickshaw on Madagascar's hilly roads. They are a common form of transport in a number of Malagasy cities, especially Antsirabe, but are not found in the towns or cities with very hilly roads. They are similar to Chinese rickshaws and are often brightly decorated.

 

NAIROBI

Rickshaws operated in Nairobi in the beginning of the 20th century; pullers went on strike there in 1908.

South Africa

Durban is famous for its iconic Zulu rickshaw pullers navigating throughout the city. These colorful characters are famous for their giant, vibrant hats and costumes. There were about 2,000 registered men who pulled rickshaws in Durban in 1904; Since displaced by motorised transport, there are approximately 25 rickshaws left whom mostly cater to tourists today.

 

ASIA

CHINA

In China, from the ancient times and until the 19th century, rich and important people, when traveling overland, were commonly transported in sedan chairs carried by bearers, rather than in wheeled vehicles. This was at least partly explained by road conditions. It is thought that it was from China (or East Asia in general) that sedan chair (a.k.a. "palanquin") designs were introduced into Western Europe in the 17th century. However, wheeled carts for one or two passengers, pushed (rather than pulled, like a proper rikshaw) by human servant, were attested as well.The proper rickshaw (pronounced renliche in Chinese) was first seen in China in 1886, and was used for public transportation in 1898. It was commonly called dongyangche for Japanese vehicle or "east- foreign-vehicle."

 

Rickshaw transportation was an important element in urban development in 20th century China, as a mode of transportation, source of employment and facilitation of migration for workers. According to author David Strand:

 

Sixty thousand men took as many as a half million fares a day in a city of slightly more than one million. Sociologist Li Jinghan estimated that one out of six males in the city between the ages of sixteen and fifty was a puller. Rickshaw men and their dependents made up almost 20 percent of Beijing's population.

 

Shanghai's rickshaw industry began in 1874 with 1,000 rickshaws imported from Japan. By 1914 there were 9,718 vehicles. The pullers were a large group of the city's working poor: 100,000 men pulled rickshaws by the early 1940s, up from 62,000 in the mid-1920s.Most manual rickshaws, a symbol of oppression of the working class, were eliminated in China after the founding of the People's Republic of China in 1949.

 

HOG KONG

Rickshaws were first imported to Hong Kong from Japan in 1880. They were a popular form of transport for many years, peaking at more than 3,000 in the 1920s. However, their popularity waned after World War II. No new licenses for rickshaws have been issued since 1975, and only a few old men—four as of 2009—still bear a license. It is reported that only one of them still offer rickshaw rides on The Peak, mainly for tourists.

 

INDIA

Around 1880, rickshaws appeared in India, first in Simla. At the turn of the century it was introduced in Kolkata (Calcutta), India and in 1914 was a conveyance for hire.

 

SERVICE AVAILIBILITY

Though most cities offer auto rickshaw service, hand-pulled rickshaws do exist in some areas, such as Kolkata, "the last bastion of human powered tana rickshaws". According to Trillin, most Kolkata rickshaws serve people "just a notch above poor" who tend to travel short distances. However, in a recent article by Hyrapiet and Greiner, the authors found that rickshaws also transport middle-class residents who use their services out of convenience and for short distance trips to the local marketplace. Rickshaws are used to transport goods, shoppers, and school children. It is also used as a "24 hour ambulance service."

 

Also according to Hyrapiet and Greiner, rickshaw pullers have acted as peer-educators for the Calcutta Samaritans prodving critical information on HIV/AIDS because of their access to marginalized groups within Kolkata's red light districts.

 

Rickshaws are the most effective means of transportation through the flooded streets of the monsoon season.

When Kolkata floods rickshaw business increases and prices rise.

 

The pullers live a life of poverty and many sleep under rickshaws.Rudrangshu Mukerjee, an academic, stated many people's ambivalent feelings about riding a rickshaw: he does not like about being carried in a rickshaw but does not like the idea of "taking away their livelihood."Motor vehicles are banned in the eco-sensitive zone area of Matheran, India, a tourist hill station near Mumbai so man-pulled rickshaws are still one of the major forms of transport there.

 

LEGISLATION

In August 2005, the Communist government of West Bengal announced plans to completely ban pulled rickshaws, resulting in protests and strikes of the pullers. In 2006, the chief minister of West Bengal, Buddhadeb Bhattacharya, announced that pulled rickshaws would be banned and that rickshaw pullers would be rehabilitated.

 

JAPAN

There are several theories about the invention of the rickshaw. Japan historian Seidensticker wrote of the theories:

 

Though the origins of the rickshaw are not entirely clear, they seem to be Japanese, and of Tokyo specifically. The most widely accepted theory offers the name of three inventors, and gives 1869 as the date of invention.

 

Starting in 1870, the Tokyo government issued a permission for Izumi Yosuke, Takayama Kosuke, and Suzuki Tokujiro to build and sell rickshaws. By 1872, they became the main mode of transportation in Japan, with about 40,000 rickshaws in service. The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. After the World War II, when gasoline and automobiles were scarce, they made a temporary come-back. The rickshaw tradition has stayed alive in Kyoto and Tokyo's geisha districts only for tourists as well as in other tourist places. The tradition completely disappeared once, but a few people revived jinrikisha (human-powered rickshaws) for tourists in the 1970s-1980s and the rickshaws became popular as a tourism resource in the 2000s. The modern rickshaw men are a kind of tourist guide, who take their clients to some tourist spots and explain about them. Many of them are part-time working students and athletes who like running or exchanging cultures.

 

MALAYSIA

Rickshaws were a common mode of transport in urban areas of Malaysia in the 19th and early 20th centuries until gradually replaced by cycle rickshaws.

 

PAKISTAN

Pulled and Cycle rickshaw (qinqi) have been banned in Pakistan since November 1949. Prior to the introduction of auto rickshaws in cities, horse-drawn carriages (tongas) were a main source of public transportation.

 

SINGAPORE

Singapore had received its first rickshaws in 1880 and soon after they were prolific, making a "noticeable change in the traffic on Singapore's streets." Bullock carts and gharries were used prior to the introduction of rickshaws.Many of the poorest individuals in Singapore in the late nineteenth century were poor, unskilled people of Chinese ancestry. Sometimes called coolies, the hardworking men found pulling rickshaws was a new means of employment. Rickshaw pullers experienced "very poor" living conditions, poverty and long hours of hard work. Income remained unchanged from 1876 to 1926, about $.60 per day.Rickshaws popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930. In or after the 1920s a union was formed, called the Rickshaw Association, protect the welfare of rickshaw workers.

 

NORTH AMERIKA

UNITED STATES OF AMERIKA

From A History of the Los Angeles City Market (1930-1950), pulled rickshaws were operated in Los Angeles by high school teenagers during that time period.

 

CANADA

Foot-driven rickshaws have enjoyed several decades of popularity in Halifax, Nova Scotia; in addition to providing tours of the historic Waterfront, rickshaws are also occasionally used for transportation by local residents. The city is home to the oldest rickshaw company in Canada.Rickshaws are a popular mode of transportation in downtown Ottawa, Ontario, providing tours of historical Byward Market, in the summer. Ottawa's rickshaws stay true to the traditional foot-driven rickshaw model, but feature modern sound-systems.

 

WIKIPEDIA

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

 

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

 

But St Mary was open.

 

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

 

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

 

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

 

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

 

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

 

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FOLKESTONE.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

"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 599 GTB Fiorano (internal code F141) is an Italian gran turismo produced by Ferrari. It is the brand's two-seat flagship, replacing the 575 M Maranello in 2006 as a 2007 model.

 

Styled by Pininfarina under the direction of Ferrari's Frank Stephenson, the 599 GTB debuted at the Geneva Motor Show in February 2006. It is named for its total engine displacement (5999 cc), Gran Turismo Berlinetta nature, and the Fiorano Circuit test track used by Ferrari.

 

An upgrade that improves the car's handling the package, also called HGTE or Handling Gran Turismo Evoluzione, includes a modified set-up with stiffer springs and rear anti-roll bar as well as new calibration settings for the magneto-rheological shock absorbers when the manettino is at its sportier settings. The ride height has also been lowered, which lowers the car's centre of gravity. The package also includes optimised tyres featuring a compound that offers improved grip. The car's electronics have also changed. The gearbox's shifts are faster in high-performance settings, while new engine software improved accelerator response.

 

The exhaust silencer was modified to produce more marked and thrilling sound under hard usage while still delivering just the right comfort levels at cruising speed.

 

The exterior and interior were upgraded with more carbon fiber components.

 

It also includes new 20-inch wheels.

 

The Xantia replaced the earlier Citroën BX (which straddled both small and large family car segments). Production commenced from late 1992.

 

The Xantia was available in both Berline (Hatchback) and Break (Estate) forms. The platform was shared with its PSA partner Peugeot for the 406. The Citroen differed in that it used an improved form of Citroen's characteristic Hydractive suspension, a development of the oleopnuematic system originally developed for the Citroen Traction Avant.

 

The Xantia's styling was futuristic and wedgy in an era of bland rounded forms.

 

Xantia production concluded in Europe in 2002, whereupon it was replaced with the first generation Citroen C5 model of similar configuration.

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

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.

 

By mistake I ended up in West Malling, but it was a good thing, as the village is chocolate box pretty, and the church very fine indeed. The only church I visited that had no wardens to welcome (I think, sorry if I have mis-remembered). Anyway, a fine church, amazing coat of arms, and glad I visited.

 

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A story of all's well that ends well. A Norman tower and thirteenth-century chancel are linked by a twentieth-century nave that had in its turn replaced one erected to replace its medieval predecessor in the eighteenth century! The west window and those in the south aisle are by C.E. Kempe and Co. Ltd, and of special note is the one depicting the Three Kings. On the south side of the chancel, backing on to a medieval lean-to vestry, is the splendid tomb of Sir Robert Brett (d. 1620), which has recently been restored. The colours are superb and show how churches must have looked when these monuments were new. In the north aisle is a large painting of the Last Supper by Francis Slater, the eighteenth-century artist who painted the ceilings of nearby Mereworth Castle. Hanging on the front of the west gallery are the outstanding Royal Arms of James II, of carved and painted wood. The twentieth-century rebuilding of the church was financed by the sale of an Elizabethan stoneware jug (now in the British Museum), the transaction being recorded on an inscribed stone in the north porch.

 

www.kentchurches.info/church.asp?p=West+Malling

 

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WESTWARD from East Malling lies the town and parish of West Malling, now most commonly called Town Malling.

 

It is written in Domesday, MALLENGETIS, and in the Textus Roffensis, MELLINGES. In many deeds after the conquest, it is stiled MILLINGES PARVA, to distinguish it from East Malling, then the larger and more noted village of the two.

 

The town and parish of West Malling, excepting the borough of St. Leonard, which is under the jurisdiction of the constables of the hundred of Larkfield, is under the jurisdiction of its own constables, of which there are two chosen yearly.

 

THE PARISH of Town Malling, as it is usually called, is situated equally pleasant and healthy. It lies on high ground, and though dry is well watered, the soil of it being in the northern part a sand, the rest of it a loam, covering the quarry rock, which is very fertile, as has been frequently noticed before in the like situations. The high road from London through Wrotham to Maidstone, at the twenty-ninth mile stone leads along the northern boundaries of the parish, being called in king Edmund's grant of this place to the bishop of Rochester, the military way, no doubt from its having been used as such by the Romans, southward of it the ground gently rising; at less than a quarter of a mile's distance is the town of Malling, which is well built, having many genteel houses in it, the streets of a handsome width, and well paved. At the east end of it is the abbey, to which the approach is by a venerable antient gateway. Although the house itself was almost all of it pulled down and rebuilt by Mr. Honywood, yet many of the antient buildings and offices be longing to it are still remaining, and are made use of as such at present. A handsome tower of the church, the front of which is decorated with intersecting arches and zig-zag ornaments, similar to those on the west front of Rochester cathedral, built by the same founder, bishop Gundulph, is still remaining, as is an antient chapel or oratory, now made use of as a dwellinghouse.

 

From the foundations discovered in levelling the ground by Mr. Honywood, it appears, that this abbey consisted of two quadrangles or courts, with cloysters, and a spacious hall; and that the church had another tower, of the like size to that now standing. The burying-place seems to have been on the south side of the church, as in digging there, great quantities of human bones have been thrown up, and two stone coffins with skeletons in them, the lids of them had no inscriptions on them, but were ornamented each with a cross, having a quaterfoil pierced at the upper end, the stem of which was crossed more than once with foliage, several rings and trinkets, and some old coins have likewise been found at different times in cleaning away the rubbish.

 

Over the west end of the grand gateway, which stands at the entrance into the precinct of the abbey from the town, at the west end of the building, there is carved in stone, a heart distilling drops of blood, and on the other side, in a shield, Ermine, a crozier in bend sinister, on a chief three annulets.

 

In the meadows above the gardens, are large square excavations still visible, where the fish ponds of the aunnery formerly were.

 

The precinct of this monastery is washed by a rivulet of excellent clear water, which rising in the hamlet of St. Leonard, runs by the house, and through the gardens of it, whence gushing through the wall with a cascade, it crosses the road towards the Rev. Mr. Brooke's gardens. There is a view of this abbey in its present state published by Mr. Grose, in his Antiquities of England.

 

Near the abbey gate there is a good house, with a large garden, canal, and pleasure grounds, behind it, reaching down to the London road. It has been many years the residence of the Brooke's, from whom it passed by the will of Joseph Brooke, esq. who died in 1792, after the decease of his widow in 1796, to the Rev. John Kenward Shaw, brother of Sir John Gregory Shaw, bart. who has since, in pursuance of the above will, and by the king's licence, taken the name of Brooke, and now resides in it. A little further westward there is a very antient stone building, called the Old Gaol, having narrow gothic windows, and the walls of great thickness. It is reported to have been the prison belonging to the abbey, and is now used as an oast for the drying of hops. About the middle of the street stands the church, and a little distance from it a good house, late the residence of Benjamin Hubble, esq. whose family have been inhabitants of this town for some length of time, several of them lying buried in this church. He died in 1780, leaving his widow, sister of Richard Savage, esq. of Boughton Monchelsea, surviving, and two daughters, his coheirs, one of whom having married Thomas Augustus Douce, esq. he now resides in it; further southward is the hamlet of St. Leonard, now making part of the town, and called St. Leonard's-street, in which is an antient seat, some years ago the residence of Charles Stewart, esq. whose father admiral Stewart purchased it of judge Twisden. This district had once a cell in it, belonging to the abbey, with a chapel. It was given at the time the manor and church was to it, as has been already mentioned. The whole of it has been long since desecrated, and in ruins; the square tower of the chapel which stands in the next field south-west from the late Mr. Stewart's house, is all that remains of it. It was purchased by him some years ago, of Sir John Honywood, in exchange for other premises near the abbey, and is now made use of as a stowage for hops. Mr. Stewart died in 1780, and was buried near his father in this church, and he was succeeded here by the hon. admiral John Forbes, who lately died posfessed of it. A market is held in the principal highstreet every Saturday, which is plentifully supplied and well frequented. There are three fairs, which are held by the alteration of the stile on August 12, October 2, and November 17, yearly, for horses, cattle, toys, &c. The whole town is excellently well watered with fine springs, which having supplied the town and abbey, collect themselves into one stream, and passing northward through Mr. Brooke's grounds, cross the high Maidstone road, and runs from thence into the Addington brook, just above Leyborne mill.

 

About half a mile south-east from the abbey there is a good modern-built house, called New Barne, which formerly belonged to Mr. Alchin, from whom it passed to Graham, the present possessor, who resides in it.

 

Above St. Leonard's street is the high road from Teston over East-Malling-heath, and through this parish to Offham, southward of which this parish extends into the large tract of coppice woods which reach to West Peckham and Mereworth.

 

Dr. William Briggs, an eminent physician, resided at the latter end of the last century at Town Malling, where he died, Sept. 1704, æt. 64, and was buried in this church, He was a great traveller into foreign countries, and was greatly esteemed for his skill in his profession, as well as for his learning, of which the several writings he published are sufficient testimonies. He was physician in ordinary to king William, and to St. Thomas's hospital, and bore his arms, Gules, three bars gemelles, or, a canton sable. (fn. 1)

 

THIS PLACE was given, about the year 945, by Edmund, king of the Angles and of Mercia, to Burhric, bishop of Rochester, by the description of a small portion of his land, called Meallingas, containing three plough lands; and he granted it to him, for the good of his soul, in perpetual inheritance, in augmentation of the revenues of his monastery of St. Andrew, with all its rights, liberties, members, and appurtenances, and this he did with the consent of his nobles and princes, whose names were subscribed to it. After the names of king Edmund, Edred his brother, and Eadgife his mother, are those of the archbishops and bishops, and then that of Ælgifu, the king's concubine, Ego Ælgifu Concubina Regis affui, and after her the dukes, &c. The bounds of this land are thus described in Saxon, viz. from the south part of it to the king's plaine, and from thence to the bounds of the parish of Offaham, and thence to the military way, and so along the said way over Lilleburne to the bounds of the parish of Est Meallinges, and so directly southward from the east of the cross or gallows to the broad way towards the south, in a direct line along the said way to the king's plaine. To which the king added certain denberies for the pannage of hogs.

 

This land did not continue long in the possession of the church of Rochester, being wrested from it in the time of the Danish wars; and when William the Conqueror had attained the crown, he gave it to Odo, bishop of Baieux, his half brother, from whom it was recovered, together with the church of Mallinges, in the solemn assembly of the whole county held on this occasion, by the king's command, at Pinenden heath, in 1076, by archbishop Lanfrance, who afterward restored it to bishop Gundulph, and the church of St. Andrew; which gift was confirmed by archbishops Anselm and Boniface. (fn. 2)

 

In the survey of Domesday, taken about four years afterwards, this manor is thus described, under the general title of the bishop of Rochester's lands:

 

The same bishop (of Rochester) holds Mellingetes, it was taxed, in the time of king Edward the Confessor, at three sulings, and now at one and an half. The arable land is three carucates. In demesne there is one, and five villeins, with fix borderers, having two carucates. There is a church, and one mill of two shillings, wood for the pannage of twenty hogs. In the time of king Edward the Confessor, and afterwards, it was worth forty shillings, and now four pounds.

 

Bishop Gundulph, in the 4th year of the reign of king William Rufus, anno 1090, having founded an abbey of Benedictine nuns in this parish, to the honor of the Virgin Mary, gave this manor and church to it, with other possessions for the endowment of it; (fn. 3) and although it was, about one hundred years after its being first erected, with the adjoining village, destroyed by fire, yet it was again soon afterwards re-edified, and continued to increase in a flourishing state.

 

In the 7th year of king Edward I. anno 1278, the abbess of Malling claimed sundry liberties in this parish, by grant from king Henry III. and a market weekly throughout the year on a Saturday and Wednesday; and she claimed by grant from king John to have warren in all her lands at Malling, by grant from king Henry, from time beyond memory; and to have fairs in the parish on the eve, day, and morrow of St. Matthew the apostle, and the like on the eve, and day of St. Leonard, and the like on the eve, and day of St. Peter, ad vincula.

 

By which, and such like favours granted to it, this place, which at the first foundation of the monastery was plain fields, and almost without an inhabitant, became notwithstanding its former calamity mentioned before, exceedingly populous from the numbers who flocked to it from all parts, who building themselves houses here, increased the village to a large size, well suited for trade, to the no small emolument of the nuns; whence it soon lost its name of Malling Parva, which was for some time transferred to the neighbouring parish of East Malling, as appears by some grants, &c. of this time, and king Edward III. (fn. 4)

 

In the 15th year of king Edward I. the temporalities of the abbess of Malling in this parish and East Malling were valued at forty-five pounds.

 

There was an annual pension of ten pounds of wax, and one boar, paid by the abbess to the bishop of Rochester, as an acknowledgment of her subjection to that see.

 

In the year 1321, the bishop of Rochester, at the king's request, to whom the nuns had made a complaint, that their monastery was ruined by the bad management of their abbess, sister of Bartholomew de Badlesmere, visited it, and heard the complaints against her; in consequence of which she resigned, and the lady Agnes de Leyborne, was chosen in her room. Three years after which she died, and the bishop, at the unanimous request of the nuns, appointed Lora de Retling abbess here, though much against his will, knowing her to be very ignorant, and unfit for the office. However, he inhibited her giving a corredy to her maid servant, as had been the custom, and sequestered their common seal, inhibiting her from using it without his licence.

 

A great pestilence raging in the year 1348, the bishop made two abbesses here, who presently died; nor were there more than four nuns professed, and four not professed, remaining in this monastery; and he com mitted the custody of the spirituals and temporals to two of them, as there was not a proper person for the office of abbess.

 

In the year 1493, anno 9 Henry VII. Joane Moone was abbess of this monastery. (fn. 5)

 

This abbey was surrendered into the king's hands, with all its possessions, (fn. 6) among which were the manors of East and West Malling, with the precincts of Ewell and Parrock annexed to the latter, by Margaret Vernon, abbess, and the convent of it, in the 30th year of king Henry VIII. at which time it was valued at 245l. 10s. 2½d. annual rent, according to Speed, and 218l. 4s. 2½d. clear value, according to Dugdale, and there was granted to the abbess a pension of forty pounds yearly, and to eleven nuns from 31. 6s. 8d. down to 2l. 13s. 4d. yearly pensions, each for their lives.

 

After which that king, by his letters patent, in his 31st year, granted and sold, in exchange, among other premises, to Thomas Cranmer, archbishop of Canterbury, the scite of the abbey, with the precinct and circuit of it, and the manors of West Malling, Ewell, and Parocke, and the parsonage of West Malling, late appropriate to it, excepting to the king all advowsons, presentations, &c. to hold by knight's service, at the yearly rent therein mentioned; and as the king was entitled to the tenths of these premises, he discharged the archbishop of them, and all other outgoings whatsoever, except the rent therein mentioned. Which grant was in consequence of an indenture made between the king and the archbishop, inrolled in the Augmentation-office.

 

These manors and premises were again exchanged with the crown in the beginning of the reign of queen Elizabeth, in the 12th year of which she granted them in lease to Sir Henry Brooke, alias Cobham, fifth son of Sir George Brooke, lord Cobham; after which they were held by the same possessors, as the manor of East Malling before described, till at length, after the death of Sir Robert Brett, anno 1621, king James granted the manor of West, alias Town Malling, with the precinct of Ewell annexed, the scite of the late monastery, with the house, buildings, and ground within the precinct of it with all their appurtenances, late parcel of the possessions of the late monastery, in fee, to John Rayney, esq. which was further confirmed to Sir John Rayney, his eldest son, in the 2d year of king Charles I. He was of Wrothamplace, in this neighbourhood, and was created a baronet of Nova Scotia, in 1641, and his son of the same name, about the time of the restoration, conveyed these premises to Isaac Honywood, gent. of Hampsted, Middlesex, who was the only son of Edward, third son of Sir Thomas Honywood, of Elmsted, ancestor likewise of the present Sir John Honywood, of Elmsted, baronet, and he continued to bear the same coat of arms; whose second son, Isaac Honywood, esq. of Hampsted, succeeded him in this manor and estate. Frazer Honywood, esq. of Hampsted and London, his only son and heir, rebuilt the abbey house of Malling in the antient gothic taste, at a very great expence, making it one of the seats of his residence, and having thus greatly improved it, he died possessed of this seat and manor, with the estate belonging to it, in 1764, leaving no issue by his wife, the daughter of Abraham Atkins, of Clapham. He gave them, as well as the rest of his estates here and elsewhere, by will, to his kinsman, Sir John Honywood, bart. of Elmsted, and his heirs male, with divers remainders over to the family of Honywood. Sir John Honywood, bart. is since deceased, and his grandson of the same name is the present owner of this manor, with the precinct of Ewell annexed, and the seat of Malling abbey, with the lands and appurtenances in this parish belonging to it, but Mr. Foote resides in it.

 

The family of Say antiently possessed THE MANOR of CLEMENTS IN EWELL, in this parish. Geoffry de Say held it in the 7th year of king Edward II. as half a knight's fee. His son, Geoffry de Say, paid aid for it in the 20th year of king Edward III. as half a knight's fee, which John at Forde held before in Ewell, in Malling, of the bishop of Rochester. This manor was afterwards in the name of Coveney, (fn. 7) and in the latter end of king Henry VIII. it was in the possession of Mr. William Fowle. Since which it has sunk into such obscurity, that neither the scite nor the owners of it can be traced out even by the most diligent enquiries.

 

CHARITIES.

 

THERE is a lecture founded in this church of a sermon every fortnight, on the Saturday; two of the preachers to be the ministers of East and West Malling, who are to be paid 10s. for every sermon they preach; the other preachers are appointed at the will of the trustees.

 

FRANCIS TRESSE, gent. of this town, who died in 1632, by his will gave a piece of land, and 40l. towards the building of a free school in this parish; and he charged one of his houses in Town Malling with the sum of 13s. 4d. per annum, for the keeping of it in repair; and appointed that four principal freeholders of this parish should be trustees for the execution of this part of his will for ever. This school was accordingly erected, and was made use of for the teaching of boys writing and arithmetic. The charity is veisted in the minister and tour substantial freehold inhabitants, and the estate out of which it is paid in Mr. Robert Sutton, of this parish, but there being no master, the school-house is at present let to the late master's widow at 2gs. perannum, which with the 13s. 4d. is applied towards the maintaining of the building. He also gave two silver cups for the use of the holy communion, and 6s. 8d. payable yearly out of a piece of land, called Cousin's Plat, now vested in Mary Brome, widow.

 

SIR ROBERT BRETT, by will in 1620, gave land sufficient to pay yearly 10s. per week, to be bestowed in bread and meat to twenty poor persons, or else to be distributed in money to them. His executors accordingly conveyed lands in Tewksbury, in Gloucestershire, for this purpose, which is now vested in lord Romney, and twenty-three others, trustees, of the annual produce of 26l. but of late years the annual produce has been but 19l. 14s.

 

TOWN MALLING is within the ECCLESIASTICAL JURIDISCTION of the diocese of Rochester, and gives name to the deanry of Malling, in which it is situated.

 

The church, which is a handsome building, with an elegant spire steeple, is dedicated to St. Mary.

 

At the latter end of the year 1778, some of the main pillars of the body of it giving way, the whole roof of it fell in, leaving only the steeple and chancel at the two extremities of it standing. It has since been repaired, and thoroughly finished by a brief, which was obtained for that purpose.

 

The church of West Malling was given, with the manor, to the church of Rochester, by king Edmund, in 945; and having afterwards been taken from it, was again restored by archbishop Lanfranc to bishop Gundulph, in the time of the Conqueror, who gave it to the monastery here, at his foundation of it, and this gift was confirmed by several succeeding kings, archbishops of Canterbury, bishops of Rochester, &c. as has been already mentioned.

 

It was appropriated to the abbess and convent by bishop Gundulph, at the time it was given to them; which appropriation was specially confirmed by Simon, archbishop of Canterbury, in the year 1351.

 

In the reign of king Edward III. great discutes arising between the abbess and nuns of this monastery, and Robert de Beulton, perpetual vicar of this church, especially concerning the receiving of the tithes of flax and hemp, and the payment of archidiaconal procurations, they were at last settled by Hamo, bishop of Rochester, who in the year 1339, decreed, that, saving the due and accustomed portion of the prebend of the great mass in the conventual church of Malling, and the portion of the vicar, as undermentioned, the religious should take all tithes of corn within the parish, and all oblations and obventions belonging to their conventual church, and the cell of St. Leonard; and that they should not be bound to pay to the vicar the tithes of their hay, woods, or mills. And whereas the bishop was informed, and it was allowed, that the above-mentioned prebendary, and other domestics, serving in the monastery, or in the houses of the prebendary, or perpetual chaplain, celebrating for the dead, as also the brothers and sisters, and other persons dwelling in the monastery, or house of the prebendary, who, when they were without the monastery and houses, were not housekeepers in the parish, were wont to receive the sacraments and sacramentals, in life and in death, and to be buried there, if they happened to die within the monastery or houses, unless by chance they chose to be buried elsewhere; in which case, the religious had the first mass for the body before them, in their monastery, and received all the oblations then and there made, so that no portion was left for the vicar of the parish church. And further, that the prebendary for the time being had been used to receive antiently, and to that time, in part of the portion due to him, all the great and small tithes of the demesne lands of the religious, and of the food of their cattle, and also the great tithes arising from many of the crofts of their tenants situated in the said parish, and also the small tithes of his house, and of the house and land of the perpetual chaplain aforesaid, and all the predial tithes arising from the houses or messuages, curtilages and gardens, late of Thomas atte Shoppe and William Cake, in the street, called Holirode-strete, of this parish of Malling, situated above the house of the prebendary; and of all the houses, messuages, curtilages, and gardens whatsoever, from thence towards the east and north in Holirode-street, and in the street, called Tan-street, as far as the end of the parish of Malling on that side; and that the religious and prebendary had possessed all and singular the premises aforesaid, in certain distinct portions, peaceably and without contradiction, from the time beyond memory. (fn. 8)

 

The bishop, therefore, that none of the premises should be altered, decreed, saving all and every matter as aforesaid, that the vicar should receive for his portion all other small tithes, oblations, obventions and profits belonging to the parish church more especially, viz. the tithe of herbage, silva cedua, apples, pears, flax, hemp, wool, milk, cheese, calves, lambs, pigs, pidgeons, geese, ducks, bees, eggs, merchandizings, fowlings, fishings, swans, pulse, and other fruits, and also of corn growing in orchards or gardens, as he had-been accustomed to receive them.

 

¶And that the vicar should also receive the personal tithes of the inhabitants of the houses or messuages of Thomas atte Shoppe and William Cake, and of others, inhabiting in the houses or messuages situated in the streets, called Holirode-strete and Tan-strete, and the oblations due and accustomed to the parish church, and should administer ecclesiastical rights to them, and should have the burial of them in the parish church; and that the vicar should have for his habitation, as assigned to him by the religious, the dwelling with its precinct, which the vicar then inhabited, and his predecessors used to inhabit, which he should repair at his own expence, and preserve in a decent state, and should pay the yearly rents and services, due and accustomed from thence; all which the bishop adjudged to be a sufficient portion for the vicar for the time being. And he further decreed, that the vicar should cause the books to be bound, the vestments to be washed; and the same, and the rest of the ornaments of the parish church, which belonged to the religious to find, as often as need should require, to be repaired, and should cause them to be safely and honestly kept; and that he should provide and find bread, wine, processional tapers, and other lights necessary and accustomed in the chancel, the necessary and accustomed ministers, rochets, surplices, napkins, unconsecrated vessels, basons, and also green rushes to strow the church, if they had been so accustomed, and did not belong to the parishioners to find; and that he should pay the dues to the bishop, and the archidiaconal procurations, and that the vicar should acknowledge and undergo, according to the rate of the taxation of his portion as under-mentioned, all ordinaries and extraordinaries, which, although it might amount to five marcs, being near the moiety of the value of the whole church, according to the estimation then had, he decreed should remain according to the antient taxation of it, as often as burthens of this kind were to be borne, and paid from small benefices. And he decreed, that the religious should acknowledge and undergo all and singular other burthens happening to the parish church, by reason of their portion, which he estimated at twelve marcs, according to the antient taxation of it, notwithstanding this assignation, which was made with the consent of both parties, and which by his episcopal authority, he corroborated and confirmed, &c. and that it might not be called in doubt in future times, or be litigated, he had caused it to be entered in his register, and to be reduced into three different writings, of which he decreed one to remain in the hands of the religious, another in the hands of the vicar, and the third in the hands of the prebendary aforesaid, to perpetuate the memory of it, and had caused it to be authenticated with his seal, &c.

 

This parsonage, prebend, and the advowson of the vicarage, were, on the dissolution of the abbey in the 30th year of king Henry VIII. surrendered into the king's hands. After which the king, next year, granted this parsonage, with the manor of West Malling, and other premises, to Thomas Cranmer, archbishop of Canterbury, to hold by knight's service, at the yearly rent therein mentioned. After which it passed, with the manor of West Malling, in a like succession of ownership, down to Sir John Rayney, bart. who sold these premises, about the time of the restoration, to judge Twisden, and his descendant, Sir John Papillon Twisden, bart. is the present possessor of this parsonage, and the advowson of the vicarage of West or Town Malling.

 

The vicarage is valued in the king's books at ten pounds, and the yearly tenths at one pound.

 

www.british-history.ac.uk/survey-kent/vol4/pp518-533

This is an artwork study To Replace the Original CD Cover of the album "UH-OH" by David Byrne. This work was born in a very interesting flickr group: album sleeves

 

See the whole set CD Cover

It’s still Christmas, right?

 

This year, I got a second Belle head and had her paid replaced. OG Sofie has been around since 2013(!), and she’s gotten a bit yellow. Micaeverywhere graciously agreed to do a new Sofie faceup, and she turned out beautiful! She looks a little more mature now, which suits her character (she was ~16 as a character when I got her, and she’s ~24 now, so…). I actually couldn’t bear getting Sofie’s original head paid replaced, because I didn’t want to lose her face. Interestingly, the paid replaced head mold has a few minute differences from OG Sofie’s head, mostly along the lower edge of her eyelids. I regret not taking some blank photos of it, because I didn’t really notice the differences until the new faceup was done. Anyway, I’m very pleased with her, and I’m looking forward to trying to get a few shots of the two Sofies together, once new Sofie’s body blushing is done.

+++ DISCLAIMER +++

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

 

Some background:

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

General characteristics:

Crew: One

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

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

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

Wing area: 18 m² (196,1 ft²)

Aspect ratio: 7.3:1

Empty weight: 4.820 kg (10.617 lb)

Loaded weight: 7.844 kg (17.277 lb)

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

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

 

Performance

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

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

Range: 850 ml (1.370 km)

Service ceiling: 19.000 m (62.320 ft)

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

 

Armament:

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

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

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

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

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

   

The kit and its assembly:

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

 

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

 

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

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

 

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

 

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

 

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

 

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

  

Painting:

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

 

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

 

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

 

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

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

  

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

AND ROY K. DAVIS BUS WILL UPDATE THE THOMAS MINOTOUR AND WILL REPLACE 1999 CORBIEL QUANTUM.

Replacing a buffer on a mark 3 coach at Wembley depot.

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.

 

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.

 

In the 1890s members of the parish of St. John's Church discussed the prospects of replacing the wooden church they used for worship, that was erected in 1868, with a more substantial structure, but no definite action was taken. The proposal was afterwards revived on various occasions, but it was not until the early 1930s that a preliminary sketch plan of a new building was prepared. However, in the Great Depression era, finance held the project up until 1936, when a definite move was made to erect a new Anglican Church on a site in Downey Street on the same block as the rectory.

 

The St John’s Anglican Church that we see today on Downey Street, Alexandra, opposite the State Offices, is the result. Plans for a notable improvement in local church architecture were prepared by Mr. L. R. Williams of Melbourne, and a contract awarded to Mr. George. A. Payne of Alexandra. The new church is built in Spanish Mission style and is constructed of the 1930s wonder building material; concrete. The current church building, which has a stuccoed treatment to its walls, is a notable landmark in the town because of its elegant lines, its elongated shape and the very tall belfry that stands above the single and double-storey buildings in its immediate vicinity. It has architectural features typical of the Spanish Mission style, including; groups of narrow arched windows, ornamental grillework over some of the windows, decorative parapets on the belfry, a hipped roof and Spanish style tiles. Together with interior furnishings, St John’s Anglican Church cost about £2,400.00.

 

Many pieces of the church’s furnishings, windows and supporting structures were gifts from the generous local community. The memorial gates leading onto the street were given by Mr. and Mrs. George. A. Payne in memory of their mothers – Mrs. Phoebe J. Payne and Mrs. M. A. Haning. Mr. George A. Payne also generously donated over £100.00 in order to provide for a more expensive terracotta tiled roof, instead of the cheaper alternative iron roof, which was provided for in the contract. The tiles give added beauty to the building. The pulpit, altar, and choir rails are outstanding examples of local craftsmanship, and are made from Ruoak timber obtained from the Rubicon forest close by. Mrs. G. Hall, contributed the cost of the pulpit, and the late Mr. Gordon Payne, the altar and rails. Both were dedicated to memory of their parents, the late Mr. and Mrs. G. Payne, of "Summerview," Messrs. Clark and Pearce provided and fixed the dado. The ladies' club supplied the carpet. Mr. G. Sapsford paid for the choir stall, which was dedicated to memory of his mother, the late Mrs. Mary Jane Payne. A Miss Magee had a stained glass window dedicated to the memory of her brothers and sister. A Mr. George A. Payne's family also dedicated a stained glass window, in memory of their mother, Phoebe J. Payne. Mr. E. Trenerry donated a prayer desk and seat. Mr. G. Grant donated a credence table. Miss L. Maddox donated a set of communion cruets. Mrs. Melville gave a pedestal and Mr. and Mrs. J. F. Webb dedicated a pedestal to the memory of their daughter Winifred.

 

St John’s Anglican Church was dedicated on a Saturday afternoon in 1937 by the Bishop of Wangaratta, the Right Rev. J. S. Hart, in the presence of over 350 people, who came from near and far to take part in an historic event of great in interest to the Anglican community around Alexandra. At 2.30 p.m. the choir and members of the clergy marched round the building, singing the hymn, "Through all the changing scenes of life." At the main entrance the Bishop was presented with a petition, on behalf of the congregation, praying that the building be dedicated. After prayers had been said the Bishop blessed the baptismal font, pulpit and altar, and dedicated the pulpit and altar. The church and various gifts were also dedicated, and the Bishop, in his address, said the old structure had outlived its usefulness, and now the people had given a beautiful present to the glory of God in a new church After referring to preliminary steps taken by the Rev, L. G. Ball, the Bishop said that under the able guidance of the present rector, the Rev. Douglas Blake, the work had been planned and carried out. The rector had the real gift of leadership, combined with common sense and artistic taste. The architect had given of his best, and the contractor had realised his dream of building a worthy structure. The visiting clergy included two former rectors – Cannons Scott and Rowed, the Revs. Robertson and Brown (Violet Town and Mansfield respectively) and Mr. Purbrick, Registrar of the Diocese. All present were afterwards entertained by the ladies in the church hall, where a bountiful supply of refreshments was provided.

 

The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.

 

Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.

  

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

 

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

 

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

 

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

 

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

 

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

 

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

 

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

Replaced by higher res 4000 px

Here's the top left screw.

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

 

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

 

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

 

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

 

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

 

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

 

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

 

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

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

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 01-Oct-23.

 

Leased from/op by TransAer International Airlines.

 

This aircraft has a very long history. First flown with the Airbus test registration F-WWDD, it should have been leased to Turkish airline Air Alfa as TC-ALU but the lease was cancelled.

 

It was delivered to ILFC International Lease Finance Corporation and leased to Irish ACMI (Aircraft, Crew, Maintenance & Insurance) company TransAer International Airlines as EI-TLP in Jan-98.

 

They leased it to Virgin Express Airways (Belgium) in Feb-98 for the summer season, returning to TransAer in Oct-98. In Nov-98 it was leased to Linea Aeropostal Venezolana (Venezuela) and returned to TransAer in Apr-99.

 

The aircraft was leased to Britannia Airways (UK) between May/Oct-99, Shorouk Airlines (Egypt) between Oct/Nov-99, TransAer Cologne (Germany) between Nov-99/Mar-00 and Britannia Airways (UK) between May/Oct-00.

 

On 20-Oct-00 TransAer ceased operations and the aircraft was briefly impounded at Heraklion (Greece) before being returned to the lessor 3 days later when it was ferried to Fayetteville/Springdale, AR, USA and stored.

 

It remained stored at Fayetteville/Springdale and was re-registered N681LF in Feb-01. In Mar-01 it was leased to MEA Middle East Airlines/Air Liban using the French Overseas registration F-OHLO.

 

The aircraft was returned to the lessor in May-04 and was immediately leased to AirBlue (Pakistan) as AP-BGW. It was with AirBlue for 7 years and was returned to the lessor in May-11 as N263LF.

 

In Jul-11 it was leased to Donbassaero (Ukraine) as UR-DAJ. In Jan-13 Donbassaero ceased operations and the lease was transferred to Windrose Air. It was re-registered UR-WRN in Jul-13.

 

The aircraft was returned to the lessor in Nov-13, re-registered EI-TLP again and stored at Dublin. It was ferried to Goodyear, AZ, USA in Feb-14 for further storage. In Apr-14 it was re-registered N202AT and permanently retired. It's was broken up at Goodyear in 2015.

+++ 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 Gotha 146 was a fast reconnaissance aircraft that was used throughout WWII by the German Luftwaffe, and one of the results of a mutual technology exchange program with Japan.

The Go 146 was actually a license-built, modified variant of the excellent Mitsubishi Ki-46. The latter type's career started in late 1937: the Imperial Japanese Army Air Force issued a specification to Mitsubishi for a long-range strategic reconnaissance aircraft to replace the Mitsubishi Ki-15.

 

The specification demanded an endurance of six hours and sufficient speed to evade interception by any fighter in existence or development, but otherwise did not constrain the design by a team led by Tomio Kubo.

 

The resulting design was a twin-engined, low-winged monoplane with a retractable tailwheel undercarriage. It had a small diameter oval fuselage with the pilot and observer situated in individual cockpits separated by a large fuel tank. The engines, two Mitsubishi Ha-26 radials, were housed in close fitting cowlings to reduce drag and improve pilot view.

 

The first prototype aircraft, flew in November 1939 from the Mitsubishi factory at Kakamigahara, Gifu.Tests showed that the Ki-46 was underpowered, and slower than required, only reaching 540 km/h (336 mph) rather than the specified 600 km/h (373 mph). Otherwise, the aircraft tests were successful. As the type was still faster than the Army's latest fighter, the Nakajima Ki-43, as well as the Navy's new A6M2,an initial production batch was ordered.

 

To solve the performance problems, Mitsubishi fitted Ha-102 engines, which were Ha-26s fitted with a two-stage supercharger, while increasing fuel capacity and reducing empty weight to give the Ki-46-II. This machine was also demonstrated to German officials, who became immediately aware of its potential.

 

Knowing that the German Luftwaffe lacked this fast type of aircraft (German reconnaissance aircraft of that time were either slow artillery observation types, or variants of bombers or heavy fighters), the RLM immediately asked for a batch of airframe kits in order to adapt it to the European theatre and test its capabilities.

 

The result was a delivery of seven engine-less airframe kits that arrived in Germany in early 1940. In the meantime, with the help of blueprints and other documentations, an alternative engine installation had been devised - the German aircraft was to be powered by liquid-cooled DB 601 engines, which delivered more power than the Ha-102 and offered improved aerodynamics, despite the necessity to add radiators under the outer wings.Effectively, many stock parts from the Messerschmitt Bf 110 heavy fighter were incorporated, so that development time was very short.

 

In May 1940 the first batch of the Gotha 146 (which had officially been described as a further development of a four seat, twin-engine transport aircraft from the 1930s) was ready, and they were immediately transferred to the Western Front and based in France.

 

Allocated to the 14. Aufklärungsgruppe, the Go 146 A-0 machines carried out various reconnaissance tasks over the North Sea, Great Britain and France, and they were also used for camouflage trials: each of the five aircraft sported a different paint scheme, raging from uniform, all-over grey to disruptive geometrical patterns, reminiscent of Dazzle camouflage!

 

The Go 146 was popular among its crews, since it was fast, agile and easy to fly. During the test phase in summer 1940 the Go 146 proved to be slightly faster than its Japanese Ki-46 ancestor, and with a top speed of more than 375 mph (600 km/h) it was hard to intercept by any British or French fighter. The results were so convincing that serial production was ordered, and from October 1940 on the Go 146 A-1 was produced in limited numbers, and the type was steadily developed further, including the change of the nose section that came withe the Ki-46III and augmented engines.

  

Specifications:

Crew: two (pilot and observer)

Length: 11.00 m (36 ft 1 in)

Wingspan: 14.70 m (48 ft 2¾ in)

Height: 3.88 m (12 ft 8¾ in)

Wing area: 32.0 m² (344 ft²)

Empty weight: 3,263 kg (7,194 lb)

Loaded weight: 5,050 kg (11,133 lb)

Max. takeoff weight: 5,800 kg (12,787 lb)

 

Powerplant:

2× Daimler-Benz DB 601B-1 liquid-cooled inverted V-12, 809 kW (1,100 hp) each

 

Performance:

Maximum speed: 625 km/h (345 knots, 388 mph) at 5,800 m (19,000 ft)

Cruise speed: 400 km/h (217 knots, 249 mph)

Range: 2,474 km (1,337 nmi, 1,537 mi)

Service ceiling: 10,720 m (35,200 ft)

Wing loading: 157.8 kg/m² (32.3 lb/ft²)

Climb to 8,000 m (26,250 ft): 17 min 58 sec

 

Armament:

1x 7.92 mm (.312 in) MG 17 machine gun in the observer's cabin, facing rearwards

  

The kit and its assembly:

This sounds like a weird idea, but the Luftwaffe had seriously been interested in the Ki-46, even though no aircraft ever made it to Europe. On the other side, several German aircraft were delivered to Japan (including the Bf 109E, Ju 87 and Me 210) for trials, so reversing this procedure makes sense.

 

Anyway, a German version would certainly not have been powered by radials, since this type of engine was not very popular in Europe and rather seen as a "slow" option for bombers. So the idea was born to convert a stock Ki-46 II into a prototype with German liquid-cooled engines - and it was easier to realize than expected!

 

The basis is the Airfix Dinah, a vintage and very simple kit. Fit is basically good, but the clear parts were (in my case) somewhat damaged around the edges of both canopies. Engines and landing gear are also basic - so I used different wheels, and the radials were replaced, anyway.

I used DB 601 engines, taken from an Airfix Bf 110 C kit, which also donated the radiators.

 

The latter were easy to place outside or the engine nacelles, the engines took some effort. The DB 601's height is perfect for the nacelles, just the width had to be enlarged in order to fit the original, circular shape of the radials' attachment points.

 

The remedy was simple: two long cuts in the upper cowling made the new engines flexible and wide enough to press them onto the nacelles' front ends! Some putty was necessary to hide gaps and smooth out the intersection, but the result looks very natural!

 

Otherwise not much was changed. The cockpits and the pilots were taken OOB, I just added a typical ring antenna under the fuselage and an additional pitot under the nose.

  

Painting and markings:

The fun part, even though it took a while to find something... different. The typical RLM 70/71/65 splinter scheme with a low waterline for prototypes or bombers of the BoB era was a valid option, but soooo boring.

 

While looking for inspiration I stumbled across some experimental schemes that had been tested on Bf109E fighters from JG53 - and that's what I finally settled upon.

 

What the Go 146 now carries is effectively a mix of two schemes: the stylish, geometric pattern was taken from one Bf 109, the colors (RLM 61/02/71/65) from another. Everything was painted with brushes and without masks, some light panel shading, black ink and grinded graphite were used for weathering.

 

The markings are minimal, typical for German reconnaissance aircraft of the time and based upon Bf 110 of the 14. Aufklärungsgruppe, the decals come from various aftermarket sheets and the code was puzzled together from single letter decals (TL Modellbau). A coat of acrylic matt varnish finally sealed the kit.

 

An exotic whif, and despite the weird basic idea I made it even more spectacular through the strange paint scheme which reminds of similar experiments by the US Navy. Odd thing is that I had the idea for a German Ki-46 on the agenda for quite a while, but this was/is to become a beefed-up Ki-46III for the late WWII period.

 

Building this kit's ancestor now, even before the Ki-46III conversion even started, is a little odd - but confirms the feasibility of an engine change and adds another contribution to the 2015 "Battle of Britain" Group Build at whatifmodelers.com.

 

After almost ANOTHER year of visitng this store, they have FINALLY taken the site to store sign that was hanging from the ceiling, cut the "restrooms" tag from the bottom, and placed the sign OVER the Layaway sign...finally...

Replacing an earlier scanned photo with a better version 10-Jul-19, plus Topaz DeNoise AI 07-Feb-25.

 

Air Europa, leased from / operated by Excel Airways in a hybrid c/scheme during the 2002/03 winter season.

 

First flown in Feb-02 with the Boeing test registration N1786B, this aircraft was re-registered N6055X for some Boeing test flights in early Mar-02. It was delivered to GECAS and leased to Excel Airways as G-XLAF in Mar-02.

 

It was wet leased to Air Europa (Spain) between Nov-02/Apr-03. The aircraft was wet-leased to Ryanair between Nov-03/Mar-04. It was fitted with blended winglets in Apr-06. In Nov-06 Excel Airways was renamed XL Airways UK.

 

The aircraft was leased to Sunwing Airlines (Canada) as C-GOAF in Dec-06. It was sub-leased back to XL Airways UK, operated by Sunwing, in May-07 and returned to Sunwing in Nov-07 for the winter season.

 

It was again sub-leased back to XL Airways UK in May-08. XL Airways UK ceased operations in Sep-08 and Sunwing returned the aircraft to the lessor the following day. It was initially stored at Lasham, UK and re-registered N29883 in Oct-08.

 

In Mar-09 the aircraft was leased to Garuda Indonesia Airlines as PK-GEI. It was returned to the lessor in Jun-16 and was leased to Sriwijaya Airways, Indonesia as PK-CMT the following month. It was stored at Jakarta-CGK, Indonesia in Jun-20 due to a combination of the COVID-19 Pandemic coupled with financial problems.

 

The aircraft never returned to service and was permanently retired. It was broken-up at Jakarta-CGK in Jul-22.

We replaced 29 streetlights at work. These had to be assembled before they could go on the poles.

View from the N of Rosendale Road railway bridge "No.2" (Herne Hill and West Dulwich, London) carrying suburban line services to and from London Bridge terminus. The green bridge has just replaced an older one, during work carried out in the early hours of January 19th 2014.

 

The previous bridge (1950s-1960s) replaced an even older one (1866) supported on the same cast iron columns (not visible here but see accompanying photos in this series). During the present replacement work, the columns were then also removed forever. The school crossing here was temporarily obliterated by the bridge works.

 

----------

 

ROSENDALE ROAD RAILWAY BRIDGES

 

There were three railway bridges over Rosendale Road, two of which still exist. They don't appear to have names, so I have numbered them arbitrarily.

 

"No.1" is the most northern one, close to Brockwell Park, behind the camera viewpoint. It currently carries suburban line services of the Thameslink network between Wimbledon and Sutton and central London (and beyond).

 

This view shows "No.2" orignally built in 1866 for the London Brighton and South Coast Railway. It rested on brick abutments and on red cast iron columns. But the girder bridge itself, and its railings, must have been younger, having apparently replaced the older, more ornate, structure some time after 1952 (compare the photo of its more ornate predecessor in Edwin Course's article, below). The original bridge was designed by Charles Barry Junior. The large sums paid by the then railway company (London, Brighton and South Coast Railway) for construction of its line across the Dulwich Estate, with other bridges matching this one, enabled the Estate to build the present main building of Dulwich College (1857-1866).

 

--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...

--- Course, Edwin, 1960. The foreign goods depots of South London. Railway Magazine [vol?] (for November 1960), pp. 761-766. www.semgonline.com/RlyMag/ForeignDepotsofSthLondon.pdf

 

----------

 

RAILWAY BRIDGE REPLACEMENT WORK IN DULWICH & HERNE HILL, JANUARY-FEBRUARY 2014 (14/39)

 

This bridge, and two further sister bridges carrying the same line over neighbouring streets, had been in poor condition for some time. After a period of preparation work, the replacement work happening here began in January 2014. Two neighbouring streets, one of them a busy main road, were closed to traffic concurrently for about two weeks, and another was closed for work on the third bridge shortly afterwards. They were also closed to pedestrians at weekends as can be seen in this photo which shows the pavements closed off. To minimise disruption to train services, the main replacement work was carried out night and day in continuous shifts over two weekends. Huge hydraulic cranes, like the green 750 tonne one (Liebherr LTM1750-9._1) in the photo, had to come from Scotland (James Jack, Ainscough) to do this engineering work because there were no cranes available nearer to London capable of handling the old and new bridges.

 

--- Liebherr crane info from Roger Huang (www.flickr.com/photos/93051302@N08])

--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...

 

----------

 

Photo

© Darkroom Daze Creative Commons.

If you would like to use or refer to this image, please link or attribute.

ID: DSC_8665 - Version 2

Category A listed historic building.

 

"Old College is a building of the University of Edinburgh, Scotland. It is located on South Bridge, and presently houses parts of the University's administration, the University of Edinburgh School of Law, and the Talbot Rice Gallery. Originally called the "New College", it was designed by Robert Adam to replace a number of older buildings.

 

In 1789 subscriptions were raised to fund a new university building in Edinburgh to a plan prepared by Robert Adam, to replace an existing collection of dilapidated buildings of the University. The foundation stone was laid in November of that year for what was proposed as a building with a "First Court", giving access to professor's lodgings, followed by a Great Court, around which the main academic halls and lecture rooms would be arranged. By the end of 1791 several apartments were in use, but in the following year the death of Robert Adam and the outbreak of the Napoleonic Wars and the imposition of income tax slowed, then halted progress. In 1815 further funds were raised, and work recommenced. Plans were submitted by nine architects showing their proposals to continue the design work, with the outcome that William Henry Playfair was appointed architect in 1817. Playfair's design clove close to Adam's but combined the two courts into a single large quadrangle. By 1827 the building was virtually complete with the exception of fitting out the library, and construction of a dome which Adam had proposed at the east end of the building. This was left out as a cost saving, and the work was completed about four years later. The dome was added in 1887, to a design by Sir Robert Rowand Anderson, and funded by a donation from Gorgie industrialist and politician, Robert Cox. The gilded statue of Youth which crowns the dome is by John Hutchison.

 

The large bronze war memorial at the west end of the quadrangle was designed by Sir Robert Lorimer in 1922 and sculpted by Pilkington Jackson the following year.

 

The quadrangle was never completed at the time the College was originally constructed. However, based on a proposal from architects Simpson & Brown the quadrangle now contains a central grass lawn encircled by a paved terrace of honey-coloured stone. The new quadrangle is both a venue for graduation celebrations and festival events, as well as providing a more inviting entrance for the Talbot Rice Gallery.

 

The Old Town (Scots: Auld Toun) is the name popularly given to the oldest part of Scotland's capital city of Edinburgh. The area has preserved much of its medieval street plan and many Reformation-era buildings. Together with the 18th/19th-century New Town, it forms part of a protected UNESCO World Heritage Site.

 

Edinburgh (/ˈɛdɪnbərə/; Scots: Edinburgh; Scottish Gaelic: Dùn Èideann [ˈt̪uːn ˈeːtʲən̪ˠ]) is the capital of Scotland and one of its 32 council areas. Historically part of the county of Midlothian (interchangeably Edinburghshire before 1921), it is located in Lothian on the Firth of Forth's southern shore.

 

Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the supreme courts of Scotland. The city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education, particularly in the fields of medicine, Scots law, literature, philosophy, the sciences and engineering. It is the second largest financial centre in the United Kingdom (after London) and the city's historical and cultural attractions have made it the United Kingdom's second most visited tourist destination attracting 4.9 million visits including 2.4 million from overseas in 2018.

 

Edinburgh is Scotland's second most populous city and the seventh most populous in the United Kingdom. The official population estimates are 488,050 (2016) for the Locality of Edinburgh (Edinburgh pre 1975 regionalisation plus Currie and Balerno), 518,500 (2018) for the City of Edinburgh, and 1,339,380 (2014) for the city region. Edinburgh lies at the heart of the Edinburgh and South East Scotland city region comprising East Lothian, Edinburgh, Fife, Midlothian, Scottish Borders and West Lothian.

 

The city is the annual venue of the General Assembly of the Church of Scotland. It is home to national institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of four in the city, is placed 20th in the QS World University Rankings for 2020. The city is also known for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles, Greyfriars and the Canongate, and the extensive Georgian New Town built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage site, which has been managed by Edinburgh World Heritage since 1999." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

On Saturday, July 30, workers replaced sections of the LIRR's Atlantic Avenue Viaduct at the Nostrand Avenue Station. The rehabilitation includes the strengthening and repair of existing column bases; complete replacement of the existing steel superstructure from mid-column upward, utilizing the existing column bases; installation of a new, improved track structure, complete painting of the structure and the installation of new and improved lighting under the viaduct. This is Phase 3 of LIRR's four-phase rehabilitation and replacement of the viaduct and the Nostrand Avenue station. The viaduct, which was built in 1901, carries 25,000 people per weekday between Jamaica and downtown Brooklyn. Photo by Metropolitan Transportation Authority / Patrick Cashin.

Replacing the Turntable at Bay and Taylor Streets | March 12, 1970

Yes, this is THE iconic, original Little Deuce Coupe featured on the Beach Boys' album cover! (Seen here)

 

From Wikipedia:"The picture featured on the front cover of the album was supplied by Hot Rod magazine, and features the body (with his head cropped in the photo) of hod-rod owner Clarence 'Chili' Catallo and his own customized three-window 1932 Ford Coupe - known forevermore amongst hot rod enthusiasts as "the lil' deuce coupe". A full shot of Catallo and his car from the same photo shoot appeared on the front cover of the July 1961 edition of Hot Rod magazine, and whilst Catallo himself died in 1998 the car still tours the showrooms and exhibitions to this day.

 

Catallo bought the vehicle in 1956 for $75 in Michigan when he was 15 years old. Catallo replaced the original stock Ford engine (unlike The Beach Boys song lyrics, which mention "a flathead mill") with a newer Oldsmobile V-8, and lowered the height of the coupe by six inches. Much of the original customizing work, including the stacked headlights, side trim, and front grille was done by an auto shop owned by Mike and Larry Alexander in the Detroit suburb of Southfield.

 

After Catallo moved to Southern California, additional work, including the 'chopping' or lowering of the roof, was done in 1960-61 at 'Kustom City', George Barris's noted North Hollywood auto customizing shop. This led to the magazine cover and two years later, the shot was featured as the cover for The Beach Boys' fourth album.

 

Catallo sold the coupe a few years later, but at the urging of his son Curt was able to buy it back in the late 90s for $40,000. The car had since been additionally modified but was restored by Catallo with many of the original parts the coupe had in the early 1960s, so that it now is again virtually identical to the famous photo. In 2000, the hot rod won the 'People's Choice' award at the Meadow Brook Concours d'Elegance."

 

Read the amazing detailed history of the car here:

New York Times article

 

Taken at the 17th Annual Keels & Wheels Concours d'Elegance

Lakewood Yacht Club

Seabrook, Texas

May 2012

 

© COPYRIGHT

ALL RIGHTS RESERVED

Goodrich Castle is a Norman medieval castle ruin north of the village of Goodrich in Herefordshire, England, controlling a key location between Monmouth and Ross-on-Wye. It was praised by William Wordsworth as the "noblest ruin in Herefordshire"[1] and is considered by historian Adrian Pettifer to be the "most splendid in the county, and one of the best examples of English military architecture".[2]

 

Goodrich Castle was probably built by Godric of Mappestone after the Norman invasion of England, initially as an earth and wooden fortification. In the middle of the 12th century the original castle was replaced with a stone keep, and was then expanded significantly during the late 13th century into a concentric structure combining luxurious living quarters with extensive defences. The success of Goodrich's design influenced many other constructions across England over the following years. It became the seat of the powerful Talbot family before falling out of favour as a residence in late Tudor times.

 

Held first by Parliamentary and then Royalist forces in the English Civil War of the 1640s, Goodrich was finally successfully besieged by Colonel John Birch in 1646 with the help of the huge "Roaring Meg" mortar, resulting in the subsequent slighting of the castle and its descent into ruin. At the end of the 18th century, however, Goodrich became a noted picturesque ruin and the subject of many paintings and poems; events at the castle provided the inspiration for Wordsworth's famous 1798 poem "We are Seven". By the 20th century the site was a well-known tourist location, now owned by English Heritage and open to the public.

 

Architecture

A castle, with a large circular tower facing the viewer, with an angular spur jutting out from the base of the tower; a metal fence is in the foreground, with green vegetation around it.

The south-eastern tower shows the characteristic right-angled "spur", designed to prevent its undermining during a siege.

Goodrich Castle stands on a high rocky sandstone outcrop overlooking the River Wye. It commands a crossing of the river, known as Walesford or Walford, Ross-on-Wye, about 26 kilometres (16 mi) from Hereford and 6.4 kilometres (4.0 mi) from Ross-on-Wye.[3] The castle guards the line of the former Roman road from Gloucester to Caerleon as it crosses from England into Wales.[4]

 

At the heart of the castle is an early Norman square keep of light grey sandstone, with Norman windows and pilaster buttresses.[5] Although the keep had thick walls, its relatively small size – the single chambers on each floor measure only 5.5 by 4.5 metres (18 by 15 ft) internally[6] – would have made it more useful for defence than for day-to-day living.[7] The keep originally had a first-storey door for safety, this was later turned into a window and the entrance brought down to the ground floor.[2] The keep would originally have had an earth mound built up against the base of it to protect against attack, and the stone work remains rougher in the first few courses of masonry.[7]

 

Around the keep is an essentially square structure guarded by three large towers, all built during the 1280s from somewhat darker sandstone.[1] On the more vulnerable southern and eastern sides of the castle, ditches 27 metres (90 ft) long and 9 metres (28 ft) deep have been cut into the rock,[8] exploiting a natural fissure.[5] These towers have large "spurs", resulting from the interface of a solid, square-based pyramid with the circular towers rising up against the walls. This feature is characteristic of castles in the Welsh Marches, including St Briavel's and Tonbridge Castle, and was intended to prevent the undermining of the towers by attackers.[9]

 

A castle, with a flat fronted tower facing the viewer with a stained glass window in the middle of it; a stone causeway is on the right of the picture, leading to a gateway to the right of the tower – a partially filled arch is supporting the causeway.

The gatehouse is reached by an exposed causeway covered by the barbican to the right of the picture. The chapel window can be seen in the left-hand tower.

The castle's fourth corner forms its gatehouse. Here the classic Edwardian gatehouse design has been transformed into an asymmetrical structure, with one tower much larger than the other.[10] The gatehouse included portcullises, murder-holes and a drawbridge. Beyond the gatehouse lies a large barbican, inspired by a similar design of the period at the Tower of London and possibly built by the same workmen, designed to protect the causeway leading to the gatehouse.[11] The barbican today is only half of its original height, and includes its own gate, designed to trap intruders within the inner defences.[12] The gatehouse and barbican are linked by a stone causeway.

 

The gatehouse's eastwards-facing tower contains the chapel, an unusual arrangement driven by a lack of space, with a recently restored east window of reset 15th-century glass designed by Nicola Hopwood, which illuminates the priest's seat, or sedile.[13] The 15th-century window frame itself replaced an even taller, earlier 13th-century window.[14] The chapel's west window is modern, and commemorates the British scientists, engineers and servicemen involved in radar development who died between 1936 and 1976.[nb 1] The altar itself is particularly old, possibly pre-dating the castle.[15]

 

The bailey was designed to include a number of spacious domestic buildings. These include a great hall, a solarium, kitchen, buttery and pantry,[10] with a luxuriously large number of garderobes and fireplaces.[16] The large towers provided additional accommodation.[10] The design of the domestic buildings was skilfully interlocked to support the defensive arrangements of the bailey.[16] The great hall for example, 20 by 9 metres (66 by 30 ft), was placed in the strongest position overlooking the river Wye, allowing it to benefit from multiple large windows and a huge fireplace without sacrificing defensive strength.[15] Water for the castle was originally raised from the courtyard well, but was later piped in from a spring across the valley;[17] the castle kitchens had acquired running water by the beginning of the 17th century.[1] The design of the buildings ensured that the servants and nobility were able to live separately from one another in the confined space of the castle, revolutionary at the time.[18]

 

Beyond the main bailey walls lies the stable block, now ruined but with a visible cobble floor.[19] The stables and the north and west sides of the castle were protected by another, smaller curtain wall, but this is now largely ruined.[20] Accounts suggest that the original stables could hold around 60 horses, although by the 17th century they had been expanded to accommodate more.[21]

 

History

Medieval history

11th and 12th centuries

A square stone keep dominates the picture, sat behind a patch of green grass; the keep has a doorway at ground level, with two windows irregularly placed above it.

The Great Keep replaced Godric of Mappestone's original earth and timber fortification on the site in the mid-12th century.

Goodrich Castle appears to have been in existence by 1101, when it was known as Godric's Castle, named probably after Godric of Mappestone, a local Anglo-Saxon thane and landowner mentioned in the Domesday Book of 1086.[5] Victorian historians, however, believed the castle to date back further to the pre-Norman conquest days of King Canute,[22] and the site may have been among a small number of Saxon fortifications along the Welsh border.[23] By Norman times, Goodrich formed part of the Welsh Marches, a sequence of territories granted to Norman nobles in, and alongside, Wales. Although Goodrich lay on the safer, English side of the border, the threat of raids and attacks continued throughout most of the period.[24]

 

During the 12th century the attitudes of the English nobility towards the Welsh began to harden; the policies of successive rulers, but especially Henry II, began to become more aggressive in the region.[25] In the mid-12th century Godric's original earth and timber fortification was dismantled and replaced by a tall but relatively small square keep built of stone,[2] sometimes known as "Macbeth's Tower".[26] The keep was designed to be secure and imposing but relatively cheap to build.[27] It is uncertain, however, precisely who was responsible for this rebuilding or the date of the work, which may have been between 1120 and 1176.[28]

 

At the beginning of the 12th century, the castle had passed from Godric to William Fitz Baderon, thought to be his son-in-law, and on to his son, Baderon of Monmouth, in the 1120s.[29] England descended into anarchy, however, during the 1130s as the rival factions of Stephen and his cousin the Empress Matilda vied for power. Baderon of Monmouth married Rohese de Clare, a member of the powerful de Clare family who usually supported Stephen, and there are records of Baderon having to seize Goodrich Castle during the fighting in the region, which was primarily held by supporters of Matilda.[30] Some suspect that Baderon may have therefore built the stone keep in the early years of the conflict.[2][nb 2] Stephen went on, however, to appoint Baderon's brother-in-law, Gilbert de Claire, the Earl of Pembroke, and Gilbert de Clare eventually acquired Goodrich Castle himself.[29] Gilbert's son, Richard de Clare, known as "Strongbow", succeeded him in 1148, and Richard is another candidate for the construction of the keep.[28] In 1154 Richard fell out of favour with King Henry II because of the de Clares' support for Stephen, and the castle was taken into royal hands. Some argue that the king himself may have ordered the construction of the great keep.[1]

 

13th and 14th centuries

Part of a castle, with a huge semi-circular arch containing two smaller Norman arches dominating the picture. Through the arches, a ruined pillar can just be made out.

The private solarium was incorporated into the defensive walls during the expansion under William de Valence.

During the following reigns of King Richard I and his brother John, the castle and manor were held by the Crown. King John, however, lost many of his lands in France which in turn deprived key English nobles of their own estates – John became concerned about possible opposition to his rule. Accordingly, in 1203 John transferred Goodrich Castle and the surrounding manor to William Marshal, Earl of Pembroke, to partially compensate him for his lost lands on the continent.[31] Marshal was a famous English knight with reputation as a heroic warrior, and he expanded Goodrich by building an additional towered curtain wall in stone, around the existing keep.[5] Marshal had to intervene to protect Goodrich Castle from Welsh attack, most famously in 1216 when he was obliged to leave Henry III's coronation feast in Gloucester to hurry back to Goodrich to reinforce the castle.[32]

 

Marshal's sons inherited the castle after their father's death; Marshal left the castle to his eldest son, William, who in turn gave it to his younger brother, Walter.[32] After William's death, however, Marshal's second son, Richard, took over the castle. Richard led the baronial opposition to Henry III and allied himself with the Welsh, resulting in King Henry besieging Goodrich Castle in 1233 and retaking personal control for a period.[32] Walter was eventually given Goodrich back once more, but died shortly afterwards in 1245.[33]

 

The castle briefly reverted to the Crown again, but in 1247 passed by marriage to William de Valence, half brother to Henry III.[34] De Valence was a French nobleman from Poitiers and a noted soldier who spent most of his life fighting in military campaigns; Henry arranged his marriage to Joan de Munchensi, one of the heiresses to the Marshal estate. The marriage made Valence immensely rich and gave him the title of Earl of Pembroke.[33]

 

A massive castle tower, sat on top of a rugged rock outcrop; a massive angular stone spur juts out from the base of the tower towards the viewer.

The massive south-east tower

The Welsh border situation remained unsettled however, and in the decades after 1250 security grew significantly worse, as the Welsh prince Llywelyn ap Gruffudd conducted numerous raids into English territories.[24] The Wye valley and Goodrich were particularly affected by these raids.[35]

 

Accordingly, William de Valence began to build a much larger castle around the original keep from the 1280s onwards, demolishing Marshal's earlier work.[35] As part of the extremely expensive construction work, Valence used oak trees drawn from several royal forests.[36] Valence was building at the same time that his nephew Edward I was constructing his major castles in the north of Wales, and the concentric castle that he built at Goodrich is both very similar in design and a rarity in England itself.[2] Valence's son, Aymer de Valence built an additional line of outer defences before his death in 1324, including the external barbican,[10] inspired by that at the Tower of London, and for which the earlier Valence barbican at Pembroke may have been an experimental forerunner.[12] The effect was an early success in converting a fortress into a major dwelling, without damaging its defensive arrangements, and influenced the later castle conversion at Berkeley.[37]

 

The castle then passed to Aymer's niece, Elizabeth de Comyn, a well-connected young noblewoman. By the middle of the 1320s, however, England was in the grip of the oppressive rule of the Marcher lords Hugh le Despenser the older and his son Hugh Despenser the younger, the royal favourites of King Edward II.[38] As part of a "sweeping revenge" on their rivals, especially in the Marches, the Despensers illegally seized a wide range of properties, particularly from vulnerable targets such as widows, wives whose husbands were out of favour with the king or unmarried women.[39] Upon her inheritance, Hugh le Despenser the younger promptly kidnapped Elizabeth in London and transported her to Herefordshire to be imprisoned in her own castle at Goodrich.[1] Threatened with death, Elizabeth was finally forced to sign over the castle and other lands to the Despensers in April 1325.[40] Elizabeth then married Richard Talbot, the 2nd Baron Talbot, who seized back the castle in 1326 shortly before Queen Isabella of France landed in England and deposed both the Despensers and her husband Edward II; Talbot and Elizabeth regained their legal title to the castle the following year.[41] Richard later received permission from Isabella's son Edward III to create a dungeon under the keep for holding prisoners.[42]

 

15th and 16th centuries

An stained glass window, with three columns and some curved pieces of glass at the top, surrounded by blackness. A blue river traces its way through the glass, surrounded by yellow, orange and red background glass.

The current stained glass window in the chapel was designed in 2000 but used 15th-century glass.

Goodrich remained the favourite home of Richard Talbot's descendants for many years. During the early years, the security situation in Wales remained of concern. Owain Glyndŵr rebelled against English rule in 1402 and Welsh forces invaded the Goodrich area in 1404 and 1405. Gilbert Talbot was responsible for fighting back the Welsh advance and securing the castle.[43] As time went on, however, the threat began to diminish. During the 15th century the Talbots considerably expanded the size of the lord's quarters in the castle[15] and provided additional accommodation for servants and retainers.[43]

 

The Talbots became the Earls of Shrewsbury in 1442, shortly before the Wars of the Roses in which they supported the Lancastrian faction.[10] The wars meant that the Talbots were frequently fighting elsewhere in England, and often staying at their castle in Sheffield.[36] John Talbot died in the Lancastrian defeat at Northampton in 1460, and the castle was forfeited and transferred to the Yorkist William Herbert. John's son, also called John Talbot, later made his peace with the king, however, and regained control of his lands and Goodrich Castle before his death in 1473.[44]

 

By the 16th century the castle was becoming less fashionable as a residence. Goodrich was too distant from London to be a useful power base, and was gradually abandoned in favour of more stylish residences,[45] Goodrich continued to be used as a judicial centre however; the antiquarian John Leland noted that some of the castle was used to hold prisoners for the local court during the 1530s, and the castle ditch was sometimes used to store confiscated cattle taken from local farmers.[46]

 

In 1576 Gilbert Talbot and his wife Mary stayed at Goodrich Castle and sent his father a gift of local produce, a Monmouth cap, Ross boots, and perry.[47] Gilbert Talbot died in 1616 with no male heir and Goodrich passed into the hands of Henry Grey, Earl of Kent.[44] The Greys chose not to live at Goodrich, but instead rented the castle to a series of tenants.[48]

 

English Civil War

Ruined foundations of buildings, some patches of ground covered in cobblestones; at the far and near ends of the foundations the stonework is built up to around a metre tall; a castle wall can be seen in the background left.

What remains of the stables, destroyed by Colonel John Birch during a night attack in May 1646

Goodrich Castle became the scene of one of the most desperate sieges during the English Civil War in the 1640s, which saw the rival factions of Parliament and the king vie for power across England. In the years before the war, there had been a resurgence of building at the castle. Richard Tyler, a local lawyer, became the tenant and constable of the castle, and during the early 1630s there had been considerable renovation work.[48]

 

Shortly after the outbreak of war, the Earl of Stamford, with support from Tyler, garrisoned the castle for Parliament until December 1643, when increasing Royalist pressure in the region forced his withdrawal to Gloucester.[49] The castle was then occupied by a garrison led by the Royalist Sir Henry Lingen.[50] The occupation was not peaceful, with Royalist troops burning surrounding farm buildings – Tyler himself was imprisoned by Lingen, although not before he had begun to sell off his livestock and other moveable property.[51] Some references to Goodrich Castle during this period refer to it as Guthridge Castle, a variant on the name Goodrich.[52]

 

As the Royalist situation deteriorated, the south-west became one of the few remaining Royalist strongholds.[53] Lingen, with 200 men and 90 horses at Goodrich Castle, conducted raids on Parliamentary forces in the region, representing a continuing challenge.[54] No action had been taken, however, to strengthen the castle's defences with more modern 17th-century earthworks, and the castle remained essentially in its medieval condition.[55]

 

In 1646, the Parliamentary Colonels John Birch and Robert Kyrle marched south from their successful Siege of Hereford and besieged the castle, with the aim of eliminating one of the few remaining Royalist strongholds.[50] There was some personal animosity between Lingen and Birch, and both were outspoken, impulsive men.[54] Birch's first move was to prevent further attacks from Lingen, and on 9 March he burned the weakly defended stables in a surprise night attack, driving away the Royalist horses and temporarily denying the Royalist forces' mobility.[56] Birch was unable to press home his advantage however, and over the next few months Lingen succeeded in replacing some of his horses and resumed his attacks on Parliamentary forces.[57]

 

A squat black mortar, the end gapped with a wooden plug on which is carved "Roaring Meg"; the mortar has wooden supports with black metal brackets.

The "Roaring Meg" mortar used against the castle in March 1646

In June, Birch returned and besieged the castle itself.[55] He found that it was too strong to be taken by direct attack, and instead began laying down trenches to allow him to bring artillery to bear on the structure.[57] Parliamentary attacks broke the pipe carrying water into the castle, and the cisterns in the courtyard were destroyed by exploding shells, forcing the garrison to depend on the older castle well.[55] With the castle still holding out, Colonel Birch built an enormous mortar called "Roaring Meg", able to fire a gunpowder-filled shell 85–90 kilograms (187–198 lb) in weight, in a local forge.[58]

 

Birch concentrated his efforts on the north-west tower, using his mortar against the masonry and undermining the foundations with his sappers.[59] Lingen responded with a counter-mine dug out under Parliament's own tunnel.[60] This would probably have succeeded, but Birch brought his mortar forward under the cover of darkness and launched a close-range attack on the tower, which collapsed and buried Lingen's counter-mine.[57] Down to their last four barrels of gunpowder and thirty barrels of beer, and with a direct assault now imminent, the Royalists surrendered.[61] According to tradition, the garrison left to the tune of "Sir Henry Lingen's Fancy".[26]

 

Despite the damage, Tyler was able to move back into his castle, which was now protected by a small Parliamentary garrison.[62] After investigation by Parliamentary agents Brown and Selden, however, the castle was slighted the following year, which rendered it impossible to defend.[63] The Countess of Kent, the new owner of the castle, was given £1,000 in damages, but chose not to rebuild the fortification as it was by then virtually uninhabitable.[26]

 

18th and 19th-century history

A watercolour painting, with a dark castle in the middle surrounded by dark green painting and a swirling, dark sky.

The picturesque ruins of the castle inspired many artists' work, including David Cox, who produced this watercolour in 1815.

After the Civil War, Goodrich Castle remained with the Earls of Kent until 1740, when it was sold by Henry Grey to Admiral Thomas Griffin.[64] Griffin undertook some restoration of the castle but retained it as a ruin.[1]

 

During the 1780s the concept of the picturesque ruin was popularised by the English clergyman William Gilpin. Goodrich Castle was one of the ruins he captured in his book Observations on the River Wye in 1782, writing that the castle was an example of the "correctly picturesque" landscape.[65] By this time, the castle was in a slow state of decay. Theodore Fielding, an early Victorian historian, noted how the "castle's situation, far from human dwellings, and the stillness which that solitude, insures to its precinct, leaves contemplation to all the solemnity, that is inspired by the sight of grandeur sinking in dignity, into decay".[66] The Regency and Victorian watercolour artists David Cox and William Callow also captured Goodrich Castle and its landscape in paint, again invoking the picturesque, romantic mood of the setting at the time.[67]

 

The castle was praised by William Wordsworth as the "noblest ruin in Herefordshire".[1] Wordsworth first visited Goodrich Castle in 1793, and an encounter with a little girl he met while exploring the ruins led him to write the poem We are Seven in 1798.[68] Other poets from this period were also inspired by the castle, including Henry Neele in 1827.[69]

 

By the 1820s, visitors could purchase an early guidebook at the site outlining the castle's history,[70] and Victorian tourists recorded being charged six-pence to wander around the castle.[71] In the early 1820s, the antiquarian Sir Samuel Rush Meyrick attempted to purchase the site, with the aim of converting the castle back into a private dwelling, but was unable to convince the owners to sell.[72] Instead, Meyrick built the neo-gothic Goodrich Court in a similar style next door, which greatly displeased Wordsworth when he returned to Goodrich in 1841 and found the view spoilt by the new building.[73][nb 3] The new bridge over the river Wye, built in 1828, and the 1873 railway line added to the number of visitors.[74][nb 4]

 

Goodrich Castle then passed through various hands, until in 1915 the Office of Works began discussions with its then owner, Mrs Edmund Bosanquet; large-scale collapses of parts of the north-west tower and curtain wall in 1919 contributed to Bosanquet's decision to grant the castle to the Commissioner of Works in 1920. The Commissioners began a programme of repairs to stabilise the ruin in its current state.[1]

A pulled rickshaw (or ricksha) is a mode of human-powered transport by which a runner draws a two-wheeled cart which seats one or two people.

 

In recent times the use of human-powered rickshaws has been discouraged or outlawed in many countries due to concern for the welfare of rickshaw workers.

Pulled rickshaws have been replaced mainly by cycle rickshaw and auto rickshaws.

 

OVERVIEW

Rickshaws are commonly believed to have been invented in Japan in the 1860s, at the beginning of a rapid period of technical advancement.

 

In the 19th century, rickshaw pulling became an inexpensive, popular mode of transportation across Asia.

 

Peasants who migrated to large Asian cities often worked first as a rickshaw runner.

 

It was "the deadliest occupation in the East, [and] the most degrading for human beings to pursue."The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. In China, the rickshaw's popularity began to decline in the 1920s. In Singapore, the rickshaw's popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930.

 

DESCRIPTION

The initial rickshaws rode on iron-shod wooden wheels and the passenger sat on hard, flat seats. In the late 19th century and early 20th century. Rubber or pneumatic rubber tires, spring cushions, and backrests improved the passenger's comfort. Other features, such as lights were also added.

 

In the city of Shanghai, public rickshaws were painted yellow to differentiate from the private vehicles of the wealthy citizens, which were described as:

 

... always shiny, were carefully maintained, and sported 'a spotless white upholstered double seat, a clean plaid for one's lap, and a wide protective tarpaulin to protect the passenger (or passengers, since sometimes up to three people rode together) against the rain.'

 

The rickshaws were a convenient means of travel, able to traverse winding, narrow city streets. During monsoon season, passengers might be carried out of the carriage, above the flooded streets, to the door of their arrival. They offered door-to-door travel, unlike scheduled public bus and tram service.

 

COUNTRY OVERVIEW

AFRICA

EAST AFRIKA

In the 1920s, it was used in Bagamoyo, Tanga, Tanzania and other areas of East Africa for short distances.

 

MADAGASCAR

Rickshaws, known as pousse-pousse, were introduced by British missionaries. The intention was to eliminate the slavery-associated palanquin. Its name pousse-pousse, meaning push-push, is reportedly gained from the need to have a second person to push the back of the rickshaw on Madagascar's hilly roads. They are a common form of transport in a number of Malagasy cities, especially Antsirabe, but are not found in the towns or cities with very hilly roads. They are similar to Chinese rickshaws and are often brightly decorated.

 

NAIROBI

Rickshaws operated in Nairobi in the beginning of the 20th century; pullers went on strike there in 1908.

South Africa

Durban is famous for its iconic Zulu rickshaw pullers navigating throughout the city. These colorful characters are famous for their giant, vibrant hats and costumes. There were about 2,000 registered men who pulled rickshaws in Durban in 1904; Since displaced by motorised transport, there are approximately 25 rickshaws left whom mostly cater to tourists today.

 

ASIA

CHINA

In China, from the ancient times and until the 19th century, rich and important people, when traveling overland, were commonly transported in sedan chairs carried by bearers, rather than in wheeled vehicles. This was at least partly explained by road conditions. It is thought that it was from China (or East Asia in general) that sedan chair (a.k.a. "palanquin") designs were introduced into Western Europe in the 17th century. However, wheeled carts for one or two passengers, pushed (rather than pulled, like a proper rikshaw) by human servant, were attested as well.The proper rickshaw (pronounced renliche in Chinese) was first seen in China in 1886, and was used for public transportation in 1898. It was commonly called dongyangche for Japanese vehicle or "east- foreign-vehicle."

 

Rickshaw transportation was an important element in urban development in 20th century China, as a mode of transportation, source of employment and facilitation of migration for workers. According to author David Strand:

 

Sixty thousand men took as many as a half million fares a day in a city of slightly more than one million. Sociologist Li Jinghan estimated that one out of six males in the city between the ages of sixteen and fifty was a puller. Rickshaw men and their dependents made up almost 20 percent of Beijing's population.

 

Shanghai's rickshaw industry began in 1874 with 1,000 rickshaws imported from Japan. By 1914 there were 9,718 vehicles. The pullers were a large group of the city's working poor: 100,000 men pulled rickshaws by the early 1940s, up from 62,000 in the mid-1920s.Most manual rickshaws, a symbol of oppression of the working class, were eliminated in China after the founding of the People's Republic of China in 1949.

 

HOG KONG

Rickshaws were first imported to Hong Kong from Japan in 1880. They were a popular form of transport for many years, peaking at more than 3,000 in the 1920s. However, their popularity waned after World War II. No new licenses for rickshaws have been issued since 1975, and only a few old men—four as of 2009—still bear a license. It is reported that only one of them still offer rickshaw rides on The Peak, mainly for tourists.

 

INDIA

Around 1880, rickshaws appeared in India, first in Simla. At the turn of the century it was introduced in Kolkata (Calcutta), India and in 1914 was a conveyance for hire.

 

SERVICE AVAILIBILITY

Though most cities offer auto rickshaw service, hand-pulled rickshaws do exist in some areas, such as Kolkata, "the last bastion of human powered tana rickshaws". According to Trillin, most Kolkata rickshaws serve people "just a notch above poor" who tend to travel short distances. However, in a recent article by Hyrapiet and Greiner, the authors found that rickshaws also transport middle-class residents who use their services out of convenience and for short distance trips to the local marketplace. Rickshaws are used to transport goods, shoppers, and school children. It is also used as a "24 hour ambulance service."

 

Also according to Hyrapiet and Greiner, rickshaw pullers have acted as peer-educators for the Calcutta Samaritans prodving critical information on HIV/AIDS because of their access to marginalized groups within Kolkata's red light districts.

 

Rickshaws are the most effective means of transportation through the flooded streets of the monsoon season.

When Kolkata floods rickshaw business increases and prices rise.

 

The pullers live a life of poverty and many sleep under rickshaws.Rudrangshu Mukerjee, an academic, stated many people's ambivalent feelings about riding a rickshaw: he does not like about being carried in a rickshaw but does not like the idea of "taking away their livelihood."Motor vehicles are banned in the eco-sensitive zone area of Matheran, India, a tourist hill station near Mumbai so man-pulled rickshaws are still one of the major forms of transport there.

 

LEGISLATION

In August 2005, the Communist government of West Bengal announced plans to completely ban pulled rickshaws, resulting in protests and strikes of the pullers. In 2006, the chief minister of West Bengal, Buddhadeb Bhattacharya, announced that pulled rickshaws would be banned and that rickshaw pullers would be rehabilitated.

 

JAPAN

There are several theories about the invention of the rickshaw. Japan historian Seidensticker wrote of the theories:

 

Though the origins of the rickshaw are not entirely clear, they seem to be Japanese, and of Tokyo specifically. The most widely accepted theory offers the name of three inventors, and gives 1869 as the date of invention.

 

Starting in 1870, the Tokyo government issued a permission for Izumi Yosuke, Takayama Kosuke, and Suzuki Tokujiro to build and sell rickshaws. By 1872, they became the main mode of transportation in Japan, with about 40,000 rickshaws in service. The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. After the World War II, when gasoline and automobiles were scarce, they made a temporary come-back. The rickshaw tradition has stayed alive in Kyoto and Tokyo's geisha districts only for tourists as well as in other tourist places. The tradition completely disappeared once, but a few people revived jinrikisha (human-powered rickshaws) for tourists in the 1970s-1980s and the rickshaws became popular as a tourism resource in the 2000s. The modern rickshaw men are a kind of tourist guide, who take their clients to some tourist spots and explain about them. Many of them are part-time working students and athletes who like running or exchanging cultures.

 

MALAYSIA

Rickshaws were a common mode of transport in urban areas of Malaysia in the 19th and early 20th centuries until gradually replaced by cycle rickshaws.

 

PAKISTAN

Pulled and Cycle rickshaw (qinqi) have been banned in Pakistan since November 1949. Prior to the introduction of auto rickshaws in cities, horse-drawn carriages (tongas) were a main source of public transportation.

 

SINGAPORE

Singapore had received its first rickshaws in 1880 and soon after they were prolific, making a "noticeable change in the traffic on Singapore's streets." Bullock carts and gharries were used prior to the introduction of rickshaws.Many of the poorest individuals in Singapore in the late nineteenth century were poor, unskilled people of Chinese ancestry. Sometimes called coolies, the hardworking men found pulling rickshaws was a new means of employment. Rickshaw pullers experienced "very poor" living conditions, poverty and long hours of hard work. Income remained unchanged from 1876 to 1926, about $.60 per day.Rickshaws popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930. In or after the 1920s a union was formed, called the Rickshaw Association, protect the welfare of rickshaw workers.

 

NORTH AMERIKA

UNITED STATES OF AMERIKA

From A History of the Los Angeles City Market (1930-1950), pulled rickshaws were operated in Los Angeles by high school teenagers during that time period.

 

CANADA

Foot-driven rickshaws have enjoyed several decades of popularity in Halifax, Nova Scotia; in addition to providing tours of the historic Waterfront, rickshaws are also occasionally used for transportation by local residents. The city is home to the oldest rickshaw company in Canada.Rickshaws are a popular mode of transportation in downtown Ottawa, Ontario, providing tours of historical Byward Market, in the summer. Ottawa's rickshaws stay true to the traditional foot-driven rickshaw model, but feature modern sound-systems.

 

WIKIPEDIA