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Low level 2CV maintenance. Over the years, replacement of a broken rubber band supporting the drivers or passengers seat has been performed in the time honoured manner of taking one off the back. Now they're all complete. The seat has a wire sewn into the backing, meaning the clip at one end of the rubber band can secure itself onto the seat, the other goes into a hole in the seat frame. On these original seats (stuffed with wood shavings) it is interesting to see how the webbing to help locate the seat and bands has been applied only to a few of the rubber bands. Economy of manufacture, great thought in design.
In order to replace the PSVAR non compliant B10BLEs in the Bristol fleet, a batch of B7L/Wright Eclipses headed down from Norwich. Seen not long after arrival in Dec 2015, 66345 MV02VCY provides less than luxurious capacity on the X9 express from Nailsea.
After a life in Manchester, Northampton, Norwich and Bristol, 66345 headed to Leeds in early 2017.
I replaced the sink in 2005. The remodel had resulted in a nasty cabinet sink - truly awful! Even the sink was plastic or some kind of fiber-ugh. Other units in my building got big pedestal sinks... so they overlap both the toilet and the tub. I opted for a 'petite' sink. I think it complements the old style of the bathroom.
Replacing an earlier scanned photo with a better version.
This operated with United Airlines as N356UA for 14 years until it was stored at Goodyear (GYR), AZ, USA in Jun-03 and returned to the lessor. It was converted into a freighter in Mar-05 and leased to Hainan Airlines/Yangtze River Express in China as B-5059. As of May-14, it's still in service.
hunter
Inside the church
The single vessel nave was remodeled Romanesque arches were replaced by Gothic arches (missing) which was based on the columns and capitals of age novel. However, if the choir and transepts have retained their arrangement and decoration carved original paintings dating from the nineteenth century. Cloverleaf plan of this part of the church is a rare feature in Saintonge reminiscent perhaps of earlier constructions at the age novel, whether or pre-Romanesque inspired by Antiquity (seaside). The transept is covered by a beautiful dome-shaped tubes on shells, carried by four arches. Those placed in the axis of the nave and chancel are composed of voussoirs in pads that are sometimes compared to books would be stacked with the back. As for the open arches on the arms of the transept, they are based on double and separate columns and are connected by voussoirs leaving gaps at regular intervals.
The choir and chapels forming the transept arms are arched in a cul-de-oven and lighted by a small window.
All this together, choir and transept, is united by a continuous frieze that extends to the base of the arches, the sculpture of the capitals and their abacuses. The pattern of two side apses consists of vertical grooves in the north and in the shape of "S" in the south. However, on the capitals and in the choir unfolds a profusion of foliage and interlaced acanthus where integrated scenes of great vivacity. We discover pecking birds facing a head and a wide variety of lions, presented a profile or two body, human head, tail drawing the scroll of a scroll. Scenes complement the decor: bow hunting, dogs attacking a deer, a man and a woman hugging under the gaze of a third (husband?), A man sitting in the corner of a tent, attacked by birds, in short, a world where people and animals frolic happily in an elegant, decorative, inherited from St. Eutropius or portal Abbaye-aux-Dames de Saintes.
Replaced online image with a scanned image from my book "Tirra Lirra, Rhymes Old and New" by Laura E. Richards. First copyright 1890, with several successive copyrights until Richards herself had rights 1918, 1930 and 1932. Little Brown and Company.
"My Emily Jane has lost her head,
And has a potato tied on instead;
A hole for an eye, and a lump for a nose,
It really looks better than you would suppose.
My Emily Jane has lost her arms,
The half of one leg's the extent of her charms;
But still, while there's anything left of you,
My Emily Jane, I'll love you true!"
Found at www.archive.org/details/tirralirrarhymes027501mbp, an e-book "Tirra Lirra, Rhymes Old and New" by Laura E. Richards, first copyright 1902. Illustrated by Marguerite Davis.
Review LG LED IPS Monitor 23MP65HQ (LG 23EA63V replaced) An Phat PC by dtien87 ductien daoductien - www.anphatpc.com.vn
Replaced DT shifters, Nitto Noodles & Tektro R200 levers with Campagnolo Chorus 11 speed shifters, Some HWY ONE bars, setup as an 11->9 Shimergo.
Their first three full-length albums are examples of the death/doom style, although the latter two incorporated some melodic and gothic elements. However, with the release of the albums Icon (1993) and Draconian Times (1995), Paradise Lost also became known as pioneers of the gothic metal subgenre. In accordance with the change in musical approach, vocalist Nick Holmes changed his singing style. He used a death grunt on the band's first three albums, but on Icon refined his voice to have a cleaner tone. Later (circa 1997), the band began experimenting with electronic styles but after four albums reverted again to gothic metal.
Their line-up has remained stable for such a long-standing heavy metal band, consisting of singer Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, and bassist Steve Edmondson. Holmes and Mackintosh are the principal composers, with almost all of the band's songs credited to them. During the years, the band has only changed drummers, with original member Matthew Archer replaced in 1994 by ex-Marshall Law drummer Lee Morris In March 2004, Morris left the band. Jeff Singer took Morris' place and has played on all subsequent releases, though he was not listed as a permanent band member until the release of the single "The Enemy" in 2007. In a recent video interview, Mackintosh and Holmes revealed that Singer had already auditioned for the band when Archer left, but they chose Morris instead because "[Singer] had a pink drumkit"
replaces the old top crawford bivvy, is apparantly the rebuilt, relocated (mid) top crawford hut. Couldn't see much sign of the old hut!
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
Replacing an earlier digital photo with a better version 29-Nov-23.
Delivered to TUIfly.com as D-ATUA (the second of three B737-800's to carry the registration) in the yellow TUI livery in Apr-07, this aircraft was transferred to Thomsonfly.com (TUI UK) as G-FDZO in Feb-08. Thomsonfly was renamed Thomson Airways in Nov-08.
The aircraft was leased to Jet4You (Morocco) as CN-RPF in Jun-09 and repainted in a green TUI style livery. It was sold to Ansett Worldwide Aviation Services (AWAS) in Oct-11 while the lease to Jet4You continued. It was returned to AWAS in Mar-12 and leased to Jetairfly (TUI Belgium) as OO-JPT.
The aircraft was fitted with 'Split Scimitar' blended winglets in Mar-15 before being transferred to TUIfly.com (Germany) as D-ATUZ in Jun-15. The aircraft was repainted in RIU Hotels logojet livery in Feb-16.
In Jun-18 it was transferred to TUI Airlines Belgium as OO-JPT again for the 2018 summer season. It returned to TUI Germany in Sep-18. The aircraft was withdrawn from service and stored at Hanover, Germany in Dec-20 due to the COVID-19 Pandemic. It returned to service in Jun-21. Current, updated 29-Nov-23.
Volkonskoite-replaced fossil wood from the Permian of Russia. (4.2 cm across at its widest)
This is a very rare specimen of fossil wood from Permian rocks in western Russia. Most fossil wood is preserved by quartz-permineralization or carbonization. This fossil wood has been replaced by a rare chromian smectite clay mineral called volkonskoite (Ca0.3(Cr,Mg,Fe)2(Si,Al)4O10 (OH)2⋅4H2O - hydrous calcium chromium magnesium iron hydroxy-aluminosilicate). The chromium (Cr) content gives the fossil its green coloration. The striations appear to be remnants of the original wood structure. The broken sides show that the massive, fine-grained volkonskoite breaks with a conchoidal fracture.
Host rocks & age: soft fluvial sandstones, Kazanian to Tatarian Stages, upper Upper Permian
Locality: Mt. Efimiatsk (Mt. Efimyatskaya), near the town of Efimyata, ~10 miles west of Votinsk Reservoir & ~30 miles southwest of Okhansk, Chastinsky District, southwestern Perm Region, western foothills of the southwestern Ural Mountains, western Russia
Store #2121's replacement is this modified KFC, across the street. Number 2121's property is going to be the site of a Commerce Bank.
Here is the Bing.com bird's eye view of this building, when it was closed as a KFC but not yet open as Taco Bell. It was in that awkward in-between stage. LOL
www.bing.com/maps/?FORM=Z9LH8#JndoZXJlMT02NTkxK0pvaG5zb24...
Be sure to hit "Bird's Eye" view and you'll be able to see the old TB #2121 across the street, to the north and east, which this one replaces.
⚠️ Replaced in 2026
New Replacement - Christ Alpha C173
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Out Of Service Christ Varius C163 in White/Blue with blue and black sensomix brushes installed in 2016, replacing a Ryko Premier Plus.
Video - youtu.be/SO6NNmOJvnk
• Operator •
Tesco
• Supplier •
Wilcomatic
• Address •
Tesco Petrol Station
London Road
Buckingham
MK18 1AB
England
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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 rolled out to the general public in December. (ESP went live on Tuesday December 15th 2015)
***** Selected for sale in the GETTY IMAGES COLLECTION on February 18th 2016
CREATIVE RF gty.im/511000698 MOMENT OPEN COLLECTION**
This photograph became my 1,740th 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 Fourteen metres at 07:47am on Thursday 22nd October 2015, off Bankside on London's South Bank, from the first intersection on The Millennium Bridge, officially known as the London Millennium Footbridge, which was designed by Norman Foster, and was constructed between 1996 and 2000.
It is a steel suspension bridge for pedestrians crossing the River Thames in London, linking Bankside with the City of London. I affectionately call the Bridge, 'The wibbly-wobbly bridge', after somewhat embarassing teething problems which had the old girl flexing in her moorings when first opened. This view looks towards Monument, Tower Bridge and HMS Belfast moored on the River Thames.
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Nikon D800 170mm 1/1250s f/5.6 iso100 RAW (14Bit) Handheld with Sigma Optical image stabilization on. AF-S single point focus. Manual Exposure, Matrix metering. Auto white balance. Auto Active D-lighting.
Sigma 50-500mm F4.5-6.3 APO DG OS HSM. Power UP 95mm HD UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
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LATITUDE: N 51d 30m 35.51s
LONGITUDE: W 0d 5m 54.68s
ALTITUDE: 14.0m
RAW (TIFF) FILE: 103.00MB
PROCESSED (JPeg) FILE: 13.32MB
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PROCESSING POWER:
Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
The Leopard 1A5 tanks will be replaced by Piranha IIIC vehicles as the Belgian Army will replace all tracked vehicles by wheeled armored vehicles. From 2015 on, the Belgian Army will have no tracked vehicles anymore. Click here for more galleries with much more of my Military photos.
In 1918, the Erie Canal was replaced by the larger New York State Barge Canal. This new canal replaced much of the original route, leaving many abandoned sections. New digging and flood control technologies allowed engineers to canalize rivers that the original canal sought to avoid, such as the Mohawk, Seneca, and Clyde rivers, and Oneida Lake. In sections which did not consist of canalized rivers (particularly between Rochester and Buffalo), the original Erie Canal channel was enlarged to 120 feet (37 m) wide and 12 feet (3.7 m) deep. The expansion allowed barges up to 2,000 short tons (1,800 t) to use the Canal.
en.wikipedia.org/wiki/Erie_Canal
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
*replaced*
+4 in comments!
lexi & chris!
today i had a cute little shoot with my best friends! they were so sweet! we had their shoot by the theatre, which was their first date!!! and in the back streets of our town!
i went to my teacher's wedding yesterday... and i'll post some pictures later!
haha! i hope everyone has a great week! :]♥
check out:
The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.
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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL
Heritage Category: Listed Building
Grade: I
List Entry Number: 1371308
National Grid Reference: NU 18685 13574
Details
This list entry was subject to a Minor Amendment on 05/10/2011
NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330
Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School
GV I
Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.
Listing NGR: NU1863413479
historicengland.org.uk/listing/the-list/list-entry/137130...
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ALNWICK CASTLE
Heritage Category: Park and Garden
Grade: I
List Entry Number: 1001041
National Grid Reference: NU1739315366, NU2254414560
Details
Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.
Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).
NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.
HISTORIC DEVELOPMENT
In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.
Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).
In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).
Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.
Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.
Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.
During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.
As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.
Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.
SUMMARY DESCRIPTION
Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.
The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.
To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.
A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.
Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.
The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).
The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.
The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.
Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:
Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]
Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).
Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.
The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.
The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.
REFERENCES
Note: There is a wealth of material about this site. The key references are cited below.
The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)
Description written: August 2000 Resgister Inspector: KC Edited: June 2003
historicengland.org.uk/listing/the-list/list-entry/100104...
See also:-
Me in my thirties. Each work station was equiped with a monitor and a keyboard called "TOPS position". TOPS stood for Traffic Operator Position System. I dont know what kind of equipment the Bell operators use today. I suppose it depends on what country they are working in.
Those screens (écrans cathodiques) were said to be unsafe for pregnant women. The rays could kill your fetus if you refused to wear the protective apron supplied by the company. The protective apron was thick and heavy like those worn by radiologists.
This majestic and often forgotten concrete bridge in the far north was officially opened in 1984 to replace the ferry that used to cross the narrows at this point. Should the ferry be out of action for whatever reason, the diversion from the south of the bridge to the north of bridge falls 7 miles short of 100 miles. This shows you how important this bridge is to the part of the World it serves. The diversion takes you via Lairg, which is almost on the east coast (slight exaggeration but it's not far off).
When I first arrived here, the sun was hiding behind the clouds. However, after 20 minutes, my patience was rewarded and I was able to get some photos I'm genuinely proud of.
May 5, 2021 - In May 2021, Verdant Power performed a retrieve-and-replace operation during which one of the turbines will be replaced with a rotor housing three thermoplastic blades manufactured by NREL. (Photo By Paul Komosinski)
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This image is done with HDR and photoshop. Canon 450d sigma 18-125mm. The toy cars i brought from the junk shop. The cars are on armitures through the back drop. this is not composite cut n paste, took an age to set up.
The standard mount on the Sony A7 is prone to flexing. It's especially noticeable when using heavier lenses, but one can feel it even when handling a small one like the Zeiss 55mm F/1.8.
I kinda got tired of this and upgraded to the Fotodiox Tough E-mount version.
It replaces the front ring and the plastic one underneath with a single piece.
It was a dark and stormy night. Reyes, Brzezinski, Torres, and I were called out from home to replace a 75-foot pole at the old Hale Ranch near the end of Blue Mountain Road. Sadly, this bogus story ends here. There's a word shortage.
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I found this 1970s Pacific Gas and Electric pole setting truck, snapped on the flash, and shot a photo. Why the flash? I was trying to light up the bottom radiator tank and all that junk under the cab. This thing is so tall they had to put steps on the cab. Those look like "cement mixer tires." I think the chassis is late 1970s because of that red and green air system tubing seen through the grill, the air-powered windshield wipers, and the Ford logo on the front. I think it's a federal law that headlamps cannot be over 36 inches above ground level so they had to saw up the grill and plug the original headlamp holes when the 4-wheel-drive was added. There's a lot of steel in the auger, outriggers, and boom. I hope this had at least a Detroit Diesel 6V92TTA. If it did, that would explain the oil all over the front pumpkin. Most of the C-series I've seen had 636-cubic-inch, 3208 Caterpillar V8 diesels. That's a lame 210-245 horsepower to move this and a loaded pole dolly trailer.
As found, there was a bunch of distracting yard art in the background. So I've knocked out the truck from the landscape. The orange barricade stripes on the original Scotchlight (bumper) striping had been destroyed by the Sun's ultraviolet rays. So I drew one, then dragged a bunch of copies across the bumper. Some had to warped to match the bumper contour. I painted over some of the rust on the cab. After a few tries, I finally added an authentic-looking vehicle number. The boom has two jaws used to grab the pole off the pole dolly and place it in the hole. This thing was parked with the jaws open. It must be a safety rule: I've never seen someone drive with them open. So I cut the jaws off, rotated them, and reattached them to the boom. Finally, I turned on the headlights to make it seem alive. A great waste of time, you could say. Either that or one person's idea of art.
So far, the lobbyists have not wrecked industrial safety regulations in California. So utilities are required to follow a relationship between the pole's end-to-end length and how many feet of the pole need to go into the hole in the ground. It must be a good rule because I've seen drunk drivers shear off poles. The remaining poles and conductors will usually support the sheared pole. There are rules about spacing between your cable internet wiring and high voltage distribution. California Public Utilities Commission General Order 95 (PDF) tells you what is allowed when constructing pole lines. People complain about bureaucracy and taxes. I bet many people were killed before all of these rules were put in place. 21,000 volts at ten KVA doesn't belong in your house wiring or your cable modem.
Call attention to my mistakes: seriously, your corrections are welcomed.
Ready to set some poles? Ok. You go first.
"Well, now, that's the way we've always done it." How many sins have been committed in our utility industry with no more justification than that one stupid remark?
- O. C. Seevers, PE
Source: Seevers, O. C., P.E., Efficient Electric Utility Operation, (Fairmont Press: 1982) pp. 3.
Art grade image.
Source: 2,800x4,200 16-bit TIF file.
Please do not copy this image for any purpose.
(From left to right) Resident acting company members Fred Sullivan Jr. (Geoffrey), Anne Scurria (Marion),Angela Brazil (Jane), Stephen Berenson (Sidney), Phyllis Kay (Eva), and Timothy Crowe (Ronald) in Alan Ayckbourn's darkly humorous Absurd Person Singular, directed by Brian McEleney at Trinity Rep. Now playing through November 21, 2010 in the Dowling Theater. Costume design by William Lane, set design by Michael McGarty, lighting design by John Ambrosone. (Photo: Mark Turek)
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