Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog. Voor meer info, check: www.3fm.nl/seriousrequest

Photos for editorial use ONLY. To purchase high resolution photos, please email press@worldtabletennis.com with your photo requests.

Metallica | Morumbi - São Paulo | Brasil - 2014

Foto Pri Secco www.facebook.com/PriSeccoFoto

Todos os direitos reservados. Proibida a reprodução total ou parcial, sem autorização. Lei nº 9610/98. All Rights Reserved.

Confira como foi o show em: www.rockexpress.net.br/2014/03/25/metallica-by-request-em...

47342 prepares to leave the railhead on 17 April 1987. This was not 'pole photography' just a polite and simple request!

..\description_code.txt

Description:

ITEM Identifier: 87-M130, 66o.

Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.

Repository: Schlesinger Library on the History of Women in America.

Collection: Elisabeth Coit Papers

Call Number: 87-M130

Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565

Questions? Ask a Schlesinger Librarian

Aerial view.

Hi,

After posting a good-bye to Billy on the Lollypop Farm wall on facebook, someone requested that I write a "Happy Tail" about Billy. It took some time, but I think I can do this now.

I can start this story stating that I had a dog, Randi, from the time I was 6 years old until I was 23. We were never parted ... she even went to college with me (reasons why I never lived on campus). When she did die, at age 17, I was DEVASTATED and stated that I would never have another dog ever again.

Seven years later, in September of 2003 I saw Billy at Lollypop West and knew that we should be together. I wasn't sure if it was the "This is all a mistake, and I don't know why I'm here" look on his face, or the way he leaned his entire body into my few fingers placed through the kennel, but I just knew I had to take him home. I had to check with my husband (who was sure I was nuts after I told him it was love at first sight) and my landlord (I was ready to move if he said, "no,") but it was all a "go," and Billy came home with me shortly thereafter. I remember him pulling me from car to car in the parking lot that day (we needed to work on those leash manners), looking up at me with each car as if to say, "Is this one yours? I'm ready to go home."

Our first week at home was rough. I didn't know what toys he liked (I bought a bunch of stuff, just in case), and I was afraid of what he might do. His previous owners stated that he soiled the house and scratched at doors and windows. Luckily, all he did in the first week was eat a bar of Irish Spring soap (the resulting BM from this was not pleasant!), and pulverize a roll of toilet paper. (I later realized that he was just making confetti to celebrate his new home!) OK ... a few more anti-boredom toys were added, and a LOT more exercise. He never soiled the house or scratched at doors and windows.

As I got to know Billy, I remember thinking how strange it was that he didn't know what toys were. I had to teach him to play ball (which became his ULTIMATE pastime) and how to use chewy toys. He had a stuffed animal frog which he loved and carried where ever he went. He slept with it at night, snuggled up under his head. We then started working on basic manners and socialization skills. He progressed quickly, and soon I realized what a "people dog" he was.

He started going to work with me some days at the nursing home, and he loved everyone as much as they loved him. Even those who said they didn't like dogs liked him after they got to know him. From there he went on to earn his AKC Canine Good Citizen award and pass his Therapy Dog International test with no problem.

Billy was a celebrity wherever he went: people would come out of their houses while we were walking to greet him; visitors, staff, as well as residents at the nursing home would seek him out daily, and fuss over what a good dog he was. After he retired, up to this day, people still ask for him and wonder how he is doing.

Billy was just an amazing dog: so loving and so smart, so obedient. He loved me so much, and I loved him equally--maybe even more. He went every where with me: work, vacation, swimming, the barn, on trail rides (I've been riding horses since I was 6) and never left my side unless I told him to wait somewhere for me. Regardless of where I told him to wait, or how long he had to wait, he waited right there for me to come back, never moving an inch. He heeled so well, that he was always to the left side of me, with or without a leash. The only exception to this rule was after I had children--he would walk next to the baby in the stroller or walk with the one lagging behind the group, making sure that everyone was OK.

He had a huge variety of tricks he would perform: shaking hands, rolling over, spinning around and around, playing dead, etc. ... and if you had a highly desirable treat in your hand, he may spontaneously start doing all of his tricks--one after another--hoping that one of them was the one he had to do to get that treat! What a ham!!!

Things seemed to be going well until he had an incident (Easter morning) when he woke up howling and dragging his back legs. I had no idea what had happened, but I was so sure that I would be losing him that day. As I drove to Orchard Park Emergency vet clinic, I came to terms with the real possibility that I would have to drive home without him. By the time we got there, he was standing in the back seat, happy and wagging his tail again. X-rays showed that he had, at one time, broken two vertebrae and that he had some degree of deformity from that. The vet noticed some scars on the inside of his legs, and thought that maybe he had been hit by a car at some time in his life. I felt so bad for him, as I also remembered that his previous owners had left him to "roam free" when they were not home. The temporary paralysis was probably caused by him sleeping on a big fluffy bed and might return at any time. After some steroids and the purchase of a new, firmer orthopedic bed, Billy was back to chasing balls around the backyard and had no further issues for years.

Everyone used to ask me what breed he was. Although we will never know for sure, he had the pit bull smile and tongue curl, the howl of a hound (and boy-oh-boy could he tree a 'coon in no time!) and some other breed which made one ear stand up all of the time, and the other ear stand up about 2% of the time. He was very active but could cuddle for hours at night while watching a movie (all 60 pounds of him). If his previous owners were accurate, Billy was 7 going on 8 when they dropped him off at the shelter. He was with me just short of 8 wonderful years.

I had to make the decision to euthanize Billy as I watched him deteriorate. I knew for a while he had some kidney failure, but the damaged area to his spine started to develop further deformities, putting pressure on his spine. While he never complained of pain, I saw the look on his face when he could no longer control his urine (he was truly ashamed of himself, poor thing) and the terror when, on two occasions his back end went out and we had to help him up. At this point I knew it was time. Luckily, our vet said that he would come out to the house.

On July 15 I said goodbye to Billy in the sun, on a favorite blankie, with his "froggie," with lots of hugs and kisses. I swear I could feel my heart breaking. I know that part of me died with him, and I will never, ever again know a dog like him.

What I do know, is that I can love another dog again ... not in the same way, but with the same strength. I brought Bella (a funny setter/spaniel mix with the energy of 10 dogs) home from Lollypop Farm on April 30, as I knew Billy's time was dwindling, and my other dog, Onnie (a mixed breed-Lab/chow/some type of herding dog?--whom I rescued directly from a bad situation), did not do well at home alone.

While Billy is gone, and I miss him dearly, Onnie and Bella are there for me, and I am there for them. Onnie doesn't have the personality to go to work with me, as she is a one-person dog, but Bella has gone to the nursing home a few times and seems to help the residents in the healing of the loss of Billy. She will never be Billy, nor will I ask her to be. I have learned that the benefit of having loved an animal far outweighs the pain of the loss when we lose them.

Billy taught me so much, and filled each day of my life with so much love and happiness, as do each of my other dogs. Billy taught me that I was not being unfaithful to my previous dog by loving another and that, by saying I would never have another dog again, I was depriving myself of so many good times as well as depriving another dog a good, happy home.

Attached are some of my favorite pictures of Billy ... one of sir handsome himself collarless right after a summer outdoor bath, one of him running on the beach, playing ball in Cape Cod, and one of him laying in the sun. I hope all the staff and volunteers at Lollypop Farm feel so good about the job they do, knowing that you are able to provide these animals with another opportunity to find their forever home and brighten so many lives. Thank you so much!

Onnie, Bella and I will see you at Barktober Fest!

Sincerely,

Jennifer R.

Travys [YSteC] Class Be 2/6 2000 'L'Arnon' arrives at the request stop at Valeyres-sous-Montagny with R18, the 13:11 Ste-Croix to Yverdon-les-Bains.

All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse

+++ 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 P-74 "Charger" was a fighter aircraft built by Lockheed for the United States Army Air Forces (USAAF). Its configuration was unusual as it was designed as a twin boom pusher configuration, where the propeller is mounted in the rear of the fuselage, pushing the aircraft forward.

The P-74 entered service with the USAAF in late 1944, its conception dated back to 1939 when the U.S. Army Air Corps requested with the Circular Proposal R40C domestic manufacturers to develop high performance fighter types, allowing (even demanding) unusual configurations. Lockheed did not respond immediately and missed the chance to sign a development contract in mid-1940 until early 1941. Twenty-three proposals were submitted to R40C, and after a fist selection of ideas three companies, Vultee with the large XP-54 Swoose Goose, Curtiss with its XP-55 Ascender and Northrop's XP-56 Black Bullet were able to secure prototype contracts.

Vultee eventually won the competition, but all these innovative new aircraft suffered from various flaws or development delays, missing various performance goals, so that none ever entered service.

In the meantime, Lockheed had been working on the 1939 request in the background on a private venture basis, as it was clear that by 1944 a successor to the company's own P-38 Lightning had to be offered to the USAAC.

The new North American P-51 Mustang was also a sharp competitor, esp. for the Pacific conflict theatre where long range was needed. This role was filled out very well by the P-38, but it was a relatively large and complicated aircraft, so an alternative with a single engine was strived for. Even though jet engines already showed their potential, it was clear that the requested range for the new type could only be achieved through a piston engine.

This aircraft became the XP-74, originally christened “Laelaps”, following Lockheed’s tradition, after a female Greek mythological dog who never failed to catch what she was hunting. It was presented as a mock-up to USAAC officials on August 8th 1942 and immediately found sponsorship: with the disappointing results from the XP-54,55 and 56 was immediately ushered into the prototype stage. Its name, though, was rejected, and the more common name “Charger” was adopted.

Just like Lockheed’s successful P-38 the XP-74 Charger was designed as a twin-boom aircraft, but it was driven by only a single Packard (License-built Rolls Royce Merlin) V-1650 pusher engine in the aft part of the fuselage. The tail was mounted rearward between two mid-wing booms, with a four-bladed 12-ft propeller between them. The design also included a "ducted wing section" developed by the NACA that enabled installation of cooling radiators and intercoolers in the wing root section.

The advantages of a pusher design are that the view forward is unobstructed and armament can be concentrated in the nose, while a major drawback is difficulty in escaping from the aircraft in an emergency, as the pilot could get drawn into the propeller blades. Lockheed deliberated between systems that would eject the pilot, or jettison the propeller or the engine, via a system of explosive bolts. Lockheed eventually installed an early ejector seat which was driven by pressurized air, combined with a mechanism that would blow the canopy off. The system was successfully tested in summer 1943, even though skepticism remained among pilots.

Initial armament comprised one 20mm Hispano cannon and four 12.7mm Browning machine guns, the same as in the P-38, but two machine guns were relocated from the nose into the front ends of the tail booms because of the new aircraft’s smaller overall dimensions.

The first prototype was ready in October 1943, with a different engine and heavier armor fitted. The second prototype was built to this specification from the start, which would become the serial production standard, the P-74A.

The P-74A used the new V-1650-9 engine, a version of the Merlin that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW). Another change concerned the armament: a longer weapon range was deemed necessary, so the gun armament was changed into four 20mm Hispano cannons, two of the placed in the fuselage nose and one in each tail boom front end. Each gun was supplied with 250 RPG.

Alternatively, a nose installment with a single 37mm cannon and two 12.7mm Browning MGs was tested on the first prototype, but this arrangement was found to be less effective than the four 20mm cannons. Another factor that turned this option down was the more complicated logistics demands for three different calibers in one aircraft.

The P-74A was ready for service in summer 1944, but its deployment into the Pacific region took until December – the 5th Air Force first units replaced most of its P-38 and also early P-47Ds with the P-74A.These new aircraft had their first clashes with Japanese forces in January 1945.

The P-74 was used in a variety of roles. It was designed as an intreceptor against bombers, but its good range and handling at all altitudes made it suitable for tasks like fighter sweeps against enemy airfields, support for U.S. ground forces and protection of sea convoys and transport routes.

While the P-74 could not out-turn the A6M Zero and most other Japanese fighters when flying below 200 mph (320 km/h), its superior speed coupled with a good rate of climb meant that it could utilize energy tactics, making multiple high-speed passes at its target. Also, its focused firepower was deadly to lightly armored Japanese warplanes.

Because of its late service introduction, only 305 P-74s were ever produced until the end of hostilities, and they were exclusively used in the Pacific theatre. The P-74's service record shows mixed results, but usually because of misinformation. P-74s have been described as being harder to fly than traditional, single-engined aircraft, but this was because of inadequate training in the first few months of service.

Another drawback was the ejection seat system – it worked basically well, but the tank for the pressurized air turned out to be very vulnerable to enemy fire. Several P-74s literally exploded in midair after cannon fire hits, and this poeblem could only be cured when the tank section behind the cockpit received a more rigid structure and additional armor. Anyway, the P-74 was quickly retired after WWII, as the USAAF focussed on P-47 and P-51.

General characteristics

Crew: 1

Length: 10.45 m (34 ft 3 in)

Wingspan: 11.6 m (38 ft 0 in)

Height: 3.97 (13 ft 0 in)

Wing area: 22.2 m² (238.87 ft²)

Empty weight: 3,250 kg (7,165 lb)

Loaded weight: 4,150 kg (9,149 lb)

Max. take-off weight: 4,413 kg (9,730 lb)

Powerplant:

1× Packard (License-built Rolls Royce Merlin) V-1650-9 ,

rated at 1,380 hp (1,030 kW) and 2,218 hp (1,500 kW) w. water injection

Performance

Maximum speed: 640 km/h (343 knots, 398 mph)

Cruise speed: 495 km/h (265 knots, 308 mph)

Range: 1,105 mi (1,778 km)

Ferry range: 1,330 nmi (1,530 mi, 2,460 km)

Service ceiling: 11,000 m (36,090 ft)

Rate of climb: 15 m/s (2,950 ft/min)

Armament

4× 20 mm (0.79 in) Hispano-Suiza HS.404 cannons with 250 RPG

2× hardpoints for up to 2,000 lb (907 kg) of bombs, 6 or 10× T64 5.0 in (127 mm) H.V.A.R rockets

The kit and its assembly:

This whif was inspired by a CG rendition of a Saab J21 in a natural metal finish and with (spurious) USAAF markings, probably a skin for a flight simulator. Anyway, I was more or less enchanted by the NMF on the Saab – I had to build one, and it would become the P-74, the only USAF fighter code that had never been used.

The kit is the venerable Heller Saab J21A, an “old style” design with raised panel lines. But it is still around and affordable. No big mods were made to the kit during its transition into a USAAF fighter, even though I changed some minor things:

● Main landing gear was completely exchanged through struts from an Airfix A-1 Skyraider and the wheels from a Hasegawa P-51D; thin wire was added as hydraulic tubes

● New propeller blades: instead of the three-bladed original I added four much broader blades with square tips (from a Heller P-51D) to the original spinner

● Different exhaust stubs, which actually belong to a Spitfire Merlin (Special Hobby kit)

● Underfuselage flap was slightly opened

● A pilot figure was added to the nice cockpit

● The gun barrels were replaced with hollow styrene tubes

Painting and markings:

NMF was certain, but the rest…? I wanted to have a colorful aircraft, and eventually settled for a machine in the Pacific theatre of operations. When I browsed for options I eventually decided to apply broad black stripes on wings and fuselage, typical 5th Air Force markings that were used e. g. on P-47Ds and P-51Ds.

Overall design benchmark for my aircraft is a P-47D-28 of 310th FS/58th FG. The tail would be all white, and the rudder sported red and white stripes, early war insignia. The red nose trim and the deep yellow spinner were taken over from this aircraft, too. The blue individual code number is a personal addition, as well as the nose art, which was puzzled together from a Czech 'Perdubice' Meeting MiG-21 and leftover bits from a Pacific use P-51.

The aircraft was basically painted with Aluminum Metallizer (Humbrol 27002) and Polished Steel Metallizer (Modelmaster), and some panels were contrasted with Aluminum (Humbrol 56).

The anti-glare panel in front of the cockpit was painted in Olive Drab (Humbrol 66), the red nose trim with Humbrol 19. The tail was painted with a mix of Humbrol 34 & 196, for a very light grey, and later dry-painted with pure white.

The black ID stripes as well as the red and blue rudder trim were not painted, but rather created through decal sheet material (from TL Modellbau), cut to size and shape to fit into their respective places. The tail was a PITA, but for the black stripes this turned out to be very effective and convenient - an experiment that willcertainly see more future use.

Cockpit interior was painted in Humbrol 226 (Cockpit Green) and Zinc Chromate Green from Model Master, the landing gear wells received a chrome yellow primer (Humbrol 225) finish.

The landing gear struts were kept in bare Aluminum.

For weathering the kit received a rubbing treatment with grinded graphite, which adds a dark, metallic shine and emphasizes the kit’s raised panel lines. Some dry painting with Aluminum was added, too, simulating chipped paint on the leading edges, and on the black ID stripes some dark grey shading was added.

A relatively simple whif, but I love how the Saab 21 looks in the unusual, shiny NMF finish - and the USAAF markings with the prominent ID stripes suit it well, even though it looks a bit like a circus attraction now?

A friend asked me for this pics!

For any question or request:

bankvideo@yahoo.com

All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…

In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.

On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders. There are mainly two sorts of shows. The first one is the classical artistic show, named "Arirang" after the famous korean folk song (whose story sometimes changes, but most often recounts the legend of a disappointed woman who hopes that her lover will return to her –metaphor of the break-up with South Korea). The second one is a more political show, which was untitled in 2008 "Prosper our country" and intended to show the country’s greatest achievements and its struggle against the foreign oppressors.

The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.

Pyongyang North Korea 북한

According to Wikipedia:

The Big Nickel is a nine-metre replica of a 1951 Canadian nickel, located at the grounds of Dynamic Earth in Sudbury, Ontario, Canada. It is listed in the Guinness Book of Records, as the world's largest coin. The twelve-sided nickel is located on a small hill overlooking the intersection of Municipal Road 55 and Big Nickel Drive at the westernmost end of the Gatchell neighbourhood.

On January 22, 2001, the Big Nickel was dismantled for refurbishing of both the coin and the facility. Once refurbished, the coin was installed on the grounds of Science North, and the original Big Nickel site was redesigned into the Dynamic Earth facility. On May 10, 2003, the coin was moved back to a new plain pedestal on the Dynamic Earth grounds. The symbolic stones that comprised the original pedestal, simply discarded.

This panorama was stitched from 22 photographs with PTGUI Pro and touched up in Aperture.

Original size: 18424 × 9212 (169.7 MP; 161 MB).

Location: Big Nickel, Sudbury, Ontario, Canada

A rework of this picture, but with less (read: 'virtually no') sharpening. And you know what? My contact's instincts were correct - this version is (to my eyes, at least) more pleasing…

Of course, the B&W conversion is different as well, as I've got no record of the parameters I used for the conversion...and I'm damned if I can remember what they were :-) And (I promise) that's my last upload for the weekend :-)

And now I'm off to mow my lawns, like I should have done several hours ago...

Metallica | Morumbi - São Paulo | Brasil - 2014

Foto Pri Secco www.facebook.com/PriSeccoFoto

Todos os direitos reservados. Proibida a reprodução total ou parcial, sem autorização. Lei nº 9610/98. All Rights Reserved.

Confira como foi o show em: www.rockexpress.net.br/2014/03/25/metallica-by-request-em...

Online: requestselena.com/

Contato: analizianea@gmail.com

Michelangelo Merisi, called Caravaggio (1571-1610), active, among others, in Rome, Naples, Malta, Sicily

Rosary Madonna, around 1603

The Madonna requests Saint Dominic to spread rosaries to the people. The Saint Peter Martyr points to the origin of all graces, the Christ Child. The founder asks the viewer to go under the protection of the Dominic as well. Caravaggio probably painted the altarpiece in Rome, in 1620, it came as a donation of an artists' group (among them Rubens and Jan Brueghel) to the Dominican church in Antwerp and was bought by the Imperial Painting Gallery in 1781.

Michelangelo Merisi, genannt Caravaggio (1571-1610), tätig, unter anderen, in Rom, Neapel, Malta, Sizilien

Rosenkranzmadonna, um 1603

Die Madonna fordert den Heiligen Dominikus auf, Rosenkränze an das Volk zu verteilen. Der Heilige Petrus Martyr verweist zeigend auf den Ursprung aller Gnaden, den Christusknaben. Der Stifter fordert den Betrachter auf, sich ebenfalls unter den Schutz des Dominikus zu begeben. Caravaggio malte das Altarbild wahrscheinlich in Rom - 1620 kam es als Stiftung einer Künstlergemeinschaft (unter ihnen Rubens und Jan Brueghel) in die Dominikanerkirche nach Antwerpen und wurde 1781 von der kaiserlichen Gemäldegalerie angekauft.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

If you would like to request license options on my images please contact me directly.

Portrait of Anna Howard Shaw, ca. 1890-1895.

View catalog record

Questions? Ask a Schlesinger Librarian

Following a 2nd Postponement of my 27th trial in the Evelpidon Court on November 26th, 2022, I had to appear in the Court again on December 08th, to attend the hearing.

Due to my request for legal aid, the Court has previously been postponed twice. Although in the Court I learned that they had considered my application in this regard, it turned out they didn’t include any contact information in their letter from the lawyer whom they alleged they had assigned to my case.

Through a very rude and ignorant interpreter, the Court told me that I should have looked the lawyer’s name up on Google to find his contact details and ignored my argument about search results for individuals with similar names.

However, this ultimately was the ground for the Court to be postponed again.

Watch the video and read in-depth details here: 👇

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Please sign my online #Petition now and Donate if you can.

Thank you. 🙏 🆘 💔

#HumanRights #Justice #Freedom #Immigration #Refugees #Politics #Democracy #Europe #Greece #Athens #UnitedNations #UNHCR

EOS 60D+Sigma 17-50mm F2.8 EX DC OS HSM

* If you have requests or comments, please describe these in photo comment space.

Photo by request. Chinese men playing soccer at night. Panorama stitched using 17 7D RAW captures with the 17-40 f/4L. Again, seams are not perfect and you might seem more players then there really are because it is technically a time-lapsed image.

# SML Data

+ Date: 2013-03-17 22:19:41 GMT+0800

+ Dimensions: 12404 x 3147

+ Exposure: 1/20 - 1/15 sec at f/5.0

+ Focal Length: 40 mm

+ ISO: 3200

+ Flash: Did not fire

+ Camera: Canon EOS 7D

+ Lens: Canon EF 17-40mm f/4L USM

+ Panorama FOV: 118 degree horizontal, 36.7 degree vertical

+ Panoramic Projection: Cylindrical

+ GPS: 22°25'11" N 114°13'44" E

+ Altitude: 15.7 m

+ Location: 中國香港馬鞍山遊樂場人造草地足球場 中国香港马鞍山游乐场人造草地足球场 Artificial Turf Soccer Pitch, Ma On Shan Recreation Ground, Ma On Shan, Hong Kong, China

+ Serial: SML.20130317.7D.35562-SML.20130317.7D.35578-Pano.Cylindrical.118x36.7

+ Workflow: Hugin 2012, Lightroom 4

+ Series: 體育 Sports, 男 Men, 全景攝影 Panoramic Photography

“夜間足球 Nighttime Football (Soccer)” / 香港體育全景攝影 Hong Kong Sports Panoramic Photography / SML.20130317.7D.35562-SML.20130317.7D.35578-Pano.Cylindrical.118x36.7

/ #體育 #Sports #男 #Men #SMLMen #全景 #Pano #SMLPano #CCBY #SMLPhotography #SMLUniverse #SMLProjects

/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #足球 #Football #Soccer #夜 #Night

boston, massachusetts

1971

from the airplane window

part of an archival project, featuring the photographs of nick dewolf

© the Nick DeWolf Foundation

Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com

These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.

Local Identifier: V092908DB-0128

Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009

From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009

Contact: Presidential Materials Division (LM)

National Archives Building

7th and Pennsylvania Avenue NW

Washington, DC 20408

Phone: 202-357-5200

Fax: 202-357-5939

Production Dates: 9/29/2008

Persistent URL: catalog.archives.gov/id/20015458

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

Today William processed an order in the FPP Store with a special message...Can I have an autograph of you!?..You Got It!

Customers of The FPP Store already know of the little goodies we slip in your package...free FPP stickers, buttons, prints, film and now upon request...original autographed prints! Ha Haaa! Super Positive!

What's The FPP?

An Internet Radio Show & On-Line Resource for Film Shooters Worldwide! Join the fun!

filmphotographyproject.com/

DAY THREE. To download with phone browsers, force them into the "PC" or "Desktop" mode and you'll see a download arrow. Tag your photographer! Requests to Instagram or waterbloggged at mail dot com

Experiment with little light

+++ DISCLAIMER +++

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

Some background:

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

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...

An early start for me this morning, popping into Hyde because my car needed two new front tyres fitting. So what better way to wait for the job's completion than to nab a few photos on the final day before Bee Network Tranche 3 kicks in tomorrow?

After I took this shot, the driver asked if I wouldn't mind posting the image on social media somewhere, to commemorate what will be his last day driving for Stagecoach's Ashton depot before Metroline Manchester take over on the 5th.

Of course, I'm more than happy to oblige. I don't have the driver's name, or indeed what platforms he follows, but I do hope he gets to see this, either through the miracle of Flickr, or on the Metasphere somewhere. All the best to you, sir.

Stagecoach Manchester 10586 (SN16 OUB). Hyde, Bus Station, taken and posted 04/01/2025.

EOS 60D+Sigma 50mm F1.4 EX DG HSM

* If you have requests or comments, please describe these in photo comment space.

These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.

Local Identifier: V110307DB-0047

Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009

From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009

Contact: Presidential Materials Division (LM)

National Archives Building

7th and Pennsylvania Avenue NW

Washington, DC 20408

Phone: 202-357-5200

Fax: 202-357-5939

Production Dates: 11/3/2007

Persistent URL: catalog.archives.gov/id/20015535

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

+++ DISCLAIMER +++

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

Some background:

In October 1933, Hermann Göring sent out a letter requesting aircraft companies consider the design of a "high speed courier aircraft" - a thinly veiled request for a new fighter. In May 1934, this was made official and the Technisches Amt sent out a request for a single-seat interceptor for the Rüstungsflugzeug IV role, this time under the guise of a "sports aircraft". The specification was first sent to the most experienced fighter designers, Heinkel, Arado, and Focke-Wulf.

The final front line duty of an Italian He 112 E-1 took place in 1942, when Italian Piaggio P.108 bombers, accompanied by Italian He 112 escorts, attacked Gibraltar from Sardinia, flying a number of long-range night raids, which lasted until October 1942. By then, the He 112 in Italian service had been fully replaced by indigenous and more capable, new fighter types. Moreover, advanced Bf 109 versions were delivered in early 1943 to the Regia Aeronautica, too, and the remaining He 112 E-1 were relegated to advanced weapon training duties.

General characteristics:

Crew: 1

Length: 9.22 m (30 ft 11 7/8 in)

Wingspan: 9.09 m (29 ft 9¾ in)

Height: 3.82 m (12 ft 6¾ in)

Wing area: 17 m² (183 ft²)

Empty weight: 1,617 kg (3,565 lb)

Max. takeoff weight: 2,248 kg (4,957 lb)

Powerplant:

1× Junkers Jumo 210Ga liquid-cooled inverted V12 engine, rated at 730 hp (534 kW)

Performance:

Maximum speed: 510 km/h (317 mph)

Range: 1150 km (715 mi)

Service ceiling: 9,500 m (31,200 ft)

Wing loading: 132 kg/m² (27.1 lb/ft²)

Armament:

2× 7.7 mm Breda-SAFAT machine guns with 500 RPG mounted in the sides of the engine cowling

2× 12.7 mm (0.5 in) Breda-SAFAT machine guns in the wings with 400 RPG in the wings

The kit and its assembly:

This whiffy He 112 was inspired by a CG skin found at the warthunder.com forum (created/posted by user Arkham815). In its characteristic Italian “smoke ring” livery the depicted He 112 B looked pretty natural. Since I had a Heller He 112 stashed away without concrete plans/ideas yet, I built this one as a simple quickie and just as a fictional color variant.

The Heller kit dates back to 1979, and it is pretty good. You get raised panel lines, but decent interior detail and good fit. For this pseudo-Italian incarnation the kit was mostly built OOB. The only mods are a new three blade propeller (from a Hobby Boss Mitsubishi A6M and an AZ Model Spitfire V spinner, plus a metal axis and a styrene tube adapter inside the fuselage) and some oxygen bottles behind the seat.

The canopy was cut into three pieces for display, and I added some structures inside of the landing gear wells with styrene strips since they are OOB totally bleak. For the wing cannons, barrels cut from a steel needle were added (the original 20mm cannon just featured holes in the wings’ leading edge).

Painting and markings:

Well, the “smoke ring” camouflage used in the CG animation looks pretty on the He 112, and the aircraft’s outline similarity with the Macchi MC.205 make it a natural choice. But I did not use it for my build because it would not match the He 112’s time frame. The “smoke ring” scheme was only used from 1942 onwards, a little too late for my place in history for the Italian He 112, and it was furthermore more or less confined to the Northern African theatre of operations.

Consequentially, I chose an earlier standard scheme for my fictional Italian He 112, even though it would have a similar style, so that the original design idea would be kept. My choice fell on the so-called “C1A” scheme, basically an overall sand yellow with irregular, small green and brown mottles.

The colors were guesstimated, based on contemporary Regia Aeronautica aircraft. The basic Giallo Mimetico is represented through the rather yellowish Humbrol 94 (Desert Sand), later highlighted and somewhat dulled down with dry-brushed Humbrol 168 (Hemp).

The mottles were created in Bruno Mimetico with Humbrol 113 first, and “on top” came another layer with Verde Mimetico (Humbrol 150). Unlike the CG benchmark, the upper camouflage was extended under the engine and the rear fuselage, as well as around the wings’ leading edges. The wings’ undersides were painted in Grigio Mimetico (Humbrol 64).

The white ID band round the fuselage was created with generic decal sheet (TL Modellbau), and all other markings come basically from a vast Fiat CR.42 sheet from Sky Models with markings for roundabout 70(!!!) aircraft. The white spinner with a thin red band was adapted from a contemporary real world 162° Squadriglia Fiat CR.42. It is the only colorful addition, because I wanted to keep things rather subtle – and the mottled scheme in itself is already a spectacular sight!

Being an aircraft of German origin, the interior surfaces became RLM 02 (Humbrol 240), lightly dry-brushed with light grey.

After some soot stains with graphite the kit was sealed with matt acrylic varnish (Italeri).

Part one of a Heller He 112 trilogy, and a rather simple and quick build, done in less than a week and mostly spent on the painting phase. But the He 112 looks very good in its fictional Italian livery, if not spectacular? I find it amazing how well this scheme disrupts the aircraft’s outlines, and how the marking blur into the overall livery. Only the white MTO ID markings truly stand out – an unexpected result.

These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.

Local Identifier: V8261-20

Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009

From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009

Contact: Presidential Materials Division (LM)

National Archives Building

7th and Pennsylvania Avenue NW

Washington, DC 20408

Phone: 202-357-5200

Fax: 202-357-5939

Production Dates: 2/18/2004

Persistent URL: catalog.archives.gov/id/20015718

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

Send an Email for request stock photo or Print sale : adylee96@gmail.com

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Requested by warlus2014. From Young Justice. Give credits if use and tell me what you think :D,personal use only.

Na zes dagen mochten Giel Beelen, Michiel Veenstra en Gerard Ekdom maandagavon om negen uur het glazen huis weer uit op de Oude Markt in Enschede. Tijdens het eindfeest op het Van Heekplein werd bekend gemaakt dat de deejays dit jaar meer dan twaalf miljoen euro hebben opgehaald met 3FM Serious Request.

Foto: Heidie Duteweert

The Luxury of being yourself

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We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.

We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.

“A concise poem about our work as stated elow

A place without being

a thought without thinking

creatively, two dimensions

suspended animation

possibly a perfect imitation

of what was then to see.

A frozen memory in synthetic colour

or black and white instead,

fantasy dreams in magazines

become imbedded inside my head.

Artistic views

surrealistic hues,

a photographer’s instinctive eye:

for he does as he pleases

up to that point he releases,

then develops a visual high.

- M R Abrahams

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All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.

All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:

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In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.

We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.

WS-113-11643645-02541484-5170758-2342022000151

These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.

Local Identifier: V8261-08

Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009

From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009

Contact: Presidential Materials Division (LM)

National Archives Building

7th and Pennsylvania Avenue NW

Washington, DC 20408

Phone: 202-357-5200

Fax: 202-357-5939

Production Dates: 2/18/2004

Persistent URL: catalog.archives.gov/id/20015706

Access Restrictions: Unrestricted

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requested by someone on tumblr

Where-4 bodies.

were-found.

Gunness Farm La Porte, Indiana

Date: 1908

Source Type: Postcard

Publisher, Printer, Photographer: Stansbury

Postmark: None

Collection: Steven R. Shook

Remark: Belle Gunness, often referred to as the Lady Bluebeard, is considered to be the first American female serial killer.

Born in 1858 in Selbu, Norway, Belle Gunness emigrated to America in the mid 1880s. Belle married Mads Sorenson in 1893, and together they operated a store in Chicago. The store burned down, and Mads and Belle collected insurance on the property. Mads Sorenson died in 1900, with Belle collecting approximately $8,000 through his life insurance policy.

On April 1, 1902, Belle married Peter Gunness in LaPorte, Indiana. Together, Peter and Belle owned and operated a small farm on McClung Road in LaPorte County. Belle again collected insurance on a husband when Peter died after a coffee grinder allegedly fell from a shelf hitting him on the head. Following Peter's death, Belle began advertising in Norwegian language newspapers in America for a husband.

Several suitors answered Belle's advertisements. However, many of these potential bridegrooms would suddenly leave in the night, leading Belle's 18 year old niece, Jenny Olson, to be suspicious as to their welfare. Jenny then mysteriously disappeared, though Belle told friends and neighbors that she had left for schooling in California.

The final man to respond to Belle's advertisement was Andrew Helgelein. Belle requested that Andrew sell his property and bring his money (about $3,000) to LaPorte, which he did in 1908. Andrew's brother, Asa Helgelein became suspicious when letters from Andrew ceased to arrive. Asa therefore traveled to LaPorte County to inquire about the welfare of his brother.

In the early morning of April 28, 1908, the Gunness farmhouse burned to the ground. The Gunness children were found in the ashes of the home, as well as the body of a headless woman. This headless body, however, was much smaller in size than the rotund stature of Belle's body. After sluicing through the ashes of the home, dental work reportedly to be Belle's was found. Asa Helgelein arrived several days after the fire, and at his urging, the LaPorte County Sheriff began to further investigate the fire and Belle's relations with out-of-town men. The investigation turned into a national sensation, as numerous bodies were soon found to be buried on Belle's farm.

The remains of Andrew Helgelein were the first to be found, buried in a shallow grave in the garden. Jenny Olson's body was soon discovered nearby. In all, at least twelve other bodies were recovered from the property. It has been estimated that Belle may have buried forty men on the farm.

Enormous crowds, numbering in the thousands, visited the farm during the investigation. Special trains from Chicago and Indianapolis, as well as from other towns and cities, brought curious onlookers to the farm. Picnics were common. A farm building was used as a temporary morgue, where onlookers could view the remains as they were recovered and put on display. Numerous postcards were produced and sold during and after the investigation.

Ray Lamphere, a farm hand of Belle's, was eventually charged with murder and arson. Though not convicted of murder, Lamphere was found guilty of arson and incarcerated in the nearby Indiana State Prison in Michigan City, where he died a few years later. While in prison, Lamphere maintained that Belle had escaped and insisted that her body was not found in the debris of the burnt house. Lamphere's statement led to numerous reported sightings of Belle Gunness across the United States for many years, none of which were ever confirmed.

Copyright 2020. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

I shot a lot of new photos recently and wanted to fulfill a request I got to paint a pineapple flat black. With Halloween coming too, I thought now is a good time! 🍍 ⚫️⠀ ⠀ These photos aren’t available for high-res download though, yet. Depending on what you guys think, I could hustle to put a bundle up on the site. ⠀ ⠀ Check out our site with the link in bio ✌️⠀ ift.tt/2elADI9 ift.tt/2egzrFJ

+++ DISCLAIMER +++

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

Some background:

In Autumn 1946, the Saab company began internal studies aimed at developing a replacement aircraft for the Saab B 18/S 18 as Sweden's standard attack aircraft. In 1948, Saab was formally approached by the Swedish Government with a request to investigate the development of a turbojet-powered strike aircraft to replace a series of 1940s vintage attack, reconnaissance, and night-fighter aircraft then in the Flygvapnet’s inventory. On 20 December 1948, a phase one contract for the design and mock-up of the proposed aircraft was issued. The requirements laid out by the Swedish Air Force were demanding: the aircraft had to be able to attack anywhere along Sweden's 2,000 km (1,245 miles) of coastline within one hour of launch from a central location, and it had to be capable of being launched in any weather conditions, at day or night.

However, this was still not the end of the Saab 32, which turned out to be even more long-lived: By 2010, at least two Lansens were still operational, having the sole task of taking high altitude air samples for research purposes in collaboration with the Swedish Radiation Safety Authority, and by 2012 a total of three Lansens reportedly remained in active service in Sweden.

General characteristics:

Crew: 2

Length: 14.94 m (49 ft 0 in)

Wingspan: 13 m (42 ft 8 in)

Height: 4.65 m (15 ft 3 in)

Wing area: 37.4 m² (403 sq ft)

Airfoil: NACA 64A010

Empty weight: 7,500 kg (16,535 lb)

Max takeoff weight: 13,500 kg (29,762 lb)

Powerplant:

1× Svenska Flygmotor RM6A afterburning turbojet

(a Rolls Royce Avon Mk.47A outfitted with an indigenous afterburner),

delivering 4,88 kp dry and 6,500 kp with reheat

Performance:

Maximum speed: 1,200 km/h (750 mph, 650 kn)

Range: 2,000 km (1,200 mi, 1,100 nmi) with internal fuel only

Service ceiling: 15,000 m (49,000 ft)

Rate of climb: 100 m/s (20,000 ft/min)

Armament:

No internal weapons.

13× external hardpoints (five major pylons and eight more for light weapons)

for a wide variety of up to 3.000 kg of ordnance, typically only used

for ECM and chaff/flare dispenser pods and/or a conformal ventral auxiliary tank

The kit and its assembly:

This is a what-if project that I had on my idea list for a long time, but never got the nerve to do it because it is just a mild modification – the model depicts a real aircraft type, just with a fictional livery for it (see below).

The plan to create a J 32E from Heller’s A 32 kit from 1982 predated any OOB option, though. Tarangus has been offering a dedicated J 32B/E kit since 2016, but I stuck to my original plan to convert a Heller fighter bomber which I had in The Stash™, anyway)- also because I find the Tarangus kit prohibitively expensive (for what you get), even though it might have saved some work.

The Heller A 32A kit was basically built OOB, even though changing it into a J 32B (and even further into an “E”) called for some major modifications. These could have been scratched, but out of convenience I invested into a dedicated Maestro Models conversion set that offers resin replacements for a modified gun bay (which has more pronounced “cheek fairings” than the attack aircraft, the lower section is similar to the S 32C camera nose), a new jet exhaust and also the Lansen’s unique conformal belly tank – for the cost of a NIB Heller Saab 32 kit alone, though… :-/

Implanting the Maestro Models parts was straightforward and relatively easy. The J 32B gun bay replaces the OOB parts from the Heller kit, fits well and does not require more PSR than the original part. Since the model depicts a gun-less J 32E, I faired the gun ports over.

The RM6A exhaust was a bit more challenging – it is a bit longer and wider than the A 32A’s RM5. It’s not much, maybe 1mm in each dimension, so that the tail opening had to be widened and slightly re-contoured to accept the new one-piece resin pipe. The belly tank matched the kit’s ventral contours well. As an extra, the Maestro Models set also offers the J 32B’s different tail skid, which is placed further back on the fighter than on the attack and recce aircraft.

The J 32E’s characteristic collection of sizable blade antennae all around the hull was scratched from 0.5 mm styrene sheet. Furthermore, the flaps were lowered, an emergency fuel outlet was added under the tail, the canopy (very clear, but quite thick!) cut into two parts for optional open display, and the air intake walls were extended inside of the fuselage with styrene sheet.

Under the wings, four pylons (the Heller kit unfortunately comes totally devoid of any ordnance or even hardpoints!) from the spares box were added that carry scratched BOZ-1 chaff dispensers and a pair of ADRIAN/PETRUS ECM pod dummies – all made from drop tanks, incidentally from Swedish aircraft (Mistercraft Saab 35 and Matchbox Saab 29). Sure, there are short-run aftermarket sets for this special equipment that might come closer to the real thing(s), but I do not think that the (quite considerable) investments in all these exotic aftermarket items are worthwhile when most of them are pretty easy to scratch.

Painting and markings:

The paint scheme was the actual reason to build a J 32E: the fundamental plan was to build a Lansen in the Swedish air superiority low-viz two-tone paint scheme from the Nineties, and the IMHO only sensible option beyond pure fantasy was the real J 32E as “canvas”. I used JAS 39 Gripens as reference: their upper tone is called Pansargrå 5431-17M (“Tank Grey”, which is, according to trustworthy sources, very close to FS 36173, U.S. Neutral Grey), while the undersides are painted in Duvagrå 5431-14M (“Dove Grey”; approximately FS 36373, a tone called “High Low Visibility Light Grey”). Surprisingly, other Swedish types in low-viz livery used different shades; the JA 37s and late J 35Js were painted in tones called mörkgrå 033M and grå 032M, even though AJSF 37s and AFAIK a single SK 37 were painted with the Gripen colors, too.

After checking a lot of Gripen pictures I selected different tones, though, because the greys appear much lighter in real life, esp. on the lower surfaces. I ended up with FS 36231 (Dark Gull Grey, Humbrol 140, a bit lighter than the Neutral Grey) and RLM 63 (Lichtgrau, Testors 2077, a very pale and cold tone). The aircraft received a low waterline with a blurry edge, and the light grey was raised at the nose up to the radome, as seen on JA 37s and JAS 39s. To make the low-viz Lansen look a little less uniform I painted the lower rear section of the fuselage in Revell 91 and 99, simulating bare metal – a measure that had been done with many Lansens because leaking fuel and oil from the engine bay would wash off any paint in this area, leaving a rather tatty look. Di-electric fairings like the nose radome and the fin tip were painted with a brownish light grey (Revell 75) instead of black, reducing contrast and simulating bare and worn fiber glass. Small details like the white tips of the small wing fences and the underwing pylons were adapted from real-world Lansens.

After a light black ink wash, I emphasized single panels with Humbrol 125 and 165 on the upper surfaces and 147 and 196 underneath. Additionally, grinded graphite was used for weathering and a grimy look – an effective method, thanks to the kit’s fine raised panel lines. The silver wing leading edges were created with decal sheet material and not painted, a clean and convenient solution that avoids masking mess.

The ECM and chaff dispenser pods were painted in a slightly different shade of grey (FS 36440, Humbrol 40). As a subtle contrast the conformal belly tank was painted with Humbrol 247 (RLM 76), a tone that comes close to the Lansens’ standard camouflage from the Sixties’ green/blue livery, with a darker front end (Humbrol 145) and a bare metal tail section.

The cockpit interior was, according to pictures of real aircraft, painted in a greenish grey; I used Revell 67 (RAL 7009, Grüngrau) for most surfaces and slightly darker Humbrol 163 for dashboards and instrument panels. The landing gear wells as well as the flaps’ interior became Aluminum Bronze (Humbrol 56), while the landing gear struts were painted in a bluish dark green (Humbrol 195) with olive drab (Revell 46) wheel hubs - a detail seen on some real-life Saab 32s and a nice contrast to the light grey all around.

All markings/decals came from RBD Studio/Moose Republic aftermarket sheets for Saab 32 and 37. From the latter the low-viz national markings and the day-glo orange tactical codes were taken, while most stencils came from the Lansen sheet. Unfortunately, the Heller kit’s OOB sheet is pretty minimalistic – but the real A/S 32s did not carry many markings, anyway. Finally, the kit was sealed with matt acrylic varnish. As a confusing detail I gave the aircraft an explicit “16M” unit identifier, created with single black 4 mm letters/numbers. As a stark contrast and a modern peace-time element I also gave the Lansen the typical huge day-glo orange tactical codes on the upper wings that were carried by the Swedish interceptors of the time.

A relatively simple build, thanks to the resin conversion set – otherwise, creating a more or less believable J 32E from Heller’s A 32 kit is a tough challenge. Though expensive, the parts fit and work well, and I’d recommend the set, because the shape of the J 32B’s lower nose is quite complex and scratching the bigger jet pipe needs a proper basis. The modern low-viz livery suits the vintage yet elegant Lansen well, even though it reveals the aircraft’s bulk and size; in all-grey, the Lansen has something shark- or even whale-ish to it? The aircraft/livery combo looks pretty exotic, but not uncredible - like a proven war horse.

First of all, I see from the Church of England website, the dedication is Laurence rather than Lawrence, so will correct my previous shots.

And with St Laurence, I have completed the listed churches in the Dover Deanery, a task that has taken some seven and a half years, and in which I have been frustrated by three churches that remained locked to me. But thanks to the internet and requesting access, I did finally get inside Whitfield, Preston and Betteshanger and cross them off the list.

I did see inside Hougham too, about 15 months ago during the Heritage Weekend, but found that the parish had arranged a festival to take place art the same time, and the inside was covered in quilts and carpets.

Of course.

St Laurence is situated on a down between Dover and Capel, and the village is dominated by the TV mast which beams us all TV and radio in the area. You approach the village up steep and narrow lanes from the Old Folkestone Road, or from River in Dover, and the church itself is in the middle of Church Hougham, down a dead end lane.

Unlike on previous visits, the door was unlocked so I dd not have to find a keyholder. The lightswitch beside the door lit just a single bulb above the doorway to the porch, but on a bright winter day, the church was full enough with light.

It was clear that the south wall of the chancel is leaning out at an alarming angle, but in fairly recent times, a buttress has been built to save it from falling.

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

In its day this must have been a magnificent church. Its day would have been during the period 1100 to 1150, for a large building was constructed at this time. Even today the remains are impressive. As in many east Kent churches there is no chancel arch. There is a tremendous lean to the south chancel wall. It also shows the blocked arcade to a former south chapel. The north chapel has an impressive east window in Early English style which was copied by the Victorians when they replaced the chancel east window, and for once it is possible to compare the Victorian and medieval work almost side by side. While nineteenth-century windows are fine elsewhere in the church this juxta-position at Hougham clearly demonstrates the superiority of the medieval work. By far the most interesting feature at Hougham is the tower. The arch from the nave is particularly lofty and leads into an extremely tall and spacious chamber which can best be described as cavern-like.

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

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

OR Huffam, as it is called, and frequently written in Domesday, Hicham, being so denominated from its high situation, lies the next parish eastward from Polton. Part of it only is within this hundred of Bewsborough; another part is within the hundred of Folkestone; and the residue is within the jurisdiction of the cinque ports, and of the corporation of the town and port of Dover. A borsholder, for that part of this parish which is within the hundred of Bewsborough, is chosen at the court leet of the hundred.

THE PARISH of Hougham lies among the high eastern hills of Kent, in a healthy though a very rude and wild country. In the midst of it are two streets, called Church Hougham, and East Hougham; in the former of which the church stands, and at the south-west part of it, a hamlet called West Hougham. Great part of this parish is full of small inclosures, interspersed with frequent coppice wood, and much rough ground. The soil is but poor and barren, consisting of either chalk or a red earth, covered with a rotten slint stone, with which the narrow roads here abound. Towards the eastern part of it the ground lies high, being an open uninclosed down, across which the high road leads from Folkestone to Dover, quite to the sea-shore, over which the chalk cliffs here rise to a great height; from hence there is a most beautiful prospect over the channel, and the Bologne hills on the coast of France. Near the bottom of these cliffs are three holes, called Lydden Spouts, through which the subterraneous waters empty themselves continually on the beach of the shore; and the belief of the country is, that the waters of the Nailborne, at Drelingore, in Alkham, at least four miles distant, communicate subterraneously with these spouts, which increase as the springs heighten by wind and weather. Over these spouts, in the middle of the cliff, are two large square rooms cut out of the chalk, one within the other; they are called the Coining-house, and have a very difficult way to come at them, the cliff here being upwards of four hundred feet high.

When the plague raged in London in the year 1665, it was brought to Dover, and great numbers died there of the pestilence in that and the following years, for the burial of whom a piece of ground was bought in this parish, on the side of the hill fronting the pier fort, and consecrated for that purpose. It is computed that upwards of nine hundred of those who died of this pestilence were buried in it, since which it has been constantly known by the name of the Graves.

Henry Benger, gent. was of Hougham, and resided here anno 1619, and descended from John Benger, of Maningford, in Wiltshire. They bore for their arms, Or, a cross vert, surmounted by a bendlet, gules. (fn. 1)

THE PARISH OF HOUGHAM was part of those lands which were given to Fulbert de Dover, for the desence of Dover castle, (fn. 2) which made up together the barony of Fulbert, or Fobert, as it was usually called, being held in capite by barony, of which Chilham became the chief seat, or caput baroniæof which this place, as appears by the book of Dover castle, was afterwards held by knight's service. Among these lands was included THE MANOR OF HOUGHAM, otherwise called THE ELMES, at times called by the names of Great Hougham, alias Chilverton; and likewise Southcourt, from its situation in regard to the manor of Northcourt, alias Little Hougham, in this parish.

This manor was held in manner as above-mentioned by a family who took their surname of Hougham from it. This family bore for their arms, Argent, five chevronels, sable; which Philipott (fn. 3) says they bore in allusion to those of their superior lords, of whom they held lands, the Averenches, or Albrincis, lords of the barony of Folkestone, whose arms were, Or, five chevronels, gulesFrom this family of Hougham descended those of Weddington, in Ash, near Sandwich, now extinct; and from the latter collaterally, those now of St. Paul's near Canterbury. One of the above mentioned family, Robert de Hougham, held it in king Richard I.'s reign, and was present with that king at the siege of Acon, in Palestine. At length his descendant Robert de Hougham, leaving two daughters his coheirs, of whom Benedicta was married to John de Shelving, and the other to Waretius de Valoignes, the latter became entitled to this manor, on the share of his wife's inheritance; and in the 14th year of king Edward III. obtained a charter of free-warren for this manor of Hougham. He left two daughters his coheirs, one of whom married Sir Francis Fogge; the other Maud, married Thomas de Aldelyn, or Aldon, who in her right became possessed of this manor.

Thomas de Aldelyn, or Aldon, as the name was afterwards written, died possessed of this manor in the 35th year of the above reign; but it should seem that he had no further interest in it but for his life, for Maud his wife before her death had infeoffed William Tapaline and others in this manor, and they passed it away to Stephen, Richard, and John de Combe, the latter of whom was of Hastingligh, and afterwards became sole possessor of it. He conveyed this manor in the 10th year of king Richard II. in trust to sell it; after which it came into the name of Heron, in which it remained at the end of king Henry IV.'s reign, and from which it was after some interval alienated to William Fineux, gent. of Swingfield, who had three sons; Sir John Fineux, chief justice of the king's bench, who purchased Haw-house, in Herne, under which, an account of him and his descendants may be seen; William, to whom his father gave this manor of Southcourt; and Richard, who was of Dover. (fn. 4)

William Fineux, who had this manor of Southcourt by gift of his father, resided at Hougham, and dying possessed of it in 1534, s.p. he by his will gave it to William, the eldest son of his brother Richard deceased, who afterwards resided here, and in his direct descendants it continued down to Thomas Fineux, gent. of Dover, who in king Charles II.'s reign passed away this manor to Robert Breton, gent. who resided at the mansion, called the Elmes, in this parish, formerly the residence of the Nepueus, several of whom lie buried in this church, which seat he had purchased of William Nepueu, esq. of Twickenham, the grandson of Peter, the first builder of it, who was a native of France, and came over to England upon the edict of Nantes, and brought with him a considerable property. He died in 1658, and lies buried in Hougham church. They bore for their arms, Azure, a fleece, or. Robert Breton above-mentioned was descended from the Bretons, of Barwell, and on the mother's side from the Bassingtons, of Temple Rothley, in Leicestershire, being the son > of Nich. Breton, of Norton, near Daventry. He died possessed of this estate, and was buried in this church. His great-grandson M. Breton, esq. afterwards of Kennington-house, (fn. 5) alienated both manor and seat to Robert Lacy, esq. who resided at Elmes, where he served the office of sheriff in the year 1739, and he died possessed of them about the year 1746; upon which they came to his son-in-law Granado Piggott, esq. who in 1749 passed them away to Mr. Phineas Stringer, of Dover, who died in 1757, leaving two sons, Phineas, of whom hereafter; and George, of Canterbury. Phineas, the eldest son, is of Dover, and married the daughter of Mr. Richard Rouse, of Dover, by whom he has an only daughter and heir, married to Mr. Edward Broadrip, gent. of Dover. He bears for his arms, Per chevron, or, and sable, in chief, two eagles displayed of the second; in base, a fleur de lis of the first. He succeeded his father in this manor and seat, and is the present owner of them.

A court baron is held for this manor, the boundaries of which, as I am informed, begin at High-cliff, from whence they extend along the coast, to a place called Jews-gut, and there leaving the cliff, on towards Capel, whence including West Hougham, they go down to the Elmes, and the land of Dover priory.

THE MANOR OF HOUGHAM-COURT, alias NORTHCOURT, which latter name it took from its situation in regard to the former described manor of South court, was comprehended as part of those lands which, as has been mentioned before, were given to Fulbert de Dover, and with other lands made up the barony of Fobert, of which it was held afterwards by knight's service, by the family of Basing, of eminent account in the city of London during the reigns of king John and king Henry III. for the high offices of trust which they bore in it. At length Sir Thomas de Basing succeeding to this manor, he alienated it to Adam Sare, whose heirs were in the possession of it in the 20th year of king Edward III. How it passed afterwards, I have not found, till the beginning of king Henry VI.'s reign, when it was alienated to Clive, commonly called Cliffe, a family of good account in the counties of Salop and and Essex; from whence, at the latter end of that reign, it passed by sale to William Hextal, esq. of East Peckham. One of his daughters and coheirs Margaret, entitled her husband Wm. Whetenhall, esq. commonly called Whetnall, citizen and alderman of London, to it. (fn. 6) His descendant William Whetenhall about the middle of king Henry VIII.'s reign sold it to John Boys, esq. of Fredville, in whose descendants it continued down to Major John Boys, of Fredville, who possessed it in 1656.

Before his death he alienated this manor; but now it passed afterwards I have not learned, only that it became vested in the name of Woodroofe; and in the year 1720, William Woodroofe, clerk, of Cambridgeshire, sold one moiety of it to John Walker, citizen and draper, of London, who passed it away to Francis Cabot, and he, at his death in 1753, devised it to his widow Barbara, as she did to her father Mr. Robert Cooper, of Salisbury, and her brother in law William Barnes. In 1786, this moiety was in possession of Robert, son of the above-mentioned Robert Cooper, and of Anne Barnes, and they joined in the sale of it to Mr. Michael Becker, of Dover, who in 1792 sold it to Mr. Philip Leman, of Dover castle, the present owner of it.

The other moiety continued afterwards in the descendants of William Woodroofe above-mentioned down to the Rev. Mr. Woodroofe, of Shoreham, in this county, the present possessor of it; so that this manor remains in undivided moieties at this time.

There is no court held for this manor; to it is annexed the right to wreck of the sea along the coast, from High cliff to Archcliff fort.

SIBERTON, alias SIBERSTON, is a manor in the north-east part of this parish, which made likewise part of the barony of Fobert before-mentioned, of which it was held by knight's service. John de Herste held this manor in the 2d year of king John, and in the 20th year of king Edward III. the heirs of another John de Herst held it by the description of lands in Siberston, of the barony of Chilham, by the like service, and the payment of ward to Dover castle; not long after which it appears to have been in the possession of a family who took their surname from it, one of whom, Richard de Siberston, as appeared by an old dateless deed of that time, demised it to John Monins, in whose descendants it continued down to Edward Monins, esq. of Waldershare, whose lands were disgavelled by the act of the 2d and 3d Edward VI. He died possessed of it in the 6th year of that reign, and by his will gave this manor of Seberston, to his second son George Monins, and he sold it to Thomas Pepper, jurat of Dover, who dying in the 17th year of queen Elizabeth, gave it to Thomas, son of Richard Pepper, and he in king James I.'s reign alienated it to Moulton, of Redriff, in whose descendants it remained at the time of the restoration of king Charles II. 1660, after which it was alienated, after some intermediate owners, to Mr. Phineas Stringer, of Dover, whose son, of the same name, is the present possessor of it.

But this manor, by unity of possessionhas for some year since been so blended with that of Hougham, otherwise called the Elmes, above described, that it is now accounted one and the same manor.

THE TITHES of the manor of Siberston, lying in Elms bottom, in this parish, were part of the possessions of the priory of St. Martin, in Dover, and continued so till the dissolution of it in the 27th year of Henry VIII. when this portion of tithes, among the rest of the possessions of the priory, came into the king's hands, who granted it with the scite and other possessions of the priory, in his 29th year, to the archbishop in exchange, in manner as has been already frequently mentioned before, in which state it has continued ever since, his grace the archbishop being at this time entitled to the inheritance of it. John Monins, esq. of Canterbury, is the present lessee of it.

FARTHINGLOE, alias VENSON DANE, is another manor in this parish, which was antiently part of the possessions of the canons of St. Martin, under the general title of whose possessions it is thus entered in the survey of Domesday:

In Beusberg hundred. In Ferlingelai, William the son of Ganfrid holds one suling, and there he has in demesne one carucate, and four villeins, with one carucate. It is worth four pounds. In the time of king Edward the Confessor, six pounds. Sired held it as a prebend.

And immediately following, under the title of the same possessions:

In Hicham, Balduin holds one suling, and there he has four villeins, and five borderers, with two carucates. It is worth four pounds. In the time of king Edward the Confessor, one hundred shillings. Eduuin holds it.

As the canons of St. Martin's priory had other possessions in this parish, besides the manor of Farthingloe, the latter entry no doubt contains the description of them, and includes their estate here, called Venson Dane, alias Wellclose, mentioned below, which together with the manor of Farthingloe, remained parcel of the possessions of the above priory, till the final suppression of it in the 27th year of king Henry VIII. when they both came into the king's hands, who granted them in his 29th year to the archbishop in exchange, as has been already more particularly mentioned before; since which this manor of Farthingloe, with the estate of Venson Dane, alias Wellclose, has remained parcel of the possessions of the see of Canterbury, his grace the archbishop being at this time entitled to the inheritance of them. The interest of the present lease is vested in the widow of Mr. Nath. Walker, deceased, and Mr. John Marsh (the present occupier); the former possessing the lands, and the latter the great tithes, for their respective shares.

This estate is exempted from the payment of the great or corn tithes. There is not any court held for this manor.

The manor of Farthingloe was held of the prior and canons in king Henry III.'s time, by a family, who from their residence at it, took their surname from it. One of them, Matilda de Farthingloe, is mentioned by Prynne, anno 44 Henry III.

MAXTON, or Maxton court, is another manor situated in this parish, at no great distance from Farthingloe, which in king Henry III.'s reign, as appears by the book of knights fees kept in the king's remembrancer's office, was in the possession of Stephen Manekyn, who held it by knight's service of the barony of Fobert, and together with other lands elsewhere made up that barony, and were given for the desence of Dover castle. After this it seems to have been divided into moieties, and to have been held by Richard Walsham, and Alice, daughter of Stephen Manekin, who alienated the whole of it to William, son of Nicholas Archer, of Dover, whose seal was, A stag's head, caboshed, as appears by a deed in the Surrenden library, dated anno 17 Edward III. His son William Archer, in the 21st year of the next reign of king Richard II. passed it away by sale to John Alkham, of Alkham, a family of good estate in this neighbourhood, in the descendants of which this manor remained for some time; but at the latter end of king Edward IV. it was become the property of Roger Appleton, from whom it passed to Hobday, and thence to Harman, of Crayford, from which name it was sold by Thomas Harman to Sir James Hales, who at or about the middle of queen Elizabeth's reign alienated it to Andrews, of Dover, who some few years afterwards sold it to Pepper, and he in king James I.'s reign conveyed it to Sir Thomas Wilford, of IIden, who in king Charles I.'s reign passed it away to Mr. William Richards, of Dover, whose descendant of the same name, devised it to his nephew John Sladden, of Dover, merchant, as he did to his sister Mary, who carried it in marriage to Mr. Thomas Fagge, of Dover, whose trustees, after his death, to perform the uses of her will, sold it in 1783 to Tho. Biggs, esq. of Dover, the present owner of it, who has much improved the mansion of this manor, by making several additional buildings to it. A court baron is held for this manor.

Charities.

THOMAS PEPPER, jurat of Dover, by his will in 1574, de vised to the poor within the parishes of our Lady of Dover and Hougham, one annuity of 40s to be distributed equally between them, issuing out of his manor of Syberstone, and the lands belonging to it, with power to distrain, &c. now vested in Phineas Stringer, esq. and the money is distributed to such as do not receive weekly allowance of the parish.

There is a house divided into two small dwellings, inhabited by two persons placed there by the churchwardens and overseers of the poor; but how it came to the parish is not known.

The poor constantly maintained are about twenty-five, casually fifteen.

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

The church, which is dedicated to St. Laurence, is an ancient building, but small, consisting of two small isles and a chancel, having neither tower nor steeple, but it has a place for three small bells. In the chancel lie buried several of the families of Hougham and Malmaines; the brasses of whose stones have been long since torn off, though the lines of their portraitures still remain. In the chancel is a monument for Wm. Fyneux, esq. son of Robert. He died in 1587; arms, Vert, a chevron, between three eagles displayed, or, crowned, gules, impaling Warren, azure, a cross, or; in the first and fourth quarters, a martlet; in the second and third, a chaplet of the second. Another for Peter Nepeau, gent. who lies buried in a vault underneath; he built and resided at the Elmes, in this parish, still continuing the trade of a merchant; he died in 1658. William, his only surviving son, married Sarah, daughter of Mr. Bulteel, of Tournay, in Flanders, who was also buried in this chancel. His youngest son William succeeded to the Elmes, which he sold, and settled at Twickenham; he died in 1710; arms, Azure, a fleece, or. Another for Robert Breton, esq he died in 1707; arms, Azure, a bend between six mullets, pierced, or. And for William Hannington, esq. who married a daughter of William Monings, lieutenant-governor of Dover-castle; he died in 1607.

¶This church was part of the possessions of the priory of St. Martin, to which it was appropriated by archbishop Stratford, in 1345, and a vicarage endowed in it, (fn. 7) both which were at the suppression, in the 27th year of king Henry VIII. granted with the scite of the priory and other possessions of it in the exchange to the archbishop, with a reservation of the antient pension from the prior of forty shillings to the vicar, in manner as has been frequently more particularly mentioned before. In which state they now continue, his grace the archbishop being possessed of the appropriation of this church, with the advowson of the vicarage of it. The parsonage is called Little Hougham court, which with the tithes are held under the archbishop by Mr. Thomas Walker, of Dover. The glebe land is ninety acres.

In 1588 here were one hundred and twenty communicants, and it was valued at forty pounds per annum. This vicarage is valued in the king's books at 6l. 13s. 4d. Archbishop Juxon, anno 14 Charles II. augmented this vicarage with twenty-five pounds, to be paid by the lessee of the great tithes, which was again confirmed anno 22 of that reign. The vicar still receives the antient pension of forty shillings from the archbishop. It is now a discharged living of about the clear yearly value of forty-six pounds.

www.british-history.ac.uk/survey-kent/vol9/pp451-462

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All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…

In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.

On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders. There are mainly two sorts of shows. The first one is the classical artistic show, named "Arirang" after the famous korean folk song (whose story sometimes changes, but most often recounts the legend of a disappointed woman who hopes that her lover will return to her –metaphor of the break-up with South Korea). The second one is a more political show, which was untitled in 2008 "Prosper our country" and intended to show the country’s greatest achievements and its struggle against the foreign oppressors.

The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.

Pyongyang North Korea 북한