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This is not one of my own, but I print I picked up last week, there are about 40 which by the writing on the back were all taken by the same photographer. If you own the copyright to this please let me know and I will remove the image if you wish.
Here we have Western D1071 waiting to leave Paddington on the 20th of July 1975 on the 1B46 16.45 to Bristol.
My good friend and EA church expert and all round good bloke, Simon K, www.flickr.com/photos/norfolkodyssey/, provided me a list of fine churches to visit in the Dedham Vale which I should visit if the planned trip to Suffolk ever came off.
I left Dover early on the Thursday morning, and mixed it with the rush hour traffic at Dartfod before turning up the A12 and away from the craziness. And into the driving craziness that is Essex. But that's another story.
I turned off just after crossing the border into Suffolk at Stratford St Mary, and then got lost. I was trying to get to Stoke by Nayland, but I found no signs for it, and had to pull the sat nav out to find my way.
In preparing the list, I noted the name of Boxted, as it was nearly the same name as my first employer, Buxted, so when I saw a sign for Boxted, I followed it.
I thought I was in Suffolk still, but somewhere along the line I must have crossed back into Essex, as there are villages in both counties, very near each other, called Boxted.
Boxted village has two netres, the new part down in the valley, and the old part around the church up the hill. The church took some finding, but along and up Church Hill (always a giveaway), there it was.
I couple were preparing to do some pruning of the brambles growing out of the wall near the gate, and they gave me a disdainful look, but were pleasant enough when I left as I remarked what a wonderful church it is.
In fact, this might be one of my favourite churches I have visited, maybe even the favourite. I was surprised that Simon says so little about it, I found it a delight. The gallery so steeply raked the church felt like a theatre, and I am sure services here are special.
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There are two settlements in the parish, a large village a mile away down in the valley, and this smaller, older hamlet around the church.
While I was photographing the exterior, a rather brusque, rude woman asked me to move my bike so she could reverse up to the church because she was 'doing the flowers'. She then parked directly in front of the porch. She must have known her car would spoil my photographs. She got out and took - I kid you not - a single leafy branch from the back of her car and went into the church. I took as long as I could before joining her, by which time she was just leaving, thankfully. She had the grace to say goodbye.
This is a nice interior, full of light, curious pointed arcades punched through thick Norman walls, and a large west gallery raked so steeply that one has the impression of being in a cinema or theatre. An 18th Century memorial has an angel and a skeleton arm-wrestling over a corpse. I liked this one a lot, despite the rude woman.
Simon Knott, October 2012
www.essexchurches.org.uk/boxted.htm
In the early years of the 11th century a Saxon lord named Edwin built a church at Boxted, on the southern slopes of the Dedham Vale. The site chosen by Edwin for his church is rumoured to have been occupied by the ruins of a Roman villa destroyed by Queen Boudicca in her rebellion against the Romans in 61AD. Certainly the Saxon church was built using Roman bricks, mixed with local rubble.
Early historical studies of Boxted church suggest that Edwin's church used septaria stones, of the sort used to build the town walls of Colchester a few miles to the south.
In the late 11th century Edwin's church was replaced with a grand new building in stone. The builders were Robert de Horkesley and his wife Beatrice. The building was begun sometime around 1090 and completed by 1130. The church was dedicated to St Mary, and that dedication held true until sometime around the Reformation - perhaps when nearby Little Horkesley Priory was dissolved, at which point the church was rededicated to St Peter. The first priest was a monk from Little Horkesley Priory named Roberto. The material was a mix of puddingstone, rubble, and Roman brick, but the upper part of the tower was rebuilt in the 16th century with brick, and brick buttresses added. At the same time a timber porch was added.
he church was always kept in good repair; following the Reformation the locals complained that the chancel was in such poor condition that the vicar refused to hold services there. The church was heavily repaired in 1870 by AW Blomfield, one of the most active Victorian church architects. During a subsequent restoration in 1930 medieval wall paintings were uncovered, then just as quickly painted over again.
Historical Highlights
Interior features include a series of 17th century floor slabs to members of the Maidstone family, and to two servants of the Earl of Oxford. A painted and gilded royal coat of arms to George III are hung on the north wall of the nave. There is a 17th centuiry oak chest and several 12th century windows set high above the north arcade. The simple chancel arch is also 12th century. The nave roof is an intriguing crown-post design. On the wall is an attractive early 17th century memorial to Nathaniel Bacon.
Summming up Boxted church
I'd call St Peters an attractive church, not blessed with an enormous number of historic features, but a church with an ancient and interesting history nonetheless. Rather than making a special trip to see it I'd suggest seeing St Peters as part of a longer outing visiting several of the fascinating historic churches in Dedham Vale, like those at Little Horkesley, Wormingford, and Langham. To the best of my knowledge the church is normally open daylight hours.
Remembrance Sunday, 8 November 2015
In the United Kingdom, Remembrance Sunday is held on the second Sunday in November, which is the Sunday nearest to 11 November, Armistice Day, the anniversary of the end of hostilities in the First World War at 11 a.m. on 11 November 1918. Remembrance Sunday is held to commemorate the contribution of British and Commonwealth military and civilian servicemen and women in the two World Wars and later conflicts.
Remembrance Sunday is marked by ceremonies at local war memorials in most cities, towns and villages, attended by civic dignitaries, ex-servicemen and -women, members of local armed forces regular and reserve units, military cadet forces and uniformed youth organisations. Two minutes’ silence is observed at 11 a.m. and wreaths of remembrance poppies are then laid on the memorials.
The United Kingdom national ceremony is held in London at the Cenotaph in Whitehall. Wreaths are laid by Queen Elizabeth II, principal members of the Royal Family normally including the Duke of Edinburgh, the Prince of Wales, the Duke of Cambridge, the Duke of York, the Princess Royal, the Earl of Wessex and the Duke of Kent, the Prime Minister, leaders of the other major political parties, the Secretary of State for Foreign and Commonwealth Affairs, Commonwealth High Commissioners and representatives from the Royal Navy, Army and Royal Air Force, the Merchant Navy and Fishing Fleets and the civilian services, and veterans’ groups. Two minutes' silence is held at 11 a.m., before the laying of the wreaths. This silence is marked by the firing of a field gun on Horse Guards Parade to begin and end the silence, followed by Royal Marines buglers sounding Last Post.
The parade consists mainly of an extensive march past by veterans, with military bands playing music following the list of the Traditional Music of Remembrance.
Other members of the British Royal Family watch from the balcony of the Foreign and Commonwealth Office.
After the ceremony, a parade of veterans and other related groups, organised by the Royal British Legion, marches past the Cenotaph, each section of which lays a wreath as it passes. Only ticketed participants can take part in the march past.
From 1919 until the Second World War remembrance observance was always marked on 11 November itself. It was then moved to Remembrance Sunday, but since the 50th anniversary of the end of the Second World War in 1995, it has become usual to hold ceremonies on both Armistice Day and Remembrance Sunday.
Each year, the music at the National Ceremony of Remembrance remains the same, following a programme finalised in 1930:
Rule, Britannia! by Thomas Arne
Heart of Oak by William Boyce
The Minstrel Boy by Thomas Moore
Men of Harlech
The Skye Boat Song
Isle of Beauty by Thomas Haynes Bayly
David of the White Rock
Oft in the Stilly Night by John Stevenson
Flowers of the Forest
Nimrod from the Enigma Variations by Edward Elgar
Dido's lament by Henry Purcell
O Valiant Hearts by Charles Harris
Solemn Melody by Walford Davies
Last Post – a bugle call
Beethoven's Funeral March No. 1, by Johann Heinrich Walch
O God, Our Help in Ages Past – words by Isaac Watts, music by William Croft
Reveille – a bugle call
God Save The Queen
Other pieces of music are then played during the march past and wreath laying by veterans, starting with Trumpet Voluntary and followed by It's A Long Way To Tipperary, the marching song of the Connaught Rangers, a famous British Army Irish Regiment of long ago.
The following is complied from press reports on 8 November 2015:
"The nation paid silent respect to the country's war dead today in a Remembrance Sunday service. Leading the nation in remembrance, as ever, was the Queen, who first laid a wreath at the Cenotaph in 1945 and has done so every year since, except on the four occasions when she was overseas.
Dressed in her customary all-black ensemble with a clutch of scarlet poppies pinned against her left shoulder, she stepped forward following the end of the two-minute silence marked by the sounding of Last Post by 10 Royal Marine buglers.
The Queen laid her wreath at the foot of the Sir Edwin Lutyens Portland stone monument to the Glorious Dead, then stood with her head momentarily bowed.
She was joined by King Willem-Alexander of the Netherlands, who was invited to the Cenotaph for the first time to lay a wreath marking the 70th anniversary of the liberation of the Netherlands by British troops.
Watched by his wife Queen Maxima, who stood next to the Duchess of Cambridge in the Royal Box, the King laid a wreath marked with the simple message, 'In remembrance of the British men and women who gave their lives for our future.'
Wreaths were then laid by members of the Royal Family, all wearing military uniform: Prince Philip; then Prince Andrew, Prince Harry and Prince William at the same time ; then Prince Edward, Princess Anne and the Duke of Kent at the same time.
Three members of the Royal Family laying wreaths at the same time was an innovation in 2015 designed to slightly reduce the amount of time of the ceremony and thereby reduce the time that the Queen had to be standing.
Prince Charles attended a remembrance service in New Zealand.
The Prime Minister then laid a wreath. The Leader of the Opposition and Leader of the Labour Party, Jeremy Corbyn, appeared at the Cenotaph for the first time. He wore both a suit and a red poppy for the occasion.
His bow as he laid a wreath marked with the words 'let us resolve to create a world of peace' was imperceptible – and not enough for some critics. Yet unlike the 75th anniversary of the Battle of Battle service earlier this year, Mr Corbyn did join in with the singing of the national anthem.
Following the end of the official service at the Cenotaph, a mammoth column more than 10,000-strong (some 9,000 of whom were veterans) began marching along Whitehall, saluting the Cenotaph as they passed, Parliament Street, Great George Street, Horse Guards Road and back to Horse Guard Parade. The Duke of Cambridge took the salute from the column on Horse Guards Parade.
Time takes its inevitable toll on even the most stoic among us, and this year only a dozen World War Two veterans marched with the Spirit of Normandy Trust, a year after the Normandy Veterans' Association disbanded.
Within their ranks was 95-year-old former Sapper Don Sheppard of the Royal Engineers. Sheppard was of the eldest on parade and was pushed in his wheelchair by his 19-year-old grandson, Sam who, in between studying at Queen Mary University, volunteers with the Normandy veterans.
'It is because of my admiration for them,' he says. 'I see them as role models and just have the utmost respect for what they did.'
While some had blankets covering their legs against the grey November day, other veterans of more recent wars had only stumps to show for their service to this country during 13 long years of war in Afghanistan.
As well as that terrible toll of personal sacrifice, the collective losses – and triumphs - of some of the country’s most historic regiments were also honoured yesterday.
The Gurkha Brigade Association - marking 200 years of service in the British Army – marched to warm ripples of applause. The King’s Royal Hussars, represented yesterday by 126 veterans, this year also celebrate 300 years since the regiment was raised.
They were led by General Sir Richard Shirreff, former Deputy Supreme Allied Commander of Nato and Colonel of the regiment who himself was marching for the first time.
'We are joined by a golden thread to all those generations who have gone before us,” he said. “We are who we are, because of those that have gone before us.' "
Cenotaph Ceremony & March Past - 8 November 2015
Summary of Contingents
Column Number of marchers
B (Lead) 1,754
C 1,298
D 1,312
E 1,497
F 1,325
A 1,551
Ex-Service Total 8,737
M (Non ex-Service) 1,621
Total 10,358
Column B
Marker Detachment Number
1 Reconnaissance Corps 18 Anniversary
2 43rd Reconnaissance Regiment Old Comrades Assoc 10
3 3rd Regiment Royal Horse Artillery Association 60
4 Royal Artillery Association 18
5 Royal Engineers Association 37
6 Royal Engineers Bomb Disposal Association 65 Anniversary
7 Airborne Engineers Association 24
8 Royal Signals Association 48
9 Army Air Corps Association 42
10 Royal Army Service Corps & Royal Corps Transport Assoc 54
11 RAOC Association 18
12 Army Catering Corps Association 48
13 Royal Pioneer Corps Association 54 Anniversary
14 Royal Army Medical Corps Association 36
15 Royal Electrical & Mechanical Engineers Association 48
16 Royal Military Police Association 100
17 The RAEC and ETS Branch Association 12
18 Royal Army Pay Corps Regimental Association 36
19 Royal Army Veterinary Corps & Royal Army Dental Corps 18
20 Royal Army Physical Training Corps 24
21 Queen Alexandra's Royal Army Nursing Corps Assoc 48
22 Royal Scots Dragoon Guards 30
23 Royal Dragoon Guards 78
24 Queen's Royal Hussars (The Queen's Own & Royal Irish) 12
25 Kings Royal Hussars Regimental Association 126
26 16/5th Queen's Royal Lancers 36
27 17/21 Lancers 30
28 The Royal Lancers 24 New for 2015
29 JLR RAC Old Boys' Association 30
30 Association of Ammunition Technicians 24
31 Beachley Old Boys Association 36
32 Arborfield Old Boys Association 25
33 Gallipoli & Dardenelles International 24
34 Special Observers Association 24
35 The Parachute Squadron Royal Armoured Corps 24 New
36 Intelligence Corps Association 48
37 Women's Royal Army Corps Association 120
38 656 Squadron Association 24
39 Home Guard Association 9
40 British Resistance Movement (Coleshill Research Team) 12
41 British Limbless Ex-Service Men's Association 48
42 British Ex-Services Wheelchair Sports Association 24
43 Royal Hospital Chelsea 30
44 Queen Alexandra's Hospital Home for Disabled Ex-Servicemen & Women 30
45 The Royal Star & Garter Homes 20
46 Combat Stress 48
Total 1,754
Column C
Marker Detachment Number
1 Royal Air Force Association 150
2 Royal Air Force Regiment Association 300
3 Royal Air Forces Ex-Prisoner's of War Association 20
4 Royal Observer Corps Association 75 Anniversary
5 National Service (Royal Air Force) Association 42
6 RAFLING Association 24
7 6 Squadron (Royal Air Force) Association 18
8 7 Squadron Association 25
9 8 Squadron Association 24
10 RAF Habbaniya Association 25
11 Royal Air Force & Defence Fire Services Association 30
12 Royal Air Force Mountain Rescue Association 30
13 Units of the Far East Air Force 28 New
14 Royal Air Force Yatesbury Association 16
15 Royal Air Force Airfield Construction Branch Association 12
16 RAFSE(s) Assoc 45 New
17 Royal Air Force Movements and Mobile Air Movements Squadron Association (RAF MAMS) 24
18 Royal Air Force Masirah & Salalah Veterans Assoc 24 New
19 WAAF/WRAF/RAF(W) 25
19 Blenheim Society 18
20 Coastal Command & Maritime Air Association 24
21 Air Sea Rescue & Marine Craft Sections Club 15
22 Federation of RAF Apprentice & Boy Entrant Assocs 150
23 Royal Air Force Air Loadmasters Association 24
24 Royal Air Force Police Association 90
25 Princess Mary's Royal Air Force Nursing Service Association 40
Total 1,298
Column D
Marker Detachment Number
1 Not Forgotten Association 54
2 Stoll 18
3 Ulster Defence Regiment 72
4 Army Dog Unit Northern Ireland Association 48
5 North Irish Horse & Irish Regiments Old Comrades Association 78
6 Northern Ireland Veterans' Association 40
7 Irish United Nations Veterans Association 12
8 ONET UK 10
9 St Helena Government UK 24
10 South Atlantic Medal Association 196
11 SSAFA 37
12 First Aid Nursing Yeomanry (Princess Royal's Volunteers Corps) 12
13 Association of Jewish Ex-Servicemen & Women 48
14 British Nuclear Test Veterans Association 48
15 War Widows Association 132
16 Gurkha Brigade Association 160 Anniversary
17 British Gurkha Welfare Society 100 Anniversary
18 West Indian Association of Service Personnel 18
19 Trucial Oman Scouts Association 18
20 Bond Van Wapenbroeders 35
21 Polish Ex-Combatants Association in Great Britain 25
22 Stowarzyszenie Polskich Kombatantów Limited 18 New
23 Royal Hong Kong Regiment Association 12
24 Canadian Veterans Association 10
25 Hong Kong Ex-Servicemen's Association (UK Branch) 24
26 Hong Kong Military Service Corps 28
27 Foreign Legion Association 24
28 Undivided Indian Army Ex Servicemen Association 11 New
Total 1,312
Column E
Marker Detachment Number
1 Royal Marines Association 198
2 Royal Naval Association 150
3 Merchant Navy Association 130
4 Sea Harrier Association 24
5 Flower Class Corvette Association 18
6 HMS Andromeda Association 18
7 HMS Argonaut Association 30
8 HMS Bulwark, Albion & Centaur Association 25
9 HMS Cumberland Association 18
10 HMS Ganges Association 48
11 HMS Glasgow Association 30
12 HMS St Vincent Association 26
13 HMS Tiger Association 25
14 Algerines Association 20
15 Ton Class Association 24
16 Type 42 Association 48
17 Queen Alexandra's Royal Naval Nursing Service 36
18 Association of WRENS 90
19 Royal Fleet Auxiliary Association 10
20 Royal Naval Communications Association 30
21 Royal Naval Medical Branch Ratings & Sick Berth Staff Association 24
22 Royal Naval Benevolent Trust 18
23 Yangtze Incident Association 24
24 Special Boat Service Association 6
25 Submariners Association 30
26 Association of Royal Yachtsmen 30
27 Broadsword Association 36
28 Aircraft Handlers Association 36
29 Aircrewmans Association 40 Anniversary
30 Cloud Observers Association 10
31 The Fisgard Association 40
32 Fleet Air Arm Armourers Association 36
33 Fleet Air Arm Association 25
34 Fleet Air Arm Bucaneer Association 24
35 Fleet Air Arm Field Gun Association 24
36 Fleet Air Arm Junglie Association 18
37 Fleet Air Arm Officers Association 30
38 Fleet Air Arm Safety Equipment & Survival Association 24
39 Royal Navy School of Physical Training 24
Total 1,497
Column F
Marker Detachment Number
1 Blind Veterans UK 198
2 Far East Prisoners of War 18
3 Burma Star Association 40
4 Monte Cassino Society20
5 Queen's Bodyguard of The Yeoman of The Guard 18
6 Pen and Sword Club 15
7 TRBL Ex-Service Members 301
8 The Royal British Legion Poppy Factory 4
9 The Royal British Legion Scotland 24
10 Officers Association 5
11 Black and White Club 18
12 National Pigeon War Service 30
13 National Service Veterans Alliance 50
14 Gallantry Medallists League 46
15 National Malaya & Borneo Veterans Association 98
16 National Gulf Veterans & Families Association 30
17 Fellowship of the Services 100
18 Memorable Order of Tin Hats 24
19 Suez Veterans Association 50
20 Aden Veterans Association 72
21 1st Army Association 36
22 Showmens' Guild of Great Britain 40
23 Special Forces Club 12
24 The Spirit of Normandy Trust 28
25 Italy Star Association, 1943-1945, 48
Total 1,325
Column A
Marker Detachment Number
1 1LI Association 36
2 Royal Green Jackets Association 198
3 Parachute Regimental Association 174
4 King's Own Scottish Borderers 60
5 Black Watch Association 45
6 Gordon Highlanders Association 60
7 Argyll & Sutherland Highlanders Regimental Association 12
8 Queen's Own Highlanders Regimental Association 48
9 London Scottish Regimental Association 30
10 Grenadier Guards Association 48
11 Coldstream Guards Association 48
12 Scots Guards Association 48
13 Guards Parachute Association 36
14 4 Company Association (Parachute Regiment) 24
15 Princess of Wales's Royal Regiment 72
16 Royal East Kent Regiment (The Buffs) Past & Present Association 30
17 Prince of Wales' Leinster Regiment (Royal Canadians) Regimental Association 24
18 Royal Hampshire Regiment Comrades Association 14
19 The Royal Hampshire Regimental Club 24 New for 2015
20 Royal Northumberland Fusiliers 48 New
21 Royal Sussex Regimental Association 12
22 Green Howards Association 24
23 Cheshire Regiment Association 24
24 Sherwood Foresters & Worcestershire Regiment 36
25 Mercian Regiment Association 30
26 Special Air Service Regimental Association 4
27 The King's Own Royal Border Regiment 100
28 The Staffordshire Regiment 48
29 Rifles Regimental Association 40
30 The Rifles & Royal Gloucestershire, Berkshire & Wiltshire Regimental Association 30
31 Durham Light Infantry Association 60
32 King's Royal Rifle Corps Association 50
33 King's African Rifles 14 New for 2015
Total 1,551
Column M
Marker Detachment Number
1 Transport For London 48
2 Children of the Far East Prisoners of War 60
3 First Aid Nursing Yeomanry (Princess Royal's Volunteers Corps) 24
4 Munitions Workers Association18
5 Evacuees Reunion Association48
6 TOC H 20
7 Salvation Army 36
8 Naval Canteen Service & Expeditionary Force Institutes Association 12 Previously NAAFI
9 Royal Voluntary Service 24
10 Civil Defence Association 8
11 National Association of Retired Police Officers 36
12 Metropolitan Special Constabulary 36
13 London Ambulance Service NHS Trust 36
14 London Ambulance Service Retirement Association 18
15 St John Ambulance 36
16 British Red Cross 12
17 St Andrew's Ambulance Association 6
18 The Firefighters Memorial Trust 24
19 Royal Ulster Constabulary (GC) Association 36
20 Ulster Special Constabulary Association 30
21 Commonwealth War Graves Commission 12
22 Daniel's Trust 36
23 Civilians Representing Families 180
24 Royal Mail Group Ltd 24
25 Royal Society for the Prevention of Cruelty to Animals 24
26 The Blue Cross 24
27 PDSA 24
28 HM Ships Glorious Ardent & ACASTA Association 24 Anniversary
29 Old Cryptians' Club 12
30 Fighting G Club 18 Anniversary
31 Malayan Volunteers Group 12
32 Gallipoli Association 18
33 Ministry of Defence 20
34 TRBL Non Ex-Service Members 117
35 TRBL Women's Section 20
36 Union Jack Club 12
37 Western Front Association 8
38 Shot at Dawn Pardons Campaign 18
39 Royal Antediluvian Order of Buffaloes 24
40 National Association of Round Tables 24
41 Lions Club International 24
42 Rotary International 24
43 41 Club 6
44 Equity 12
45 Romany & Traveller Society 18
46 Sea Cadet Corps 30
47 Combined Cadet Force 30
48 Army Cadet Force 30
49 Air Training Corps 30
50 Scout Association 30
51 Girlguiding London & South East England 30
52 Boys Brigade 30
53 Girls Brigade England & Wales 30
54 Church Lads & Church Girls Brigade 30
55 Metropolitan Police Volunteer Police Cadets 18
56 St John Ambulance Cadets 18
57 YMCA 12
Total 1,621
I cannot believe the price of hotel rooms in Belfast. Last year I was able to get a room for three nights in May at the Ramada Encore for Euro 252 this year they are looking for Euro 406 for the same dates [ and don’t forget that Sterling has dropped against the Euro by about 15% ]. The asking price at the Malmaison is Euro 374. I should mention that these are the prices if your booking can be cancelled or changed free of charge. In 2015 the Ramada charged me Euro 175.50 for three nights.
Malmaison Hotel Belfast is a hotel within a listed building in the city of Belfast. It is on the corner of Victoria Street and Marlborough Street.
It is built in what were two seed warehouses from the 1860s, retaining some original features including iron pillars and beams and carved stone gargoyles. It has 64 rooms, in bordello style, two rock’n’roll theme suites, and a bar and brasserie. It caters for meetings and conferences for up to 22 people. Before becoming the Malmaison it was The McCausland Hotel.
Marylebone Warwick Balfour (MWB) bought the Malmaison boutique hotel group in 2000. In 2004 it bought the McCausland Hotel in Belfast, and reopened it as the Irish Malmaison in December that year.
All of my cats loved airing cupboards.
They migrated there in winter. The routine was the same; they would eat breakfast, nip outside to perform a covert bowel evacuation in next door’s garden, scrape ashamedly over the mess and then scurry back in through the cat flap with icy cold coat, straight past everyone in the kitchen, ignoring the chorus of delighted greetings, trotting straight up the stairs to Bedfordshire.
Meanwhile I, ashen faced, would be getting ready to go to wretched school with a churning, nervous tummy and feeling unrelenting envy towards my cat.
Upon my return home from hell my first priority would be a routine sweep of the house to seek out some furry comfort. Having looked on each bed and each lap I knew where pussy would be. Pulling open those venetian airing cupboard doors I would be met with my two favourite things; the warm waft of fresh washing and curled atop it a roasted, furry, purring bundle. My visiting of the airing cupboard became like a pilgrimage to some kind of religious shrine, the scent calmed me and to behold my god all contented and relaxed on his or her throne filled me with peace. My arrival always prompted God to stretch and yawn and I would plunge my face into the piping hot fur and breathe in purest comfort. The scent of washing and of washing enwrapped cat is a fragrance Jo Malone really needs to work on.
In my daily grind I see a lot of airing cupboards. Photographing and floorplanning people’s homes is what (just barely) pays for my wine and nibbles and in every house I visit, without fail I will have to measure the airing cupboard. I may in fact hold a world record for the sheer number of airing cupboards I have inhaled. I have no idea if the vendors are aware of the high that the washing scent gives me. Do I emerge from their cupboards with dilated pupils, or nostrils? Do they think I get off on the smell of their smalls? I am thinking of creating a book filled with surreptitiously taken photos of the nation’s airing cupboards. This book instead of being on the coffee table must be stowed in an airing cupboard where it can be infused with the scent of its subject.
I have lately found myself particularly drawn to my own airing cupboard. On particularly low mornings I will open the door to hunt out a pair of oven fresh knickers with the same ashen face that I wore before school, hear the reassuring sound of the boiler chugging, feel the cuddle of mumsy air and want to curl up on a shelf, fall asleep and wait for someone who worships me to come and plunge their face into my belly after school.
I’ve been wanting to take a city break in summer, rather than in the cold months for a while, so rather than heading for the Lake District for a week of toil on the fells when Jayne could get a week off, we took off from Liverpool for Paris. Flight times were nice and sociable but it meant we were on the M62 car park at a busy time in both directions – it’s a shambles! I’ve stopped over in Paris a dozen times – on my way to cycling in the Etape du Tour in the Alps or Pyrenees – and had a few nights out there. Come to think about it and we’ve spent the day on the Champs Elysees watching the final day of the Tour de France with Mark Cavendish winning. We hadn’t been for a holiday there though and it was a bit of a spur of the moment decision. Six nights gave us five and a half days to explore Paris on foot. I had a good selection of (heavy) kit with me, not wanting to make the usual mistake of leaving something behind and regretting it. In the end I carried the kit in my backpack – an ordinary rucksack – to keep the weight down, for 103 miles, all recorded on the cycling Garmin – and took 3500 photos. The little Garmin is light and will do about 15 hours, it expired towards the end of a couple of 16 hour days but I had the info I wanted by then. This also keeps the phone battery free for research and route finding – I managed to flatten that once though.
What can I say – Paris was fantastic! The weather varied from OK to fantastic, windy for a few days, the dreaded grey white dullness for a while but I couldn’t complain really. We were out around 8.30 in shorts and tee shirt, which I would swap for a vest when it warmed up, hitting 30 degrees at times, we stayed out until around midnight most nights. It was a pretty full on trip. The security at some destinations could have been a problem as there is a bag size limit to save room in the lifts etc. I found the French to be very pragmatic about it, a bag search was a cursory glance, accepting that I was lugging camera gear, not bombs around, and they weren’t going to stop a paying customer from passing because his bag was a bit over size.
We didn’t have a plan, as usual we made it up as we went along, a loose itinerary for the day would always end up changing owing to discoveries along the way. Many times we would visit something a few times, weighing the crowds and light etc. up and deciding to come back later. I waited patiently to go up the Eiffel Tower, we arrived on Tuesday and finally went up on Friday evening. It was a late decision but the weather was good, the light was good and importantly I reckoned that we would get a sunset. Previous evenings the sun had just slid behind distant westerly clouds without any golden glory. It was a good choice. We went up the steps at 7.30 pm, short queue and cheaper – and just to say that we had. The steps are at an easy angle and were nowhere near as bad as expected, even with the heavy pack. We stayed up there, on a mad and busy Friday night, until 11.30, the light changed a lot and once we had stayed a couple of hours we decided to wait for the lights to come on. This was a downside to travelling at this time of year, to do any night photography we had to stay out late as it was light until 10.30. The Eiffel Tower is incredible and very well run, they are quite efficient at moving people around it from level to level. It was still buzzing at midnight with thousands of people around. The sunset on Saturday was probably better but we spent the evening around the base of the Tower, watching the light change, people watching and soaking the party atmosphere up.
Some days our first destination was five miles away, this is a lot of road junctions in a city, the roads in Paris are wide so you generally have to wait for the green man to cross. This made progress steady but when you are on holiday it doesn’t matter too much. Needless to say we walked through some dodgy places, with graffiti on anything that stays still long enough. We were ultra-cautious with our belongings having heard the pickpocket horror stories. At every Café/bar stop the bags were clipped to the table leg out of sight and never left alone. I carried the camera in my hand all day and everywhere I went, I only popped it in my bag to eat. I would guess that there were easier people to rob than us, some people were openly careless with phones and wallets.
We didn’t enter the big attractions, it was too nice to be in a museum or church and quite a few have a photography ban. These bans make me laugh, they are totally ignored by many ( Japanese particularly) people. Having travelled around the world to see something, no one is going to stop them getting their selfies. Selfies? Everywhere people pointed their cameras at their own face, walking around videoing – their self! I do like to have a few photos of us for posterity but these people are self-obsessed.
Paris has obviously got a problem with homeless (mostly) migrants. Walk a distance along the River Seine and you will find tented villages, there is a powerful smell of urine in every corner, with the no alcohol restrictions ignored, empty cans and bottles stacked around the bins as evidence. There are families, woman living on mattresses with as many as four small children, on the main boulevards. They beg by day and at midnight they are all huddled asleep on the pavement. The men in the tents seem to be selling plastic Eiffel Tower models to the tourists or bottled water – even bottles of wine. Love locks and selfy sticks were also top sellers. There must be millions of locks fastened to railings around the city, mostly brass, so removing them will be self-funding as brass is £2.20 a kilo.
As for the sights we saw, well if it was on the map we tried to walk to it. We crossed the Periphique ring road to get to the outer reaches of Paris. La Defense – the financial area with dozens of modern office blocks – was impressive, and still expanding. The Bois de Boulogne park, with the horse racing track and the Louis Vuitton Centre was part of a 20 mile loop that day. Another day saw us in the north east. We had the dome of the Sacre Couer to ourselves, with thousands of tourists wandering below us oblivious of the entrance and ticket office under the church. Again the light was fantastic for us. We read that Pere Lachaise Cemetery or Cimitiere du Pere Lachaise was one of the most visited destinations, a five mile walk but we went. It is massive, you need a map, but for me one massive tomb is much the same as another, it does have highlights but we didn’t stay long. Fortunately we were now closer to the Canal St Martin which would lead us to Parc de la Villette. This was a Sunday and everywhere was both buzzing and chilled at the same time. Where ever we went people were sat watching the world go by, socializing and picnicking, soaking the sun up. As ever I wanted to go up on the roof of anything I could as I love taking cityscapes. Most of these were expensive compared with many places we’ve been to before but up we went. The Tour Montparnasse, a single tower block with 59 floors, 690 foot high and extremely fast lifts has incredible views although it was a touch hazy on our ascent. The Arc de Triomphe was just up the road from our hotel, we went up it within hours of arriving, well worth the visit.
At the time of writing I have no idea how many images will make the cut but it will be a lot. If I have ten subtly different shots of something, I find it hard to consign nine to the dark depths of my hard drive never to be seen again – and I’m not very good at ruthless selection – so if the photo is OK it will get uploaded. My view is that it’s my photostream, I like to be able to browse my own work at my leisure at a later date, it’s more or less free and stats tell me these images will get looked at. I’m not aiming for single stunning shots, more of a comprehensive overview of an interesting place, presented to the best of my current capabilities. I am my own biggest critic, another reason for looking at my older stuff is to critique it and look to improve on previous mistakes. I do get regular requests from both individuals and organisations to use images and I’m obliging unless someone is taking the piss. I’m not bothered about work being published (with my permission) but it is reassuringly nice to be asked. The manipulation of Flickr favourites and views through adding thousands of contacts doesn’t interest me and I do sometimes question the whole point of the Flickr exercise. I do like having access to my own back catalogue though and it gives family and friends the chance to read about the trip and view the photos at their leisure so for the time being I’m sticking with it. I do have over 15 million views at the moment which is a far cry from showing a few people an album, let’s face it, there’s an oversupply of images, many of them superb but all being devalued by the sheer quantity available.
Don’t think that it was all walking and photography, we had a great break and spent plenty of time in pavement bistros having a glass of wine and people watching. I can certainly understand why Paris is top of the travellers list of destinations
Also seen in Norwich bus station and operating the 599 Service to Great Yarmouth and wearing Rapide Livery s Ambassador Travel CDG208Y a Leyland Tiger / Plaxton Paramount 3200 C46FT
The kit and its assembly:
Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.
Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.
Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.
Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.
Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!
Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!
The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.
In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.
Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.
In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.
Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.
Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).
However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.
What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!
However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.
More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)
For Paulo Mellett, on his birthday, as he continues the cycle...
Pen on paper, 17.5 x 17.5 cm. And a rather lengthy interpretation of the imagery...
The Triskelle or Triskellion, is a pre-celtic spiral design. It consists of three separate spirals rotating in the same direction around a central, circular point, and themselves forming a circle. The three spirals consist of a single, continuous line. For thousands of years, it has represented the continuum of life and various three-fold elements: life, death, rebirth; past, present, future; spirit, mind, body etc. More than any other meaning, though, it represents the three elements of Air, Water and Earth, and the flow of energy through these.
Because of the inter-connectedness of the three spirals, it is sometimes said to represent three threes, or nines, particularly the nine months of pregnancy that result in life and continue the three-fold cycle of life, death and rebirth. It is observable that the various three-fold natures it represents can interact with each other in this multiplicitous way... ie, the three elements of air, water and earth can all pass through life, death and rebirth, or the way in which our spirit, mind and body are influenced by past, present future. So the significance of the Triskellion is always exponential, growing and expanding within its continuum.
Within this design, all three of the physical elements are present.
Water is represented by waves, bubbles, a ship journeying and three fish. The bubbles show it’s interaction with air, and the ship journeys between two points of land or earth. The waves and journeying represent transience and movement in this malleable element. In Irish mythology, three ancient salmon were said to be the oldest creatures in the world. They lived in a pool under an oak tree. The Oak was older even than the salmon, and contained all wisdom. As the oak dropped its acorns into the pool, the salmon fed on them, and thus they came to hold all wisdom themselves.
Rocks, minerals and fossils represent Earth, rising to high mountains and producing plants and life. Most prominent of these plants is an apple tree, and curling amongst its branches is a snake, the most earthly and earthbound of creatures. This image is usually interpreted in terms of the biblical genesis account as the first moment of ‘sin’. I prefer to see it as an allegory of the moment of awakening of human consciousness... choosing independence to eat of the tree of knowledge. The bible also uses the image of a snake in a tree as a symbol of healing, though this more positive notion of earth and fruitfulness gets forgotten!
The trees roots grow out of the water, and its leaves are blown away by the third element of Air. Here, air is made visible in terms of curling winds, stars, a flock of wild geese and a rainbow. The latter of these is always seen as a promise of good things, light in the rain. Wild geese are often used as a Celtic symbol of the spirit... it is wild, untameable, strong, it travels huge distances. It represents the enduring, eternal nature of that spirit as whilst the goose disappears and is absent for many months of the year, it always returns. Therefore its long journeying represents travel of a spiritual nature. Very loosely, the stars form part of the constellation of Draco, the dragon, the largest constellation. It is suggested that the layout of the many ancient Cambodian temples form a map of the constellation of Draco across the land.
In the centre of all this lies the sun, representing the fourth element of fire. Its rays spread out through the picture, energising the other elements. All four elements are again represented in the corner pieces.
Circling the whole image is a snake swallowing its tale. For millennia, this continuous circle has represented eternity and the cycle of life, death and rebirth.
We do not like the same face and do not like what we love and what we do not like we share the road
So you must be your friend
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
11 avril 2011, Paris.
—SUM81 © alain-michel boley 2014
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got loads of squirell shots,like this one because there's mud on his nose and you can see his pads on his hands/front feet.
been out most of day freezing my bits off so i'm only putting one on again because i'm going to watch harry potter tonight befor i rap it for a christmas pressy
In World War II, both the carrier forces of the US Navy and the Imperial Japanese Navy employed the same tactical mix of aircraft, using both torpedo-carrying aircraft and bomb-carrying dive bombers. By using both at once, the defenders would have to split their fire between the high altitude dive bombers and the low altitude torpedo bombers—either weapon would be deadly to enemy ships. Dive bombers had to be more robust and manueverable than torpedo aircraft, to survive the ninety-degree dives required of their mission.
At the beginning of World War II in 1939, the principal US Navy dive bomber was the Northrop BT-1, designed by two legendary aircraft designers—Jack Northrop and Edward Heinemann. The BT-1 was reliable, but underpowered, with a tendency to stall on approach to its carrier. Heinemann, now working for Douglas Aircraft, proposed a replacement, broadly similar to the BT-1 but with the more powerful Wright Cyclone. The proposed aircraft would also be more streamlined, have a larger tail, and be equipped with perforated dive brakes that would slow the aircraft in a dive and give the pilot more control. Since the propeller on the Cyclone was larger, a bomb carried on the centerline hardpoint was attached to a crutch that would swing forward and release the bomb clear of the propeller arc. The Navy liked what it saw and ordered Heinemann’s design as the SBD-1 Dauntless, which first flew in May 1940. By this time, the US Army Air Force was also interested in dive bombers, after witnessing the damage wreaked by the German Ju 87 Stuka, and requested a batch of SBDs to be built as the A-24 Shrike.
By the Pearl Harbor attack in December 1941, most US Navy and Marine Corps units were equipped with SBD-3 variants, which included crew armor and self-sealing fuel tanks, as well as .50 caliber machine guns in the wings for strafing purposes. SBDs were involved in the war from the start, and several were lost at Pearl Harbor—but as the carriers of the US Pacific Fleet escaped the Japanese attack, it meant that the Dauntless would soon be on the attack.
Over the next four years, the SBD became one of the most effective aircraft of World War II. Operating from both carriers and land bases, the Dauntless would account for more Japanese ships than any other aircraft, and flew fully 25 percent of all sorties of the US Navy in World War II. It would see action in every major battle of the Pacific Theater, including the battles of Coral Sea, Midway, the Guadalcanal campaign, Philippine Sea, and Leyte Gulf; the aircraft that had started the war in Pearl Harbor would end it attacking the Japanese home islands. It would also see service in Europe, against German U-boats on antisubmarine duties, but also against German shipping in Norway and the Mediterranean (where Dauntlesses were flown by Free French pilots).
The basic design of the SBD did not change for the duration of the war: although the SBD-3 was supplanted by the SBD-5, the latter only had an uprated engine. Despite being given somewhat unflattering nicknames such as “Barge,” “Clunk,” and “Slow But Deadly,” referring to its indifferent speed, the Dauntless defied attempts to replace it; its intended replacement, the SB2C Helldiver, was never as popular or as capable. The SBD gained a reputation for being simple to fly and maintain, as well as surprisingly manueverable: a skilled Dauntless pilot could use the type’s lack of speed to his advantage, forcing attacking Japanese fighters into overshooting. If this happened, the Japanese pilot would find himself in front of the SBD’s wing-mounted .50 caliber machine guns, which could tear the lightly-built A6M Zero apart. Attacking from the rear was not an easy matter either, as the twin .30 caliber machine guns manned by the rear gunner were often loaded with incendiary bullets that could set the Japanese fighters afire. Even if the SBD was hit, it was found to be remarkably resilient to damage.
The end of World War II also meant the end of the Dauntless: tactics had changed, and the SBD would prove to be the last dive bomber produced for the US Navy. The SBD was withdrawn in favor of the AD-1 Skyraider, though USAAF A-24s—which had performed indifferently during the war—were retained as trainer until 1948, long enough to wear the insignia of the independent US Air Force. Other examples were flown by the Mexican Air Force until 1959. A total of 5936 Dauntlesses were built; 24 currently survive, with four aircraft airworthy.
The Malmstrom Museum model collection’s Dauntless is an earlier SBD-3, painted in early war US Navy colors of medium blue over white. It carries a single 1000-pound general purpose bomb. This particular aircraft belongs to VSB-6, operating from USS Enterprise (CV-6) during the Battle of Midway. VSB-6’s Dauntlesses, led by Commander Wade McClusky and along with those flown from USS Yorktown and Hornet, accounted for four Japanese carriers on 4 June 1942—three of them in five minutes. The “Five Minutes of Midway” was to prove the turning point for the Pacific Theater.
Badami formerly known as Vatapi, is a town and headquarters of a taluk by the same name, in the Bagalkot district of Karnataka, India. It was the regal capital of the Badami Chalukyas from 540 to 757 AD. It is famous for its rock cut structural temples. It is located in a ravine at the foot of a rugged, red sandstone outcrop that surrounds Agastya lake. Badami has been selected as one of the heritage cities for HRIDAY - Heritage City Development and Augmentation Yojana scheme of Government of India.
HISTORY
- Dravidian architecture - Badami Chalukyas
- Hindu temple architecture - Badami Chalukya architecture
- Political history of medieval Karnataka - Badami Chalukyas
- Architecture of Karnataka - Badami Chalukya architecture
- Chalukyas of Badami
PRE-HISTORIC
Badami is surrounded by many pre-historic places including Khyad area of Badami, Hiregudda, Sidlaphadi and Kutkankeri (Junjunpadi, Shigipadi and Anipadi), there we can see the rock shelters megalithic burial sites and paintings.
BADAMI CHALUKYAS AND OTHER DYNASTIES
MYTHOLOGY
The Puranic story says the wicked asura Vatapi was killed by sage Agastya (as per Agastya-Vatapi story), the area in which the incident happened so named as Vatapi. At Aihole there was a merchant guild known as Ayyavole Ainuravaru lived in the area have reformed. As per scholar Dr. D. P. Dikshit, the first Chalukya king was Jayasimha (a feudatory lord in the Kadamba dynasty), who in 500 AD established the Chalukya kingdom. His grandson Pulakeshin Ibuilt a fort at Vatapi.
BADAMI CHALUKYAS
It was founded in 540 AD by Pulakeshin I (535-566 AD), an early ruler of the Chalukyas. His sons Kirtivarma I (567-598 AD) and his brother Mangalesha (598-610 AD) constructed the cave temples.Kirtivarma I strengthened Vatapi and had three sons Pulakeshin II, Vishnuvardhana and Buddhavarasa, who at his death were minors, thus making them ineligible to rule, so Kirtivarma I's brother Mangalesha took the throne and tried to establish rule, only to be killed by Pulakeshin II who ruled between 610 A.D to 642 A.D. Vatapi was the capital of the Early Chalukyas, who ruled much of Karnataka, Maharashtra, Few parts of Tamil Nadu and Andhra Pradesh between the 6th and 8th centuries. The greatest among them was Pulakeshin II (610-642 AD) who defeated many kings including the Pallavas of Kanchipuram.
The rock-cut Badami Cave Temples were sculpted mostly between the 6th and 8th centuries. The four cave temples represent the secular nature of the rulers then, with tolerance and a religious following that inclines towards Hinduism, Buddhism and Jainism. cave 1 is devoted to Shiva, and Caves 2 and 3 are dedicated to Vishnu, whereas cave 4 displays reliefs of Jain Tirthankaras. Deep caverns with carved images of the various incarnations of Hindu gods are strewn across the area, under boulders and in the red sandstone. From an architectural and archaeological perspective, they provide critical evidence of the early styles and stages of the southern Indian architecture.
The Pallavas under the king Narasimhavarma I seized it in 642 AD & destroyed the vatapi. Pulakeshin II's son Vikramaditya I of Chalukyas drove back Pallavas in 654 AD and led a successful attack on Kanchipuram, the capital of Pallavas. Then Rashtrakutas came to power in Karnataka including Badami around 757 AD and the town lost its importance. Later it was ruled by the Hoysalas.
Then it passed on to Vijayanagara empire, The Adil Shahis, Mughal Empire, The Savanur Nawabs (They were vassals of Nizams and Marathas), The Maratha, Hyder Ali. The Britishers made it part of the Bombay Presidency.
INSCRIPTIONS
Badami has eighteen inscriptions, among them some inscriptions are important. The first Sanskrit inscription in old Kannada script, on a hillock dates back to 543 CE, from the period of Pulakeshin I (Vallabheswara), the second is the 578 CE cave inscription of Mangalesha in Kannada language and script and the third is the Kappe Arabhatta records, the earliest available Kannada poetry in tripadi (three line) metre. one inscription near the Bhuthanatha temple also has inscriptions dating back to the 12th century in Jain rock-cut temple dedicated to the Tirtankara Adinatha.
VATAPI GANAPATI
In the Carnatic music and Hamsadhwani raga the Vatapi Ganapatim Bhaje by the composer Muthuswami Dikshitar. The idol of Vatapi Ganapati brought from Badami by Pallavas, is now in the Uthrapathiswaraswamy Temple, near Thanjavur of Tamil Nadu.
In 7th century, Vatapi Ganapati idol was brought from Badami (Vatapi - Chalukya capital) by Pallava who defeated Chalukyas.
TOURISM
Landmarks in Badami include cave temples, gateways, forts, inscriptions and sculptures.
- A Buddhist cave in a natural setting that can be entered only by crawling on knees.
- The Bhuhtanatha temple, a small shrine, facing the lake, constructed in 5th century.
- Badami Fort situated on top of the hill.
- Many Shivalayas including the Malegatti Shivalaya with 7th century origins.
- The Dattatreya temple.
- The Mallikarjuna temple dating back to the 11th century, built on a star shaped plan.
- a Dargah, a dome of an Islamic place of worship on the south fort side.
- Vista points on top of the North Fort for the view of the ancient town below.
- Temple of Banashankari, a Kuladevata (family deity) for many families, is located near Badami.
- Archaeological museum, that has collection of sculptures from Badami, Aihole and Pattadakal.
BADAMI CAVE TEMPLES
The Badami cave temples are a complex of four cave temples located at Badami, a town in the Bagalkot district in the north part of Karnataka, India. They are considered an example of Indian rock-cut architecture, especially Badami Chalukya architecture initiated during the 6th century. Badami was previously known as Vataapi Badami, the capital of the early Chalukya dynasty, who ruled much of Karnataka from middle of the sixth until the middle of the eighth centuries. Badami is situated on the west bank of an artificial lake filled with greenish water dammed by an earthen wall faced with stone steps. Badami is surrounded in the north and south by forts built in later times from the ramparts that crown their summits.
The Badami cave temples represent some of the earliest known experimentation of Hindu temple prototypes for later temples in the Indian peninsula. Along with Aihole, states UNESCO, their pioneering designs transformed the Malaprabha river valley into a cradle of Temple Architecture, whose ideas defined the components of later Hindu Temples elsewhere. Caves 1 to 3 feature Hindu themes of Shiva and Vishnu, while Cave 4 features Jain icons. There is also a Buddhist Cave 5 which has been converted into a Hindu temple of Vishnu. Another cave identified in 2013 has a number of carvings of Vishnu and other Hindu deities, and water is seen gushing out through the cave all the time.
GEOGRAPHY
The Badami cave temples are located in the Badami town in the north central part of Karnataka, India. The temples are about 110 km northeast from Hubli-Dharwad, the second largest metropolitan area of the state. Malaprabha river is 4.8 km away. Badami, also referred to as Vatapi, Vatapipuri and Vatapinagari in historical texts, and the 6th-century capital of Chalukya dynasty, is at the exit point of the ravine between two steep mountain cliffs. Four cave temples have been excavated in the escarpment of the hill to the south-east of the town above the artificial lake called Agastya Lake created by an earthen dam faced with stone steps. To the west end of this cliff, at its lowest point, is the first cave temple dedicated to Shiva, followed by a cave north east to it dedicated to Vishnu but is at a much higher level. The largest is Cave 3, mostly a Vaishnava cave, is further to the east on the northern face of the hill. The first three caves are dedicated to Hindu gods and goddesses including Brahma, Vishnu and Shiva. The fourth cave, dedicated to Jainism, is a short distance away.
HISTORY OF CAVE TEMPLES
The cave temples, numbered 1 to 4 in the order of their creation, identified in the town of Badami, the capital city of the Chalukya kingdom (also known as Early Chalukyas) are dated from the late 6th century onwards. The exact dating is known only for cave 3 which is a Brahmanical temple dedicated to Vishnu. An inscription found here records the creation of the shrine by Mangalesha in Saka 500 (lunar calendar, spanning 578 to 579 CE). These inscriptions are in Kannada language, and have been the source for dating these rock cave temples to the 6th-century. The Badami caves complex are part of the UNESCO inscribed World Heritage Site under the title "Evolution of Temple Architecture – Aihole-Badami-Pattadakal" in the Malaprabha river valley which is considered a cradle of Temple Architecture, which formed the template for later Hindu temples in the region. The art work in Cave 1 and Cave 2 exhibit the northern Deccan style of 6th- and 7th-century, while those in Cave 3 show a simultaneous co-exhibition of two different ancient Indian artistic traditions – the northern Nagara and the southern Dravida styles. The Cave 3 also shows icons and reliefs in the Vesara style – a creative fusion of ideas from the two styles, as well as some of the earliest surviving historical examples of yantra-chakra motifs and colored fresco paintings in Karnataka. The first three caves feature sculpture of Hindu icons and legends focusing on Shiva and Vishnu, while Cave 4 features Jain icons and themes.
TEMPLE CAVES
The Badami cave temples are composed of mainly four caves, all carved out of the soft Badami sandstone on a hill cliff, dated to the late 6th to 7th centuries. The planning of four caves (1 to 4) is simple. The entrance is a verandah (mukha mandapa) with stone columns and brackets, a distinctive feature of these caves, leading to a columned mandapa – main hall (also maha mandapa) and then to the small square shrine (sanctum sanctorum, garbhaghrha) cut deep into the cave. The cave temples are linked by stepped path with intermediate terraces looking over the town and lake. Cave temples are labelled 1–4 in their ascending series even though this numbering does not necessarily reflect the sequence of excavation.
The cave temples are dated to 6th to 8th century, with an inscription dated to 579 CE. The inscriptions are in old Kannada script. The architecture includes structures built in Nagara style and Dravidian style which is the first and most persistent architectural idiom to be adopted by the early chalukyas There is also the fifth natural cave temple in Badami – a Buddhist temple, a natural cave, which can be entered kneeling on all fours.
CAVE 1
The cave is just about 18 m above the street level on the northwest part of the hill. Access is through series of steps which depict carvings of dwarfish ganas (with "bovine and equine heads") in different postures. The verandah with 21 m length with a width of 20 m in the interior, has four columns all sculpted with reliefs of the god Shiva in different dancing positions and different incarnations. The guardian dwarapalas at the entrance to the cave stand to a height of 1.879 m.
The cave portrays the Tandava-dancing Shiva, as Nataraja. The image, (1.5 m tall, has 18 arms, in a form that express the dance positions arranged in a geometric pattern, which Alice Boner states, is a time division symbolizing the cosmic wheel. Some of the arms hold objects while most express mudras (symbolic hand postures). The objects include drums, trident and axe. Some arms also have serpents coiled around them. Shiva has his son Ganesha and the bull Nandi by his side. Adjoining to the Nataraja, a wall depicts the goddess Durga, depicted slaying the buffalo-demon Mahishasura. Elsewhere, the two sons of Shiva, Ganesha and Kartikkeya, the god of war and family deity of the Chalukya dynasty are seen in one of the carved sculptures on the walls of the cave with Kartikkeya riding a peacock.
The cave also has carved sculptures of the goddesses Lakshmi and Parvati flanking Harihara, a 2.36 m high sculpture of a fused image that is half Shiva and half Vishnu. To the right, Ardhanarishvara, a composite androgynous form of Shiva and his consort Parvati, is sculpted towards the end of the walls. All the carved sculptures show ornaments worn by them, as well as borders with reliefs of various animals and birds. Lotus design is a common theme. On the ceiling are images of the Vidyadhara couples. Through a cleavage in the back side of the cave is a square sanctuary with more images carved.
Other prominent images in the cave are Nandi, the bull, in the sculptural form of Dharmadeva, the god of justice, Bhringi, a devotee of Shiva, a female decorated goddess holding a flat object in her left hand, which are all part of Ardhanarishvara described earlier. The roof in the cave has five carved panels with the central panel depicting the serpent Shesha. The head and bust are well formed and project boldly from the centre of the coil. In another compartment a bass-relief of 0.76 m diameter has carvings of a male and female; the male is Yaksha carrying a sword and the female is Apsara with a flying veil. The succeeding panel has carvings of two small figures; and the panel at the end is carved with lotuses.
CAVE 2
Cave 2, facing north, to the west of Cave 3, created in late 6th century AD, is almost same as cave 1 in terms of its layout and dimensions but it is dedicated primarily to Vishnu. Cave is reached by climbing 64 steps from the first cave. The cave entrance is the verandah, divided by four square pillars, which has carvings from its middle section to the top where there are yali brackets with sculptures within them. The cave is adorned with reliefs of guardians. Like the Cave 1, the cave art carved is a pantheon of Hindu divinities.
The largest relief in Cave 2 shows Vishnu as Trivikrama – with one foot on Earth and another – directed to the north. Other representations of Vishnu in this cave include Varaha (boar) where he is shown rescuing Bhudevi (symbolism for earth) from the depths of ocean, and Krishna avatars – legends found in Hindu Puranas text such as the Bhagavata Purana. Like other major murti (forms) in this and other Badami caves, the Varaha sculpture is set in a circle, the panel is an upright rectangle, states Alice Boner, whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The doorway is framed by pilasters carrying an entablature with three blocks embellished with gavaksha ornament. The entrance of the cave also has two armed guardians holding flowers rather than weapons. The end walls of the outer verandah is occupied by sculpted panels, to the right, Trivikrama; to the left, Varaha rescuing Bhudevi, with a penitent multi-headed snake (Nag) below. The adjacent side walls and ceiling have traces of colored paintwork, suggesting that the cave used to have fresco paintings. The columns show gods and battle scenes, the churning of cosmic ocean (Samudra Manthan), Gajalakshmi and figures, Brahma, Vishnu asleep on Shesha, illustrations of the birth of Krishna, Krishna's youth, Krishna with gopis and cows.
The ceiling of Cave 2 shows a wheel with sixteen fish spokes in a square frame along with swastikas and flying couples. The end bays have a flying couple and Vishnu on Garuda.[8] The main hall in the cave is 10.16 m in width, 7.188 m deep and 3.45 m high and is supported by eight square pillars in two rows. The roof of this hall has panels which have carvings. At the upper end of the wall a frieze runs all along the wall with engravings of episodes from the Krishna or Vishnu legends.
The sculptures of Cave 2, like Cave 1, are of the northern Deccan style of 6th-and 7th-century similar to that found in Ellora caves.
CAVE 3
The Cave 3 is dedicated to Vishnu, and is the most intricately carved and the biggest. It has well carved giant figures of Trivikrama, Anantasayana, Paravasudeva, Bhuvaraha, Harihara and Narasimha. The theme on which the Cave 3 is carved is primarily Vaishnavite, however the cave also shows Harihara on its southern wall – half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies as well. Cave 3, facing north, is 60 steps away from the Cave 2. This cave temple's veranda, 21 m in length with an interior width of 20 m, has been sculpted 15 m deep into the mountain, and an added square shrine at the end extends the cave some 3.7 m further inside. The verandah itself is 2.1 m wide and has four free standing carved pillars separating it from the hall. The cave is 4.6 m high, supported by six pillars each measuring 0.76 m square. Each column and pilaster is carved with wide and deep bases crowned by capitals which are camouflaged by brackets on three sides. Each bracket, except for one bracket, has carvings of standing human figures, under foliage in different postures, of a male and female mythological characters, along with attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally in 2.1 m lengths), have about thirty compartments carved with series of two fat dwarfs called ganas. The cave shows a Kama scene on one pillar, where a woman and man are in maithuna (erotic) embrace beneath a tree.
Cave 3 also shows fresco paintings on the ceiling, but some of these are faded, broken and unclear. These are among the earliest known and surviving evidence of fresco painting in Indian art.[14] The Hindu god Brahma is seen in one of the murals, while the wedding of Shiva and Parvati, attended by various Hindu deities, is the theme of another. There is a lotus medallion on the floor underneath the mural of four armed Brahma. The sculpture is well preserved, and a large number of Vishnu's reliefs including standing Vishnu with 8 arms, Vishnu seated on a hooded serpent called Sesha or Ananta on the eastern side of the verandha, Vishnu as Narasimha (half human – half lion), Varaha fully armed, a boar incarnation of Vishnu in the back wall of the cave, Harihara (a syncretic sculpture of Vishnu and Shiva), and Trivikrama avatars. The back wall also has carvings of Vidhyadaras holding offerings to Varaha, and adjoining this is an inscription dated 579 AD with the name Mangalis inscribed on it. At one end of the pilaster there is a sculpture of the fourth incarnation of Vishnu as Vamana shown with eight arms called Ashtabhuja decorated with various types of weapons. A crescent moon is crafted above his face, crown of Vishnu decorates his head and is flanked by Varaha and two other figures and below on his right is his attendant Garuda. The images in front of Vamana are three figures of Bali and his wife with Shukra, his councilor. Reliefs stand 4 metres tall. The culture and clothing embedded in the sixth century is visible in the art sculpted in this cave. The roof in the verandha has seven panels created by cross beams, each is painted in circular compartments with images of Shiva, Vishnu, Indra, Brahma, Kama and so forth with smaller images of Dikpalas (cardinal guardians) with geometric mosaics filling the gaps at the corners.
The front aisle's roof has panels with murals in the center of male and female figurines flying in the clouds; the male figure is yaksha holding a sword and a shield. Decoration of lotus blooms are also seen on the panels. The roof in the hall is divided into nine panels slightly above the level of the ceiling. The central panel here depicts a deva mounted on a ram – conjectured as Agni. Images of Brahma and Varuna are also painted in the central panels while the floating figures are seen in the balance panels.
CAVE 4
The Cave 4, to the east of Cave 3, excavated around 650 AD, is located higher than other caves. It is dedicated to revered figures of Jainism and was constructed last among all the caves. It also features detailed carvings and diverse range of motifs. The cave has five bayed entrance with four square columns with brackets and capitals, and to the back of this verandah is a hall with two standalone and two joined pillars. The first aisle is a verandah 9.4 m in length, 2.0 m wide and extends to 4.9 m deep. From the hall, steps lead to the sanctum sanctorum, which is 7.8 m wide extending to a depth of 1.8 m. On the back part of this, Mahavira is represented, sitting on lion throne, flanked by bas-reliefs of attendants with chauri (fans), sardulas and makara's heads. The end walls have Parshvanath (about 2.3 m tall) with his head decorated to represent protection and reverence by a multi-headed cobra, Indrabhuti Gautama covered by four snakes and Bahubali are seen; Bahubali is present to the left of Gautama shown with his lower legs surrounded by snakes along with his daughters Brahmi and Sundari. The sanctum, which is adorned by the image of Mahavira, has pedestal which contains an old Kannada inscription of the 12th century A.D. which registers the death of one Jakkave. Many Jaina Tirthankara images have been engraved in the inner pillars and walls. In addition, there are some idols of Yakshas, Yakshis, Padmavati and other Tirthankaras. Some scholars also assign the cave to the 8th century.
CAVE 5
It is a natural cave of small dimensions, undated, is approached by crawling as it has a narrow opening. Inside, there is a carved statue seated over a sculpted throne with reliefs showing people holding chauris (fans), tree, elephants and lions in an attacking mode. The face of this statue was reasonably intact till about 1995, and is now damaged and missing. There are several theories as to who the statue represents.
The first theory states that it is a Buddha relief, in a sitting posture. Those holding the chauris are Bodhisattvas flanking the Buddha, states this theory, and that the cave has been converted to a Hindu shrine of Vishnu, in later years, as seen from the white religious markings painted on the face of the Buddha as the 9th incarnation of Vishnu. Shetti suggests that the cave was not converted, but from the start represented a tribute to Mayamoha of the Hindu Puranas, or Buddhavatara Vishnu, its style suggesting it was likely carved in or before 8th century CE.
The second theory, found in colonial era texts such as one by John Murray, suggested that the main image carved in the smallest fifth cave is that of Jaina figure.
The third theory, by Henry Cousens as well as A. Sundara, and based by local legends, states that the statue is of an ancient king because the statue's photo, when its face was not damaged, lacked Ushnisha lump that typically goes with Buddha's image. Further, the statue has unusual non-Buddha ornaments such as rings for fingers, necklace and chest-band, it wears a Hindu Yajnopavita thread, and its head is stylistically closer to a Jina head than a Buddha head. These features suggest that the statue may be of a king represented with features of various traditions. The date and identity of the main statue in Cave 5, states Bolon, remains enigmatic.
OTHER CAVES
In 2013, Manjunath Sullolli reported the discovery of another cave with 27 rock carvings, about 500 metres from the four caves, from which water gushes year round. It depicts Vishnu and other Hindu deities, and features inscription in Devanagari script. The dating of these carvings is unknown.
OTHER TEMPLES AT BADAMI
On the north hill, there are three temples, of which Malegitti-Shivalaya is perhaps the oldest temple and also the finest in Badami, and has a Dravidian tower. Out of the two inscriptions found here, one states that Aryaminchi upadhyaya, as the sculptor who got this temple constructed and the other dated 1543 speaks of the erection of a bastion during the Vijayanagara rule. The lower Shivalaya has a Dravidian tower, and only the sanctum remains now.
Jambhulinga temple, situated in the town, is presumably the oldest known trikutachala temple in Karnataka. An inscription dated 699 ascribes construction of this temple to Vinayavathi mother of Emperor Vijayaditya.
The place also has Agasthya Tirtha, temples of Goddess Yellamma, Mallikarjuna, Datttreya and Virupaksha. Bhuthanatha group of temples are most important in Badami.
BADAMI FORT
Badami fort lies east of the Bhuthnatha temple, atop a cliff right opposite the Badami cave temples. The entrance to this temple is right through the Badami museum. It is a steep climb with many view points and dotted with little shrines. The path is laid with neatly cut stone, the same that adores all the architecture around.
ETYMOLOGY
The name Vatapi has origin in the Vatapi legend of Ramayana relating to Sage Agastya.There were two demon siblings Vatapi and Ilvala. They used to kill all mendicants by tricking them in a peculiar way. The elder Ilvala would turn Vatapi into a ram and would offer its meat to the guest. As soon as the person ate the meat, Ilvala would call out the name of Vatapi. As he had a boon that whomsoever Ilvala calls would return from even the netherland, Vatapi would emerge ripping through the body of the person, thus killing him. Their trick worked until Sage Agastya countered them by digesting Vatapi before Ilvala could call for him, thus ending the life of Vatapi at the hands of Ilvala. Two of the hills in Badami represent the demons Vatapi and Ilvala.
It is also believed that name Badami has come from colour of its stone (badam - Almond).
CULTURE
The main language is Kannada. The local population wears traditional Indian cotton wear.
GEOGRAPHY
Badami is located at 15.92°N 75.68°E. It has an average elevation of 586 metres. It is located at the mouth of a ravine between two rocky hills and surrounds Agastya tirtha water reservoir on the three other sides. The total area of the town is 10.3 square kilometers.
It is located 30 kilometers from Bagalkot, 128 kilometers from Bijapur, 132 kilometers from Hubli, 46 kilometers from Aihole, another ancient town, and 589 kilometers from Bangalore, the state capital.
WIKIPEDIA
Photos from 20 July activities in Tenerife. “AMANAR: Under the same sky” is an initiative to promote and support the scientific education of children living in the Saharawi refugee camps in Tindouf (Algeria). The project, conceived by the international organization GalileoMobile and the Canary Association for Friendship with the Saharawi People (ACAPS, in Spanish), consists of a combination of outreach activities and visits to the Canary observatories with the children in July and August as part of their summer in the Canary Islands with the “Holidays in Peace” program. The project will also include a visit to the refugee camps by a group of scientists and experts in October. The Cherenkov Telescope Array Observatory (CTAO) is one of the participating partners in this project, supporting the organization of activities and the provision of educational material for the camp visits.
More: www.cta-observatory.org/amanar-under-the-same-sky/
Credit: Demetrio Rodrigues/GalileoMobile