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"It is strange that the years teach us patience; that the shorter our time, the greater our capacity for waiting."
—Elizabeth Taylor
MARRABEL August 31
The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.
A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.
The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.
Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.
Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]
MARRABEL April 4
The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.
A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.
Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.
PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.
The hall was erected and furnished at a cost of £1,700 and was opened free of debt.
A banquet was tendered to visiting Oddfellows, and various toasts were honoured
The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.
In the evening the Olympic Star Picture Company showed to a packed house.
A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]
*April 29 The Marrabel Quadrille Class
The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]
*Marrabel March 19
The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.
Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.
He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.
The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]
*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.
A programme of sports was then carried out, old and young joining in, the festivities.
A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.
A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.
The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]
*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]
*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.
Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.
Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]
*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.
The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]
*January 28
A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.
Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]
* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.
A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]
* November 16
The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.
A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.
The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]
*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.
In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.
The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.
The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.
He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]
*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.
Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.
A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]
A detail shot to show my attempt to model the brick built setbacks that transition from the base to the shaft of the skyscraper.
Update link:
www.youtube.com/watch?v=dPWutyl9jU4&feature=c4-overvi...
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Minor Notes:
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• Certain MOCs Have Been and Can Still Possibly Be Postponed Until BBTB (2014) / Possible Bricks Cascade 2014 Due To Financial Mishaps and Setbacks
• Some MOCs, Such as Yavin IV, Will Be Modified For Every Convention The MOC (s) Attend.
• Will Attempt To Have Sponsor
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Yavin IV MOC Progress: 96%
__________________
• Entire Layout For Primary Scene Before Battle Has Been Finished
• Final Battle Version Of MOC Will Be Completed Soon After Last LEGO 41st Elite Scout Arrives
• All Droids Currently Back In MOC Setup (Still Missing 2 Regular LEGO Droidekas
• Size Of Clone Infiltration Garrison Has Been Downsized (LEGO Phase II Clones Replaced CAC Concepted Ones Due To Mishaps)
• Due To The Clone Adjustment, MOC Storyline Has Somewhat Changed, Actually Fits Better Than The Original Storyline
• MOC is Still Mildly Republic Customs Sponsored
• LEGO 41st Elite Squad & Commander Gree Now Here (Only Waiting On Jeff For Customization)
• Only Able To Use LEGO Weapons For Now (CAC Weapons Will Hopefully Be Affordable Next Year & We Can Switch Out For 2014)
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Battle Of Umbara: March On The Capital MOC Progress: 34.2%
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• Basic Ground Structure Of MOC Has Already Been Laid Out
• Supply Package From Investor Arrived And Additional Funds Coming In Very Soon
• MOC BL Orders Organization Tabs (Mostly For Custom Umbarans)
• Over Roughly 10 - 15 BL / Supplier Orders Till Completed
• Full Minifigs4U & X-39 Customs Sponsored MOC
• Going with New 2013 501st Umbara Line for MOC
• Only Able To Use LEGO Weapons For Now (CAC Weapons Will Hopefully Be Affordable Next Year & We Can Switch Out For 2014)
• Have All LEGO 501st Troopers We Need, May Decide To Eventualy Add Army Builder Clones
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Recon Extraction On Chandrilla MOC Progress: 100%
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• Replacing The Zombie MOC This Year
• Recently Added More Water Splash Detail
• Every Grass Detail Aspect Of The MOC Is Finished
• All Official Minifigures In The MOC Are Officially Staying In The MOC
• Will Only Be Appearing @ BBTB 2013
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Warhammer 40k: Winter Apoc MOC Progress: 49.6%
_________________
• Will Actually Be Based Off The Board Game Version
• Post-Apocalyptic Battle Scenery
• Will Have A Lot Of Backup Member help (Knowledge Purposes)
• Battle Will Be Between The White Scar Space Marines vs. Miscellaneous Necron Factions
• Official White Scar Space Marine Design Completed
• Will Take Over 30 Possible BL Orders (2/3 Going Towards The Space Marines & Necrons)
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Operation: Brick Freedom Collaboration MOC Progress: 25%
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• Originally A Collab w/ $DeltaForceGuy$, We Have Now Taken Over The Collab For
• Possibly Might Postpone Until BBTB 2014 (One More Week Till A Decision Is Made)
• Battle Synopsis Planned Out, Refs Used Off Flickr
• Using 4 Grey Baseplates Layout
• Possibly Using little-legends Desert Soldiers & Brickmania Tank Kits
• Would Be Doing A Defiance MOC, But Will Preserve For Next Year Since It Is A Bit To Late
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Custom Minifig Display Stand (Minifigs4U) Progress: 65%
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• RC Display Stand Has Been Moved Into Next Year's BBTB / Bricks Cascade Showcase
• Any Non-Star Wars Customs Will Be Included From Now On (Galaxy Troopers, Iron Man Figs, Super Heroes, etc.)
• Stand Has Been Downsized To Show Customs I Already Have (New BL Orders Already Planned However, May Not Place New)
• No New Minifigs4U SCPCs In Yet
• Will Have Most Of Latest Clones From Newest SCPC Line
• Stand Will Have All New "Army Builders" Series Clones
• Stand Back Still Hasn't Been Extended Yet For Vendor Labels
• Don't Have YouTube & Flickr Labels Or Business Cards For Minifigs4U Yet
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WC Brick Convention Team: 100%
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• Official Team Members:
Jeff W., Ben S., & Justine L.
• Ben and I Are Already Registered For Con (Not All MOCs Are Registered Yet Though)
• Jeff & Justine Not Attending Private Convention Days (But May Possibly Attend Public Day)
• Officially @ 4 Backup Members [Mainly Construction] (Including Frosty)
• Still Currently Planning Team Schedule (Schedule Planned Weekly / Monthly)
• Company Gear & Attire Currently Being Ordered & MOC Transport Is Being Organized
• Private Day Agenda Is Sort of Planned Out
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The Quartier Gratte-ciel ("Skyscraper quarter") in Villeurbanne, Lyon is a 1930's model city, conceived in parallel with (and inspired by) the contemporary work of Tony Garnier in Lyon (in continuation of his theoretical work "La Cité Industrielle").
Built in 1927-34 around the central Avenue Henri Barbusse, it presents clear references to the american example of zoning-law and setbacks, and at the same time a different approach to the modern collective housing efforts of the epoch.
Including a monumental city hall, and a "worker's palace" (today turned into a theatre), the complex still today offers a remarkably strong urbanism, attractive environment and public life.
Architects: Môrice Leroux (masterplan, worker's palace), Robert Giroud (city hall).
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1308610
Date first listed: 22-Feb-1967
Location
Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN
County: Devon
District: West Devon (District Authority)
Parish: Chagford
National Park: DARTMOOR
National Grid Reference: SX 70146 87508
Details
Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)
© Historic England 2021
Nope.. he is not too happy to see me :-0
one of the setbacks of going to the markets, it always makes me feel guilty for being a food lover AND an animal lover - somewhat a contradictory position?
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
With Scotland’s independence from Great Britain in late 2017, “Caledonian International Airlines” (or just “Caledonian” or “CI”) quickly emerged as a privately-owned national flag carrier. The airline followed in the footsteps of Caledonian Airways, an independent Scottish charter airline formed in April 1961, which evolved into British Caledonian Airlines (a.k.a. “BCal”). During the 1970s and '80s, British Caledonian became the UK's largest independent, international scheduled airline, with an extensive global route network serving over 40 destinations in around 25 countries on five continents. However, a series of major financial setbacks during the mid-1980s combined with the airline's inability to grow sufficiently to reach a viable size put the airline at serious risk of collapse. BCal began looking for a merger partner to improve its competitive position, and, in December 1987, British Airways (BA) gained control of the airline. In April 1988 BCal was officially dissolved and the brand disappeared.
Caledonian International Airlines was a completely new company, though, and received its Air Operator's Certificate on December 31, 2017. Caledonian had, except for the name and the use of the Scottish “Lion Rampant” emblem (the Royal Standard of the King or Queen of Scots), no connections with BCal, and also not to British Airways. In the second quarter of 2018, CI leased two Airbus A319s from Lessors Avolon and Apollo and started deploying to several national destinations from its home base Glasgow, taking over domestic flight slots to Scottish destinations (primarily Glasgow and Edinburgh) from British Airways. In 2019, the airline added a third A319 for connections to Continental Europe as well as a single Airbus A318 and an A330 for transatlantic destinations and charter flights, respectively.
CI’s A318-100 (SC-ABG) was primarily scheduled for the direct Glasgow/Edinburgh – New York (3210 ml/5170 km) routes. The Airbus A318 was the smallest airliner in the Airbus A320 family, carrying 107 to 132 passengers with a maximum range of 5,700 km (3,100 nmi). Overall, the A318 was over six meters shorter and around 3 t (6,600 lb) lighter than the A320, and to compensate for the reduced moment arm, it had a larger vertical stabilizer. While initial concepts depicted the aircraft with a Boeing 737-300-style dorsal fin extension, the final design incorporated a fin tip extension, making it 75 centimeters (30 in) taller than the other A320 variants and easily identifiable. Pilots who were trained on the other variants might fly the A318 with no further certification, since it featured a common flight deck and the same type rating as its sister aircraft.
The A318 was available with a variety of different maximum take-off weights (MTOW) ranging from a 59-tonnes (58 long tons; 65 short tons), 2,750 kilometres (1,480 nmi) base model to a 68-tonnes (67 long tons; 75 short tons), 6,000 kilometres (3,200 nmi) version. The lower MTOW enabled it to operate regional routes economically while sacrificing range and the higher MTOW allowed it to complement other members of the A320 family on marginal routes. On the other side, the lighter weight of the A318 gave it an operating range 10% greater than the A320, allowing it to serve some routes that the A320 would be unable to, e. g, London – New York, Perth–Auckland and Singapore–Tokyo, for instance. Its main use for airlines, however, were on short, low-density hops between medium-sized cities.
The airline also ordered two long-haul wide-body Airbus A330-900neos in November 2019 at the Dubai Air Show. The first plane is scheduled to arrive in January 2022 after a delivery flight from Toulouse and will operate on routes to Asia, e. g. Hong Kong and Tokyo, and to intercontinental destinations in North America and Brazil. A further order for six EMBRAER ERJ-190s was placed at the same time – these will replace the leased A320s on regional and domestic routes, and with these additional aircraft Caledonian International Airlines follows a slow but steady expansion strategy.
General characteristics:
Cockpit crew: Two
Length: 31.44 m (103 ft 2 in)
Wingspan:34.10 m (111 ft 11 in)
Wing area: 122.4 m² (1,318 sq ft)
Wing sweepback: 25°
Tail height: 12.56 m (41 ft 2 in)
Cabin width: 3.70 m (12 ft 2 in)
Fuselage width: 3.95 m (13 ft 0 in)
Operating empty weight: 39,500 kg (87,100 lb)
Maximum zero-fuel weight (MZFW): 54,500 kg (120,200 lb)
Maximum landing weight (MLW):57,500 kg (126,800 lb)
Maximum take-off weight (MTOW): 68,000 kg (150,000 lb)
Capacity:
Exit Limit:136
1-class max. seating: 132 at 29–30 in (74–76 cm) pitch
1-class, typical: 117 at 32 in (81 cm) pitch
2-class, typical: 107 (8F @ 38 in, 99Y @ 32 in)
Cargo capacity: 21.2 m³ (750 cu ft)
Fuel capacity: 24,210 L (5,330 imp gal; 6,400 US gal)
Performance:
Cruising speed: Mach 0.78 (829 km/h; 515 mph)
Maximum speed: Mach 0.82 (871 km/h; 541 mph)
Range (typical payload): 5,740 km (3,100 nmi)
ACJ range:4,200 nmi (7,800 km)
Takeoff (MTOW, SL, ISA): 1,780 m (5,840 ft)
Landing (MLW, SL, ISA): 1,230 m (4,040 ft)
Ceiling: 39,100–41,000 ft (11,900–12,500 m)
Engines:
2xCFM56-5B9/P turbofans with 23,300 lbf (100 kN) thrust each
The kit and its assembly:
I have been pondering the idea of an independent Scotland for some time and already built some what-if models with this background. But then arose the question: what could a national carrier airline be or look like?
This turned out to be a more complex question than initially ever thought of and led to more than a dozen potential design layouts, with the plan to avoid the much-too-obvious blue from the Scottish flag and rather incorporate the Scottish coat-of-arms (with a standing red lion on a yellow shield/background) but also based on limited decal resources. The small Airbus 318 was chosen because it would be a rather small airline, and the type’s extended range vs. it bigger brethren (making flight to America possible) made it a good choice for trans-Atlantic flights.
I settled for the Eastern Express A318 kit, which is BTW the only option for this airliner in 1:144. Upon an initial glance the kit looked quite O.K. – very simple and straightforward, and somewhat looking like a clone of the Revell A319/320 model (but it isn't). However, closer inspection confirmed the impression of a rather poor copy quality level. Most surface details (engraved) are there, but they are soft and somewhat blurred, and any fine details like pitots or blade antennae are missing or just hinted at. The material is also dubious, a very waxy and soft styrene. It can be glued together easily, but it is very sensitive to scratches or cuts.
However, things turned really ugly when I tried to build it! NOTHING of the major elements fits together, the worst flaws became apparent when I tried to glue the fuselage halves together, which turned out to be wavy along the seams and heavily dented, esp. along the spine. Massive PSR was necessary to fill the worst gaps, and even then, the result is barely acceptable.
Another disaster area is the wing/fuselage intersection. Unlike the Revell A320, the Eastern Express kit comes with separate, asymmtretical lower wing halves, which carry a part of the lower fuselage. Raised surface details and air scoops justify this construction, but the poor fit of everything involved in this area left me with a ventral 2mm(!!!) gap and further misalignments that called for even more PSR. Horrible.
The final major problem zone was the fin – in consists of a base, which is molded into the fuselage halves, and the extended fin tip as well as the rudder are a separate part. This could work, if the fin’s base halves were not about 1mm too thick when assembled, resulting in a crippled fin that called for more PSR to create even surfaces on both sides (and fill gap’s at the rudder’s base)…
Beyond that, there were some sinkholes on the wings and the (otherwise pretty clear) cockpit glazing did not fit at all, being much too narrow and leaving considerable gaps at its base. Since I had decals for the complete cockpit glazing at hand I short-handedly blended the clear part into the hull with some more PSR. No, this kit is NOT recommended – I guess that cutting an A319/320 from another manufacturer and scratching the longer fin leads to better results than the Eastern Express A318 kit!
Painting and markings:
I wanted to develop a personal livery for Scotland’s potential flag carrier, and this took a while. The process was inspired and also limited by decal options, and I wanted to avoid the obvious color blue. I rather took inspiration from the Scottish coat of arms, which shows a standing red lion on a deep yellow background. For potential layouts I took the burden to create profile drawings, which soon revealed that yellow and red would make the airliner look like a Spanish charter carrier, so more and more black crept into the design, eventually fully replacing the yellow, together with white as basic color for the fuselage and a little red from the lion as contrast. After more than a dozen layouts the one I chose reminds of the late BEA scheme (with the black fin and trim) or Air Canada. However, I wanted to avoid a contemporary livery with a uniform/featureless fuselage, so I incorporated a black window cheatline that visually stretches the fuselage. The design has a certain retro appeal, even though this was not intended.
The fuselage was prepared with grey primer and received a coat with pure white paint from the rattle can. The wings were painted with Humbrol 40 (Gloss Light Gull Grey) and 126 (FS 26270) for the Corroguard areas. Fin and engine nacelles were painted black (Humbrol 21). The small winglets were painted in red (Humbrol 19), as small color highlights. Black ink was used to emphasize the panel lines (esp. of the flaps and rudders) on the wings, the white fuselage remained clean, though, in order to avoid a dirty or worn look.
The cheatlines and the windows come from a TwoSix Decals sheet for a retro British Airways A319 with a BEA red square livery, the decals had to be tailored to the A318’s shorter fuselage. The black nose section was retained, because it reminds of the elegant livery of British Caledonian Airlines. The red “Caledonian” letterings and the smaller sublines come from a TwoSix Decals sheet for a Sixties’ Caledonian Airways DC-6B. I had hoped to use the sheet’s large red lions for the Airbus’ fin, but they were only printed on clear carrier film and lacked opacity, so that I had to improvise. I found a suitable alternative in a MicroScale H0 scale sheet for Cape Brenton & Nova Scotia Diesel locomotives.
The stencils are a mix from the (very nice) Eastern Express and the TwoSix Airbus sheet, and I printed the registration code with the Scottish flag as well as the “independence” tag on the nose myself.
Finally, the model was sealed with an overall coat of glossy acrylic varnish.
Frame :*CRUST BIKES* evasion
Headset :*CHRIS KING*
wheel :*WTB* asym × *SHIMANO* SLX
Tires :*PANARACER* neo moto
Crankset :*SHIMANO* SLX
Stem :*THOMSON* elite x4 stem
Handlebar :**HUNTER* high rise bar
Brakes :*AVID* bb7 mtn
Brake Levers :*AVID*
RD :*SHIMANO* SLX
Saddle :*BROOKS* b17 standard
Seat post :*THOMSON* elite setback seatpost
Grip :*ODI* vans waffle lock-on grip
Pedals :*SHIMANO*
Frame bag :*FAIRWEATHER* frame bag
Reflector :*SAFETY PIZZA* safety thingy wave
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
With Scotland’s independence from Great Britain in late 2017, “Caledonian International Airlines” (or just “Caledonian” or “CI”) quickly emerged as a privately-owned national flag carrier. The airline followed in the footsteps of Caledonian Airways, an independent Scottish charter airline formed in April 1961, which evolved into British Caledonian Airlines (a.k.a. “BCal”). During the 1970s and '80s, British Caledonian became the UK's largest independent, international scheduled airline, with an extensive global route network serving over 40 destinations in around 25 countries on five continents. However, a series of major financial setbacks during the mid-1980s combined with the airline's inability to grow sufficiently to reach a viable size put the airline at serious risk of collapse. BCal began looking for a merger partner to improve its competitive position, and, in December 1987, British Airways (BA) gained control of the airline. In April 1988 BCal was officially dissolved and the brand disappeared.
Caledonian International Airlines was a completely new company, though, and received its Air Operator's Certificate on December 31, 2017. Caledonian had, except for the name and the use of the Scottish “Lion Rampant” emblem (the Royal Standard of the King or Queen of Scots), no connections with BCal, and also not to British Airways. In the second quarter of 2018, CI leased two Airbus A319s from Lessors Avolon and Apollo and started deploying to several national destinations from its home base Glasgow, taking over domestic flight slots to Scottish destinations (primarily Glasgow and Edinburgh) from British Airways. In 2019, the airline added a third A319 for connections to Continental Europe as well as a single Airbus A318 and an A330 for transatlantic destinations and charter flights, respectively.
CI’s A318-100 (SC-ABG) was primarily scheduled for the direct Glasgow/Edinburgh – New York (3210 ml/5170 km) routes. The Airbus A318 was the smallest airliner in the Airbus A320 family, carrying 107 to 132 passengers with a maximum range of 5,700 km (3,100 nmi). Overall, the A318 was over six meters shorter and around 3 t (6,600 lb) lighter than the A320, and to compensate for the reduced moment arm, it had a larger vertical stabilizer. While initial concepts depicted the aircraft with a Boeing 737-300-style dorsal fin extension, the final design incorporated a fin tip extension, making it 75 centimeters (30 in) taller than the other A320 variants and easily identifiable. Pilots who were trained on the other variants might fly the A318 with no further certification, since it featured a common flight deck and the same type rating as its sister aircraft.
The A318 was available with a variety of different maximum take-off weights (MTOW) ranging from a 59-tonnes (58 long tons; 65 short tons), 2,750 kilometres (1,480 nmi) base model to a 68-tonnes (67 long tons; 75 short tons), 6,000 kilometres (3,200 nmi) version. The lower MTOW enabled it to operate regional routes economically while sacrificing range and the higher MTOW allowed it to complement other members of the A320 family on marginal routes. On the other side, the lighter weight of the A318 gave it an operating range 10% greater than the A320, allowing it to serve some routes that the A320 would be unable to, e. g, London – New York, Perth–Auckland and Singapore–Tokyo, for instance. Its main use for airlines, however, were on short, low-density hops between medium-sized cities.
The airline also ordered two long-haul wide-body Airbus A330-900neos in November 2019 at the Dubai Air Show. The first plane is scheduled to arrive in January 2022 after a delivery flight from Toulouse and will operate on routes to Asia, e. g. Hong Kong and Tokyo, and to intercontinental destinations in North America and Brazil. A further order for six EMBRAER ERJ-190s was placed at the same time – these will replace the leased A320s on regional and domestic routes, and with these additional aircraft Caledonian International Airlines follows a slow but steady expansion strategy.
General characteristics:
Cockpit crew: Two
Length: 31.44 m (103 ft 2 in)
Wingspan:34.10 m (111 ft 11 in)
Wing area: 122.4 m² (1,318 sq ft)
Wing sweepback: 25°
Tail height: 12.56 m (41 ft 2 in)
Cabin width: 3.70 m (12 ft 2 in)
Fuselage width: 3.95 m (13 ft 0 in)
Operating empty weight: 39,500 kg (87,100 lb)
Maximum zero-fuel weight (MZFW): 54,500 kg (120,200 lb)
Maximum landing weight (MLW):57,500 kg (126,800 lb)
Maximum take-off weight (MTOW): 68,000 kg (150,000 lb)
Capacity:
Exit Limit:136
1-class max. seating: 132 at 29–30 in (74–76 cm) pitch
1-class, typical: 117 at 32 in (81 cm) pitch
2-class, typical: 107 (8F @ 38 in, 99Y @ 32 in)
Cargo capacity: 21.2 m³ (750 cu ft)
Fuel capacity: 24,210 L (5,330 imp gal; 6,400 US gal)
Performance:
Cruising speed: Mach 0.78 (829 km/h; 515 mph)
Maximum speed: Mach 0.82 (871 km/h; 541 mph)
Range (typical payload): 5,740 km (3,100 nmi)
ACJ range:4,200 nmi (7,800 km)
Takeoff (MTOW, SL, ISA): 1,780 m (5,840 ft)
Landing (MLW, SL, ISA): 1,230 m (4,040 ft)
Ceiling: 39,100–41,000 ft (11,900–12,500 m)
Engines:
2xCFM56-5B9/P turbofans with 23,300 lbf (100 kN) thrust each
The kit and its assembly:
I have been pondering the idea of an independent Scotland for some time and already built some what-if models with this background. But then arose the question: what could a national carrier airline be or look like?
This turned out to be a more complex question than initially ever thought of and led to more than a dozen potential design layouts, with the plan to avoid the much-too-obvious blue from the Scottish flag and rather incorporate the Scottish coat-of-arms (with a standing red lion on a yellow shield/background) but also based on limited decal resources. The small Airbus 318 was chosen because it would be a rather small airline, and the type’s extended range vs. it bigger brethren (making flight to America possible) made it a good choice for trans-Atlantic flights.
I settled for the Eastern Express A318 kit, which is BTW the only option for this airliner in 1:144. Upon an initial glance the kit looked quite O.K. – very simple and straightforward, and somewhat looking like a clone of the Revell A319/320 model (but it isn't). However, closer inspection confirmed the impression of a rather poor copy quality level. Most surface details (engraved) are there, but they are soft and somewhat blurred, and any fine details like pitots or blade antennae are missing or just hinted at. The material is also dubious, a very waxy and soft styrene. It can be glued together easily, but it is very sensitive to scratches or cuts.
However, things turned really ugly when I tried to build it! NOTHING of the major elements fits together, the worst flaws became apparent when I tried to glue the fuselage halves together, which turned out to be wavy along the seams and heavily dented, esp. along the spine. Massive PSR was necessary to fill the worst gaps, and even then, the result is barely acceptable.
Another disaster area is the wing/fuselage intersection. Unlike the Revell A320, the Eastern Express kit comes with separate, asymmtretical lower wing halves, which carry a part of the lower fuselage. Raised surface details and air scoops justify this construction, but the poor fit of everything involved in this area left me with a ventral 2mm(!!!) gap and further misalignments that called for even more PSR. Horrible.
The final major problem zone was the fin – in consists of a base, which is molded into the fuselage halves, and the extended fin tip as well as the rudder are a separate part. This could work, if the fin’s base halves were not about 1mm too thick when assembled, resulting in a crippled fin that called for more PSR to create even surfaces on both sides (and fill gap’s at the rudder’s base)…
Beyond that, there were some sinkholes on the wings and the (otherwise pretty clear) cockpit glazing did not fit at all, being much too narrow and leaving considerable gaps at its base. Since I had decals for the complete cockpit glazing at hand I short-handedly blended the clear part into the hull with some more PSR. No, this kit is NOT recommended – I guess that cutting an A319/320 from another manufacturer and scratching the longer fin leads to better results than the Eastern Express A318 kit!
Painting and markings:
I wanted to develop a personal livery for Scotland’s potential flag carrier, and this took a while. The process was inspired and also limited by decal options, and I wanted to avoid the obvious color blue. I rather took inspiration from the Scottish coat of arms, which shows a standing red lion on a deep yellow background. For potential layouts I took the burden to create profile drawings, which soon revealed that yellow and red would make the airliner look like a Spanish charter carrier, so more and more black crept into the design, eventually fully replacing the yellow, together with white as basic color for the fuselage and a little red from the lion as contrast. After more than a dozen layouts the one I chose reminds of the late BEA scheme (with the black fin and trim) or Air Canada. However, I wanted to avoid a contemporary livery with a uniform/featureless fuselage, so I incorporated a black window cheatline that visually stretches the fuselage. The design has a certain retro appeal, even though this was not intended.
The fuselage was prepared with grey primer and received a coat with pure white paint from the rattle can. The wings were painted with Humbrol 40 (Gloss Light Gull Grey) and 126 (FS 26270) for the Corroguard areas. Fin and engine nacelles were painted black (Humbrol 21). The small winglets were painted in red (Humbrol 19), as small color highlights. Black ink was used to emphasize the panel lines (esp. of the flaps and rudders) on the wings, the white fuselage remained clean, though, in order to avoid a dirty or worn look.
The cheatlines and the windows come from a TwoSix Decals sheet for a retro British Airways A319 with a BEA red square livery, the decals had to be tailored to the A318’s shorter fuselage. The black nose section was retained, because it reminds of the elegant livery of British Caledonian Airlines. The red “Caledonian” letterings and the smaller sublines come from a TwoSix Decals sheet for a Sixties’ Caledonian Airways DC-6B. I had hoped to use the sheet’s large red lions for the Airbus’ fin, but they were only printed on clear carrier film and lacked opacity, so that I had to improvise. I found a suitable alternative in a MicroScale H0 scale sheet for Cape Brenton & Nova Scotia Diesel locomotives.
The stencils are a mix from the (very nice) Eastern Express and the TwoSix Airbus sheet, and I printed the registration code with the Scottish flag as well as the “independence” tag on the nose myself.
Finally, the model was sealed with an overall coat of glossy acrylic varnish.
© 2007 ryan southen photography All Rights Reserved
*not for use without my prior written consent*
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Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1308610
Date first listed: 22-Feb-1967
Location
Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN
County: Devon
District: West Devon (District Authority)
Parish: Chagford
National Park: DARTMOOR
National Grid Reference: SX 70146 87508
Details
Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)
© Historic England 2021
Members of South Sudan's White Army, a predominantly Nuer militia, which is fighting alongside army drfectors against President Salva Kiir, in Lankien, Jonglei State, Jann 22 2014. Militiamen, residents and wounded sodleirs vowed to fight on, despite recent setbacks, insisting they will only have peace when President Kiir steps down.
© Diana Yakowitz, 2011 all rights reserved.
Sunset looking south from the road that connects Camano Island to the mainland of Washington State near Stanwood. This is Leque Island that is under reclamation from diked farmland back to riparian zone. When I first arrived here 7 years ago, there was a farm house, out buildings and barn here, Eidy Farm.
The conversion is controversial and not because of the loss of farmland, but rather that the un-natural changes to the area over the years of the dike are causing a return not to its former state but a new one that some feel will cause more salinization to the fresh water systems supplying parts of Camano Island.
When one looks further than just being for or against an issue, one gains insight into the reasons for opposing views. I wish everyone would do that in these days of complicated and troubling times.
Latest post to The Limelight Photography
From the Washington Dept. of Fish and Wildlife: Leque Island, located west of Stanwood between Port Susan and Skagit bays, was once entirely salt marsh. Today it consists of wetlands and diked agricultural fields. Since 1974, WDFW has purchased a majority of the island (325 acres). Contract farmers annually plant cereal grain as food for wintering waterfowl (mainly ducks and snow geese). This site offers bird watching, bird dog training, and pheasant and waterfowl hunting. In 1982, a storm combined with a high tide breeched the lower southern dike in two places, flooding both state and private property on the island. Efforts to rebuild the dikes have been proposed since 1973, when the first parcel was acquired. Currently, the Salmon Recovery Funding Board has funded a cooperative project between Ducks Unlimited and WDFW to restore about 100 acres of Leque Island to intertidal estuary. Setback levees will be built on the south and north ends of the island, and dikes removed to reconnect sloughs with the Stillaguamish River. This will restore tidal flooding, provide habitat where juvenile salmon can make the transition from a fresh to saltwater environment, and benefit other fish and wildlife species.
The 43-storey New Yorker Hotel was built in 1929 and opened its doors on January 2, 1930. Much like its contemporaries, the Empire State Building and the Chrysler Building, the New Yorker is designed in the Art Deco style that was popular in the 1920s and 1930s. The building's pyramidal, set-back tower structure largely resembles that of the Empire State Building, which lies just a couple blocks due east on 34th Street. For many years, the New Yorker Hotel was New York's largest hotel.
Throughout the 1940s and 1950s the hotel hosted a number of popular Big Bands while notable figures such as Spencer Tracy, Joan Crawford and even Fidel Castro stayed here. The inventor Nikola Tesla spent the last ten years of his life in near-seclusion in Suite 3327, largely devoting his time to feeding pigeons while occasionally meeting dignitaries. However, by the late 1960s, with both the passing of the Big Band era as well as the construction of more modern hotels, the hotel slowly lost profitability and closed its doors in April 1972.
Different proposals were offered for the use of the building, and in 1975 it was purchased by the Unification Church. Under new management and following extensive renovation, the New Yorker Hotel finally re-opened its doors as a hotel on 1 June 1994. Since 2000 it has been part of the Ramada franchise.
Frame:*surly* straggler Painted by COOK PAINT WORKS
Headset:*chris king* nothreadset
Rim:*velocity* blunt ss
Tire:*fairweather* cruise
Handle:*whisky* no.7 24f aluminum drop
Stem:*thomson* elite x4
Bartape:*brooks* cambium rubber
Saddle:*brooks* b17s standard
Seatpost:*thomson* elite setback
Seat clamp:*DKG*
Pedal:*mks* bm-7
Frame :*CRUST BIKES* evasion lite frame
Rims :*VELOCITY* aileron rim
Stem :*THOMSON* elite X4
Handlebar :*NITTO* m137 dirt drop bar
Saddle :*SELLE ITALIA* flite 1990 saddle
Seat post:*THOMSON* elite setback
Seat Clamp :*THOMSON*
Bar Tape :*GREPP* gripper handlebar tape
Opening Plenary Session - Students Taking Action Together
CGI University 2023
Vanderbilt University, Nashville, TN
From climate injustice to the war in Ukraine to limitations on reproductive rights, it appears as if the world is literally and figuratively on fire. Yet for emerging leaders and entrepreneurs driven by the desire to build more inclusive and equitable communities, this moment teaches one of the greatest lessons in social innovation, advocacy and civic engagement – that times of crises spark the agency to act. Taking action in challenging times often requires a new mindset of seeing, thinking, and responding. In this session, panelists will share how challenges can serve as a catalyst for transformation, and how they have moved forward in the midst of setbacks and uncertainty.
SPEAKERS
PETE BUTTIGIEG U.S. Secretary of Transportation
SECRETARY HILLARY RODHAM CLINTON Former U.S. Secretary of State
CHELSEA CLINTON, DPHIL, MPH Vice Chair, Clinton Foundation
OLIVIA JULIANNA Director of Politics & Government Affairs, Gen-Z For Change
SUKHMEET SINGH SACHAL CGI U '21, Medical Student, Social Entrepreneur, Health Activist
GEORGINA PAZCOGUIN The Rogue Ballerina, Author, Disrupter, Soloist Ballerina with the New York City Ballet, co founder Final Bow For Yellowface / Gold Standard Arts
JORDAN REEVES Co-Founder, Design With Us
YUSRA MARDINI Olympian and Goodwill Ambassador, UNHCR
Photo Credit: Megan Maher / Clinton Foundation
(c) 2009 Copyright All Rights Reserved jmark media llc
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Today I made a tough decision. I decided to start loving me.
As many of you know, I have been in a relationship that turned unhealthy last fall. Several of you know my wife, and know that I love her dearly. We experienced some horrific setbacks in our family, and it pushed us to the breaking point. From that moment forward, I witnessed one of the most astonishing character failures I have ever known. I hate to say that, but it is simply the truth.
I grew up in a loving family. I learned how to love from both my Grandparents and my Mom and Dad. I saw what REAL husbands and wives do…even when the chips are down. Somewhere, over the past few decades, we have turned into a “Me” society. Understand, when I say that I decided to start loving me, I am most assuredly NOT referring to what that implies. In my world, when you marry, you are a team. An unbreakable force bound by love, commitment, honor…and yes even God. I take that commitment above any other that I might make. Sure there will be hard times and spats and miscommunications. But my loyalty and dedication and faithfulness belong to my wife, and her alone. That means that no matter what is going on around her, I am there! 110%! More if necessary. It means that I am even willing to be unhappy for a time. To take it on the chin when I might not deserve it. But above all it means that I live in love and service to her. And…her to me. There will never be a question where Tiny’s loyalties lay.
Today, I came to the end of that path. I realized that I was simply being used, and by someone who understood my love…but cared not. One who actually just didn’t get it. Who saw the bank account but not the treasure. The bible is very clear that we are not to cast our pearls before swine. And ancient African proverb says “To see the end, one must look at the beginning.”
I want to thank so many of you who have offered me comments and favs and encouragement through this ordeal. Though I know that a New Ordeal is starting now, I look forward to the journey, the finding of real love in this life.
I want to especially thank my Portfolio Admins who have been very kind and patient with me these past months. Don is always the guy I talk to and a deal friend. Gerla and Flemming always have a kind note of encouragement, as do Kat, Hogne, Brian, Rafal and many more.
I also want to thank my dear sisters: Joy Deaver Johnson, Maryann Marshall, Jennifer Ford, Jessica Persons, Sara Folkerts, Sherlyn Wesson and Dorry Gilliland for being there for me in ways that frankly get tiring after awhile. You held my hand, as did Lantz and Jessica Howard in Las Vegas. I am forever grateful to each of you for this.
Now it’s time for Tiny to get healthy, get back up on his feet, and do what it is he does best!
MARRABEL August 31
The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.
A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.
The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.
Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.
Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]
MARRABEL April 4
The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.
A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.
Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.
PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.
The hall was erected and furnished at a cost of £1,700 and was opened free of debt.
A banquet was tendered to visiting Oddfellows, and various toasts were honoured
The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.
In the evening the Olympic Star Picture Company showed to a packed house.
A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]
*April 29 The Marrabel Quadrille Class
The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]
*Marrabel March 19
The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.
Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.
He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.
The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]
*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.
A programme of sports was then carried out, old and young joining in, the festivities.
A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.
A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.
The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]
*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]
*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.
Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.
Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]
*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.
The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]
*January 28
A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.
Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]
* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.
A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]
* November 16
The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.
A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.
The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]
*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.
In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.
The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.
The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.
He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]
*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.
Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.
A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]
Source: en.wikipedia.org/wiki/Stuttgart
Stuttgart (Swabian: Schduagert) is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Swabian Jura and the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are consistently ranked among the top 20 European metropolitan areas by GDP; Mercer listed Stuttgart as 21st on its 2015 list of cities by quality of living, innovation agency 2thinknow ranked the city 24th globally out of 442 cities and the Globalization and World Cities Research Network ranked the city as a Beta-status world city in their 2014 survey.
Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley. The Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were truly laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses. Initially overshadowed by nearby Cannstatt, the town grew steadily and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, and they made it the capital of their county, duchy, and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial, tourism and publishing centre it is today.
Stuttgart is also a transport junction, and possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Bosch, Mercedes-Benz, Daimler AG, and Dinkelacker.
Stuttgart is unusual in the scheme of German cities. It is spread across a variety of hills (some of them covered in vineyards), valleys (especially around the Neckar river and the Stuttgart basin) and parks. This often surprises visitors who associate the city with its reputation as the "cradle of the automobile". The city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure (as part of the Stuttgart 21 project), the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas" ("The new Heart of Europe"). For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area.
Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, and 64% of the population below the age of five, are of immigrant background.
Source: en.wikipedia.org/wiki/Mercedes-Benz_Museum
The Mercedes-Benz Museum is an automobile museum in Stuttgart, Germany. It covers the history of the Mercedes-Benz brand and the brands associated with it. Stuttgart is home to the Mercedes-Benz brand and the international headquarters of Daimler AG.
The Postcard
A postally unused Norman Series postcard that was published by Shoesmith & Etheridge of Hastings.
The card has a divided back.
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image. In 1938, Baird Noel Gordon (of Crossroads fame) to take part in his colour television experiments. She became the first woman to be transmitted in colour from a camera to television sets later that year. (Earlier tests had shown static photos in colour, this was the first motion transmission of colour).
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
Designed by Warren and Wetmore and built in 1921, it was one of the first buildings to go up after the setback provisions of the 1916 Zoning Resolution. It was originally called the Hecksher Building after its developer August Hecksher, a German immigrant (1867) who made his wealth from mining operations. In 1929, the Museum of Modern Art opened its first gallery here in rented rooms on the 12th floor.
Wesley Spindler, Managing Director, Global Sustainability Leadership, Accenture, USA; speaking in Leading Differently: Unlocking Lessons from Nature session at the Young Global Leaders Annual Summit 2025 in Geneva, Switzerland, 4/9/2025, 11:15 – 12:45, World Economic Forum Headquarters - Nelion-Kibo. Experience. Copyright: World Economic Forum/Pascal Bitz
The Four Seasons Centre for the Performing Arts is a 2,071-seat theatre in Toronto, Ontario, Canada located at the southeast corner of University Avenue and Queen Street West, across from Osgoode Hall. The land on which it is located was a gift from the Government of Ontario. It is the home of the Canadian Opera Company (COC) and the National Ballet of Canada.
After various setbacks from the 1980s onward, attempts by the COC to find a new permanent home led to the company issuing an invitation in 2002 for designs. Ten architectural firms submitted proposals and, from them, the Canadian company Diamond and Schmitt Architects, headed by Jack Diamond, was selected as the winner for its modernist design.
The Centre had its grand opening on 14 June 2006, with regularly scheduled performances commencing on 12 September 2006 with the inaugural production in the new opera house being Richard Wagner’s epic tetralogy Der Ring des Nibelungen (The Ring of the Nibelung). Governor General Michaëlle Jean and numerous other Canadian luminaries attended the event. Three complete Ring Cycles were performed in September 2006.
en.wikipedia.org/wiki/Four_Seasons_Centre
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
MARRABEL August 31
The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.
A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.
The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.
Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.
Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]
MARRABEL April 4
The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.
A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.
Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.
PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.
The hall was erected and furnished at a cost of £1,700 and was opened free of debt.
A banquet was tendered to visiting Oddfellows, and various toasts were honoured
The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.
In the evening the Olympic Star Picture Company showed to a packed house.
A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]
*April 29 The Marrabel Quadrille Class
The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]
*Marrabel March 19
The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.
Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.
He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.
The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]
*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.
A programme of sports was then carried out, old and young joining in, the festivities.
A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.
A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.
The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]
*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]
*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.
Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.
Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]
*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.
The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]
*January 28
A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.
Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]
* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.
A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]
* November 16
The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.
A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.
The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]
*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.
In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.
The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.
The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.
He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]
*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.
Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.
A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country house near Welshpool, in Powys, Wales. The seat of the Herbert family, earls of Powis, the castle is known for its formal gardens and for its interiors, the former having been described as "the most important", and the latter "the most magnificent", in the country. The castle and gardens are under the care of the National Trust. Powis Castle is a Grade I listed building, while its gardens have their own Grade I listing on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.
The present castle was built in the 13th century. Unusually for a castle on the Marches, it was constructed by a Welsh prince, Gruffydd ap Gwenwynwyn, rather than by a Norman baron. Gruffydd was prince of the ancient Kingdom of Powys and maintained an alliance with the English king Edward I during the struggles of the later 13th century. He was able to secure the position of his son, Owain, although the kingdom itself was abolished by the Parliament of Shrewsbury in 1283. After his father's death, Owain was raised to the peerage as Owen de la Pole, 1st Lord of Powis. Following his own death c. 1293, and the death of his only son, he was succeeded by his daughter, Hawys Gadarn, "the Lady of Powis". Hawys married Sir John Charlton in 1309.
In the late 16th century the castle was purchased by Sir Edward Herbert, a younger son of William Herbert, 1st earl of Pembroke, beginning a connection between the family and the castle that continues today. The Herberts remained Roman Catholic until the 18th century and, although rising in the peerage to earls, marquesses and Jacobite dukes of Powis, suffered periods of imprisonment and exile. Despite these setbacks, they were able in the late 17th and early 18th centuries to transform Powis from a border fortress into an aristocratic country house, and surround it with one of the very few extant examples of a British Baroque garden.
In 1784 Henrietta Herbert married Edward Clive, eldest son of Clive of India, a match which replenished the much-depleted Herbert family fortune. In the early 20th century, George Herbert, 4th Earl of Powis, redeveloped the castle with the assistance of the architect George Frederick Bodley. Herbert’s wife, Violet, undertook work of equal importance in the garden, seeking to turn it into "one of the most beautiful, if not the most beautiful, in England and Wales". On the 4th Earl's death in 1952, his wife and his sons having predeceased him, the castle passed into the care of the National Trust.
History
First castles at Welshpool: 1111–1286
Unlike the castles at Conwy, Caernarfon, Harlech and nearby Montgomery, which were built by the English to subdue the Welsh, the castles at Welshpool were built by the Welsh princes of Powys Wenwynwyn as their dynastic seat.[1] In addition to the current site, two motte-and-bailey castles and a set of earthworks are located nearby.[2] The names Trallwg/Tallwm and Pola are used interchangeably in early primary sources, and it is unclear which of these sites is being referred to.[3]
The earliest reference dates from 1111, when Cadwgan ap Bleddyn is mentioned as having planned to construct a castle at Trallwng Llywelyn,[3] the oldest record of a native Welsh castle.[4] Domen Castell, a motte-and-bailey near the modern railway station, is considered the most likely site of Cadwgan's castle, although it is uncertain whether it was completed as he was assassinated the same year.[5] The first documentary account of an extant castle at Welshpool is a description of the successful 1196 siege by an English army, although the castle was retaken by the Welsh within the year.[5][6]
The earliest castle at the current site may have been a timber building constructed by Owain Cyfeiliog or his son, Gwenwynwyn (r. 1197–1216).[7] The present masonry structure contains 13th-century fabric,[8] most likely the work of Gruffydd ap Gwenwynwyn (r. 1241–1287) – although historians are uncertain when this took place.[a][10] In 1274, Gruffydd's "first castle" at Welshpool was destroyed by Llywelyn ap Gruffudd as punishment for his involvement in a scheme to assassinate Llywelyn.[b] The castle was documented again in 1286, when it was listed amongst Gruffydd's possessions as "la Pole Castr".[12] A detailed examination of Powis Castle's extant masonry carried out between 1987 and 1989 revealed early stonework incorporated into the later structure, putatively the remains of an early stone shell keep.[13] At the end of Edward I's conquest of Wales in 1282–83, the king permitted Gruffydd to rebuild his castle at Welshpool as a reward for his loyalty.[14]
Early history: 1286–1644
Edward Herbert, 1st Baron Herbert of Cherbury[c]
In 1286, four years after the conquest of Wales, Gruffydd's son, Owain ap Gruffydd ap Gwenwynwyn became the last hereditary prince of Powys when he renounced his royal title, and was granted the barony of de la Pole, (i.e. "of the Pool", a reference to Welshpool, formerly called just "Pool").[d][16][17] The ancient Kingdom of Powys had once included the counties of Montgomeryshire, much of Denbighshire, parts of Radnorshire and large areas of Shropshire, but by the 13th century had been reduced to two independent principalities – Powys Wenwynwyn and Powys Fadog – roughly equivalent to Montgomeryshire and South Denbighshire (plus Maelor Saesneg), respectively; Welshpool had become the capital of Powys Wenwynwyn, of which Owain had been heir. On the death of Owain, the castle passed to his daughter Hawys, who married Sir John Charlton.[17] The Charltons continued to live at Powis until the fifteenth century when two daughters, Joyce Tiptoft and Joan Grey inherited the castle and estates. Both were equally divided, each daughter and her husband living in a portion of the castle.[18]
In 1578 an illegitimate son of the last Baron Grey of Powis, began leasing the lordship and castle to a distant relative – Sir Edward Herbert (d. 1595), second son of Sir William Herbert, 1st Earl of Pembroke. Edward eventually bought the castle outright in 1587, beginning the connection between the Herberts and Powis Castle which continues today.[19] Sir Edward's wife was a Roman Catholic and the family's allegiance to Rome and to the Stuart kings was to shape its destiny for over a century.[16] Sir Edward began the transformation of Powis from a border fortress into an Elizabethan country house. The major remaining element of his work is the Long Gallery.[19]
Herbert's descendent William Herbert, 1st Baron Powis (c. 1573–1655), was a supporter of Charles I, and was granted the barony of Powis in 1629.[19] His loyalty during the English Civil War cost him his castle and his estates.[20] On 22 October 1644 Powis Castle was captured by Parliamentary troops and was not returned to the family until the restoration of Charles II in 1660.[21]
The Herberts: 1660–1800
The Hercules statue which stood originally in the Water Garden
On the restoration, the Herberts returned to Powis, and in 1674 William Herbert (c. 1626–1696) was created Earl of Powis (of the first creation). The state bedroom was installed in about 1665 and further improvements, including the construction of the Great Staircase followed in the 1670s. These developments were most probably carried out under the direction of William Winde, who may also have designed the terraced gardens. His employer, although restored to his estates, and raised in the peerage, was barred by his Catholic faith from high office under Charles II. On the accession of the King's brother, James in 1685, Herbert became one of the new king's chief ministers, and was again advanced in the peerage becoming Marquess of Powis in 1687, but fell at the Glorious Revolution of 1688 and followed James into exile in France.[e] William III granted the castle to his nephew, William Nassau de Zuylestein, 1st Earl of Rochford. Herbert died, still in exile, in 1696.[24]
Despite their 30-year exile, the Herberts were able to continue with developments at the castle and even to live there on an irregular basis, the Baroque water garden below the castle being completed at this time.[25] Their fortunes were also materially improved by the discovery of a lucrative lead mine on their Welsh estates.[24] The second Marquess, also William, was reinstated in 1722. On the death of his son, the third Marquess in 1748, the marquessate became extinct, while the castle and estates passed to a relative, Henry Herbert (c. 1703–1772), of Oakly Park in Shropshire, who was made 1st Earl of Powis (of the second creation) by George II.[26] Herbert married Barbara, the fifteen-year-old granddaughter of the 2nd Marquess, in 1751. Their eldest son, George Herbert, 2nd Earl of Powis (1755–1801), died unmarried and the earldom of the second creation became extinct.[f][27] Powis was much neglected during his tenure. John Byng, 5th Viscount Torrington, a diarist and traveller who chronicled his journeys into Wales in the 1780s and 1790s, described the castle in 1784, "In the gardens not even the fruit is attended to; the balustrades and terraces are falling down, and the horses graze on the parterres!!!"[28] The castle itself was in no better condition, a visitor in 1774 describing it as "in Neglect and Ruin".[27] Nonetheless, the potential of the site was recognised. George Lyttelton, the politician, poet and essayist, recorded his impressions in 1756, "About £3,000 laid out upon Powis Castle would make it the most august place in the Kingdom."[29]
The Clives and Herberts: 1801–1952
The Outer Courtyard with the Fame statue in the foreground
In 1784, Henry Herbert's daughter, Henrietta, married Edward Clive (1754–1839), the eldest son of Clive of India.[30] Clive had followed his father to India, and served as Governor of Madras. Henrietta's brother died in 1801, whereupon the title lapsed; in 1804, her husband was created first Earl of Powis (of the third creation). The Clive fortune paid for long overdue repairs to the castle, which were carried out by Sir Robert Smirke.[31][32] Their son, Edward (1785–1848), inherited his late uncle's Powis estates on his 21st birthday, taking the surname Herbert in compliance with his uncle's will.[30] Edward Herbert served in a range of administrations as an Anti-Catholic Tory, his speeches in the House of Commons being "cautious and pertinent, although marred by dull delivery". He died in 1848, following a shooting accident at Powis in which he was fatally injured by his second son.[33] No further major changes were made to the Powis estate during his time, or in the long tenure of his eldest son Edward Herbert, 3rd Earl of Powis (1818–1891), although the castle was well maintained. In honour of his great-grandfather, the earl was offered the viceroyalty of India by Benjamin Disraeli but declined, writing "Not worth considering. Powis" on the envelope containing the invitation.[34]
The final alterations to Powis Castle were undertaken at the beginning of the 20th century by George Frederick Bodley for George Charles Herbert, 4th Earl of Powis (1862–1952). The rooms designed by Bodley remain his only extant decorative scheme; the longevity of the 4th Earl, the deaths of his heirs, and his bequest of the castle to the National Trust saw the early 20th-century remodelling remain largely unaltered.[g][36] The 4th earl's wife, Violet (nee Lane-Fox), undertook the final transformation of the gardens of Powis Castle, which she felt had the potential to be "the most beautiful in England and Wales".[37] The Countess died following a car accident in 1929, and Lord Powis outlived both his sons, who died on active service, Percy from wounds received at the Battle of the Somme in 1916,[38] and Mervyn in a plane crash in 1943.[39] On his own death in 1952, he bequeathed the castle and gardens to the National Trust.[h][42]
The National Trust: 1952–present
The 4th earl was succeeded by his cousin, Edward Herbert, 5th Earl of Powis (1889–1974). Edward's heir was Christian Herbert, 6th Earl of Powis (1904–1988). He was succeeded by his cousin, George Herbert, 7th Earl of Powis (1925–1993),[42] who was in turn succeeded by his son, John, the 8th and current Earl.[43] The Herbert family continue to live in part of the castle, under an arrangement with the National Trust.[44] The Trust has undertaken a number of major works of restoration during its ownership, including the Marquess Gate,[45] the Grand Staircase,[46] and the sculpture of Fame in the Outer Courtyard.[i][47] The castle and its gardens receive around 200,000 visitors annually. Wikipedia
Image Ref: South Australian Register 12-1-1866.
*The ceremony of laying the foundation stone of the Loyal Marrabel Lodge Hall No 62, IOOF, Manchester Unity, was performed yesterday by the PGM of the Kapunda district, Brother G E Davis jun.
A large and representative gathering assembled. Brother Albert Stief called upon the Secretary (Brother G E Davis) to read the historical report of the lodge. The latter dealt extensively with the progress of it since its formation on September 1, 1864. Of the 13 foundation members, only one survives—Brother James Howlett—who was present at the ceremony.
The late PPGM Brother Joseph Downing, one of the recent directors of the order in South Australia, together with the late Brother Augustus Stief and Brother W Polkinghorne, assisted in forming the first committee, and initiated the 13 foundation members. During the 17 years of the lodge many difficulties and setbacks have occurred, but were surmounted with the aid of good officers, particularly the late secretary (Brother W. Polkinghorne), who filled that position for 39 years continuously, and the late Brother A Stief, who was always a ready and willing worker.
Mr S March presented Brother G E Davis with a trowel on behalf of the members of the Loyal Marrabel Lodge. PGM Brother G E Davis thanked the brethren for the honour conferred upon him and for their presentation. He congratulated the trustees on their management of affairs, which had led up to the erection of such a fine hall, and remarked that Mr W Cairns, of Riverton, was the architect, and Mr S March, of Kapunda, the contractor. He expressed the opinion that the hall would be a credit to them, an ornament to the town, and a monument to the Order of Oddfellows in South Australia. Mr Davis proceeded with the ceremony of laying the stone, and deposited documents, a daily paper, and some coins of the realm thereunder. He declared the stone well and truly laid.
Brothers J J Helleur, J T Matthews, J Windebank, and others congratulated the lodge on its progressive state…invited the assembly to adjourn to the hotel, where the toast, "Success to the hall” was honoured. [Ref: Observer Saturday 9-9-1911]
MARRABEL April 4
The Marrabel Oddfellows’ Hall was opened yesterday. The weather was fine, and residents and visitors from neighbouring towns assembled in strong force to participate in the celebrations.
A long programme was conducted to a successful issue. A procession of more than 100 Oddfellows marched from the old lodgeroom to the new hall. PPGM Brother A E Stief presided, and handed to Grand Master Brother F A Holmes, who performed the opening ceremony, a silver presentation key.
Grand Master Brother F A Holmes congratulated the Marrabel Lodge on its financial position, which enabled it to build such a fine hall.
PGM Brother G E Davis jun (Secretary) in presenting the report, stated that sick pay to the amount of £1,791: death benefits £960: surgeons' fees £2,250: and management expense, £1,518 had been paid out since the inauguration of the lodge. Thus through the agency of the Marrabel branch a total of £6,519 had been distributed.
The hall was erected and furnished at a cost of £1,700 and was opened free of debt.
A banquet was tendered to visiting Oddfellows, and various toasts were honoured
The public were entertained with various musical items in the main hall while the banquet was in progress in the lodgeroom.
In the evening the Olympic Star Picture Company showed to a packed house.
A ball terminated the proceedings. Brother H Traeger made an efficient MC. [Ref: Register Monday 8-4-1912]
*April 29 The Marrabel Quadrille Class
The Marrabel Quadrille Class opened their 1912 season on Saturday night with a very successful dance held in the Oddfellows' Hall. There were 29 couples present. Mr H C Traeger officiated as MC very efficiently, and Mr W Disher supplied the music. [Ref: Daily Herald 1-5-1912]
*Marrabel March 19
The Ceremony of opening the new bridge over the River Light was held this afternoon. The bridge, just completed, overcomes the previous frequent impassabilitv of the river, but the southern embankment is considered to have been limited a little in its construction.
Mr Young said that in the construction of this bridge a most awkward thing had to be considered, and that was the turn of the river just below the bridge. This turn had the effect of sending flood waters out across the road at one end of the bridge embankment. This matter required watching, and if in time it grew to be anything serious, the department would remedy it, probably by building the road a few feet higher for the distance necessary to throw the water back along the course of the river.
He particularly wanted to thank Mr H Wurst for allowing the Department to take earth from his property for the earthworks at the bridge, which fact in itself was a considerable saving to the Department owing to its easy accessibility to the job. He had much pleasure in asking Mrs O'Brien to perform the opening ceremony, and name the bridge, which was done amid cheers from the people assembled.
The assemblage then adjourned to the Oddfellows’ hall, where the function was continued in the form of a banquet. [Ref: Kapunda Herald 27-3-1914]
*The residents of Marrabel and the surrounding districts made a splendid response on Australia Day. The efforts of the general committee met with great success and exceeded all expectations. A thorough canvass of the district was made by a collecting committee, and more than £300 was collected previous to Australia Day. Friday's proceedings began with a combined procession of Marrabel, Hamilton, and Friedrichswalde school children, who marched from the Oddfellows' Hall to the public school, where they saluted the Union Jack.
A programme of sports was then carried out, old and young joining in, the festivities.
A public tea followed in the banqueting room of the hall and was well patronised. A social was held in the main hall in the evening.
A sale of the goods presented to the funds realized a substantial sum. A Commonwealth flag was sold on the Bugler system, and materially added to the funds.
The proceeds totalled £376, which is considered highly satisfactory for a small community. [Ref: Register 5-8-1915]
*A farewell social was tendered to Sgt Lloyd, and Privates C C Rowett and J Wilson in the Marrabel Oddfellows' Hall, on Saturday evening: Mr G E Davis ju., presided over a large gathering. A number of toasts were honoured. A wristlet watch was presented by Mr Kitchen to each of the soldiers. [Ref: Kapunda Herald 28-4-1916]
*On Wednesday evening, the 20th inst a public welcome was given in the Oddfellows' Hall to Pte J W Hildebrandt, who has returned from the front after nearly three years of active service abroad. The returned soldier was met at the Riverton station by his father (Mr August Hildebrandt), and sisters and brothers.
Pte Hildebrandt was one of the first men from this district to offer his services, and is the first to return. He has fought at Gallipoli, Egypt, and has been in the thick of the fighting in France, where he received a bullet wound in the knee, which put him out of action.
Pte Hildebrandt was welcomed home by Messrs F P Kitchen and W A Duncan, and was presented with a purse of money (24 guineas) by Mr A E Stief from the residents of Marrabel and district. [Ref: Kapunda Herald 1-3-1918]
*The first of a series of dances promoted by the Cheer Up Society was held in the Oddfellows' Hall on Wednesday evening of last week. There was a large gathering present. Admission was by gift of not less than 2/6 in value for trench comforts, and resulted in sufficient goods being collected to pack 16 7-lb parcels to the boys at the front, containing cakes, cigarettes, sweets, &c, and two large boxes of cake have been forwarded to the Cheer-Up Hut.
The supper was provided by the ladies. It is the intention of the society to hold dances once a month during the winter. [Ref: Kapunda Herald 10-5-1918]
*January 28
A large gathering assembled at the Oddfellow’ Hall on Monday evening when a farewell social was tendered the Rev Father Maher, who is being transferred to Gawler after a residence here extending over sixteen years.
Mr W A Duncan presided, Dr R McM Glynn, of Riverton, presented Father Maher with a purse of money from the residents of the district, also Miss Glynn (Father Maher’s housekeeper) with a Morris chair, and Mr Jack Little, who is in Father Maher's employ, with an envelope containing money. [Ref: Kapunda Herald 31-1-1919]
* November 1 — A welcome home social was tendered to Sister Amy Dorrington and Cpl Ben and Pte Leonard Girke, in the Oddfellows' Hall on Wednesday evening. There was a large gathering.
A guard of honour was formed by the school children, and the guests were welcomed home in an eloquent address by Mr F P Kitchen. Mr J G Wurst (Chairman of the Hamilton District Council) presented the returned sister and soldiers with a framed certificate from the District Council of Hamilton. The Rev Allen Webb, of Riverton, presented Sister Dorrington with a gold wristlet watch from her Marrabel friends. Sister Dorrington and Cpl and Pte Girke responded. [Ref: Register 4-11-1919]
* November 16
The English brides of Cpl Ben Girke and Pte Cecil Rowett were welcomed in the Oddfellows Hall last Tuesday afternoon by the residents of Marrabel and district.
A guard of honour was formed by the ladies, and the "Wedding march" and the National Anthem were played by Miss Rehder. The brides were greeted by the Rev Allan Webb, on behalf of the residents of the town and district. Afternoon tea was served in the main hall, and the tables were tastefully decorated. Wine and a wedding cake were presented by Mrs. Thomas Marlow. The toasts were proposed by Mr Webb, who was supported by Mr Robert Gill.
The bridegrooms, Cpl Girke and Pte Rowett responded for the brides, and Messrs J D Rowett and E Girke, senrs thanked the gathering for the cordial welcome tendered to their sons and wives. [Ref: Observer 29-11-1919]
*On Saturday last, in the presence of one of the largest crowds ever seen in Marrabel, the Soldiers' Memorial was unveiled by the "Soldiers Chum ", Mr Sammy Lunn, M.B.E.
In 1920 the Hamilton District Council appointed a committee, with Mr J G Wurst as chairman, and the district clerk (Mr A J Stief) as secretary, who raised money to purchase a block of ground adjoining the Marrabel Hall.
The work of erecting the monument was entrusted to Mr R W Tillett and he carried it out with great skill.
The Hon W Hannaford was proud and pleased to be present to honour the memory of the brave lads who fell fighting for King and Empire.
He was also proud of the nurses who had left Australia, and particularly two nurses, who held the highest distinction it was possible to attain. One of these, born and educated at Marrabel, Miss Louise Collis Dorrington, besides being awarded a number of French, Serbian, and American decorations, was lately awarded the diploma and medal of the Legion of Honour. [Ref: Advertiser 9-3-1922]
*April 2 The annual Roman Catholic picnic and sports were held in Mr Campion's paddock in fine weather today. The large attendance from all the surrounding districts was evidence of the popularity of the fixture.
Kapunda, Saddleworth, Riverton, Manoora, Auburn, Eudunda, and Robertstown sent their quotas, the result being a record attendance of approximately 1,090.
A grand ball and supper was given in the Oddfellows' Hall in the evening. [Ref: Observer 14-4-1923]
The only Jaguar XJ220 in the world that lived up to its name, being fitted with a stunning V12 engine and making it the world's fastest production car. However, costs, setbacks, a recession or two and a myriad of other problems resulted in the dream becoming a nightmare, and the match of styling and power made in heaven being turned quickly into a BDSM session in hell!
The proposal for the Jaguar XJ220 seemed to come right out of nowhere. In 1986 the company was sold to Ford after ownership under British Leyland, and was producing a selection of strange luxury motors including the XJS and the XJ, which, although were very good and highly luxury machines, weren't exactly setting the world on fire.
But racing had been put forward to the company before, and racing team owner Tom Walkinshaw encouraged Jaguar to put one of their XJS's into the 1981 European Touring Car Championship, in which they succeeded in winning the competition in 1984. Jaguar had started to provide factory support to racing team Group 44 Racing, who were using the Jaguar-engined XJR-5 in the IMSA GT Championship, supplying V12 engines from 1983 onwards and supporting a Le Mans entry in 1984. Tom Walkinshaw and Jaguar agreed to entering the FIA Group C World Sportscar Championship and developed the XJR-6, which was powered by the Jaguar V12 engine; the car was launched during the 1985 season.
TWR took over the IMSA GT Championship operation in 1988 and one model – Jaguar XJR-9 – was launched to compete in both series. The XJR-9, which retained the Jaguar V12 engine, went on to win the 1988 24 Hours of Le Mans and World Sportscar Championship in the same year. The poor fuel consumption of the Jaguar V12 combined with new rules restricting refuelling during races forced the replacement of the V12 engine in the XJR-9s successors, the XJR-10 and XJR-11. The normally-aspirated Austin Rover V64V engine, designed for the MG Metro 6R4 had recently been made redundant thanks to the Group B rally ban in 1987, and the design rights were for sale. The compact, lightweight and fuel efficient nature of the small-displacement, turbocharged engine was investigated by TWR, who considered it an ideal basis for a new engine to power the XJR-10 and purchased the design rights from Austin Rover Group.
Jaguar and their Director of Engineering, Jim Randle, felt these racing cars were too far removed from the product available to the general public, especially with the rule changes that mandated the replacement of the Jaguar V12 engine in the forthcoming XJR-10 and XJR-11 racing cars. Therefore a project was initiated to design and build a car capable of winning Le Mans "in house", just as the Jaguar C-Type and D-Type had done. The groundwork for the project was undertaken by Randle over Christmas 1987, when he produced a 1:4 scale cardboard model of a potential Group B racing car.
The cardboard model was taken into the Jaguar styling studio and two mock-ups were produced. One was said to be reminiscent of the Porsche 956, the other took elements of the then current Jaguar XJ41 project and Malcolm Sayer's work on the stillborn Jaguar XJ13 racing car.
The project still had no official support, leaving Randle no option but to put together a team of volunteers to work evenings and weekends in their own time. The team came to be known as "The Saturday Club", and consisted of twelve volunteers. To justify the resources consumed by the project, the XJ220 needed to provide meaningful data to the engineers on handling, aerodynamics, particularly at high speeds, and aluminium structures. These requirements, together with FIA racing regulations and various government regulations governing car design and safety influenced the overall design and engineering direction of the car.
The FIA Group B regulations steered the concept towards a mid-engine, four-wheel drive layout, with a Jaguar V12 engine as the power source. The concept car was designed and built at very little cost to Jaguar, as Randle called in favours from component suppliers and engineering companies he and Jaguar had worked with in the past. In return he offered public recognition for their assistance and dangled the possibility of future contracts from Jaguar.
The name XJ220 was chosen as a continuation of the naming of the Jaguar XK120, which referred to the top speed of the model in miles per hour. The concept car had a targeted top speed of 220 mph so became the XJ220. The XK120, like the XJ220, was an aluminium-bodied sports car, and when launched was the fastest production car in the world.
Jaguar and engine designer Walter Hassan had previously created a 48-valve variant of their V12 engine specifically for motorsport use. It featured a double overhead camshaft layout with four valves per cylinder, compared with the single overhead camshaft and two valves per cylinder of the production engine, which was used in the Jaguar XJ and Jaguar XJS models at the time.
TWR and Cosworth had manufactured a number of these racing V12 engines during the 1980s and they had been raced competitively, with a 7-litre version of this engine featuring in the Le Mans winning Silk Cut Jaguar XJR-9. Five of these engines still existed, all of which were fitted with dry sump lubrication. These engines were chosen and considered to be especially useful as the dry sump would lower the vehicle's centre of gravity. The displacement of the V12 was set at 6.2L for the XJ220.
Jaguar had little experience with four-wheel drive systems at the time, having previously only produced rear-wheel drive cars. Randle approached Tony Rolt's company, FF Developments to design the transmission and four-wheel drive system for the XJ220, with Rolt's son Stuart running the project. Tony Rolt was the Technical Director of Ferguson Research, where he was heavily involved in the design of the four-wheel drive system used in the Jensen FF, the first sports car to be fitted with such a transmission. Tony Rolt also had a long involvement with Jaguar, winning the 1953 24 Hours of Le Mans with the factory works team driving the Jaguar C-Type.
The mid-engine complicated the design of the four-wheel drive system, and an innovative solution was needed to get drive from the rear of the engine to the front wheels. The chosen design took the front-wheel drive from the central differential on the rear transaxle and sent it through the V in the centre of the engine using a quill drive, before joining an inverted differential. The clutch was a twin-plate unit designed by AP Racing.
The design brief for the exterior restricted the use of aerodynamic aids, and aimed for a stylish yet functional body similar to the Jaguar D-Type. Drag and lift were limited at the envisioned ground clearance for road use, but the design allowed for additional downforce when the car was set up for racing; the body produced around 3,000 lb of downforce at 200 mph. The design was also intended to have a variable rear wing that folded into the bodywork at lower speeds. Aerodynamic work was undertaken at the Motor Industry Research Association wind tunnel using a 1:4 scale model, as the project was unable to budget for a full-scale mock-up.
The bodywork for the concept car displayed in 1988 was hand built from aluminium by Park Sheet Metal, a specialist automotive engineering company that manufactures concept cars and low-volume, niche models for various manufacturers, including Bentley. QCR Coatings undertook final painting of the bodyshell in silver. The concept also featured electrically operated scissor doors and a transparent engine cover to show off the V12 engine.
The concept car had a Connolly Leather-trimmed interior produced by Callow & Maddox, and was fitted with front and rear heated windscreens, electric windows, air conditioning, heated electrically adjustable seats with an Alpine Electronics CD player. The dashboard was supplied by Veglia.
The concept car was completed in the early hours of 18 October 1988, the day it was due to be unveiled at the British International Motor Show, being held at the National Exhibition Centre, Birmingham.
Jaguar's marketing department had allocated space on their stand at the motor show for the XJ220, but had not seen the vehicle until its arrival. Jaguar chairman John Egan and Roger Putnam, who was in charge of Jaguar's racing activities, were shown the vehicle the week before the motor show and signed off on the concept, allowing its unveiling. The car received an overwhelmingly positive reception by public and press, and a number of wealthy Jaguar enthusiasts handed over blank cheques to secure a purchase option should the XJ220 concept go into production. Ferrari displayed their F40 model at the same event; an estimated 90,000 additional visitors came to see the Jaguar and Ferrari cars.
The XJ220 was not initially intended to be a production car, but, following the reception of the concept and financial interest from serious buyers, a feasibility study was carried out by teams from TWR and Jaguar. Its conclusion was that such a car would be technically feasible, and that it would be financially viable. The announcement of a limited production run of 220 to 350 cars came on 20 December 1989. The list price on 1 January 1990 was £290,000 exclusive of value added tax, options and delivery charges, but by 1992 that had increased considerably owing to indexation of contracts. The offer was four times oversubscribed, and deposits of £50,000 exclusive of Value Added Tax (VAT) were taken from around 1400 customers; first deliveries were planned for mid-1992.
What Jaguar didn't reckon on was that the 1990's were going to get off to a very bad start, with a good old fashioned recession to usher in the new decade. This, combined with the various downgrades that would have to follow to make the car road legal, would result in the Jaguar XJ220 giving the company and the customers headaches in more ways than one.
In 1991, the company constructed a new £4 million factory at Wykham Mill, Bloxham, for the single purpose of building the XJ220, the plant being opened by the late Princess Diana. But, in order to comply with a variety of road legislation, engineering requirements resulted in significant changes to the specification of the XJ220, most notably replacement of the Jaguar V12 engine by a turbocharged V6 engine.This downgraded engine made that desirable rocket car more run-of-the-mill, and many pulled back their deposits.
At the same time the economy collapsed and when the first production cars left the factory in 1992, many of the original potential buyers who had put down their hefty deposits found that they couldn't afford it, and wanted their money back. Many of them cited the fact that the four wheel drive, V12 had been downgraded to a two wheel drive, V6, and thus they weren't getting what they paid for. The result was that Jaguar went so far as to take their customers to court, and forced them to buy a car they no longer wanted, the problem being exacerbated by the fact that in 1993, the McLaren F1 took the title of world's fastest production car, was available with the V12 and all things it promised, and was much smaller and more manageable than the bulky XJ220.
A total of just 275 cars were produced by the time production ended, 22 of their LHD models never being sold, each with a retail price of £470,000 in 1992, probably one of the biggest automotive flops in motoring history, right up there with the DeLorean and the Edsel. But this would later be advantageous for many, as this pedigree 'worlds-fastest-car' machine would go in later years for a much lower price. £150,000 mind you, but it's a lot better buying the one's that weren't sold at this reduced price, than at the initial asking price back in 1992. Therefore buyers were able to procure themselves a first-hand XJ220, for half the price, a representative saving of nearly £250,000.
Today the XJ220's are rare beasts indeed, rarely coming out to play due largely to their expensive upkeep, heavy fuel consumption and sheer size. But keep your eyes open in some of the more affluent neighbourhoods, be they Dubai, Beverley Hills, or the South of France, and chances are you'll be able to find one.
The Quartier Gratte-ciel ("Skyscraper quarter") in Villeurbanne, Lyon is a 1930's model city, conceived in parallel with (and inspired by) the contemporary work of Tony Garnier in Lyon (in continuation of his theoretical work "La Cité Industrielle").
Built in 1927-34 around the central Avenue Henri Barbusse, it presents clear references to the american example of zoning-law and setbacks, and at the same time a different approach to the modern collective housing efforts of the epoch.
Including a monumental city hall, and a "worker's palace" (today turned into a theatre), the complex still today offers a remarkably strong urbanism, attractive environment and public life.
Architects: Môrice Leroux (masterplan, worker's palace), Robert Giroud (city hall).
The William and Mary men’s basketball team suffered an 80-66 setback to Drexel on Senior Day at Kaplan Arena. The Dragons used a 17-1 run to end the first half and 11 3-pointers to outdistance the Tribe. Prior to the game, W&M (18-11, 12-6 CAA) honored its four-member senior class of manager Brian Gelston, Tyler Johnson, Tom Schalk and Marcus Thornton. Despite the loss to the Dragons (11-18, 9-9 CAA), the Tribe still claimed a share of the CAA regular season championship.
Thornton led the way for the Tribe in his final game at Kaplan Arena, scoring 19 points and dishing
out six assists. He knocked down a trio of 3-pointers and in the process moved into the fifth on the CAA’s all-time 3-point field goals list. Terry Tarpey added his ninth double-double of the season with 12 points and 11 rebounds, while Daniel Dixon returned to action after missing five games and added 14 points, including a 4-of-7 effort from 3-point range.
After a slow start by both teams, W&M opened up a nine-point advantage thanks to an 11-0 run. Trailing 4-2, Tarpey scored on a fast-break lay-up off a dish from Omar Prewitt to knot things and start the run. Dixon knocked down a triple and Thornton drilled one of his own to give the home side a 13-4 lead with 11:20 remaining in the opening half.
Drexel responded with a 13-2 run to move back in front, highlighted by the play of Freddie Wilson. The Dragon senior drilled a trio of 3-pointers during the stretch as Drexel hit four straight shots. Wilson's third trifecta of the night at the eight-minute mark gave the visitors a 17-15 lead.
W&M pulled even at 20 on a Dixon 3-pointer at the 6:19 mark, but the remainder of the first half belonged to the Dragons. Drexel closed the opening 20 minutes on a 17-1 run to take a 16-point cushion to the locker room. Tavon Allen scored 11 of the Dragon’s final 20 points of the first half. He hit three straight 3-poitners during a stretch and connected on a pair of free throws with less than 30 seconds remaining for the final half-time margin to 37-21. It total, Drexel connected on 7-of-12 (58.3 percent) from 3-point range in the first 20 minutes.
W&M scored eight of the second half’s first 11 points to cut the gap to 40-29 on a Schalk lay-up off a feed from Thornton at the 16:47 mark. Drexel though responded with two straight 3-pointers to extend the margin to 17.
The Dragon’s advantage was 15, 54-39, with 10:23 left following two Tyshawn Myles free throws. A Thornton 3-pointer and two Tarpey free throws narrowed the gap to 10 with 9:34 remaining, but Wilson knocked down a big 3-pointer on the ensuing Drexel possession to stem the Tribe’s momentum.
W&M cut the gap to nine points on three occasions, but each time Drexel had an answer. Thornton’s patented step-back jumper at the 4:27 mark closed the Tribe within 64-55. The Dragons responded with six straight points, including the final four from the free throw line, to extend its lead back to 15, 70-55, and put the game out of reach.
Drexel finished shooting 49 percent (24-of-49) from the field, including an 11-of-21 effort (52.4) from 3-point range. The Dragons also did a number at the free throw line and on the glass. Drexel shot 80.8 percent (21-of-26) from the free throw line, including 17-of-22 (77.3 percent) in the second half.
Wilson and Allen turned in iron-man efforts, playing all 40 minutes and scoring 24 and 22 points, respectively. Wilson was 8-of-12 from the field and 6-of-9 from 3-point range, while Allen hit on 5-of-10 from long range. Rodney Williams just missed a double-double for Drexel with 18 points and nine rebounds.
The Tribe finished the game at 45.1 percent (23-of-51) from the field, including a 55.6-percent (15-of-27) clip in the second half. W&M hit 10 3-pointers for the 13th time this season, shooting 35.7 percent (10-of-28) from distance. The Green and Gold dished out 16 assists on 23 made field goals and only turned it over four times, which is tied for the third lowest total in school history.
Thanks to Elon's victory over UNCW on Saturday, W&M is the regular season champion and will be the No. 1 seed in the CAA Tournament, March 6-9, in Baltimore, for the first time in school history. The Tribe will face the winner of No. 8 Elon and No. 9 Towson at noon on Saturday, March 7.
Red Weasel Media RWM was there to capture the fast pace, back and forth action.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Israel Aircraft Industries Nesher (Hebrew: נשר, "Vulture" - often mistranslated as "Eagle") is the Israeli version of the Dassault Mirage 5 multi-role fighter aircraft. Most were later sold to the Argentine Air Force as Daggers, and later upgraded as Fingers.
Israel had to replace more than 60 aircraft lost during the Six Day War and the War of Attrition which followed. Before the war, Israel began co-development with Dassault to build the Mirage 5 and it was eventually built by Israel and named Raam in Hebrew (thunder).
Dassault Aviation had developed the Mirage 5 at the request of the Israelis, who were the main foreign customers of the Mirage III. The Israeli Air Force (IAF) wanted the next version to have less all-weather capability in exchange for improved ordnance carrying capacity and range as the weather in the Middle East is mostly clear.
In January 1969, the French government arms embargo on Israel (in response to the 1968 Israeli raid on Lebanon) prevented the first 30 Mirage 5 aircraft (which were already paid for by Israel) plus optional 20 from being delivered and cut off support for the existing Mirage IIICJ fleet.
This was a setback for the Israeli Air Force, who needed the new Mirage to compensate for the losses of the Six Day War and was still using the Mirage IIIC. Israel then decided to produce the (Raam A and B project)[1] airframes as it had the necessary plans, although Israel did not officially obtain a manufacturing license.
Officially, Israel built the aircraft after obtaining a complete set of drawings. However, some sources claim Israel received 50 Mirage 5s in crates from the French Air Force (AdA), while the AdA took over the 50 aircraft originally intended for Israel.
Production began in 1969[5] with the first empty airframes with no weapons, electronics, seat, or engine included, delivered directly from Dassault Aviation. The first Raam A was delivered in May, 1971. In November, 1971 the plane was renamed Nesher.
The Neshers' airframe was identical to the Mirage 5, but there was an extensive refitting of Israeli avionics, a Martin-Baker zero-zero ejection seat, and improved provisions for a wider range of AAMs (Air-to-Air Missiles), including the Israeli Shafrir heat-seeking missile.The Nesher had simpler avionics than the Mirage IIIC but was slightly less maneuverable. However, it had longer range and bigger payload. The reduced maneuverability did not prevent the Nesher from performing well in air combat during the Yom Kippur war (see below).
The first Nesher prototype flew in September 1969, with production deliveries to the IAF beginning in May 1971 at Hatzor in May of 1971, with veteran test pilot Danny Shapira at the controls. In the months that followed, additional Nesher planes equipped this squadron, making up for the insufficient number of Mirage IIIs and raising the number of serviceable planes in the squadron. When the rate of production picked up at the Nesher assembly line at IAI, two new squadrons could be established, based solely on the Neshers. The first new squadron inaugurated 'Etzion Airbase at 'Bik'at Hayareakh' ('Valley of the Moon') near Eilat, in September of 1972, and the second was founded in March of 1973 at Hatzor.
When the Yom Kippur War broke out, in October of 1973, the IAF had 40 Nesher planes in its ranks, serving in the First Combat Squadron and in the two new squadrons.
Although they were originally intended for attack missions, in the course of the war the Neshers were primarily used in air-to-air combat. The IAF command decided to use the Phantoms, Skyhawks and Sa'ars against ground targets, and assigned the Mirages and Neshers the task of fighting enemy aircraft and establishing air superiority over the battle zones.
The Neshers proved to be good fighters and overcame their adversaries (MiGs and Sukhois) with relative ease. The first aerial victory of a Nesher took place on January 8, 1973, when 4 Neshers from the "First Fighter" squadron escorted F-4 Phantoms into Syria to attack a terrorist base. In an engagement with Syrian MiG-21s, 6 MiGs were shot down, two by the Neshers.
Neshers also took part in the Yom Kippur conflict later that year. One of the first air victoriy of the war was not an aircraft but an AS-5 Kelt air to ground missile launched against Tel-Aviv by an Egyptian Tu-16 Badger on the first day of the war, October 6th, 1973.
When Libyan Mirage 5s entered the fighting all Israeli Mirages and Neshers were marked with large yellow triangles bordered by a thick black frame to prevent a case of mistaken identity. At least two Mirage 5s were shot down by Neshers, as well as an Israeli Phantom shot down by mistake, the navigator and the pilot, a former Nesher squadron commander, parachuting to safety.
According to the statistics published after the war, there were 117 dogfights in the course of the Yom Kippur War (65 over Syria and 52 over Egypt). 227 enemy planes were shot down in these confrontations, and only six Israeli planes were shot down (they had been on interception missions, and were either hit by cannon fire or by sirface-to-air missiles). The Nesher squadron from Etzion was one of the leading squadrons, tallying 42 kills without a single plane lost.
The Neshers did not just go out on interception missions: they also carried out several attack sorties in the Golan Heights and on the southern front. The action was intense, with every pilot carrying out numerous sorties every day.
The war proved just how vital the Nesher's reinforcement of the IAF's order of battle had been, and convinced the defense community of the importance of continuing to develop fighters in the IAI. In 1975 the first Kfirs entered service, and the Nesher was gradually relegated to a less central role. All the Neshers were concentrated in two squadrons, and were transferred - in late 1976 - to Eitam Airbase, whicch had been newly dedicated in the northern Sinai.
Nesher production ended in February 1974 after fifty-one fighters (Nesher S) and ten Nesher two-seat trainers (Nesher T), and the type did not serve long with the IAF. In the late 70's there were already enough Kfirs in the IAF for completely replacing the Mirages and Neshers.
The Kfir was a significantly more advanced plane than the Nesher, boasting better performance as well as more sophisticated systems, and upgrading the Neshers was not deemed to be a worthwhile investment.
In 1981, the Kfir had supplanted the Nesher in Heyl Ha'avir, and the Neshers were renovated, for sale overseas. Neshers were sold to the Argentine Air Force in two batches, 26 in 1978 and 13 in 1980, under the name Dagger, comprising 35 Dagger A single-seat fighters and four Dagger B two-seat trainers. The Daggers then saw much action against the British in the Falklands War.
General characteristics:
Crew: one
Length incl. pitot: 15.65m (51 ft 3 in)
Wingspan: 8.22m (26 ft 11 in)
Height: 4.25m (13 ft 11 in)
Wing area: 34.8m² (373 sq. ft)
Empty weight: 6,600kg (14,535 lb)
Max. takeoff weight: 13,500kg (29,735 lb)
Powerplant:
SNECMA Atar 09 engine with 4,280 kg (9,430 lbf)dry thrust
and 6,200 kg (13,660 lbf) with afterburner
Performance:
Maximum speed: mach 2.1 (39,370ft)
Range: 1,300km (810 ml), clean and with internal fuel only
1,186km (736 ml) with 4700 litres of auxiliary fuel in drop tanks
plus 2 Air to Air missiles and 2600 lb of bombs
Service ceiling: 17,680 (55,775ft)
Rate of climb: 16,400ft/min (83.5 m/s)
Armament:
2× 30 mm (1.18 in) DEFA 552 cannons with 125 rounds per gun under the air intakes
Five pylons for a wide range of up to 4.200kg (9,250 lb) of disposable stores
The kit and its assembly:
This short notice build towards the end of the 2016 "Cold War GB" at whatifmodelers.com was inspired by a CG rendition of an IAF F-4 in the unique brown/blue paint scheme, posted by fellow user SPINNERS a couple of days before. Seeing that design variant I wondered how a Kfir in this livery would look like...?
I had a C-2 Kfir in the stash, but also stumbled across a Heller Mirage IIIE/R/5BA kit without a real purpose in the stash and remembered the Kfir's predecessor, the Nesher, which was more or less a bluntly copied Mirage 5. Since the type was earlier and more appropriate for the brown/blue livery, I decided to convert the Heller Mirage into a Nesher, since it comes pretty close.
The Heller kit is old and rather basic by today's standards. You get fine but raised panel lines, only a rough interior, mediocre fit and a brittle plastic that catches scratches and dents when you only look at it.
Anyway, creating a Nesher from the Heller kit is not really complicated. Two major mods have to be made: the fin has to be enlarged or replaced, and the nose needs a special pitot installation.
The Nesher carried the bigger Mirage III/5 fin, and the Heller kit only bears the short version. Since I had a donation PM Model Nesher/Dagger kit in store (horrible kit, it rather resembles a mutated Mirage III but neither the israeli nor the Argentinian aircraft!) I just transplanted the fin. This appeared easier than adding a fin fillet, and having just the right donation part at hand made the decision even easier. :D
The nose is the Mirage 5's, but the tip was slightly modified and the pitot needed a separate fairing/attachment under the nose tip. The latter was created from a piece of round styrene and blended with the lower front fuselage.
After the major body work was done, some antennae/sensors were replaced or added, a Panzer IV’s sprocket wheel as an afterburner interior (just to have something inside the gaping exhaust hole) as well as launch rails under the outer wings for a pair of Shafrir-2s. The sleek drop tanks come OOB from the Heller kit – it only offers a pair of bigger tanks with fins, but no offensive ordnance at all.
In the cockpit I used a Martin Baker ejection seat from an Italeri Kfir, a slightly better option than the OOB part.
Painting and markings:
This is the actual whif aspect about this build, which is just the fictional application of a real world IAF scheme that was in use about 10 years before the Yom Kippur War. In real life the Nesher just came too late to carry the murky brown/blue pattern, because it was phased out in 1967, after the Six Days War. But putting it onto a more modern aircraft creates interesting results!
The scheme is based upon the original grey/green French pattern, just with the colors replaced with RAL 8000 (Grüngrau) or Field Drab (FS 30215) and RAL 5008 (Graublau), the authentic upper surface tones for this strange camouflage.
I’ve already built a (real world) IAF Ouragan in this style, so I had some practice and good references at hand. Model Master 1702 (alternatively: Humbrol 142) is a good option for the brown/tan tone, even though it is a bit too dark for my taste. "Israeli Armor Grey" from ModelMaster is a more approriate tone - it's lighter and actually an equivalent for RAL 8000, which is also used on Israeli tanks!
For the greyish-green dark blue I used Humbrol 77 (Navy Blue) which comes IMHO close. The undersides were painted in a pale grey, I used FS 36440 (Light Gull Grey, Humbrol 129 in this case). Some sources claim it to be RAL 7044 (Seidengrau), but the FS tone is practically identical.
All Neshers (even in later Argentinian service) had their nose painted black. There was no radar oder radome fitted, it was rather a deception in order to make enemies confuse the simple ground attack Neshers with the more potent (and radar-equipped) Mirage IIIs.
The kit received a light black ink wash and some dry-brushing for panel emphasis. The decals come mostly from the PM Model Nesher, including the large, yellow Yom Kippur War ID triangles which create a powerful contrast on the dark underground. Interesting result!
Anyway, while the decals might be the best thing about the PM kit, they have thier drawbacks, too. While they are 100% opaque the carrier film is thick, stiff and brittle, and they do not adhere well to the underground, despite decals softener and other tricks. :(
As a small detail I put the aircraft's tactical code on a silver background, as if the aircraft had originally been bare metal with the camouflage rather hastily applied. Since I had no IAF squadron markings left I added a yellow/black checkerboard pattern to the fin's rudder - the marking of the 113 Tayaset "Ha'Tsira'a (The Wasps), which actually operated the Nesher in the Yom Kippur conflict, just with a different camouflage.
Finally, the kit received some smoke/exhaust marks with graphite and was sealed with a coat of matt acrylic varnish. To make matters worse, the Revell varnish turned white, so I had to repair that damage as good as I could, and the finish now is far from what I had originally hoped for, despite the general troubles with the PM Model kit's decals.
A rather subtle whif, and even the aircraft itself is real (or at least a "realistic" model replica). Anyway, the paint scheme application changes things considerably, and the model ended - with the ID trinagles and the other bright markings - more colorful than expected. But the finish ended up rather poor, so that I am a bit disappointed.
Besides, a highly recommended source for this aircraft is Amos Dor's "IAI Nesher (From Mirage to Kfir, pt. 2 of 3)" book from "The IAI Aircraft Series", AD Graphics/Milano, 2000. All the other publications from this series of books are also generally recommended for any IAF builds.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1308610
Date first listed: 22-Feb-1967
Location
Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN
County: Devon
District: West Devon (District Authority)
Parish: Chagford
National Park: DARTMOOR
National Grid Reference: SX 70146 87508
Details
Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)
© Historic England 2021
Famed theatre architects Rapp & Rapp designed the dramatically massed skyscraper in 1926 at a cost of $13.5M as offices for Paramount Pictures, as a home for the Paramount Theater (since demolished) and as an advertisement for the Paramount Corporation. The building, at its completion the tallest structure on Broadway north of the Woolworth Building (33 stories), sits on the site of the previous Putnam Building, erected to commemorate the spot where Revolutionary War hero General Israel Putnam met General George Washington.
The motion picture company's trademark mountain encircled by five pointed stars is echoed in the fourteen setbacks creating a "para"mountain massing and its surmounting four faced clock, on which the hours are marked by five pointed stars. The setback below the clock faces is flanked by three-story scrolls, making the whole look like a gigantic desk clock. The clock is crowned by a glass glove that, when illuminated, is visible for miles. The globe and clock were painted black at the outset of World War II to maintain blackout conditions for fear of enemy invasion. The Globe and Clock tower were restored in 1996.
With its 3600-seat theater and fabulous Marquee and Arch, the Paramount introduced the likes of Gary Cooper, William Powell, Mae West, Fred Astaire, Bing Crosby and Claudette Colbert, through silent films and talkes to New York. Its stage was graced regularly by Benny Goodman, Jack Benny, Tommy Dorsey, Frank Sinatra, Jerry Lewis and Dean Martin to name a few. In the 1950's, the Theater became home to the Alan Freed Rock and Roll stage show. In 1956, Elvis Presley’s first movie, Love Me Tender, premiered here.
In 1964 the Paramount closed its doors. The theater space was converted to offices, the marquee wsa removed and the arch in-filled.
The clocks and globe were restored in 1997. In 2000, the World Wrestling Federation began construction of their entertainment complex, renovating the interior for a restaurant, nightclub and retail store at a cost of $38M. In 2001, at a cost $8MM, the original the marquee and arch were restored returning the facade to its original grandeur. In 2004, Hard Rock Cafe purchased the Paramount Hotel for $126.M and rebranded it the Hard Rock Hotel in 2007.
The Paramount Building was designated a landmark by the New York Landmarks Preservation Commission in 1982, and its interior was designated separately in 1987.
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Some background:
The Nakajima A6M2-N (Navy Type 2 Interceptor/Fighter-Bomber) was a single-crew floatplane. The Allied reporting name for the aircraft was 'Rufe'.
The A6M2-N floatplane was developed mainly to support amphibious operations and defend remote bases. It was based on the Mitsubishi A6M-2 Model 11 fuselage, with a modified tail and added floats. Despite the large central float and wing pontoons, the A6M2-N was aerodynamically a very clean aircraft: compared with its land-based A6M2 cousin, its performance degraded only by about 20%, and for a contemporary single engine floatplane its performance was outstanding.
The aircraft was deployed in 1942, referred to as the "Suisen 2" ("Hydro fighter type 2"), and intended for interceptor, fighter-bomber, and short reconnaissance support for amphibious landings, among other uses. However, when confronted with the first generation of Allied fighters, the A6M2-N was no match in aerial combat and rather employed in supportive roles.
Effectively, the A6M2-N was mostly utilized in defensive actions in the Aleutians and Solomon Islands operations. They were used with good efficiency against Allied positions: marking patrol elements, aiding warship guns, engaging convoys, and reconnoitering areas over-the-horizon.
The A6M2-Ns were also effective in harassing American PT boats at night, and they could drop flares to illuminate the PTs which were vulnerable to destroyer gunfire, and depended on cover of darkness. However, when Allied fighter coverage became more numerous and effective, the value of the A6M2-N dwindled and losses began to naturally mount.
In the Aleutian Campaign this fighter engaged with RCAF Curtiss P-40, Lockheed P-38 Lightning fighters and Boeing B-17 Flying Fortress bombers, but the A6M2-N inventory suffered a severe setback when, on August 7th, 1942, a seaplane base was destroyed by Allied fighter-bombers, taking with it most of the available A6M2-Ns stationed there.
The seaplane also served in defense of fueling depots in Balikpapan and Avon Bases (Dutch East Indies) and reinforced the Shumushu base (North Kuriles) in the same period.
Beyond their use from dispersed and improvised bases, A6M2-N fighters also served aboard seaplane carriers Kamikawa Maru in the Solomons and Kuriles areas and aboard Japanese raiders Hokoku Maru and Aikoku Maru in Indian Ocean raids.
Later in the conflict the Otsu Air Group utilized the A6M2-N as an interceptor alongside Kawanishi N1K1 Kyofu ('Rex') aircraft based in Biwa lake in the Honshū area, defending the Japanese home land against Allied raids.
A total of 327 were built, including the original prototype, before being halted in September 1943.
The last A6M2-N in military service was a single example recovered by the French forces in Indochina after the end of World War II. It crashed shortly after being overhauled, though.
General characteristics:
Crew: 1 (Pilot)
Length: 10.10 m (33ft 1⅝ in)
Wingspan: 12.00 m (39 ft 4⅜ in)
Height: 4.30 m (14ft 1⅜ in)
Wing area: 22.44 m² (251.4 sq ft)
Empty weight: 1,912 kg (4,235 lb)
Loaded weight: 2,460 kg (5,423 lb)
Max. takeoff weight: 2,880 kg (6,349 lb)
Powerplant:
1× Nakajima NK1C Sakae 12 air cooled 14 cylinder radial engine,
delivering 950 hp (709 kW) at 4,200 m (13,800 ft)
Performance:
Maximum speed: 436 km/h (235 knots, 270.5 mph) at 5,000 m (16,400 ft)
Cruise speed: 296 km/h (160 knots, 184 mph)
Range: 1,782 km (963 nmi, 1,107 mi)
Service ceiling: 10,000 m (32,800 ft)
Climb rate: 6 min 43 s to 5,000 m (16,400 ft)
Armament:
2 × 7.7 mm Type 97 machine guns in forward fuselage
2 ×20 mm Type 99 cannons in outer wings
Underwing hardpoints for 2× 60 kg (132 lb) bombs
The kit and its assembly:
This is a real world model, despite the weird looks (see below), and an entry for the Arawasi blog's "Japanese Aircraft Online Model Contest 005 - Japanese Seaplanes & Flying Boats" contest in summer 2017. Even though whifs were allowed to enter, I used the opportunity to build a kit I had originally bought for a few bucks and stashed away in the donor bank: a vintage LS Model Nakajima A6M2-N.
The mould dates back to 1963(!), and the kit was re-issued several times, also under the ARII label. You get a tiny box, with only two sprues moulded in a pale baby blue, and the number of parts is minimal. It's truly vintage and pretty toylike at first sight. Consequently, you have to face some real old-school issues, e. g. moulded markings for the roundels on the wings, general mediocre fit of anything and lots of sinkholes and flash. Then there are toylike solutions like the single-piece propeller or separate, moveable ailerons with bulging joints.
The cockpit interior is non-existent, too: there's just a blank place for a dashboard (to be cut out from the printed BW instructions!), and a spindly pilot figure which is held in mid air by some pins. Furthermore, the kit was designed to take a small electric motor in the nose (sold separately) to drive the propeller. Wires, as well as respective internal ducts, and an AA battery holder are included.
Sounds scary? Well, maybe, if you just build it OOB. But all these flaws should not keep the ambitious modeler away because the LS Model kit is (still) a sound basis to start from, even though and by today's standards, it is certainly not a match-winner for a rivet counter-esque competition.
For its age and the typical solutions of its time, it is actually surprisingly good: you get very fine engraved surface details (more delicate than many contemporary moulds!), a pretty thin, three-piece clear (yet blurry) canopy and, as a bonus to the elevons, separate flaps – a unique detail I have never come across before! Proportions are IMHO good, even though the cowling looks a bit fishy and the engravings are rather soft and shallow. Anyway, on the exterior, there’s anything you can ask for to be found, and as another bonus the kit comes with a beaching trolley, which makes display and diorama fitting easier.
Thanks to the kit's simplicity, the build in itself was pretty straightforward and simple. Cleaning the parts and checking fit was the biggest issue. Upon gluing the old styrene showed signs of serious reaction to the dissolving effect of modern glue: it took ages for the material to cure and become hard again for further work!? Weird…
The many sinkholes and overall displacements were corrected with some NC putty/PSR, the protruding elevon/flap joints sanded away as good as possible, and due to the wobbly nature of the kit’s styrene I added blobs of 2C putty inside of the wing halves as stabilizers.
Some mods and improvements were made, though. After cleaning the OOB propeller from tons of flash the piece turned out to be pretty usable, and it was put on a metal axis. A styrene tube adapter was added behind the relatively flat engine dummy, so that the prop can spin freely – for the later beauty pics, because no CG effect beats IMHO the real thing.
A cockpit interior was created from scratch and donor parts, using the new Airfix A6M model's cockpit as benchmark. It’s not an exact replica, because not much would later be visible, but I wanted, as a minimum, “something” inside. A better pilot figure was used, too, and strapped to the new seat with thin strips of adhesive masking tape as seatbelts.
Under the wings, the hardpoints were simulated with some bits of styrene and wire as shackles, but left empty Under the stabilizer fin I added a lug(?), made from thin wire, too.
The elevons were fixed in place, the seams to the wings filled with white glue in order to conceal the gaps as good as possible. The movable flaps remained, though, adding life to the model. The dolly was also taken more or less OOB, since it fits well. I just improved it with some sinkhole fillings and some other details, including cushions on the float stabilizers, made from paper tissue soaked with thinned white glue, and a towing bar.
Painting and markings:
The reason why I settled for an A6M2-N is mostly the weird paint scheme which can be applied, while still being a real world model: a lilac livery!
As far as I could find out, the A6M2-Ns initially carried an all-over IJN Grey livery, which was later, in late 1942, modified with dark green upper sides for a better concealment on the ground, and the Hinomaru received white edges for better contrast.
Anyway, during the Aleutian campaign and more or less in between these two major standards, several aircraft must have received a special camouflage with lilac upper surfaces, and this model depicts such a machine, based on various profiles but no color picture as reliable reference.
The sources I consulted, as well as pictures of finished A6M2-N models, show a wide variety of shades and paint scheme layouts, though. Upper colors range from pale pink through more or less bright shades of purple to a pale, rusty-reddish brown (maybe primer?), while the undersides show a wide range of greys or even light blue. Some depictions of Aleutian A6M2-Ns as profile or model even show a uniform wraparound scheme! Choice is yours, obviously...
Because of the corny information basis, I did my personal interpretation of the subject. I based my livery more or less on a profile by Michele Marsan, published in Aerei Modelismo Anno XII (March 1991). The unit information was taken from there, too – the only source that would provide such a reference.
My idea behind the livery and the eventual finish was that the machine once was fully painted in IJN Grey. Then, the violet upper color was added in the field (for whatever reason?), resulting in a slightly shaggy look and with the light grey shining through here and there in areas of higher wear, e. g. at the leading edges, cockpit area and some seams.
Painting started with an initial coat of aluminum under the floats, around the cockpit and on the leading edges. Then the undersides and some areas of the upper surfaces were painted with IJN grey. The latter is an individual mix of Humbrol 90 (Beige Green/RAF Sky) and a bit of 155 (Olive Drab, FS 34087). On top of that I added a thin primer layer of mauve (mix of ModelMaster’s Napoleonic Violet and Neutral Grey, Humbrol 176) on the still vacant upper surfaces – both as a preparation for the later weathering treatments (see below).
The following, basic lilac tone comes from Humbrol’s long-gone "Authentics" enamel line. The tin is probably 30 years old, but the content is still alive (and still has a distinctive, sour stench…)! I cannot identify the tone anymore with certainty, but I guess that it is 'HJ 4: Mauve N 9', one of the line’s Japanese WWII tones which was later not carried over to the standard tones, still available today.
Anyway, the color is a dull, rather greyish violet, relatively dark (a bit like RAF Ocean Grey), and it fits well as a camouflage tone on this specific model. Since there’s no better alternative I could think of except for an individual mix or garish, off-the-rack pop art tones, I went with it.
After overall basic painting was done and thoroughly cured, weathering started with a careful wet sand paper treatment, removing the salt grain masks and revealing some of the lower IJN Grey and aluminum layers. While this appears messy, I found that the result looks more realistic than artificial weathering applied as paint effects on top of the basic paint.
The engine cowling was painted separately, with a mix of black and a little dark blue. The propeller received an aluminum spinner (Humbrol’s Matt Aluminum Metallizer), while the blades received aluminum front sides (Revell acrylics), and red brown (Humbrol 160) back sides. Two thin, red stripes decorate the propeller tips (Decals, left over from an AZ Model Ki-78, IIRC).
As a standard procedure, the kit received a light wash with thinned black ink, revealing the engraved panel lines, plus some post-shading in order to emphasize panels and add visual contrast and ‘drama’.
Decals and markings were improvised and come from the spares box, since I did not trust the vintage OOB decals - even though they are in so far nice that the sheet contains any major marking as well as a full set of letter so that an individual tail code could be created. Anyway, the model's real world benchmark did not carry any numeric or letter code, just Hinomaru in standard positions and a horizontal, white-and-red stripe on the fin.
The roundels actually belong to a JSDAF F-4EJ, some stencils come from a leftover Hobby Boss A6M sheet. The fin decoration was created with generic decal sheet material (TL Modellbau). Similar stuff was also used for the markings on the central float, as well as for the yellow ID markings on the inner wings' leading edges. I am just not certain whether the real aircraft carried them at all? But they were introduced with the new green upper surfaces in late 1942, so that they appear at least plausible. Another argument in this marking‘s favor is that it simply adds even more color to the model!
The cockpit interior was painted in a light khaki tone (a mix of Humbrol 159 and 94), while the flaps' interior was painted with Aodake Iro (an individual mix of acrylic aluminum and translucent teal paint). Lacking good reference material, the beaching trolley became IJA Green, with some good weathering with dry-brushed silver on the edges and traces of rust here and there (the latter created with artist acrylics.
Close to the (literal) finish line, some soot and oil stains were added with graphite and Tamiya's 'Smoke', and the kit finally received a coat of matt acrylic varnish (Italeri); to the varnish on the engine cover a bit of gloss varnish was added, for a sheen finish.
In the end, quite a challenging build. Not a winner, but …different. Concerning the LS Model kit as such, I must say that - despite its age of more than 50 years now - the A6M2-N model is still a worthwhile offer, if you invest some effort. Sure, there are certainly better 1:72 options available (e. g. the Hasegawa kit, its mould was created in 1995 and should be light years ahead concerning detail and fit. Not certain about the Revell/Frog and Jo-Han alternatives, though), but tackling this simple, vintage kit was fun in itself. And, based on what you get out of the little box, the result is not bad at all!
Beyond the technical aspects, I am also pleased with the visual result of the build. At first glance, this antiquity looks pretty convincing. And the disputable, strange lilac tone really makes this A6M2-N model …outstanding. Even though I still wonder what might have been the rationale behind this tone? The only thing I could imagine is a dedicated scheme for missions at dusk/dawn, similar to the pink RAF recce Spitfires in early WWII? It would be plausible, though, since the A6M2-Ns were tasked with nocturnal reconnoitre and ground attack missions.
no es un recurso renovable.
CC:
ventnorblog.com/2010/10/31/clock-go-back/
blogcmt.com/2013/03/25/cambios-en-la-oba-para-facilitar-l...
betacrumb.com/2015/04/physicist-suggests-the-big-bang-cre...
www.eldigitaldealbacete.com/2016/10/25/cambio-hora-octubr...
revistadeletras.net/matar-el-tiempo/
www.revistaperroverde.com/viviendo-en-el-pasado/
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Some background:
The Nakajima A6M2-N (Navy Type 2 Interceptor/Fighter-Bomber) was a single-crew floatplane. The Allied reporting name for the aircraft was 'Rufe'.
The A6M2-N floatplane was developed mainly to support amphibious operations and defend remote bases. It was based on the Mitsubishi A6M-2 Model 11 fuselage, with a modified tail and added floats. Despite the large central float and wing pontoons, the A6M2-N was aerodynamically a very clean aircraft: compared with its land-based A6M2 cousin, its performance degraded only by about 20%, and for a contemporary single engine floatplane its performance was outstanding.
The aircraft was deployed in 1942, referred to as the "Suisen 2" ("Hydro fighter type 2"), and intended for interceptor, fighter-bomber, and short reconnaissance support for amphibious landings, among other uses. However, when confronted with the first generation of Allied fighters, the A6M2-N was no match in aerial combat and rather employed in supportive roles.
Effectively, the A6M2-N was mostly utilized in defensive actions in the Aleutians and Solomon Islands operations. They were used with good efficiency against Allied positions: marking patrol elements, aiding warship guns, engaging convoys, and reconnoitering areas over-the-horizon.
The A6M2-Ns were also effective in harassing American PT boats at night, and they could drop flares to illuminate the PTs which were vulnerable to destroyer gunfire, and depended on cover of darkness. However, when Allied fighter coverage became more numerous and effective, the value of the A6M2-N dwindled and losses began to naturally mount.
In the Aleutian Campaign this fighter engaged with RCAF Curtiss P-40, Lockheed P-38 Lightning fighters and Boeing B-17 Flying Fortress bombers, but the A6M2-N inventory suffered a severe setback when, on August 7th, 1942, a seaplane base was destroyed by Allied fighter-bombers, taking with it most of the available A6M2-Ns stationed there.
The seaplane also served in defense of fueling depots in Balikpapan and Avon Bases (Dutch East Indies) and reinforced the Shumushu base (North Kuriles) in the same period.
Beyond their use from dispersed and improvised bases, A6M2-N fighters also served aboard seaplane carriers Kamikawa Maru in the Solomons and Kuriles areas and aboard Japanese raiders Hokoku Maru and Aikoku Maru in Indian Ocean raids.
Later in the conflict the Otsu Air Group utilized the A6M2-N as an interceptor alongside Kawanishi N1K1 Kyofu ('Rex') aircraft based in Biwa lake in the Honshū area, defending the Japanese home land against Allied raids.
A total of 327 were built, including the original prototype, before being halted in September 1943.
The last A6M2-N in military service was a single example recovered by the French forces in Indochina after the end of World War II. It crashed shortly after being overhauled, though.
General characteristics:
Crew: 1 (Pilot)
Length: 10.10 m (33ft 1⅝ in)
Wingspan: 12.00 m (39 ft 4⅜ in)
Height: 4.30 m (14ft 1⅜ in)
Wing area: 22.44 m² (251.4 sq ft)
Empty weight: 1,912 kg (4,235 lb)
Loaded weight: 2,460 kg (5,423 lb)
Max. takeoff weight: 2,880 kg (6,349 lb)
Powerplant:
1× Nakajima NK1C Sakae 12 air cooled 14 cylinder radial engine,
delivering 950 hp (709 kW) at 4,200 m (13,800 ft)
Performance:
Maximum speed: 436 km/h (235 knots, 270.5 mph) at 5,000 m (16,400 ft)
Cruise speed: 296 km/h (160 knots, 184 mph)
Range: 1,782 km (963 nmi, 1,107 mi)
Service ceiling: 10,000 m (32,800 ft)
Climb rate: 6 min 43 s to 5,000 m (16,400 ft)
Armament:
2 × 7.7 mm Type 97 machine guns in forward fuselage
2 ×20 mm Type 99 cannons in outer wings
Underwing hardpoints for 2× 60 kg (132 lb) bombs
The kit and its assembly:
This is a real world model, despite the weird looks (see below), and an entry for the Arawasi blog's "Japanese Aircraft Online Model Contest 005 - Japanese Seaplanes & Flying Boats" contest in summer 2017. Even though whifs were allowed to enter, I used the opportunity to build a kit I had originally bought for a few bucks and stashed away in the donor bank: a vintage LS Model Nakajima A6M2-N.
The mould dates back to 1963(!), and the kit was re-issued several times, also under the ARII label. You get a tiny box, with only two sprues moulded in a pale baby blue, and the number of parts is minimal. It's truly vintage and pretty toylike at first sight. Consequently, you have to face some real old-school issues, e. g. moulded markings for the roundels on the wings, general mediocre fit of anything and lots of sinkholes and flash. Then there are toylike solutions like the single-piece propeller or separate, moveable ailerons with bulging joints.
The cockpit interior is non-existent, too: there's just a blank place for a dashboard (to be cut out from the printed BW instructions!), and a spindly pilot figure which is held in mid air by some pins. Furthermore, the kit was designed to take a small electric motor in the nose (sold separately) to drive the propeller. Wires, as well as respective internal ducts, and an AA battery holder are included.
Sounds scary? Well, maybe, if you just build it OOB. But all these flaws should not keep the ambitious modeler away because the LS Model kit is (still) a sound basis to start from, even though and by today's standards, it is certainly not a match-winner for a rivet counter-esque competition.
For its age and the typical solutions of its time, it is actually surprisingly good: you get very fine engraved surface details (more delicate than many contemporary moulds!), a pretty thin, three-piece clear (yet blurry) canopy and, as a bonus to the elevons, separate flaps – a unique detail I have never come across before! Proportions are IMHO good, even though the cowling looks a bit fishy and the engravings are rather soft and shallow. Anyway, on the exterior, there’s anything you can ask for to be found, and as another bonus the kit comes with a beaching trolley, which makes display and diorama fitting easier.
Thanks to the kit's simplicity, the build in itself was pretty straightforward and simple. Cleaning the parts and checking fit was the biggest issue. Upon gluing the old styrene showed signs of serious reaction to the dissolving effect of modern glue: it took ages for the material to cure and become hard again for further work!? Weird…
The many sinkholes and overall displacements were corrected with some NC putty/PSR, the protruding elevon/flap joints sanded away as good as possible, and due to the wobbly nature of the kit’s styrene I added blobs of 2C putty inside of the wing halves as stabilizers.
Some mods and improvements were made, though. After cleaning the OOB propeller from tons of flash the piece turned out to be pretty usable, and it was put on a metal axis. A styrene tube adapter was added behind the relatively flat engine dummy, so that the prop can spin freely – for the later beauty pics, because no CG effect beats IMHO the real thing.
A cockpit interior was created from scratch and donor parts, using the new Airfix A6M model's cockpit as benchmark. It’s not an exact replica, because not much would later be visible, but I wanted, as a minimum, “something” inside. A better pilot figure was used, too, and strapped to the new seat with thin strips of adhesive masking tape as seatbelts.
Under the wings, the hardpoints were simulated with some bits of styrene and wire as shackles, but left empty Under the stabilizer fin I added a lug(?), made from thin wire, too.
The elevons were fixed in place, the seams to the wings filled with white glue in order to conceal the gaps as good as possible. The movable flaps remained, though, adding life to the model. The dolly was also taken more or less OOB, since it fits well. I just improved it with some sinkhole fillings and some other details, including cushions on the float stabilizers, made from paper tissue soaked with thinned white glue, and a towing bar.
Painting and markings:
The reason why I settled for an A6M2-N is mostly the weird paint scheme which can be applied, while still being a real world model: a lilac livery!
As far as I could find out, the A6M2-Ns initially carried an all-over IJN Grey livery, which was later, in late 1942, modified with dark green upper sides for a better concealment on the ground, and the Hinomaru received white edges for better contrast.
Anyway, during the Aleutian campaign and more or less in between these two major standards, several aircraft must have received a special camouflage with lilac upper surfaces, and this model depicts such a machine, based on various profiles but no color picture as reliable reference.
The sources I consulted, as well as pictures of finished A6M2-N models, show a wide variety of shades and paint scheme layouts, though. Upper colors range from pale pink through more or less bright shades of purple to a pale, rusty-reddish brown (maybe primer?), while the undersides show a wide range of greys or even light blue. Some depictions of Aleutian A6M2-Ns as profile or model even show a uniform wraparound scheme! Choice is yours, obviously...
Because of the corny information basis, I did my personal interpretation of the subject. I based my livery more or less on a profile by Michele Marsan, published in Aerei Modelismo Anno XII (March 1991). The unit information was taken from there, too – the only source that would provide such a reference.
My idea behind the livery and the eventual finish was that the machine once was fully painted in IJN Grey. Then, the violet upper color was added in the field (for whatever reason?), resulting in a slightly shaggy look and with the light grey shining through here and there in areas of higher wear, e. g. at the leading edges, cockpit area and some seams.
Painting started with an initial coat of aluminum under the floats, around the cockpit and on the leading edges. Then the undersides and some areas of the upper surfaces were painted with IJN grey. The latter is an individual mix of Humbrol 90 (Beige Green/RAF Sky) and a bit of 155 (Olive Drab, FS 34087). On top of that I added a thin primer layer of mauve (mix of ModelMaster’s Napoleonic Violet and Neutral Grey, Humbrol 176) on the still vacant upper surfaces – both as a preparation for the later weathering treatments (see below).
The following, basic lilac tone comes from Humbrol’s long-gone "Authentics" enamel line. The tin is probably 30 years old, but the content is still alive (and still has a distinctive, sour stench…)! I cannot identify the tone anymore with certainty, but I guess that it is 'HJ 4: Mauve N 9', one of the line’s Japanese WWII tones which was later not carried over to the standard tones, still available today.
Anyway, the color is a dull, rather greyish violet, relatively dark (a bit like RAF Ocean Grey), and it fits well as a camouflage tone on this specific model. Since there’s no better alternative I could think of except for an individual mix or garish, off-the-rack pop art tones, I went with it.
After overall basic painting was done and thoroughly cured, weathering started with a careful wet sand paper treatment, removing the salt grain masks and revealing some of the lower IJN Grey and aluminum layers. While this appears messy, I found that the result looks more realistic than artificial weathering applied as paint effects on top of the basic paint.
The engine cowling was painted separately, with a mix of black and a little dark blue. The propeller received an aluminum spinner (Humbrol’s Matt Aluminum Metallizer), while the blades received aluminum front sides (Revell acrylics), and red brown (Humbrol 160) back sides. Two thin, red stripes decorate the propeller tips (Decals, left over from an AZ Model Ki-78, IIRC).
As a standard procedure, the kit received a light wash with thinned black ink, revealing the engraved panel lines, plus some post-shading in order to emphasize panels and add visual contrast and ‘drama’.
Decals and markings were improvised and come from the spares box, since I did not trust the vintage OOB decals - even though they are in so far nice that the sheet contains any major marking as well as a full set of letter so that an individual tail code could be created. Anyway, the model's real world benchmark did not carry any numeric or letter code, just Hinomaru in standard positions and a horizontal, white-and-red stripe on the fin.
The roundels actually belong to a JSDAF F-4EJ, some stencils come from a leftover Hobby Boss A6M sheet. The fin decoration was created with generic decal sheet material (TL Modellbau). Similar stuff was also used for the markings on the central float, as well as for the yellow ID markings on the inner wings' leading edges. I am just not certain whether the real aircraft carried them at all? But they were introduced with the new green upper surfaces in late 1942, so that they appear at least plausible. Another argument in this marking‘s favor is that it simply adds even more color to the model!
The cockpit interior was painted in a light khaki tone (a mix of Humbrol 159 and 94), while the flaps' interior was painted with Aodake Iro (an individual mix of acrylic aluminum and translucent teal paint). Lacking good reference material, the beaching trolley became IJA Green, with some good weathering with dry-brushed silver on the edges and traces of rust here and there (the latter created with artist acrylics.
Close to the (literal) finish line, some soot and oil stains were added with graphite and Tamiya's 'Smoke', and the kit finally received a coat of matt acrylic varnish (Italeri); to the varnish on the engine cover a bit of gloss varnish was added, for a sheen finish.
In the end, quite a challenging build. Not a winner, but …different. Concerning the LS Model kit as such, I must say that - despite its age of more than 50 years now - the A6M2-N model is still a worthwhile offer, if you invest some effort. Sure, there are certainly better 1:72 options available (e. g. the Hasegawa kit, its mould was created in 1995 and should be light years ahead concerning detail and fit. Not certain about the Revell/Frog and Jo-Han alternatives, though), but tackling this simple, vintage kit was fun in itself. And, based on what you get out of the little box, the result is not bad at all!
Beyond the technical aspects, I am also pleased with the visual result of the build. At first glance, this antiquity looks pretty convincing. And the disputable, strange lilac tone really makes this A6M2-N model …outstanding. Even though I still wonder what might have been the rationale behind this tone? The only thing I could imagine is a dedicated scheme for missions at dusk/dawn, similar to the pink RAF recce Spitfires in early WWII? It would be plausible, though, since the A6M2-Ns were tasked with nocturnal reconnoitre and ground attack missions.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1308610
Date first listed: 22-Feb-1967
Location
Statutory Address: St Michael the Archangel Church,Chagford, Newton Abbot TQ13 8BN
County: Devon
District: West Devon (District Authority)
Parish: Chagford
National Park: DARTMOOR
National Grid Reference: SX 70146 87508
Details
Parish church. It appears to be a complete C15 rebuild of an earlier church (The Church Wardens Accounts record work on the Lady Chapel in 1482); major renovation of circa 1888 followed by a series of lesser works between 1888 and 1925, e.g. vestry by J.W. Rowell and Son of Newton Abbot in 1891 and tower restored in 1915; roofs repaired circa 1960. Coursed blocks of granite ashlar throughout; granite ashlar detail, one window of limestone ashlar; slate roofs. Plan: church is actually set on a north-east - south-west axis but for convenience it is described as if it had a conventional east-west axis. Nave and chancel under a continuous roof with full length north and south aisles, both with east end chapels. The south aisle has the former Lady Chapel (now a Chapel of Remembrance to the dead of the World Wars) and the 1891 vestry at the east end. At the east end of the north aisle St Katherines Chapel was converted to the organ chamber and the aisle was extended an extra bay. C15 south porch. Large C15 west tower. Perpendicular style throughout and renovation work carried out in the same style. Exterior. Tall west tower of 3 stages with internal stair turret in the south-west corner. It has a chamfered plinth, setback buttresses and an embattled parapet without corner pinnacles. Belfry has double lancets on each side to the belfry and a single lancet on the north side to the ringing loft. On the west side the doorway has a 2-centred arch with double chamfered surround. It contains a good quality oak door carved with blind cusped arcades and carved with a Latin quotation and dated 1914. Directly above 3-light window with a pointed arch and containing simple intersecting tracery and a hoodmould. Possibly this window was reused in the C15 from the earlier church. Above this window 2 small arch-headed niche contains a C20 carved figure of St. Michael and above that a painted clockface put there in 1867. There are tiny slit windows on the south side lighting the newel stair. The nave and aisles are similar in style. Their roofs are gable-ended with C19 shaped kneelers, coping and moulded finials. (The west end of the north aisle has no finial). The roof is continuous over nave and chancel but the division is marked by an old ridge tile surmounted by a crude beast (maybe a pig). The aisles have soffit-chamfered eaves cornices and the south aisle has a chamfered plinth. Both have set back buttresses on their corners and buttresses between the windows, all with weathered offsets. The west ends of the aisles are blind although both contain blocked features. The south aisle is roughcast but inside a tall 2-centred arch shows. The north aisle contains a blocked doorway, a 2-centred arch with a double roll moulded surround and above that is a presumably C19 segmental-headed window embrasure. All the original windows have original Perpendicular tracery with plain hoodmoulds. The south aisle and porch. The porch projects left of centre. It has set back buttresses and an embattled parapet. 2-centred outer arch with moulded surround and broach stops. This contains early C20 timber gates containing a row of open quatrefoils containing rosettes along the top. There is a late C17 or C18 slate sundial with a brass pointer. It has shaped corners and the borders are enriched with scrolled foliage and garlands. The porch occupies one of the 5 bays this side. The others contain 3-light windows, and there is another at the east end. In the angle of the south aisle and chancel is the low 1981 vestry built of neater ashlar than the original church. It has a flat roof and embattled parapet over a soffit- moulded dripcourse. Each side contains a square-headed 2-light window with cinquefoil heads and the south side contains a segmental-headed doorway with ovolo surround. Above the vestry, a window built of limestone, with Decorated tracery and hoodmould with carved labels. The east end of the chancel has a large and impressive 5-light window with Perpendicular tracery. It has moulded reveals with carved capitals and hoodmould. The north aisle is 6 bays. The east end bay is a late C19 addition and contains another limestone 2-light window with Decorated tracery, hoodmould and block labels. Contemporary granite Tudor arch doorway in east end. The rest are original 3-light windows similar to those on the south side. The division between aisle and organ chamber (former chapel) is marked by a projecting rood stair turret. Interior. Porch has a good interior. It has stone-flagged floor and benches along each side. Stone vaulted 2-bay roof; the ribs springing from half-engaged piers and with good carved bosses. The piers are granite and although the rest is painted the detail suggests a softer stone, possibly Beerstone. The south doorway is a granite 2- centred arch with double chamfered surround and pyrmaid stops. It contains an ancient folding plank door with studded coverstrips, its original ferramenta and a massive oak lock housing. The roof was repaired circa 1960 but is essentially original. Nave and chancel have continuous wagon roofs with moulded purlins and ribs, good carved oak bosses and a moulded wallplate enriched with 4-leaf bosses. The break between nave and chancel is now marked by the chancel only being ceiled and the timberwork there is painted. Both aisles have similar smaller wagon roofs and must be contemporary with the nave and chancel roof. Both are now open and the south chapel timbers have traces of ancient colour. The bosses are noteworthy some featuring the spiral symbol of the Gorges family and others the tinners mark of 3 rabbits. Church Fabric. Tall tower arch with a narrow chamfered surround and soffit- Chamfered imposts. Inside tower small 2-centred arch doorway to newel stairs but floor to ringing loft replaced 1915. Either side of the tower arch are the blocked apertures described above. Each aisle has an identical 5-bay arcade with 1 overlapping into the chancel. The arches have double chamfered arch rings. Octagonal granite piers made from single pieces of granite and have soffit-chamfered caps and chamfered bases, now on pedestals since the floor has been lowered. The floor is of stone slabs and includes some grave slabs in the chancel (see below). The walls are of exposed granite ashlar. In the south aisle, close to the chancel screen, there is an arch-headed blocked opening for the rood stair. Furniture and fittings. In the chancel the reredos dates from 1888 along with the rest of the sanctuary decoration. It is a painted and gilded triptych; Christ in majesty is flanked by panels containing the Evangelists and the wings contain saints. The wall behind is lined with good polychrome tiles of 1888. The oak stalls (dating from 1913) are in a Tudor Gothic style with blind arcading across the front and carved angel finials. The sedilia dates from 1894. The chancel screen is a fine piece of work. It was erected in 1925 in memory of the young flying officer Noel Hayter-Hames. It is an expert recreation of a C15 Perpendicular oak chancel screen with blind tracery on the wainscotting, Perpendicular tracery to the windows, Gothic cusped coving and a frieze of delicately undercut bands of foliage. The parclose screens are painted and it may be that they are actually C15; built of oak and simpler versions of the main screen. The pulpit (dated 1928) is also built of oak and in the same Perpendicular style; it has an octagonal drum nodding ogee arch on the sides and undercut foliage on the corners, base and frieze. In the former St. Katherines Chapel the late C19 organ has been restored to its original painted scheme. The former Lady Chapel was lined with panelled wainscotting when converted to a Chapel of Rememberance circa 1925. The contemporary figures on the Riddel posts are the patron saints of England, Wales, Scotland and Ireland. Brass lecturn is dated 1871. The benches are also Gothic in style; the bench ends have tracery patterns framed with wreathed foliage. They probably date from the reseating of 1864 and most have been dedicated to members of the congregation who died in the C20. Granite Perpendicular style octagonal font carved by a local mason, John Aggett, and dedicated to the memory of Katherine Hayter-Hames who died less than a year old in 1856. The oak coved canopy is richly carved in Gothic style. Memorials. The oldest and best in the church is the table tomb in the sanctuary in memory of Sir John Wyddon (d. 1575). It is remarkable for its early Renaissance decoration. The tomb base is 3 bays divided by pilasters which are carved with foliage and with a frieze of wreathed foilage. Each bay carved with foliage and with a frieze of wreathed foliage. Each bay contains a frame of formal foliage. Central bay contains an heraldic achievement and the flanking bays have Renaissance vases with cherubs and grotesques. Marble lid with black letter inscription around the edge. Any effigy is now missing. 2-bay arcade above with round arches enriched by scrolled cusping and supported on baluster columns. The arches and spandrels are richly carved with Renaissance ornament. Moulded frieze above and moulded entablature with carved crestwork is supported by carved scroll consoles. The back of the arcade is also richly carved with heraldic achievements surrounded by a dense pattern of expertly carved ornament featuring mermen, grotesques and foliage. Nearby, on the sanctuary steps is a graveslab in memory of Mary Whiddon who died on her wedding day in 1641. South aisle contains a good mural monument in memory of Sir John Prouz (d.1664). Built most of Beerstone, it contains an inscribed rectangular marble plaque flanked by free-standing marble columns with Corinthian caps and entablature with modillion frieze surmounted by a cartouche containing the Prouz arms flanked by other heraldic cartouches. The soffit-moulded sill is supported by scroll brackets carved as grotesque lions heads and with an apron between enriched with strapwork and containing a carved oak heraldic achievement. Above the monument is suspended a helmet bearing the Prouz crest. All the paintwork is C20. To south of the sanctuary a granite recess with double ogee arch in memory of Constance Hayter-Hames (d.1890) and several C19 mural monuments to other members of the same family but the best monument from this period is a mural plaque in memory of Captain John Evans who died aged 23, in 1861 after an active service life. The plaque is a white marble scroll with a symbol of liberty at the top. It is carved as if the scroll is pinned to the end of a chest tomb on which lies his sword and an open Bible and over this is his regimental arms. The black ground has a pointed arch and a moulded limestone frame. It is signed Bedford Sc. 256 Oxford Street, London. Over the south door a board is painted with the arms of Charles II (much restored). To right a painted Benefaction board dated 1791 over an inscribed Beerstone tablet recording the benefactions of the Reverend John Hayter and John Hooper in 1790. Glass. The window of the north chapel contains fragments of C15 glass; St. Andrew and some heraldic achievements. The rest of the stained glass is C19 and most are memorials to members of the Hayter-Hames family. Summary. This is a good C15 granite church although the interior is largely the result of the several late C19 and early C20 renovations. The best feature is the remarkable Whiddon table tomb. Sources. Devon C19 Church Project. Church Guide. (n.a.)
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