Maker: Joseph John Elliott (1835 – 1903) and Clarence Edmund Fry (1840 – 1897).

Born: UK

Active: UK

Medium: albumen print CDV

Size: 3 7/8 in x 2 1/2 in

Location:

Object No. 2016.769

Shelf: E-20-E

Publication:

Other Collections:

Notes: JOHN EVERETT MILLAIS (1829 - 1896). “English painter and book illustrator. A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.” (source: The Oxford Dictionary of Art and Artists)

Elliott & Fry was a Victorian photography studio founded in 1863 by Joseph John Elliott (14 October 1835 – 30 March 1903) and Clarence Edmund Fry (1840 – 12 April 1897). For a century the firm's core business was taking and publishing photographs of the Victorian public and social, artistic, scientific and political luminaries. In the 1880s the company operated three studios and four large storage facilities for negatives, with a printing works at Barnet. The firm's first address was 55 & 56 Baker Street in London, premises they occupied until 1919. The studio employed a number of photographers, including Francis Henry Hart and Alfred James Philpott in the Edwardian era, Herbert Lambert and Walter Benington in the 1920s and 1930s and subsequently William Flowers. During World War II the studio was bombed and most of the early negatives were lost, the National Portrait Gallery holding all the surviving negatives. With the firm's centenary in 1963 it was taken over by Bassano & Vandyk.

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This is what I'm aiming for. I might have to manipulate a lug or two by a degree or two but I'll be able to get these angles.

Reach, saddle height and setback were determined at www.bikedynamics.co.uk sat on my Dolan and this position will put my hands feet and bottom in the same position as they are now. I know I'm comfortable doing big distances in this position so I have no problems building a bike to fit. To the uninitiated it looks any road bike like my Dolan but I've designed it to be different in subtle ways. Mainly because I'm curious to see if the differences are noticeable and see if I like them. I probably should change one thing at a time but hey. These are the things I "designed". Ooooh designer. (That reminds me I saw a designer tanning salon the other day. WTF. I'll have the Gok Wan please.)

Wheelbase. It's longer which I think may make it seem more stable front to back. I notice I occasionally feel like I'm pitched forward by bumps when I'm sat down. May be that will be less so with a longer wheelbase. I suppose longer could be slower to manoeuvre too.

Chainstays. These are 432mm which will allow heel room for carrying a pannier and may make the back a little springier or whippy, as in side to side whippy. It obviously contributes to the longer wheelbase too.

Front Centre. 595mm should give me toe clearance to make all trackstands and walking pace manoeuvres easier. I have got used to dodging my pedals but toe clearance is nice. Again this contributes to the longer wheelbase.

Low bottom bracket of 250mm or 90mm drop. Because I have stumpy legs I'm limited with the height of my top tube. For a traditional style bike with a horizontal toptube that limits the length of your head tube and forces you to have a big stack of spacers or a nice quill stem. I don't have a threaded steerer for a quill stem (I'd quite like one) so I'll be using spacers to lift the stem. Having the bottom bracket 20mm lower than is usual buys me 20mm of imaginary headtube, a bit more space in the frame for big bottles and a frame pump, and it lowers the centre of gravity which may improve handling. Wins all round with the only down side being pedal clearance. I'll be running shorter than average 165mm cranks for my stumpy legs so that will help, and I don't tend to pedal though hard corners either, so I don't think it will be a problem.

66mm of trail. I really want to see what a long trail bike is like. I have a feeling I might know but I don't know what 66mm feels like. It affects how floppy and light the steering is and how easy the bike is to turn at speed. My Dolan has 57mm and I like how it rides. Perhaps I shouldn't change it if I like it but I do want to try more trail. It's sort of connected with longer front centres and shorter reach since when you change one the other tends to go in that direction.

57mm drop brakes. I definitely want 57mm drop brakes. I think it's just daft that the common brake is anything less but sales are driven by racing and competition so I guess that's why. 57mm drop will allow me to get a 28mm tyre and mudguard on with enough room for a bit of mud to squeeze in there too. Ready for winter and all the cow crossing I have to negotiate. btw I've just noticed I drew 55mm when I did this earlier in the year, and when I chopped my fork blades today they ended up at 55mm too! even though I wanted 57mm. There's something subconcious going on there...

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

To dream that you are walking up a flight of stairs indicate that you are achieving a higher level of understanding. You are making progress into your spiritual, emotional or material journey. The dream is also analogous to material and thoughts that are coming to the surface. To dream that you are walking down a flight of stairs represents your repressed thoughts. You are regressing back into your subconscious. It also refers to the setbacks that you are experiencing in your life. If you are afraid of going down the stairs, then it means that you are afraid to confront your repressed emotions and thoughts. Is there something from your past that you are not acknowledging?

To dream that you slip or trip on the stairs signify your lack of self confidence or conviction in the pursuit of some endeavor. If you slip going up the stairs, then it means that you are moving too fast toward attaining your goals. If you slip going down the stairs, then it suggests that you are moving too quickly in delving into your subconscious. You may not be quite ready to confront your subconscious or repressed thoughts.

To see spiral or winding stairs signify growth and/or rebirth. View Dream Bank: "Up The Staircase" Symbolically, a staircase often holds significant meaning. In dream analysis, staircases often suggest a journey. If one ascends the stairs that journey is probably positive, hopeful, or purposeful; however, if one descends the stairs that journey might be negative, confusing, or depressing. Moreover, the type of staircase is also important to its symbolic meaning. A traditional staircase is straightforward and suggests an uncomplicated route. Conversely, a spiral, twisted staircase may suggest mystery and disorientation. Lastly, staircases can also be looked at as a link. Literally, a staircase connects two floors. Figuratively, and more vaguely, a staircase is simply a passageway which can unite any two things, places, ideas, or states of being.Staircases are a frequently used symbol in art, specifically cinema. Narrative film has used the symbolic staircase from its birth, and some of the most famous film scenes are set around or on a set of stairs. Gone with the Wind, for example, captures an iconic movie moment on a staircase, when Rhett Butler restrains Scarlet O’Hara and carries her up Tara’s grand staircase. Alfred Hitchcock frequently used staircases in his films, Vertigo in particular, to build tension and add complication. More overtly, Robert Soidmak’s memorable The Spiral Staircase, starring Dorothy McGuire, is centered on a richly symbolic set of twisted stairs. Even contemporary films, like James Cameron’s Titanic, set significant cinematic moments on or around staircases to enhance a scene’s meaning with this widely used and easily usable symbol.The Rise of a Handsome young Lion to the heights of his Art, with stand-by before entrance. Just calling-back for answering from the king of materials world...

Peter Tabori and Ken Adie of Camden Architects' Department, built 1972-78. Reminiscent of the Alexandra Road estate, although these linear maisonettes and flats are built of concrete block and prefabricated panels. London Borough of Camden.

Well, I finally finished it. It took a while, but no big setbacks. Sure there are a few things I would change, but over all I like it. The roof come off and the back swings open so you can get in there, if you have really small hands, which I don’t, that made things difficult. It consists of an indoor work area, an indoor show room, and covered outdoor garage/chop shop. There are three hotrods, and parts for more. Any ideas are more than welcome, as I feel it is still a little...mundane.

Statue of General Sikorski, Portland Place, London

Władysław Eugeniusz Sikorski (20 May 1881 – 4 July 1943) was a Polish military and political leader.

Prior to the First World War, Sikorski established and participated in several underground organizations that promoted the cause of the independence of Poland from the Russian Empire. He fought with distinction in the Polish Legions during the First World War, and later in the newly created Polish Army during the Polish–Soviet War of 1919 to 1921. In that war he played a prominent role in the decisive Battle of Warsaw (1920). In the early years of the Second Polish Republic, Sikorski held government posts, including serving as Prime Minister (1922 to 1923) and as Minister of Military Affairs (1923 to 1924). Following Józef Piłsudski's May Coup of 1926 and the installation of the Sanacja government, he fell out of favor with the new régime.

During the Second World War, Sikorski became Prime Minister of the Polish Government in Exile, Commander-in-Chief of the Polish Armed Forces, and a vigorous advocate of the Polish cause in the diplomatic sphere. He supported the reestablishment of diplomatic relations between Poland and the Soviet Union, which had been severed after the Soviet pact with Germany and the 1939 invasion of Poland — however, Soviet leader Joseph Stalin broke off Soviet-Polish diplomatic relations in April 1943 following Sikorski's request that the International Red Cross investigate the Katyń Forest massacre.

In July 1943, a plane carrying Sikorski plunged into the sea immediately after takeoff from Gibraltar, killing all on board except the pilot. The exact circumstances of Sikorski's death have been disputed and have given rise to a number of different theories surrounding the crash and his death. Sikorski had been the most prestigious leader of the Polish exiles, and his death was a severe setback for the Polish cause.

Sikorski was born in Tuszów Narodowy, Galicia, at the time part of the Austro-Hungarian Empire. He was the third child in his family; his father was Tomasz Sikorski, a school teacher; his mother was Emilia Habrowska. His grandfather, Tomasz Kopaszyna Sikorski, had fought and been wounded at the Battle of Olszynka Grochowska in the November Uprising, during which he received the Virtuti Militari medal.

Sikorski attended the gimnazjum in Rzeszów (now Konarski's High School in Rzeszów) from 1893 to 1897, then transferred for a year to a Rzeszów teachers' college. In 1899 he attended the Lwów Franciszek Józef Gymnasium, and in 1902 he passed his final high school exam there. Starting that year, young Sikorski studied engineering at the Lwów Polytechnic, specializing in road and bridge construction, and graduated in 1908 with a diploma in hydraulic engineering. In 1906 Sikorski volunteered for a year's service in the Austro-Hungarian army and attended the Austrian Military School, obtaining an officer's diploma and becoming an army reserve second lieutenant (podporucznik rezerwy). In 1909 he married Helena Zubczewska, whom he met while at the high school in Lwów. In 1912 they had a daughter, Zofia. After graduation he lived in Leżajsk and worked for the Galician administration's hydraulic engineering department, working on the regulation of the San river, and later was involved in private enterprises related to construction, real estate and petroleum trade.

During his studies at the Polytechnic, Sikorski became involved in the People's School Association (Towarzystwo Szkoły Ludowej), an organization dedicated to spreading literacy among the rural populace. Around 1904–1905 he was briefly involved with the endecja Association of the Polish Youth "Zet", and then drifted towards paramilitary socialist organizations related to the Polish Socialist Party, which was intent on securing Polish independence. He made contact with the socialist movement around 1905–1906 through the Union for the Resurrection of the Polish Nation (Związek Odrodzenia Narodu Polskiego). In 1908, in Lwów, Sikorski—together with Józef Piłsudski, Marian Kukiel, Walery Sławek, Kazimierz Sosnkowski, Witold Jodko-Narkiewicz and Henryk Minkiewicz—organized the secret Union for Active Struggle (Związek Walki Czynnej), with the aim of bringing about an uprising against the Russian Empire, one of Poland's three partitioners. In 1910, likewise in Lwów, Sikorski helped to organize a Riflemen's Association (the Związek Strzelecki), became the president of its Lwów chapter, and became responsible for the military arm within the Commission of Confederated Independence Parties (Komisja Skonfederowanych Stronnictwo Niepodległościowych, KSSN). Having a military education, he lectured other activists on military tactics.

Upon the outbreak of the First World War in July 1914, Sikorski was mobilized, but through KSSN influence he was allowed to participate in the organizing of the Polish military units, rather than being delegated to other duties by the Austro-Hungarian military command. In the first few weeks of the war he became the chief of the Military Department in the Supreme National Committee (Naczelny Komitet Narodowy, NKN) and remained in this post until 1916. He was a commissioner in charge of the recruitment to the Polish Legions in Kraków, choosing this role over the opportunity to serve in the Legions as a frontline commander. On 30 September 1914 he was promoted to podpułkownik (lieutenant colonel), and soon after that he became the commander of a Legions officer school (Szkoła Podchorążych). The Legions - the army created by Józef Piłsudski to liberate Poland from Russian and, ultimately, Austro-Hungarian and German rule - initially fought in alliance with Austria-Hungary against Russia. From August 1915 there was growing tension between Sikorski, who advocated cooperation with Austria-Hungary, and Piłsudski, who felt that Austria-Hungary and Germany had betrayed the trust of the Polish people. In 1916 Piłsudski actively campaigned to have the Military Department of NKN disbanded. In July that year, Sikorski was promoted to pułkownik (colonel). Following the Act of 5th November (1916), Sikorski became involved with the Legions' alternatives, the Polish Auxiliary Corps and Polnische Wehrmacht. In June 1917 Piłsudski refused Austro-Hungarian orders to swear loyalty to the Habsburg Emperor (the "oath crisis") and was interned at the fortress of Magdeburg, while Sikorski abandoned Polnische Wehrmacht and returned to the Austro-Hungarian Army. In 1918, however, following the February Treaty of Brest-Litovsk and the battle of Rarańcza, Sikorski chose belatedly to side with Piłsudski, announcing solidarity with his actions, protesting against planned separation of Chełm Land from the planned Polish state, and thus soon joined Piłsudski in internment (he would be held in Dulfalva (Dulovo)). Nonetheless, this was not enough to smooth the differences between him and Piłsudski, and these two major Polish leaders would drift farther apart in the continuing years.

Polish–Ukrainian war

In 1918 the Russian, Austro-Hungarian and German empires collapsed, and Poland once again became independent, but the borders of the Second Polish Republic were not fully determined and unstable. In the east they would be formed in the escalating conflicts among Polish, Ukrainian, Lithuanian and Soviet forces in what culminated in the Polish–Soviet War (1919–1921). Winston Churchill commented: "The war of giants has ended, the wars of the pygmies began." Bolshevik leaders saw Poland as a bridge that the communist revolution will have to force to bring communism to the West, and Poland's very existence would soon be at stake.

Polish–Soviet war

After his release from internment, from 1 May 1918 Sikorski worked for the Regency Council, organizing the new Polish Army. He was soon at the frontlines again, this time in the Polish–Ukrainian War, where troops under his command secured and defended Przemyśl in October–November 1918.

Polish independence came in November 1918 with the formation of the Second Republic of Poland. In the course of the Polish–Ukrainian War, and in the opening phase of the Polish–Soviet War, Sikorski, now a high-ranking officer of the Polish Army was involved in further operations in the Galicia region. In January 1919 he commanded troops defending Gródek Jagielloński; in March that year he commanded an infantry division, advancing to Stawczany and Zbrucz. From 1 August 1918 Sikorski commanded the Polesie Group, and the Polish 9th Infantry Division. In order to curtail excesses of the forces under his command, he oversaw trials of 36 officers. His forces took Mozyr and Kalenkowicze in March 1920, and he would command the Polesie Group during Poland's Kiev offensive in April 1920, advancing to Dniepr river and Chernobyl region. On April 1 that year he was promoted to brigade general.

As the Polish–Soviet War grew in intensity, in late April 1920 the Red Army of Russia's new Soviet regime pushed back Polish forces and invaded Poland. Subsequently Sikorski successfully defended Mozyr and Kalenkowicze until 29 June, but later failed to hold the Brest fortress, although he defended it long enough to allow the Polish forces in the region to retreat in an orderly manner. On 6 August he was named the commander of the newly formed Polish 5th Army, which was tasked with holding the front to the north of Modlin, between Narew and Wkra rivers. He distinguished himself commanding the 5th Army on the Lower Vistula front during the Battle of Warsaw. At that time Soviet forces, expecting an easy final victory, were surprised and crippled by the Polish counter-attack. During that battle (sometimes referred to as "the Miracle at the Vistula") Sikorski stopped the Bolshevik advance north of Warsaw and gave Piłsudski, the Polish commander-in-chief, the time he needed for his counter-offensive; beginning with the 15 August his forces successfully engaged the Soviet 5th and 15th Armies. After the Battle of Warsaw, from 30 August, Sikorski commanded the 3rd Army. His forces took Pińsk, and fought during the latter stages of the Battle of Lwów and the Battle of Zamość, and then after Battle of Niemen advanced with his forces toward Latvia and deep into Belarus. The Poles defeated the Soviets, and the Polish–Soviet Treaty of Riga (March 1921) gave Poland substantial areas of Belarus and Ukraine's (Kresy). Sikorski's fame was enhanced as he became known to the Polish public as one of the heroes of the Polish–Soviet War. He also kept publishing military science articles during the war itself. For his valorous achievements Sikorski was promoted to divisional general on 28 February 1921, and was awarded Poland's highest military decoration, the order of Virtuti Militari, on 15 March that year.

Despite their differences, Piłsudski praised Sikorski in his reports, recommending him for Chief of the General Staff and Minister of War positions; only generals Kazimierz Sosnkowski and Edward Rydz-Śmigły received better evaluations from him. Sikorski was popular among many soldiers, and in politics, particularly appealing to Polish conservatives and liberals. On 1 April 1921 Sikorski replaced general Tadeusz Jordan-Rozwadowski as the chief of the Polish General Staff. Between 1922 and 1925 he held a number of high government offices. Based on his analysis, the Polish Council of Ministers adopted new foreign policy that would remain roughly unchanged until the late 1930s (preserving the status quo in Europe, and treating Germany and Russia as equal sources of potential threat). On 12 December 1922 he issued a general order, stressing the need for the military to stay out of politics. After the assassination of President of Poland Gabriel Narutowicz on 16 December 1922, the Marshal of the Sejm (Sejm being the Polish parliament), Maciej Rataj, appointed Sikorski prime minister. From December 18, 1922, to May 26, 1923, Sikorski served as Prime Minister and also as Minister of Internal Affairs, and was even considered as possible President. During his brief tenure as prime minister, he became popular with the Polish public and carried out essential reforms in addition to guiding the country's foreign policy in a direction that gained the approval and cooperation of the League of Nations and tightened Polish-French cooperation. He obtained recognition of Poland's eastern frontiers from the UK, France and the United States during the Conference of Ambassadors on 15 March 1923 He aided Treasury Minister Władysław Grabski's reforms aiming at curtailing inflation and reforming the currency, and supported ethnic minorities. His government nonetheless lost support in the Sejm and resigned on 26 May 1923.

From 30 September 1923 to 1924 he held the post of Chief Inspector of Infantry (Generalny Inspektor Piechoty). From 17 February 1924 to 1925, under Prime Minister Grabski, he was Minister of Military Affairs and guided the modernization of the Polish military; he also created the Korpus Ochrony Pogranicza. He worked actively to promote the cause of the Polish-French military alliance. His proposal to increase the powers of the Minister of Military Affairs while reducing those of the Chief Inspector of the Armed Forces met with sharp disapproval from Piłsudski, who at that time was gathering many opponents of the current government. From 1925 to 1928 Sikorski commanded Military Corps District (Okręg Korpusu) VI in Lwów.

A democrat and supporter of the Sejm, Sikorski declared his opposition to Józef Piłsudski's May coup d'état in 1926; however he remained in Lwów, refused to dispatch his forces, and played no significant role in the short struggle surrounding the coup. In 1928 he was relieved by Piłsudski of his command, and while he remained on active service, he received no other posting. That year also saw the publication of his book on the Polish–Soviet War, Nad Wisłą i Wkrą. Studium do polsko–radzieckiej wojny 1920 roku (At the Vistula and the Wkra Rivers: a Contribution to the Study of the Polish–Soviet War of 1920). He would spend the following years studying military theory, publishing works on military theory, history and foreign policy. His most famous work was his 1934 book Przyszła wojna – jej możliwości i charakter oraz związane z nimi zagadnienia obrony kraju (lit. War in the Future: Its Capacities and Character and Associated He wrote several other books and many articles, foreseeing, among other things, the rapid militarization of Germany.

In due course, soon after he was relieved of his command, and as a semi-dictatorial Sanacja regime was established, Sikorski joined the anti-Piłsudski opposition. Sikorski largely withdrew from politics, spending much of his time in Paris, France, and working with the French Ecole Superieure de Guerre (war college). Even after the death of Piłsudski in 1935, he was still marginalized, politically and militarily, by Piłsudski's successors. In February next year, together with several prominent Polish politicians (Wincenty Witos, Ignacy Paderewski, and General Józef Haller) he joined the Front Morges, an anti-Sanacja political grouping.

In the days before Poland was invaded by Germany in September 1939, and during the invasion itself, Sikorski's request for a military command continued to be denied by the Polish Commander in Chief, Marshal Edward Rydz-Śmigły. Sikorski escaped through Romania to Paris, where on 28 September he joined Władysław Raczkiewicz and Stanisław Mikołajczyk in a Polish government-in-exile, taking command of the newly formed Polish Armed Forces in France. Two days later, on September 30, president Raczkiewicz called him to serve as the first Polish prime minister in exile. On 7 November he became Commander in Chief and General Inspector of the Armed Forces (Naczelny Wódz i Generalny Inspektor Sił Zbrojnych), following Rydz-Śmigły's resignation. Sikorski would also hold the position of the Polish Minister of Military Affairs, thus uniting in his person all control over the Polish military in war time.

During his years as prime minister in exile, Sikorski personified the hopes and dreams of millions of Poles, as reflected in the saying, "When the sun is higher, Sikorski is nearer" (Polish: "Gdy słoneczko wyżej, to Sikorski bliżej"). At the same time, from early on he had to work to reconcile the pro- and anti-Piłsudski's factions.

His government was recognized by the western Allies. Nonetheless Sikorski's government struggled to get its point of view heard by France and the United Kingdom. The western Allies refused to recognize the Soviet Union as an aggressor, despite the Soviet invasion of Poland on 17 September 1939. Furthermore, he struggled to secure resources needed to recreate the Polish Army in exile.

Poland, even with its territories occupied, still commanded substantial armed forces: the Polish Navy had sailed to Britain, and many thousands of Polish troops had escaped via Romania and Hungary or across the Baltic Sea. Those routes would be used until the end of the war by both interned soldiers and volunteers from Poland, who jocularly called themselves "Sikorski's tourists" and embarked on their dangerous journeys, braving death or imprisonment in concentration camps if caught by the Germans or their allies. With the steady flow of recruits, the new Polish Army was soon reassembled in France and in French-mandated Syria. In addition to that, Poland had a large resistance movement, and Sikorski's policies included founding of the Związek Walki Zbrojnej (Union of Armed Struggle), later transformed into Armia Krajowa (Home Army), and creation of the Government Delegation for Poland position, to supervise the Polish Underground State in occupied Poland.

In 1940 the Polish Highland Brigade took part in the Battle of Narvik (Norway), and two Polish divisions participated in the defense of France, while a Polish motorized brigade and two infantry divisions were in process of forming. A Polish Independent Carpathian Brigade was created in French-mandated Syria. The Polish Air Force in France had 86 aircraft with one and a half of the squadrons fully operational, and the remaining two and a half in various stages of training. Although many Polish personnel had died in the fighting or had been interned in Switzerland following the fall of France, General Sikorski refused French Marshal Philippe Pétain's proposal of a Polish capitulation to Germany. On June 19, 1940, Sikorski met with British Prime Minister Winston Churchill and promised that Polish forces would fight alongside the British until final victory. Sikorski and his government moved to London and were able to evacuate many Polish troops to Britain. After the signing of a Polish-British Military Agreement on August 5, 1940, they proceeded to build up and train the Polish Armed Forces in the West. Experienced Polish pilots took part in the Battle of Britain, where the Polish 303 Fighter Squadron achieved the highest number of kills of any Allied squadron. Sikorski's Polish forces would form one of the most significant Allied contingents.

Władysław Anders and Sikorski with Joseph Stalin (1941)

The Fall of France weakened Sikorski's position, and his proposal to consider building a new Polish army in the Soviet-occupied territories led to much criticism from within the Polish community in exile. On 19 July Raczkiewicz dismissed him from his position as the Prime Minister, replacing him with August Zaleski, however within days pressure from Sikorski's sympathizers, including the British government, made Raczkiewicz reconsider his decision, and Sikorski was reinstated as the Prime Minister on 25 July.

One of Sikorski's political goals was the creation of a Central and Eastern European federation, starting with the Polish-Czechoslovakian confederation. He saw such an organization as necessary if smaller states were to stand up to traditional German and Russian imperialism. That concept, although ultimately futile, gained some traction around that time, as Sikorski and Edvard Beneš from the Czechoslovak government-in-exile, signed an agreement declaring the intent to pursue closer cooperation on 10 November that year. On 24 December 1940 Sikorski was promoted to generał broni. In March 1941 he visited the United States; he would visit USA again in March and December 1942.

Following the German invasion of the Soviet Union ("Operation Barbarossa") in June 1941, Sikorski opened negotiations with the Soviet ambassador to London, Ivan Maisky, to re-establish diplomatic relations between Poland and the Soviet Union, which had been broken off after the Soviet invasion of Poland in September 1939. In December that year, Sikorski went to Moscow with a diplomatic mission. The Polish Government reached an agreement with the Soviet Union (the Sikorski-Maisky Pact of 17 August 1941), confirmed by Joseph Stalin in December of that year. Stalin agreed to invalidate the September 1939 Soviet-German partition of Poland, declare the Russo-German Molotov-Ribbentrop Pact of August 1939 null and void, and release tens of thousands of Polish prisoners-of-war held in Soviet camps. Pursuant to an agreement between the Polish government-in-exile and Stalin, the Soviets granted "amnesty" to many Polish citizens, from whom a new army (the Polish II Corps) was formed under General Władysław Anders and later evacuated to the Middle East, where Britain faced a dire shortage of military forces. The whereabouts of thousands more Polish officers, however, would remain unknown for two more years, and this would weigh heavily on both Polish–Soviet relations and on Sikorski's fate.

Initially, Sikorski supported the Polish–Soviet rapprochement, which reignited criticism of his person from some Polish factions. Nonetheless, Sikorski soon realized that the Soviet Union had plans for Polish territories, which would be unacceptable to Polish public. The Soviets began their diplomatic offensive after their first major military victory in the Battle of Moscow, and intensified this policy after the battle of Stalingrad, showing less and less regard for their deals with Poland. In January 1942 British diplomat Stafford Cripps informed General Sikorski that while Stalin planned to extend Polish borders to the west, by giving Poland Germany's East Prussia, he also wanted to considerably push Poland's eastern frontier westwards, along the lines of the Versailles concept of the Curzon Line, and acquire Lwów and Wilno, if not both. Sikorksi's stance on eastern borders was not inflexible; he noted in some documents that some concessions might be acceptable, however, giving up both Lwów and Wilno was not.

In 1943 the fragile relations between the Soviet Union and the Polish government-in-exile finally reached their breaking point when, on April 13, the Germans announced via the Katyn Commission the discovery of the bodies of 20,000 Polish officers who had been murdered by the Soviets and buried in Katyn Forest, near Smolensk, Russia. Stalin claimed that the atrocity had been carried out by the Germans, while Nazi propaganda orchestrated by Joseph Goebbels successfully exploited the Katyn massacre to drive a wedge between Poland, the Western Allies and the Soviet Union. The Soviet Union, and subsequently Russia, did not acknowledge responsibility for this and similar massacres of Polish officers until the 1990s.

When Sikorski refused to accept the Soviet explanation and requested an investigation by the International Red Cross on April 16, the Soviets accused the government-in-exile of cooperating with Nazi Germany and broke off diplomatic relations on April 25.

Beginning in late May 1943, Sikorski began visiting Polish forces stationed in the Middle East. In addition to inspecting the forces and raising morale, Sikorski was also occupied with political matters; around that time, a conflict was growing between him and General Władysław Anders, as Sikorski was still open to some normalization of Polish–Soviet relations, to which Anders was vehemently opposed. On 4 July 1943, while Sikorski was returning from an inspection of Polish forces deployed in the Middle East, he was killed, together with his daughter, his Chief of Staff, Tadeusz Klimecki, and seven others, when his plane, a Liberator II, serial AL523, crashed into the sea 16 seconds after takeoff from Gibraltar Airport at 23:07 hours. The crash was attributed to cargo on the plane shifting to the back upon takeoff. Only the pilot, Eduard Prchal (1911–1984), survived the crash. Sikorski was subsequently buried in a brick-lined grave at the Polish War Cemetery in Newark-on-Trent, England on 16 July that year. Winston Churchill delivered a eulogy at his funeral. On 14 September 1993, his remains were exhumed and transferred via Polish Air Force TU-154M, and escorted by RAF 56 Sqn Tornado F3 jets, to the royal crypts at Wawel Castle in Kraków, Poland.

Immediately after the crash, a Polish officer who had witnessed the event from the airstrip began sobbing quietly and repeating: "This is the end of Poland. This is the end of Poland." ("To Polska stracona!") General Sikorski's death marked a turning point for Polish influence amongst the Anglo-American allies. No Pole after him would have much sway with the Allied politicians. Sikorski had been the most prestigious leader of the Polish exiles and his death was a severe setback for the Polish cause. After the Soviets had broken off diplomatic relations with Sikorski's government in April 1943, in May and June Stalin had recalled several Soviet ambassadors for "consultations": Maxim Litvinov from Washington, Fyodor Gusev from Montreal, and Ivan Maisky from London. While Churchill had been publicly supportive of Sikorski's government, reminding Stalin of his pact with Nazi Germany in 1939 and their joint attack on Poland, in secret consultations with Roosevelt he admitted that some concessions would have to be made by Poland to appease the powerful Soviets. The Polish–Soviet crisis was beginning to threaten cooperation between the western Allies and the Soviet Union at a time when the Poles' importance to the western Allies, essential in the first years of the war, was beginning to fade with the entry into the conflict of the military and industrial giants, the Soviet Union and the United States.

The Allies had no intention of allowing Sikorski's successor, Stanisław Mikołajczyk, to threaten the alliance with the Soviets. No representative of the Polish government was invited to the Tehran Conference (28 November – 1 December 1943) or the Yalta Conference (4–11 February 1945), the two crucial events in which the Western Allies and the Soviet Union discussed the shape of the post-war world and decided on the fate of Poland. Only four months after Sikorski's death, in November 1943, at Tehran, Churchill and Roosevelt agreed with Stalin that the whole of Poland east of the Curzon Line would be ceded to the Soviets. In Teheran, neither Churchill nor Roosevelt objected to Stalin's suggestion that the Polish government in exile in London was not representing Polish interests; as historian Anita Prażmowska noted, "this spelled the end of that government's tenuous influence and raison d'être." After the Teheran Conference, Stalin decided to create his own puppet government for Poland, and a Committee of National Liberation (PKWN) was proclaimed in the summer of 1944. The Committee was recognized by the Soviet Government as the only legitimate authority in Poland, while Mikołajczyk's Government in London, was termed by the Soviets an "illegal and self-styled authority." Mikołajczyk would serve in the Prime Minister's role until 24 November 1944, when, realizing the increasing powerlessness of the government in exile, he resigned and was succeeded by Tomasz Arciszewski, "whose obscurity", in the words of historian Mieczysław B. Biskupski, "signaled the arrival of the government in exile at total inconsequentiality." Stalin soon began a campaign for recognition by the Western Allies of a Soviet-backed Polish government led by Wanda Wasilewska, a dedicated communist with a seat in the Supreme Soviet, with General Zygmunt Berling, commander of the 1st Polish Army in Russia, as commander-in-chief of all Polish armed forces. By the time of the Potsdam conference in 1945, Poland has been relegated to the Soviet sphere of influence; an abandonment of the Polish government in exile that has led to the rise of the Western betrayal concept.

A number of poems dedicated to Sikorski have been written by Polish authors during the war. In its aftermath, in the People's Republic of Poland, Sikorski's historic role, like that of all the adherents of the London government, would be minimized and distorted by propaganda, and those loyal to the government-in-exile would be liable to imprisonment and even execution. In time, restrictions on discussing Sikorski began to ease; on a centennial anniversary of his birth in 1981, commemorative events were held on the Rzeszów Voivodeship, including an academic conference, and revealing of plaques in Nisko and Leżajsk. Ryszard Zieliński published a novel on him, Wejście w mrok (1971), and in 1983 a movie, Katastrofa w Gibraltarze by Bohdan Poręba, was made. The Polish government-in-exile, of which Sikorski was the first Prime Minister, would continue in existence until the end of communist rule in Poland in 1990, when Lech Wałęsa became the first post-communist President of Poland. On 17 September 1993 a statue of Sikorski, sculpted by Wiesław Bielak, was revealed in Rzeszów. In 1995, Sikorski became the patron of the newly formed Polish 9th Mechanized Brigade. In 2003, the Polish parliament (Sejm) declared the year (60th anniversary of Sikorski's death) to be the "Year of General Sikorski". A number of streets and schools in Poland bear Sikorski's name.

Memory of General Sikorski was also preserved both in Poland and abroad, by organizations like the Sikorski Institute in London. In the UK, Sikorski received honoris causa degrees from the University of Liverpool and University of St Andrews. In 1981, a commemorative plaque was revealed at Hotel Rubens in London, where during the war Polish Military Headquarters, including Sikorski's office, were located. He is commemorated in London's Portland Place, near the Embassy of Poland, with a larger than life statue, unveiled in 2000. A propeller from the plane in which he died is the centrepiece of a new memorial to Sikorski at Europa Point, Gibraltar.

en.wikipedia.org/wiki/W%C5%82adys%C5%82aw_Sikorski

For many years, the Penobscot was Detroit's tallest building. Its setbacks and Art Deco styling make it one of the city's most distinguished architecturally.

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 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.

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.

The Four Seasons Hotel, New York

57 East 57th Street

New York, New York, U.S.A. 10022

Exterior design elements include the large oculus and handsome 12-foot lanterns on its setbacks.

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

In 1987 William Zeckendorf Jr. assembled land on 57th Street between Park and Madison Avenue, consisting of four empty 5-floor buildings on the north side of 57th and an adjoining 58th Street site. Zeckendorf determined the best use for the site was a luxury hotel and began discussions with hotel operators.

One of the parcels at 50 East 58th - is the site of the former 200-room Blackstone Hotel and its restaurant Lottie's Dogwood Room.

Zeckendorf sought I.M. Pei (whose firm designed the Jacob K. Javits Convention Center) to design the luxury hotel. Zeckendorf Jr's father William Zeckendorf Sr. provided Pei with his first design job in 1946.

During the same time Harunori Takahashi, who some called the king of resort development projects in the South Pacific, admired Robert H Burns the founder of Regent Hotels International (a Hong Kong hotel company owned by an American!). Burns' first globally recognized luxury hotel, The Regent Hong Kong, opened in 1980. (It is an InterContinental now and not quite its former self).

Takahashi had just bought from Robert Burn's company the The Regent Sydney and was looking for more hotels to buy through the company he controlled - EIE International Corp. (Electronic & International Enterprises got its start in the 1940s importing from the US magnetic disc tapes). Takahashi also bought 30% of Regent Hotels from Robert Burns who retained 65%. The Hong Kong and Shanghai Banking Corporation owns 5 percent.

Burns knew William Zeckendorf Jr. and he knew Takahashi wanted to own an extraordinary hotel in New York City. The concept of a tall limestone luxury hotel on the 25,000 square foot lot was ready to move forward.

The hotel was announced in January 1989. It was expected to be the grandest hotel built in New York since the Waldorf=Astoria. The original plan was for 400 rooms and a main tower of 46-stories. A consortium of six Japanese banks led by Long-Term Credit Bank (LTCB) secured construction financing. The hotel was named Regent New York Hotel and to be managed by Regent International Hotels of Hong Kong. William Zeckendorf, Jr. acted as development consultant. Architects were I.M. Pei and Frank Williams, and Tishman Construction was the construction manager. (Frank Williams designed the 55-story W hotel in Times Square)

The interiors were to be designed by John F. Saladino, who was replaced by Hong Kong based Chhada, Siembieda & Associates, which was founded by Chandu Chhada and Don Siembieda in 1980.

Total costs for the 372-room project were estimated at $370 million - a million per room. By completion time the cost had swelled to $477 million, or $1.3 million a room.

A contemporary-modern approach was taken for the Regent, not a classical motif. The hotel's 52-story tower required a series of cascading set backs to comply with strict zoning requirements. Custom designed 12-foot decorative lanterns grace the upper levels. Honey-colored French Mangy limestone from France clad the facade.

The standard guest rooms are 610 sq ft with 10'4" ceilings. Fiddleback English Sycamore was used for all cabinetwork, doors and furniture.

Robert Burns was a stickler for detail especially on how to build a bathroom. Burns is quoted saying "I just feel that nobody should sit in a tub where somebody stood." The Regent New York baths are built with a glass enclosed shower stall and separate soaking tub.

Just after the hotel's topping off event in 1990 the Japanese real estate market imploded. EIE and Regent Hotels was forced to sell the Regent hotel chain and hotels under development at that time were in New York City, Bali, Milan, and Istanbul - all were subsequently opened as Four Seasons.

One of the major figures during Japan's bubble economy years was EIE's Harunori Takahashi, who bought up Hyatt and Regent hotels with $6 billion borrowed from the credit unions that were run by his friends. He was also president of a credit union which lent his own businesses over $1.26 billion. Takahashi died in 2005 a convicted felon.

The opening of the Regent New York closely coincided with the chains loss of the Mayfair Regent, which was a Regent hotel from 1978 to 1991. That affiliation ended when Heitman Financial of Chicago, a longtime Mayfair owner, took on a new partner, Cogeta Hotels of Italy and rebranded the hotel to the Mayfair Baglioni.

In March 1992 Four Seasons Hotels Inc. paid $102 million for the Regent International Hotels group, providing the North American hotel operator an Asian foothold. Ownership of the under-construction Regent remained with Japan's Long-Term Credit Bank (LTCB).

LTCB, later renamed Shinsei, epitomized Japan’s banking problems. It is a story of greed, corruption and at time madness. LTCB was once the world’s 9th biggest bank. It collapsed in 1998 with $50 billion of bad loans.

The opening general manager was Wilfried N. Wagner.

According to the NY Times in August 1996 The Four Seasons Hotel was sold to a group of Hong Kong investors led by the Lai Sun Group (which also bought the Regent Beverly Wilshire in Beverly Hills, Calif., in February 1996). The seller was the Japanese bank LTCB. The sale price was estimated between $190 million, well below the $450 million it cost to build. Four Seasons Hotels Ltd. of Toronto, with a minority interest in the hotel, continued to operate it.

In February 1999 57 BB Property LLC (BB stands for Beanie Babies) otherwise known as Ty Warner acquired the Four Seasons Hotel from Lai Sun Group for $275 million or $743,243 per room.

The Michelin star restaurant L'Atelier de Joël Robuchon took its place in the hotel lobby.

With renowned restaurants in Paris, Tokyo and Las Vegas, Joël Robuchon focuses on the highest-quality ingredients, prepared with precision and creativity. With just 20 seats at the pearwood counter – considered the most desirable, with their view of the kitchen – and only 26 more at individual tables, L’Atelier offers an atmosphere that is both intimate and dynamic.

Covering the entire top floor of the Hotel, the nine-room Ty Warner Penthouse, accessed by its own private elevator, is reported to be the most expensive hotel suite in the U.S. at $35,000 per night.

Ty Warner, collaborated with designer Peter Marino and architect I.M. Pei, who came out of retirement to design the 4,300 square foot suite - which creates the sense of living within a multilayered work of art. Amenities include TVs programmed for every channel worldwide, unlimited global telephone calling, a personal butler, a personal trainer/therapist, and a chauffeured Rolls Royce Phantom.

Warner has diversified beyond toys with significant investments in hotels, property and golf courses. Ty Warner Hotels and Resorts include the Four Seasons Hotel in New York, the Sandpiper golf course, the Four Seasons Resort in Santa Barbara, California, the San Ysidro Ranch in Montecito, the Kona Village resort in Hawaii purchased in July 2004, the Montecito Country Club and the Las Ventanas al Paraiso Resort in Los Cabos, Mexico which was acquired in September 2004. In 2005, Warner also bought the beachfront Miramar resort and Rancho San Marcos golf course.

In 2009 Ty Warner held discussions of a sale of the 368-room luxury hotel. He is holding firm on pricing expectations of $644,000.000 million or a whopping $1,750.000 per room - according to Real Estate Alert.

The property's occupancy rate averaged 58% in the 12 months ending June 30, 2009 down from 72% in calendar year 2008, according to Realpoint. The average room rate dipped slightly, to $1,086 from $1,112, but revenue per available room fell to $635 from $798.

The Four Seasons Hotel New York is not heavily leveraged. The property has $185.6 million of mortgage debt - well below the price being sought by Warner.

Lillian Disney (Family)

Inducted 2003

While Lillian Disney, wife of Company founder Walt Disney, worked behind the scenes in many ways to support the Company's growth, her most celebrated contribution is the naming of a certain animated character.

In 1928, as he rode a train from New York bound for Los Angeles, Walt devised a new character to turn around a serious business setback, "Mortimer Mouse."

"Not Mortimer," Lillian replied when he told her his idea. "It's too formal. How about Mickey." The rest, as they say, is history.

Born in Spalding, Idaho, Lillian grew up in Lapwai, Idaho, on the Nez Perce Indian Reservation, where her father worked as a blacksmith and federal marshal.

She moved to Los Angeles in 1923, and won a job at the fledgling Walt Disney Studio as a secretary and "inker" of animated cels. Lillian met the boss, who sometimes asked her not to cash her $15-a-week paycheck. Soon, the boss met her family and on July 13, 1925, they married in Lewiston, Idaho.

"I think my dad fell in love with her almost immediately ... she was an independent little lady," says daughter Diane Disney Miller.

Lillian traveled with her husband on many of his business trips, including the government-sponsored Good Will tour of South America in 1941, which resulted in the production of such animated features as "Saludos Amigos" and "The Three Caballeros".

While raising their two daughters, Lillian served as a sounding board for her husband as he created films and the theme park that made him and his company known internationally. Lillian was a conservative balance to Walt's daring, and yet was indulgent, too, allowing him to dig a tunnel under her prized flower garden for his backyard railroad at their Holmby Hills estate.

As her nephew Vice Chairman of The Walt Disney Company Roy E. Disney recalls, Lillian was "always prepared to speak the truth, tough and warm and loving at the same time. She was a very special person. You couldn't help loving her and you'd never forget her ... or her hearty laugh."

The publicity-shy Lillian ventured into the public arena after Walt's death in 1966 to lend support to the fulfillment of his dreams. In October 1971, she attended the dedication of Walt Disney World in Orlando, Florida, along with Company co-founder and Walt's loyal brother Roy O. Disney.

"I think Walt would have approved," she said to Roy and those who helped realize her husband's dream. Eleven years later, she returned to Florida to attend the 1982 dedication of EPCOT Center.

Lillian also lent support to Walt's venture into education, the multi-disciplinary California Institute of the Arts (CalArts), which opened in 1971 in Valencia. Among her gifts to the school were funds to remodel a campus theater and rename it the Walt Disney Modular Theater in 1993.

On May 12, 1987, Lillian announced a gift of $50 million to build a new symphony hall designed by architect Frank Gehry in Los Angeles. A long-time patron of the arts, this was her ultimate gift to the community and to the love of her life. The Walt Disney Concert Hall, home of the Los Angeles Philharmonic, debuted in October 2003.

Lillian Disney suffered a stroke on December 15, 1997, 31 years to the day after the death of her husband, and died the following day.

The bio comes from the Official Disney Legends Home Page - legends.disney.go.com/legends/index

Jumeirah Essex House

160 Central Park South

New York, NY 10019

Dramatic crystal chandeliers

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Designed by Frank Grad, the Essex House is one of the National Trust Historic Hotels, a program of the National Trust for Historic Preservation.

Frank Grad also designed the Newark Symphony Hall.

Originally called Park Tower and then Seville Towers, the 40-story, Art Deco hotel tower opened along Central Park South in October 1931. The hotel’s first general manager, Albert Auwaerter, threw a grand opening party for 1,000 in the hotel’s Colonnades Ballroom.

By 1932 the hotel was known as the Essex House and the six-story Essex sign was erected on top of the hotel. Still today some claim the sign is offensively too large and blight on the city’s skyline.

The building is clad in brown brick with large guestroom windows and decorated setbacks. The lobby has massive fluted columns of black marble and it extends through the block as a corridor flanked by the elevator banks. Its main entrance has Art Deco gilded doors.

In 1932 the Reconstruction Finance Corporation (RFC) took title to the Essex House and retained ownership for fifteen years. Congress established the RFC in 1932 to provide liquidity and restore confidence in the banking system to offset the Great Depression.

George Burns and Gracie Allen lived at the Essex House in 1934; Betty Grable and Milton Berle were residents in the 1940s. British TV host Sir David Frost owned a 1,200 sq ft pied a terre in the Essex House during the 1990s. More recent tenants have included Angelina Jolie (penthouse at the top), Jude Law, and Samuel L. Jackson.

In the 1930s the Essex House featured a “strollers brunch” - so called for those completing a Sunday morning walk in Central Park. This leisurely meal, served from around noon to late afternoon, evolved in to the Sunday brunch.

In 1946 Samuel H. Golding, founder of Sterling National Bank and Trust Company, purchased the Essex House. At the time of his death in 1970, Samuel H. Golding was 84 years old and lived in the Essex House at 160 Central Park South. Golding’s wife, Rachel Golding, gifted to Yeshiva University $40 million in memory or her late husband Samuel H. Golding. At the time of the gift in 1992, Yeshiva had an endowment of just $293 dollars. Yeshiva is America's oldest and largest university under Jewish auspices.

Marriott purchased the hotel in 1969.

Marriott’s byline for the hotel: “When you have been spoiled everywhere else by a Marriott, where do you stay in New York? Marriott’s Essex House! “

The restaurant outlets during the 1970’s at Marriott’s Essex House included Kings Wharf Restaurant, Windjammer Bar and for Marriott, the futuristically named - Fairfield Inn Coffee Shop.

Many remember from 1970’s the TV announcer Don Pardo would proclaim that "guests of Saturday Night Live stay at the Essex House!"

Japan Air Lines Development (U.S.A.) Inc., a subsidiary of the Tokyo based national carrier bought the hotel in 1985. Its hotel affiliate Nikko Hotels International took over management and renamed the 715-room hotel - Essex House Hotel Nikko NY.

The Essex House was to be a springboard for Nikko’s future growth.In 1991, Japan Airlines spent more than $75 million in renovating the property. The room count was reduced to 580.

According to the NY Times the renovation included widening the lobby looking out on Central Park, with added seating and the reclaiming of windows in that area that in earlier renovations had been put to other uses. The entire plumbing, wiring, heating, air-conditioning and elevator systems were to be replaced.

Chef Christian Delouvrier opened the 75 seat French restaurant, Les Celebrites (previously Devereux’s on-the-Park) with a $70 average ticket. The hotel’s moderately priced restaurant was Café Botanica. Delouvrier previously served as executive chef at the Parker Meridien's French restaurant, Maurice.

Nikko hired Pierre Yves Rochon of Paris to serve as the interior designer. Brennan Beer Gorman was the architect for the restoration, and the contractor was Tishman Construction Company.

In March 1999 the 597-room Essex House was sold for $260,000,000 ($435,511 per room) to Strategic Hotel Capital. SHC retained Starwood Hotels to manage the hotel renamed: Essex House, A Westin Hotel, New York City.

In September 2000 Starwood created The St. Regis Club at the Essex House - a hotel within a hotel - that comprised the top floors and had 104 rooms, a restaurants and a lounge.

In September 2005, the Dubai Investment Group paid $440 million to acquire the hotel portion of the building that consisted of two components the 501-room Westin and the 104-room St. Regis. There were approximately 148 private residential condominiums located throughout the building and individually owned, of which 139 were not included in the sale.

To appease the unions Dubai Investment stated it would limit the conversion of guest rooms to condominiums to 15%. The unions believe any reduction in the guest room count would eliminate hotel jobs.

Jumeirah Hotels & Resorts took over management in January 2006. The Dubai-based hotel management group also manages The Jumeirah Burj Al Arab, the sail-shaped hotel tower that has become the icon of Dubai and some say is the world's finest hotel. The property was renamed Jumeirah Essex House.

In 2006 Dubai Investment Group contracted Atlanta-based Hirsch Bedner Associates to lead the $90 million renovation and reimagining of the hotel. All the guest rooms and suites were refurbished and many were expanded.

The 509 guest rooms include 301 Essex House Rooms which are around 300 sq ft and do not have views of Central Park. The remaining 208 rooms are larger including suites and have views of Central Park or the Manhattan skyline.

The restaurant, Alain Ducasse at Essex House closed in January 2007.

Chef Kerry Heffernan opened 154 South Gate at Jumeirah Essex House in 2008. A Culinary Institute of America graduate, Heffernan previously was opening Executive Chef and eventually partner at Union Square Hospitality Group’s Eleven Madison Park. South Gate is not your regular hotel-restaurant. Tony Chi and Associates designed the restaurant/lounge sleek interior. The opening of South Gate marked the completion of Jumeirah Essex House’s $90 million refurbishment.

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

Lasalle, Qc

Frame :*LOW BICYCLES* MKii cross

Wheels :*VELOCITY* quill rim × *TUNE*

Tire :*VITTORIA* terreno wet

Brake:*PAUL* touring canti

Brake lever:*PAUL* e-lever

Crankset :*CANE CREEK* ee wings road crank × *WOLF TOOTH COMPONENTS* drop stop chainring

BB:*CHRIS KING*

Chain tensioner:*PAUL* melvin

Handle :*WHISKY* No.9 carbon riser bar

Stem :*THOMSON* elite X4

Seat Post :*THOMSON* elite setback seatpost

Saddle :*SELLE ITALIA* flite

Seat Clamp :*KENT ERIKSEN*

Grip:*OURY* V2 grip

Antony Gormley’s Event Horizon

Madison Square Park, NYC

by navema

www.navemastudios.com

From March 26 – August 15, 2010, 31 life-size figures appeared on rooftops, setbacks, and sidewalks around Manhattan’s Madison Square Park in the Flatiron District, a landmark public art exhibition. Standing tall above the unique urban landscape of New York City, the figures were the work of celebrated British artist Antony Gormley as part of Event Horizon New York, Gormley’s long-awaited United States public art debut — a milestone for an artist whose work has garnered worldwide acclaim over the past 25 years.

The life-size body forms of the artist were cast in iron and fiberglass.

Antony Gormley originally created Event Horizon for London’s Hayward Gallery as part of the Blind Light exhibition in 2007. The sculptures were installed on bridges, rooftops and streets along the South Bank of London’s Thames River. In this New York incarnation, Antony Gormley has adapted this exciting project to Manhattan’s unique and awe-inspiring skyline.

Antony Gormley on Event Horizon:

“I’m thrilled to be working with New York: people and place,” says artist Antony Gormley. “I don’t know what is going to happen, what it will look and feel like, but I want to play with the city and people’s perceptions. My intention is to get the sculptures as close to the edge of the buildings as possible. The field of the installation should have no defining boundary. The gaze is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world. So in encountering these peripheral things, perhaps one becomes aware of one’s status of embedment.”

“In an age in which over 50% of the human population of the planet lives in cities, this installation in New York (the original and prime example of urban high-rise living) questions how this built world relates to an inherited earth.”

“Isolated against the sky these dark figures look out into space at large asking: where does the humanity fit in the scheme of things?”

“The ambition is to make people visually aware of their own surroundings and the skyline above their heads.”

“In observing the works dispersed over the city viewers will discover that they are the centre of a concentrated field of silent witnesses; they are surrounded by art that is looking out at space and perhaps also at them. In that time the flow of daily life is momentarily stilled.”

“Within the condensed environment of Manhattan’s topography the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings.”

”In London I took great enjoyment from the encounter with individuals or groups of people pointing at the horizon in the manner of a classical sculptural group. This transfer of the stillness of sculpture to the stillness of an observer is exciting to me: reflexivity becoming shared.”

”There will be a strong secondary point of view from high windows around Madison Square Park, so more than in any other installation of Event Horizon, the occupants of the buildings will be aware of these three dimensional shadows at the edge of their field.”

“The level of visibility and the idea of the gaze, is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world.”

“One of the implications of Event Horizon is that people will have to entertain an uncertainty about the work’s scope: the spread and number of figures. Beyond those that you can actually see, how many more remain out of sight?”

ABOUT THE ARTIST:

For more than 25 years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations such as Allotment, Another Place, Critical Mass, Domain Field, and Inside Australia. His work increasingly engages with energy systems, fields and vectors, rather than mass and defined volume, as evident in Another Singularity, Blind Light, Clearing, and Firmament. Gormley’s most recently acclaimed live artwork One and Other saw 2,400 participants representing every region of the UK each spend an hour on an empty plinth in London’s Trafalgar Square for 100 consecutive days.

Antony Gormley’s work has been exhibited extensively throughout the UK, with solo shows in venues such as the Whitechapel, Tate, and the Hayward Galleries, the British Museum and internationally at museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, Malmö Konsthall, the Moderna Museet in Stockholm, Kunsthaus Bregenz, Austria and Antiguo Colegio de San Ildefonso, Mexico City. He has also participated in group shows at the Venice Biennale and the Kassel Documenta 8. Antony Gormley is represented by Sean Kelly Gallery, New York and White Cube, London.

Born in 1950, Antony Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999 and was made an Order of the British Empire (OBE) in 1997. More recently, he was awarded the Bernhard Heiliger Award for Sculpture in 2007. He is an Honorary Fellow of the Royal Institute of British Architects, Trinity College, Cambridge and Jesus College, Cambridge, and has been a Royal Academician since 2003.

Visit www.antonygormley.com for more information.

For more info about Event Horizon, visit: eventhorizonnewyork.org

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 cpu exit pipe has a setback before it goes to the cpu block to be able to fit an noctua A12x15 in front of the motherboard. that way the chipset fan barely operates and sits at a dead silent 2800 rpm when it does.

The beginning of 2024 has not been a good start to The Boeing Company after suffering a major setback following the accident involving an Alaska Airlines Being 737 MAX 9 on 5th January 2024, which saw the aircraft suffering a rapid decompression when the aft door plug blew out on climb out from Portland, Oregon. The resulting accident saw the US FAA issue an emergency airworthiness directive which were also implemented by other aviation agencies, and the eventual grounding of Boeing 737 MAX 9s featuring the plugged doors.

Whilst the Boeing 737 MAX 9s were grounded as the plug doors were inspected, somewhat surprisingly the previous generation Boeing 737-900ERs which also featured similar plugged doors were not part of the directive and continued to fly without incident.

Very recently, the US FAA extended the directives to the plug door-fitted Boeing 737-900ERs, with Alaska Airlines, Delta Air Lines and United Airlines within the United States, with Turkish Airlines being the main airline being outside the United States affected and would also see their plug doors being inspected for any defects.

At the time of writing, the US FAA has given the go-ahead for the Boeing 737 MAX 9 to return back to the skies with Boeing issuing guidance on inspecting and making corrections to the plug doors. The first Boeing 737 MAX 9s have already returned back into service since their reinstatement back into service.

Currently, United Airlines operates 489 Boeing 737s, which includes 40 Boeing 737-700s, 141 Boeing 737-800s, 10 Boeing 737-900s, 136 Boeing 737-900ERs, 81 Boeing 737 MAX 8s and 79 Boeing 737 MAX 9s. United Airlines have 387 Boeing 737 MAX 8-10s on-order.

November Seven Five Four Three Three is one of 136 Boeing 737-900ERs operated by United Airlines, delivered new to Continental Airlines on 20th March 2009, transferring over to United Airlines on 1st October 2010 following their merger and she is powered by 2 CFM International CFM56-7B26 engines.

Boeing 737-924/ER(WL) N75433 powers out from Runway 25R at Los Angeles (LAX), California on UA1278 to Cancún (CUN).

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%

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• 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%

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• 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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Update link:

www.youtube.com/watch?v=dPWutyl9jU4&feature=c4-overvi...

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Minor Notes:

__________

• 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%

__________________

• 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%

_________________

• 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

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

© 2007 ryan southen photography All Rights Reserved

*not for use without my prior written consent*

follow me on instagram: rsouthen, on facebook, or purchase some fine art prints

Frame:*black mountain cycles* mod zero

Headset:*cane creek* 110

Wheel:*shimano*105 hb-r7070 x *velocity* blunt ss

Tire:*panaracer* fire pro

Handle:*whisky* no.7 6f aluminum drop

Stem:*thomson* elite x4

Bartape:*fizik* terra tacky

Saddle:*selle italia* flite 1990

Seatpost:*thomson* elite setback

This is my first image of Mars for the 2015-2017 season. Unfortunately, there is not many surface details visible due to the small angular diameter, low elevation, poor sky conditions, and relatively featureless hemisphere, which I like to call the no hemisphere. Despite the setbacks, the north polar cap is visible on the top of the planet.

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.

:::::::PUNKS!!! girls on FILM!::::::::::::

this saturday in old city, philadelphia.

special guest sounds from chatty cathy and *d*ebacle along with hiroshi and mezone

evening filled with visual stimulants from chatty cathy and mezone.

chatty cathy fills the night with a special viewing of her avant punk mystique and mezone's winter butter pats.

special viewing of helveticaneue's winter wonderland shots before her big show.

media design: www.netbanshee.com/

photo by: mezone

projections by ahhdios tacos....

skinner's dry goods

226 Market in old city, philadelphia

...........

I can't make it but come out and represent Philly!

"Boot-scootin' and Bull Ridin' New Year's Eve Celebration", the assignment said. Weird, but I've had weirder. Western dancing, and when the band takes a break, bull riding--the most dangerous (and popular) event in rodeo. It was only the next morning, --Friday, January 1, 1999, when an editor phoned, asking "were you there when that bull rider got his neck broke?" that I got a sense of how tragic that evening had been.

Rodeo Cowboy Dusty Arzino woke up that morning a quadraplegic. I'd left before that final ride, when Arzino had his neck broken. My editor wasn't happy, but that's the kind of sorrow I'd rather not photograph. Not long before, I'd watched a wrestler named Scott Zerba experience the same fate--and the transition from athlete-at-their-prime to apprentice quadriplegic is a harsh transition--nothing anyone wants to go through, even as a witness.

But the following day, at the hospital, I was amazed at Arzino's upbeat attitude. Dusty shared a room with another quad, a fellow who'd suffered paralysis from a surgery gone bad--and the mood in that room was not what I expected. The man had greeted Arzino with a handshake, and the words, "you must be Dusty. I been praying for you.'"

Dusty's roommmate was no less amazing than his friends and family. Just a few minutes in that room with them, and I couldn't stop grinning. I resolved to keep in touch. If anyone was a candidate for a miracle, these were the people, I decided.

Time counts...and keeps on counting. Good intentions aside, Life goes on and I lost track of the Arzinos. I'd hear second-hand news, good reports, but though our paths would get close, they never crossed.

Yesterday, a book of poetry came in the mail..."Ragged Rhymes & Rosin Dust", by Dusty Arzino. Powerful, wonderful stuff. Words that made me want to break out my ukulele and guitar, and set those syllables to a beat.

"Livin'

You've entered up

Ready to roll

Got a rank cat

for the Sunday Show

Loose & cool

High & tight

Ready to rock

Fixin' to fight.

Run em' in

Slide & Ride

Crack the Gate

No Place to Hide

Horns will swing

Hooves will slash

You ride for Pride

You kick for Cash.

When the whistle blows

and the ride is done...

if you're alive,

you know you've won."

Incredible. This guy has found his voice. When you take the worst Life has to dish out, and there you are--sayin' "okay, what's next?"--that's where real "heart" and "soul" show themselves. You hear martyrs talk about their trials, and how they'd probably not change anything--there's the true mystery and miracle of the lessons of life.

Hard Answers

Tattooed and Tattered

Bruised and Battered

My Body's broken,

my mind is shattered.

When I look around,

I just can't see...

where to go,

or who to be...

When I check the glass

I don't recognize---

the guilty man lookin' back

with bloodshot eyes.

Cuz I'm running Blind,

and I'm fallin' behind,

I'm lookin' hard

searchin' to find...

A place to stop

make a stand...

find God's peace

in his promised land.

So I keep lookin up.

and walkin' the walk.

I pray to God--

to keep my feet on the Rock.

And lead me on

to my home in the sky...

where I'll surely find

the answers to the questions---

Why?"

The time may come in life, when you try to explain, 'this isn't what you want, but it's you got." You take the hand you're dealt, the ride you draw; and you get through your 8 seconds or your 8 decades, either way. Seconds or decades aren't the issue--the journey may take a minute or a millenia--Existence doesn't care--"Never say 'whoa' in a mudhole," as Dusty would say.

Dusty's book is available online, through Blurb.com, or get a better price by contacting him directly, at dustyarzino@gmail.com.

▒▒▒▒ WRITTEN TRANSCRIPT APPROVED BY SOMNICORP COMMUNICATIONS DIRECTOR ▒▒▒▒

This is Dr. Liam Harkin of the Department of Oneiric Ontology.

Reports indicate the Endless Dream Aberration - Code Named,▒▒▒▒▒ - has escaped Somnicorp Containment. This is a major setback to our research of E.D.A’s and containment efforts must be a top priority. As a King-Level Aberration, escaping the Bureau could have dire consequences. Personnel should be reminded the aberration resembles a tall, male figure. It has no discernable facial features like eyes, a mouth, or a nose. It wears a Somnicorp agent business suit and stands about 214 centimeters tall. My hypothesis is that it wears a Somnicorp suit as a means to mimic personnel. It also possesses the ability to phase in and out of the visible spectrum, making thermal imaging a must as we begin searching for ▒▒▒▒▒▒▒. Its average body temperature is roughly 31 degrees celsius.

According to Dr. Hywel, ▒▒▒▒▒ temperament is mostly docile, however my observation shows it is more curious about its purpose outside the Endless Dream. It has an insatiable desire to explore its separation from the dream. Our greatest concern is ▒▒▒▒▒ ability to manipulate the Visual Cortex of anyone nearby. This confuses the brain into believing its formless ‘face’ is that of a fellow agent. At first it was thought to be a form of mimicry similar to how Cephalopods use their chromatophores to mimic rocks, sea plants, or other marine life. ▒▒▒▒▒ uses its borrowed appearance to plead for its release from containment. Its mimic form is a near-perfect clone of whomever it copies. This even includes their voice, mannerisms and even recent memories. To avoid being mimicked, use of the Facial Distortion Mask, equipped with a thermal visor, is mandatory.

Frame :*INDEPENDENT FABRICATION*

Fork :*IGLEHEART**

Stem :*THOMSON* elite X4

Headset :*PHILWOOD*

Wheels :*PHILWOOD* iso disc hub × *DT SWISS*

Tire :*MAXXIS* cross mark

Handlebar :*THOMSON* MTB aluminium bar

Crank :*SHIMANO* XT

BB :*PHILWOOD* outboard bottom bracket

RD :*SHIMANO* XT

Brake :*SHIMANO* XT

Saddle :*WTB*

Seat Post :*THOMSON* elite setback seatpost

Grip:*ESI* racers edge grip

Seat Clamp :*DKG*

Saddle bag:*OUTER SHELL ADVENTURE* rolltop saddlebag

The Ayutthaya Historical Park (Thai: อุทยานประวัติศาสตร์พระนครศรีอยุธยา (Pronunciation)) covers the ruins of the old city of Ayutthaya, Thailand. The city of Ayutthaya was founded by King Ramathibodi I in 1350:222 The city was captured by the Burmese in 1569; though not pillaged, it lost "many valuable and artistic objects.":42–43 It was the capital of the country until its destruction by the Burmese army in 1767.

In 1969 the Fine Arts Department began with renovations of the ruins, which became more serious after it was declared a historical park in 1976. A part of the park was declared a UNESCO World Heritage Site in 1991. Thirty-five kings ruled the Ayutthaya kingdom during its existence. King Narai (1656-1688) held court not only in Ayutthaya but also from his palace in the nearby city of Lopburi, from where he ruled 8–9 months in the year.

PARK SITES

Wat Chaiwatthanaram

Wat Kasatrathiraj

Wat Kudi Dao

Wat Lokayasutharam

Wat Mahathat

Wat Phanan Choeng

Wiharn Phra Mongkhon Bopit

Wat Phra Ram

Wat Phra Sri Sanphet

Wat Ratchaburana, Ayutthaya

Wat Chai Mongkhon

Wat Yai Chai Mongkhon

Phra Chedi Suriyothai

Ayutthaya historical Study Centre

Japanese Settlement

Wat Phu Khao Thong

Elephant Camp

UNESCO WORLD HERITAGE SITE

In 1991, a part of Ayutthaya Historical Park was declared a UNESCO World Heritage Site under criteria III as an excellent witness to the period of development of a true national Thai art. The inscribed area covered only 289 ha on central and southwest part of Ayutthaya island; as a result, only certain groups of historical sites are under UNESCO protection. The sites including Wat Ratchaburana, Wat Mahathat, Wat Phra Sri Sanphet, Wat Phra Ram and Wiharn Phra Mongkhon Bopit. The sites that are not part of World Heritage Sites are the sites outside Ayutthaya Island; for example, Wat Yai Chai Mongkon, Wat Phanan Choeng, Wat Chaiwatthanaram and Wat Phu Khao Thong.

__________________________

AYUTTHAYA

(/ɑːˈjuːtəjə/; Thai: อยุธยา, Thai pronunciation: [ʔajúttʰajaː]; also spelled Ayudhya) was a Siamese kingdom that existed from 1351 to 1767. Ayutthaya was friendly towards foreign traders, including the Chinese, Vietnamese, Indians, Japanese and Persians, and later the Portuguese, Spaniards, Dutch and French, permitting them to set up villages outside the walls of the capital, also called Ayutthaya.

In the sixteenth century, it was described by foreign traders as one of the biggest and wealthiest cities in the East. The court of King Narai (1656–88) had strong links with that of King Louis XIV of France, whose ambassadors compared the city in size and wealth to Paris.

By 1550, the kingdom's vassals included some city-states in the Malay Peninsula, Sukhothai, and parts of Cambodia.

In foreign accounts, Ayutthaya was called Siam, but many sources say the people of Ayutthaya called themselves Tai, and their kingdom Krung Tai "The Tai country" (กรุงไท).

HISTORICAL OVERVIEW

ORIGINS

According to the most widely accepted version of its origin, the Thai state based at Ayutthaya in the valley of the Chao Phraya River rose from the earlier, nearby Lavo Kingdom (at that time, still under the control of the Khmer Empire) and Suvarnabhumi. One source says that in the mid-fourteenth century, due to the threat of an epidemic, King Uthong moved his court south into the rich floodplain of the Chao Phraya River onto an island surrounded by rivers. The name of the city indicates the influence of Hinduism in the region as it is the Thai pronunciation of the famous Indian city of Ayodhya. It is believed that this city is associated with the Thai national epic, the Ramakien, which is the Thai version of the Ramayana.

CONQUESTS AND EXPANSION

Ayutthaya began its hegemony by conquering northern kingdoms and city-states like Sukhothai,:222 Kamphaeng Phet and Phitsanulok. Before the end of the fifteenth century, Ayutthaya launched attacks on Angkor, the classical great power of the region. Angkor's influence eventually faded from the Chao Phraya River Plain while Ayutthaya became a new great power.

The emerging Kingdom of Ayutthaya was also growing powerful. Relations between the Ayutthaya and Lan Na had worsened since the Ayutthayan support of Thau Choi's rebellion In 1451, Yuttitthira, a noble of the Kingdom of Sukhothai who had conflicts with Borommatrailokkanat of Ayutthaya, gave himself to Tilokaraj. Yuttitthira urged Borommatrailokkanat to invade Phitsanulok, igniting the Ayutthaya-Lan Na War over the Upper Chao Phraya valley (the Kingdom of Sukhothai). In 1460, the governor of Chaliang surrendered to Tilokaraj. Borommatrailokkanat then used a new strategy and concentrated on the wars with Lanna by moving the capital to Phitsanulok. Lan Na suffered setbacks and Tilokaraj eventually sued for peace in 1475.

However, the kingdom of Ayutthaya was not a unified state but rather a patchwork of self-governing principalities and tributary provinces owing allegiance to the king of Ayutthaya under The Circle of Power, or the mandala system, as some scholars suggested. These principalities might be ruled by members of the royal family of Ayutthaya, or by local rulers who had their own independent armies, having a duty to assist the capital when war or invasion occurred. However, it was evident that from time to time local revolts, led by local princes or kings, took place. Ayutthaya had to suppress them.

Due to the lack of succession law and a strong concept of meritocracy, whenever the succession was in dispute, princely governors or powerful dignitaries claiming their merit gathered their forces and moved on the capital to press their claims, culminating in several bloody coups.

Beginning in the fifteenth century, Ayutthaya showed an interest in the Malay Peninsula, but the great trading ports of the Malacca Sultanate contested its claims to sovereignty. Ayutthaya launched several abortive conquests against Malacca which was diplomatically and economically fortified by the military support of Ming China. In the early fifteenth century the Ming admiral Zheng He had established a base of operation in the port city, making it a strategic position the Chinese could not afford to lose to the Siamese. Under this protection, Malacca flourished, becoming one of Ayutthaya's great foes until the capture of Malacca by the Portuguese.

FIRST BURMESE WARS

Starting in the middle of 16th century, the kingdom came under repeated attacks by the Taungoo Dynasty of Burma. The Burmese–Siamese War (1547–49) began with Burmese an invasion and a failed siege of Ayutthaya. A second siege (1563–64) led by King Bayinnaung forced King Maha Chakkraphat to surrender in 1564. The royal family was taken to Bago, Burma, with the king's second son Mahinthrathirat installed as the vassal king. In 1568, Mahinthrathirat revolted when his father managed to return from Bago as a Buddhist monk. The ensuing third siege captured Ayutthaya in 1569 and Bayinnaung made Mahathammarachathirat his vassal king.

After Bayinnaung's death in 1581, uparaja Naresuan proclaimed Ayutthaya's independence in 1584. The Thai fought off repeated Burmese invasions (1584–1593), capped by an elephant duel between King Naresuan and Burmese heir-apparent Mingyi Swa in 1593 during the fourth siege of Ayutthaya in which Naresuan famously slew Mingyi Swa (observed 18 January as Royal Thai Armed Forces day). The Burmese–Siamese War (1594–1605) was a Thai attack on Burma, resulting in the capture of the Tanintharyi Region as far as Mottama in 1595 and Lan Na in 1602. Naresuan even invaded mainland Burma as far as Taungoo in 1600, but was driven back.

After Naresuan's death in 1605, northern Tanintharyi and Lan Na returned to Burmese control in 1614.

The Ayutthaya Kingdom's attempt to take over Lan Na and northern Tanintharyi in 1662–1664 failed.

Foreign trade brought Ayutthaya not only luxury items but also new arms and weapons. In the mid-seventeenth century, during King Narai's reign, Ayutthaya became very prosperous. In the eighteenth century, Ayutthaya gradually lost control over its provinces. Provincial governors exerted their power independently, and rebellions against the capital began.

SECOND BURMESE WARS

In the mid-eighteenth century, Ayutthaya again became ensnared in wars with the Burmese. The Burmese–Siamese War (1759–60) begun by the Konbaung Dynasty of Burma failed. The Burmese–Siamese War (1765–67) resulted in the sack of the city of Ayutthaya and the end of the kingdom by debellatio in April 1767.

KINGSHIP OF AYUTTHAYA KINGDOM

The kings of Ayutthaya were absolute monarchs with semi-religious status. Their authority derived from the ideologies of Hinduism and Buddhism as well as from natural leadership. The king of Sukhothai was the inspiration of Inscription 1 found in Sukhothai, which stated that King Ramkhamhaeng would hear the petition of any subject who rang the bell at the palace gate. The king was thus considered as a father by his people.

At Ayutthaya, however, the paternal aspects of kingship disappeared. The king was considered the chakkraphat (Sanskrit chakravartin) who through his adherence to the law made all the world revolve around him. According to Hindu tradition, the king is the avatar of Vishnu, destroyer of demons, who was born to be the defender of the people. The Buddhist belief in the king is as righteous ruler (Sanskrit: dharmaraja), aiming at the well-being of the people and who strictly follows the teaching of Gautama Buddha.

The kings' official names were reflections of those religions: Hinduism and Buddhism. They were considered as the incarnation of various Hindu gods: Indra, Shiva or Vishnu (Rama). The coronation ceremony was directed by brahmins as the Hindu god Shiva was "lord of the universe". However, according to the codes, the king had the ultimate duty as protector of the people and the annihilator of evil.

According to Buddhism, the king was also believed to be a bodhisattva. One of the most important duties of the king was to build a temple or a Buddha statue as a symbol of prosperity and peace.

For locals, another aspect of the kingship was also the analogy of "The Lord of the Land" or "He who Rules the Earth" (Phra Chao Phaendin). According to the court etiquette, a special language, Rachasap (Sanskrit: Rājāśabda, "Royal Language"), was used to communicate with or about royalty. In Ayutthaya, the king was said to grant control over land to his subjects, from nobles to commoners, according to the Sakna or Sakdina system codified by King Borommatrailokkanat (1448–88). The Sakdina system was similar to, but not the same as feudalism, under which the monarch does not own the land. While there is no concrete evidence that this land management system constituted a formal palace economy, the French François-Timoléon de Choisy, who came to Ayutthaya in 1685, wrote, "the king has absolute power. He is truly the god of the Siamese: no-one dares to utter his name." Another 17th-century writer, the Dutchman Jan van Vliet, remarked that the King of Siam was "honoured and worshipped by his subjects second to god." Laws and orders were issued by the king. For sometimes the king himself was also the highest judge who judged and punished important criminals such as traitors or rebels.[

In addition to the Sakdina system, another of the numerous institutional innovations of Borommatrailokkanat was to adopt the position of uparaja, translated as "viceroy" or "prince", usually held by the king's senior son or full brother, in an attempt to regularise the succession to the throne - a particularly difficult feat for a polygamous dynasty. In practice, there was inherent conflict between king and uparaja and frequent disputed successions. However, it is evident that the power of the Throne of Ayutthaya had its limit. The hegemony of the Ayutthaya king was always based on his charisma in terms of his age and supporters. Without supporters, bloody coups took place from time to time. The most powerful figures of the capital were always generals, or the Minister of Military Department, Kalahom. During the last century of Ayutthaya, the bloody fighting among princes and generals, aiming at the throne, plagued the court.

SOCIAL AND POLITICAL DEVELOPMENT

THE REFORMS OF KING

Borommatrailokkanat (r.1448–1488) placed the king of Ayutthaya at the centre of a highly stratified social and political hierarchy that extended throughout the realm. Despite a lack of evidence, it is believed that in the Ayutthaya Kingdom, the basic unit of social organisation was the village community composed of extended family households. Title to land resided with the headman, who held it in the name of the community, although peasant proprietors enjoyed the use of land as long as they cultivated it. The lords gradually became courtiers (อำมาตย์) and tributary rulers of minor cities. The king ultimately came to be recognised as the earthly incarnation of Shiva or Vishnu and became the sacred object of politico-religious cult practices officiated over by royal court brahmans, part of the Buddhist court retinue. In the Buddhist context, the devaraja (divine king) was a bodhisattva. The belief in divine kingship prevailed into the eighteenth century, although by that time its religious implications had limited impact.With ample reserves of land available for cultivation, the realm depended on the acquisition and control of adequate manpower for farm labour and defence. The dramatic rise of Ayutthaya had entailed constant warfare and, as none of the parties in the region possessed a technological advantage, the outcome of battles was usually determined by the size of the armies. After each victorious campaign, Ayutthaya carried away a number of conquered people to its own territory, where they were assimilated and added to the labour force. Ramathibodi II (r.1491–1529) established a corvée system under which every freeman had to be registered as a phrai (servant) with the local lords, Chao Nai (เจ้านาย). When war broke out, male phrai were subject to impressment. Above the phrai was a nai (นาย), who was responsible for military service, corvée labour on public works, and on the land of the official to whom he was assigned. Phrai Suay (ไพร่ส่วย) met labour obligations by paying a tax. If he found the forced labour under his nai repugnant, he could sell himself as a that (ทาส, slave) to a more attractive nai or lord, who then paid a fee in compensation for the loss of corvée labour. As much as one-third of the manpower supply into the nineteenth century was composed of phrai. Wealth, status, and political influence were interrelated. The king allotted rice fields to court officials, provincial governors, military commanders, in payment for their services to the crown, according to the sakdi na system. The size of each official's allotment was determined by the number of commoners or phrai he could command to work it. The amount of manpower a particular headman, or official, could command determined his status relative to others in the hierarchy and his wealth. At the apex of the hierarchy, the king, who was symbolically the realm's largest landholder, theoretically commanded the services of the largest number of phrai, called phrai luang (royal servants), who paid taxes, served in the royal army, and worked on the crown lands.

However, the recruitment of the armed forces depended on nai, or mun nai, literally meaning 'lord', officials who commanded their own phrai som, or subjects. These officials had to submit to the king's command when war broke out. Officials thus became the key figures to the kingdom's politics. At least two officials staged coups, taking the throne themselves while bloody struggles between the king and his officials, followed by purges of court officials, were always seen.

King Trailok, in the early sixteenth century, established definite allotments of land and phrai for the royal officials at each rung in the hierarchy, thus determining the country's social structure until the introduction of salaries for government officials in the nineteenth century.

Outside this system to some extent were the sangha (Buddhist monastic community), which all classes of men could join, and the Overseas Chinese. Wats became centres of Thai education and culture, while during this period the Chinese first began to settle in Thailand and soon began to establish control over the country's economic life.

The Chinese were not obliged to register for corvée duty, so they were free to move about the kingdom at will and engage in commerce. By the sixteenth century, the Chinese controlled Ayutthaya's internal trade and had found important places in the civil and military service. Most of these men took Thai wives because few women left China to accompany the men.

Uthong was responsible for the compilation of a Dharmaśāstra, a legal code based on Hindu sources and traditional Thai custom. The Dharmaśāstra remained a tool of Thai law until late in the 19th century. A bureaucracy based on a hierarchy of ranked and titled officials was introduced, and society was organised in a related manner. However, the caste system was not adopted.

The sixteenth century witnessed the rise of Burma, which had overrun Chiang Mai and Laos and made war on the Thai. In 1569, Burmese forces, joined by Thai rebels, mostly royal family members of Thailand, captured the city of Ayutthaya and carried off the whole royal family to Burma. Dhammaraja (1569–90), a Thai governor who had aided the Burmese, was installed as vassal king at Ayutthaya. Thai independence was restored by his son, King Naresuan (1590–1605), who turned on the Burmese and by 1600 had driven them from the country.

Determined to prevent another treason like his father's, Naresuan set about unifying the country's administration directly under the royal court at Ayutthaya. He ended the practice of nominating royal princes to govern Ayutthaya's provinces, assigning instead court officials who were expected to execute policies handed down by the king. Thereafter royal princes were confined to the capital. Their power struggles continued, but at court under the king's watchful eye.

To ensure his control over the new class of governors, Naresuan decreed that all freemen subject to phrai service had become phrai luang, bound directly to the king, who distributed the use of their services to his officials. This measure gave the king a theoretical monopoly on all manpower, and the idea developed that since the king owned the services of all the people, he also possessed all the land. Ministerial offices and governorships - and the sakdina that went with them - were usually inherited positions dominated by a few families often connected to the king by marriage. Indeed, marriage was frequently used by Thai kings to cement alliances between themselves and powerful families, a custom prevailing through the nineteenth century. As a result of this policy, the king's wives usually numbered in the dozens.

Even with Naresuan's reforms, the effectiveness of the royal government over the next 150 years was unstable. Royal power outside the crown lands - although in theory absolute - was in practice limited by the looseness of the civil administration. The influence of central government and the king was not extensive beyond the capital. When war with the Burmese broke out in late eighteenth century, provinces easily abandoned the capital. As the enforcing troops were not easily rallied to defend the capital, the city of Ayutthaya could not stand against the Burmese aggressors.

RELIGION

Ayutthaya's main religion was Theravada Buddhism. However, many of the elements of the political and social system were incorporated from Hindu scriptures and were conducted by Brahmin priests. Many areas of the kingdom also practised Mahayana Buddhism, Islam and, influenced by French Missionaries who arrived through China in the 17th century, some small areas converted to Roman Catholicism. The influence of Mahayana and Tantric prractices also entered Theravada Buddhism, producing a tradition called Tantric Theravada.

ECONOMIC DEVELOPMENT

The Thais never lacked a rich food supply. Peasants planted rice for their own consumption and to pay taxes. Whatever remained was used to support religious institutions. From the thirteenth to the fifteenth centuries, however, a remarkable transformation took place in Thai rice cultivation. In the highlands, where rainfall had to be supplemented by a system of irrigation that controlled the water level in flooded paddies, the Thais sowed the glutinous rice that is still the staple in the geographical regions of the North and Northeast. But in the floodplain of the Chao Phraya, farmers turned to a different variety of rice - the so-called floating rice, a slender, non-glutinous grain introduced from Bengal - that would grow fast enough to keep pace with the rise of the water level in the lowland fields.

The new strain grew easily and abundantly, producing a surplus that could be sold cheaply abroad. Ayutthaya, situated at the southern extremity of the floodplain, thus became the hub of economic activity. Under royal patronage, corvée labour dug canals on which rice was brought from the fields to the king's ships for export to China. In the process, the Chao Phraya - mud flats between the sea and firm land hitherto considered unsuitable for habitation - was reclaimed and placed under cultivation. Traditionally the king had a duty to perform a religious ceremony blessing the rice plantation.

Although rice was abundant in Ayutthaya, rice export was banned from time to time when famine occurred because of natural calamity or war. Rice was usually bartered for luxury goods and armaments from westerners, but rice cultivation was mainly for the domestic market and rice export was evidently unreliable. Trade with Europeans was lively in the seventeenth century. In fact European merchants traded their goods, mainly modern arms such as rifles and cannons, with local products from the inland jungle such as sapan (lit. bridge) woods, deerskin and rice. Tomé Pires, a Portuguese voyager, mentioned in the sixteenth century that Ayutthaya, or Odia, was rich in good merchandise. Most of the foreign merchants coming to Ayutthaya were European and Chinese, and were taxed by the authorities. The kingdom had an abundance of rice, salt, dried fish, arrack and vegetables.

Trade with foreigners, mainly the Dutch, reached its peak in the seventeenth century. Ayutthaya became a main destination for merchants from China and Japan. It was apparent that foreigners began taking part in the kingdom's politics. Ayutthayan kings employed foreign mercenaries who sometimes entered the wars with the kingdom's enemies. However, after the purge of the French in late seventeenth century, the major traders with Ayutthaya were the Chinese. The Dutch from the Dutch East Indies Company (Vereenigde Oost-Indische Compagnie or VOC), were still active. Ayutthaya's economy declined rapidly in the eighteenth century, until the Burmese invasion caused the total collapse of Ayutthaya's economy in 1788.

CONTACTS WITH THE WEST

In 1511, immediately after having conquered Malacca, the Portuguese sent a diplomatic mission headed by Duarte Fernandes to the court of King Ramathibodi II of Ayutthaya. Having established amicable relations between the kingdom of Portugal and the Kingdom of Siam, they returned with a Siamese envoy with gifts and letters to the King of Portugal. They were the first Europeans to visit the country. Five years after that initial contact, Ayutthaya and Portugal concluded a treaty granting the Portuguese permission to trade in the kingdom. A similar treaty in 1592 gave the Dutch a privileged position in the rice trade.

Foreigners were cordially welcomed at the court of Narai (1657–1688), a ruler with a cosmopolitan outlook who was nonetheless wary of outside influence. Important commercial ties were forged with Japan. Dutch and English trading companies were allowed to establish factories, and Thai diplomatic missions were sent to Paris and The Hague. By maintaining all these ties, the Thai court skilfully played off the Dutch against the English and the French, avoiding the excessive influence of a single power.

In 1664, however, the Dutch used force to exact a treaty granting them extraterritorial rights as well as freer access to trade. At the urging of his foreign minister, the Greek adventurer Constantine Phaulkon, Narai turned to France for assistance. French engineers constructed fortifications for the Thais and built a new palace at Lopburi for Narai. In addition, French missionaries engaged in education and medicine and brought the first printing press into the country. Louis XIV's personal interest was aroused by reports from missionaries suggesting that Narai might be converted to Christianity.

The French presence encouraged by Phaulkon, however, stirred the resentment and suspicions of the Thai nobles and Buddhist clergy. When word spread that Narai was dying, a general, Phetracha, killed the designated heir, a Christian, and had Phaulkon put to death along with a number of missionaries. The arrival of English warships provoked a massacre of more Europeans. Phetracha (reigned 1688–93) seized the throne and expelled the remaining foreigners. Some studies said that Ayutthaya began a period of alienation from western traders, while welcoming more Chinese merchants. But other recent studies argue that, due to wars and conflicts in Europe in the mid-eighteenth century, European merchants reduced their activities in the East. However, it was apparent that the Dutch East Indies Company or VOC was still doing business in Ayutthaya despite political difficulties.

THE FINAL PHASE

After a bloody period of dynastic struggle, Ayutthaya entered into what has been called the golden age, a relatively peaceful episode in the second quarter of the eighteenth century when art, literature, and learning flourished. There were foreign wars. Ayutthaya fought with the Nguyễn Lords (Vietnamese rulers of South Vietnam) for control of Cambodia starting around 1715. But a greater threat came from Burma, where the new Alaungpaya dynasty had subdued the Shan states.

The last fifty years of the kingdom witnessed a bloody struggle among the princes. The throne was their prime target. Purges of court officials and able generals followed. The last monarch, Ekathat, originally known as Prince Anurakmontree, forced the king, who was his younger brother, to step down and took the throne himself.

According to a French source, Ayutthaya in the eighteenth century comprised these principal cities: Martaban, Ligor or Nakhon Sri Thammarat, Tenasserim, Jungceylon or Phuket Island, Singora or Songkhla. Her tributaries were Patani, Pahang, Perak, Kedah and Malacca.

In 1765, a combined 40,000-strong force of Burmese armies invaded the territories of Ayutthaya from the north and west. Major outlying towns quickly capitulated. The only notable example of successful resistance to these forces was found at the village of Bang Rajan. After a 14 months' siege, the city of Ayutthaya capitulated and was burned in April 1767. Ayutthaya's art treasures, the libraries containing its literature, and the archives housing its historic records were almost totally destroyed, and the Burmese brought the Ayutthaya Kingdom to ruin.

The Burmese rule lasted a mere few months. The Burmese, who had also been fighting a simultaneous war with the Chinese since 1765, were forced to withdraw in early 1768 when the Chinese forces threatened their own capital.

With most Burmese forces having withdrawn, the country was reduced to chaos. All that remained of the old capital were some ruins of the royal palace. Provinces proclaimed independence under generals, rogue monks, and members of the royal family.

One general, Phraya Taksin, former governor of Taak, began the reunification effort. He gathered forces and began striking back at the Burmese. He finally established a capital at Thonburi, across the Chao Phraya from the present capital, Bangkok. Taak-Sin ascended the throne, becoming known as King Taak-Sin or Taksin.

The ruins of the historic city of Ayutthaya and "associated historic towns" in the Ayutthaya historical park have been listed by the UNESCO as World Heritage Site. The city of Ayutthaya was refounded near the old city, and is now capital of the Ayutthaya province.

WIKIPEDIA

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.

This is either a Freightliner 108SD or 114SD setback 5 axle flatbed semi truck with a tractor mounted Palfinger crane. (The SD stands for severe duty). I'm guessing this was a private crew doing contract work for PG&E. The roof mounted LED warning lights on this truck are super bright. Photographed and filmed by me in Livermore, CA - this short clip is the 1st video I have uploaded to my Flickr acct. You can see pictures of many other types of cool trucks & other vehicles below this one and in my albums with more to follow soon.

Antony Gormley’s Event Horizon

Madison Square Park, NYC

by navema

www.navemastudios.com

From March 26 – August 15, 2010, 31 life-size figures appeared on rooftops, setbacks, and sidewalks around Manhattan’s Madison Square Park in the Flatiron District, a landmark public art exhibition. Standing tall above the unique urban landscape of New York City, the figures were the work of celebrated British artist Antony Gormley as part of Event Horizon New York, Gormley’s long-awaited United States public art debut — a milestone for an artist whose work has garnered worldwide acclaim over the past 25 years.

The life-size body forms of the artist were cast in iron and fiberglass.

Antony Gormley originally created Event Horizon for London’s Hayward Gallery as part of the Blind Light exhibition in 2007. The sculptures were installed on bridges, rooftops and streets along the South Bank of London’s Thames River. In this New York incarnation, Antony Gormley has adapted this exciting project to Manhattan’s unique and awe-inspiring skyline.

Antony Gormley on Event Horizon:

“I’m thrilled to be working with New York: people and place,” says artist Antony Gormley. “I don’t know what is going to happen, what it will look and feel like, but I want to play with the city and people’s perceptions. My intention is to get the sculptures as close to the edge of the buildings as possible. The field of the installation should have no defining boundary. The gaze is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world. So in encountering these peripheral things, perhaps one becomes aware of one’s status of embedment.”

“In an age in which over 50% of the human population of the planet lives in cities, this installation in New York (the original and prime example of urban high-rise living) questions how this built world relates to an inherited earth.”

“Isolated against the sky these dark figures look out into space at large asking: where does the humanity fit in the scheme of things?”

“The ambition is to make people visually aware of their own surroundings and the skyline above their heads.”

“In observing the works dispersed over the city viewers will discover that they are the centre of a concentrated field of silent witnesses; they are surrounded by art that is looking out at space and perhaps also at them. In that time the flow of daily life is momentarily stilled.”

“Within the condensed environment of Manhattan’s topography the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings.”

”In London I took great enjoyment from the encounter with individuals or groups of people pointing at the horizon in the manner of a classical sculptural group. This transfer of the stillness of sculpture to the stillness of an observer is exciting to me: reflexivity becoming shared.”

”There will be a strong secondary point of view from high windows around Madison Square Park, so more than in any other installation of Event Horizon, the occupants of the buildings will be aware of these three dimensional shadows at the edge of their field.”

“The level of visibility and the idea of the gaze, is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world.”

“One of the implications of Event Horizon is that people will have to entertain an uncertainty about the work’s scope: the spread and number of figures. Beyond those that you can actually see, how many more remain out of sight?”

ABOUT THE ARTIST:

For more than 25 years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations such as Allotment, Another Place, Critical Mass, Domain Field, and Inside Australia. His work increasingly engages with energy systems, fields and vectors, rather than mass and defined volume, as evident in Another Singularity, Blind Light, Clearing, and Firmament. Gormley’s most recently acclaimed live artwork One and Other saw 2,400 participants representing every region of the UK each spend an hour on an empty plinth in London’s Trafalgar Square for 100 consecutive days.

Antony Gormley’s work has been exhibited extensively throughout the UK, with solo shows in venues such as the Whitechapel, Tate, and the Hayward Galleries, the British Museum and internationally at museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, Malmö Konsthall, the Moderna Museet in Stockholm, Kunsthaus Bregenz, Austria and Antiguo Colegio de San Ildefonso, Mexico City. He has also participated in group shows at the Venice Biennale and the Kassel Documenta 8. Antony Gormley is represented by Sean Kelly Gallery, New York and White Cube, London.

Born in 1950, Antony Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999 and was made an Order of the British Empire (OBE) in 1997. More recently, he was awarded the Bernhard Heiliger Award for Sculpture in 2007. He is an Honorary Fellow of the Royal Institute of British Architects, Trinity College, Cambridge and Jesus College, Cambridge, and has been a Royal Academician since 2003.

Visit www.antonygormley.com for more information.

For more info about Event Horizon, visit: eventhorizonnewyork.org

Copyright 2014 BOTHAM | DESIGN

www.bothamdesign.com

All Rights Reserved

Prints available upon request

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.

+++ 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.

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.

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

Ashley’s Story—Written by her mom, Kayte

Ashley was born in 2005 with a condition called gastroschisis, which caused her intestines to be outside of her body. The beginning of her life was filled with surgeries and tests, setbacks and worry. She caught an infection in her central line that nearly killed her, and she needed a special transfusion and lots of strong antibiotics to keep her alive. It seemed so unfair that such a tiny person would have to endure so much, but she was a fighter and soon was able to come home. I will never forget the way she looked at the sky with silent awe the first day she finally left the neonatal intensive care unit, or how scary it was at first to have her home without the constant beeping of machines to monitor her. She has always held a sense of wonder and curiosity about the world, and Ashley has a resiliency that other kids her age don’t possess.

Seven years and a few more surgeries later, Ashley is doing really well. She is smaller than other children, which is normal for gastroschisis survivors. She will always be at risk of intestinal kinks and blockages, which makes every stomach bug or tummy ache a worry. She is also hearing impaired from an additional birth defect called microtia. Although her life was initially filled with challenges, Ashley is blossoming into a remarkable young girl who has inspired countless other gastroschisis families with her story.

Learn more about birth defects:

Disclaimer: Linking to a non-federal site does not constitute an endorsement by CDC, HHS, or any of its employees of the sponsors or the information and products presented on the site.

www.cdc.gov/birthdefects

www.cdc.gov/ncbddd/Spanish/birthdefects/

www.nbpdn.org

www.marchofdimes.com

www.nacersano.org/

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.

+++ 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.

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.

+++ 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.

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.

+++ 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.

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.

The Ayutthaya Historical Park (Thai: อุทยานประวัติศาสตร์พระนครศรีอยุธยา (Pronunciation)) covers the ruins of the old city of Ayutthaya, Thailand. The city of Ayutthaya was founded by King Ramathibodi I in 1350:222 The city was captured by the Burmese in 1569; though not pillaged, it lost "many valuable and artistic objects.":42–43 It was the capital of the country until its destruction by the Burmese army in 1767.

In 1969 the Fine Arts Department began with renovations of the ruins, which became more serious after it was declared a historical park in 1976. A part of the park was declared a UNESCO World Heritage Site in 1991. Thirty-five kings ruled the Ayutthaya kingdom during its existence. King Narai (1656-1688) held court not only in Ayutthaya but also from his palace in the nearby city of Lopburi, from where he ruled 8–9 months in the year.

PARK SITES

Wat Chaiwatthanaram

Wat Kasatrathiraj

Wat Kudi Dao

Wat Lokayasutharam

Wat Mahathat

Wat Phanan Choeng

Wiharn Phra Mongkhon Bopit

Wat Phra Ram

Wat Phra Sri Sanphet

Wat Ratchaburana, Ayutthaya

Wat Chai Mongkhon

Wat Yai Chai Mongkhon

Phra Chedi Suriyothai

Ayutthaya historical Study Centre

Japanese Settlement

Wat Phu Khao Thong

Elephant Camp

UNESCO WORLD HERITAGE SITE

In 1991, a part of Ayutthaya Historical Park was declared a UNESCO World Heritage Site under criteria III as an excellent witness to the period of development of a true national Thai art. The inscribed area covered only 289 ha on central and southwest part of Ayutthaya island; as a result, only certain groups of historical sites are under UNESCO protection. The sites including Wat Ratchaburana, Wat Mahathat, Wat Phra Sri Sanphet, Wat Phra Ram and Wiharn Phra Mongkhon Bopit. The sites that are not part of World Heritage Sites are the sites outside Ayutthaya Island; for example, Wat Yai Chai Mongkon, Wat Phanan Choeng, Wat Chaiwatthanaram and Wat Phu Khao Thong.

__________________________

AYUTTHAYA

(/ɑːˈjuːtəjə/; Thai: อยุธยา, Thai pronunciation: [ʔajúttʰajaː]; also spelled Ayudhya) was a Siamese kingdom that existed from 1351 to 1767. Ayutthaya was friendly towards foreign traders, including the Chinese, Vietnamese, Indians, Japanese and Persians, and later the Portuguese, Spaniards, Dutch and French, permitting them to set up villages outside the walls of the capital, also called Ayutthaya.

In the sixteenth century, it was described by foreign traders as one of the biggest and wealthiest cities in the East. The court of King Narai (1656–88) had strong links with that of King Louis XIV of France, whose ambassadors compared the city in size and wealth to Paris.

By 1550, the kingdom's vassals included some city-states in the Malay Peninsula, Sukhothai, and parts of Cambodia.

In foreign accounts, Ayutthaya was called Siam, but many sources say the people of Ayutthaya called themselves Tai, and their kingdom Krung Tai "The Tai country" (กรุงไท).

HISTORICAL OVERVIEW

ORIGINS

According to the most widely accepted version of its origin, the Thai state based at Ayutthaya in the valley of the Chao Phraya River rose from the earlier, nearby Lavo Kingdom (at that time, still under the control of the Khmer Empire) and Suvarnabhumi. One source says that in the mid-fourteenth century, due to the threat of an epidemic, King Uthong moved his court south into the rich floodplain of the Chao Phraya River onto an island surrounded by rivers. The name of the city indicates the influence of Hinduism in the region as it is the Thai pronunciation of the famous Indian city of Ayodhya. It is believed that this city is associated with the Thai national epic, the Ramakien, which is the Thai version of the Ramayana.

CONQUESTS AND EXPANSION

Ayutthaya began its hegemony by conquering northern kingdoms and city-states like Sukhothai,:222 Kamphaeng Phet and Phitsanulok. Before the end of the fifteenth century, Ayutthaya launched attacks on Angkor, the classical great power of the region. Angkor's influence eventually faded from the Chao Phraya River Plain while Ayutthaya became a new great power.

The emerging Kingdom of Ayutthaya was also growing powerful. Relations between the Ayutthaya and Lan Na had worsened since the Ayutthayan support of Thau Choi's rebellion In 1451, Yuttitthira, a noble of the Kingdom of Sukhothai who had conflicts with Borommatrailokkanat of Ayutthaya, gave himself to Tilokaraj. Yuttitthira urged Borommatrailokkanat to invade Phitsanulok, igniting the Ayutthaya-Lan Na War over the Upper Chao Phraya valley (the Kingdom of Sukhothai). In 1460, the governor of Chaliang surrendered to Tilokaraj. Borommatrailokkanat then used a new strategy and concentrated on the wars with Lanna by moving the capital to Phitsanulok. Lan Na suffered setbacks and Tilokaraj eventually sued for peace in 1475.

However, the kingdom of Ayutthaya was not a unified state but rather a patchwork of self-governing principalities and tributary provinces owing allegiance to the king of Ayutthaya under The Circle of Power, or the mandala system, as some scholars suggested. These principalities might be ruled by members of the royal family of Ayutthaya, or by local rulers who had their own independent armies, having a duty to assist the capital when war or invasion occurred. However, it was evident that from time to time local revolts, led by local princes or kings, took place. Ayutthaya had to suppress them.

Due to the lack of succession law and a strong concept of meritocracy, whenever the succession was in dispute, princely governors or powerful dignitaries claiming their merit gathered their forces and moved on the capital to press their claims, culminating in several bloody coups.

Beginning in the fifteenth century, Ayutthaya showed an interest in the Malay Peninsula, but the great trading ports of the Malacca Sultanate contested its claims to sovereignty. Ayutthaya launched several abortive conquests against Malacca which was diplomatically and economically fortified by the military support of Ming China. In the early fifteenth century the Ming admiral Zheng He had established a base of operation in the port city, making it a strategic position the Chinese could not afford to lose to the Siamese. Under this protection, Malacca flourished, becoming one of Ayutthaya's great foes until the capture of Malacca by the Portuguese.

FIRST BURMESE WARS

Starting in the middle of 16th century, the kingdom came under repeated attacks by the Taungoo Dynasty of Burma. The Burmese–Siamese War (1547–49) began with Burmese an invasion and a failed siege of Ayutthaya. A second siege (1563–64) led by King Bayinnaung forced King Maha Chakkraphat to surrender in 1564. The royal family was taken to Bago, Burma, with the king's second son Mahinthrathirat installed as the vassal king. In 1568, Mahinthrathirat revolted when his father managed to return from Bago as a Buddhist monk. The ensuing third siege captured Ayutthaya in 1569 and Bayinnaung made Mahathammarachathirat his vassal king.

After Bayinnaung's death in 1581, uparaja Naresuan proclaimed Ayutthaya's independence in 1584. The Thai fought off repeated Burmese invasions (1584–1593), capped by an elephant duel between King Naresuan and Burmese heir-apparent Mingyi Swa in 1593 during the fourth siege of Ayutthaya in which Naresuan famously slew Mingyi Swa (observed 18 January as Royal Thai Armed Forces day). The Burmese–Siamese War (1594–1605) was a Thai attack on Burma, resulting in the capture of the Tanintharyi Region as far as Mottama in 1595 and Lan Na in 1602. Naresuan even invaded mainland Burma as far as Taungoo in 1600, but was driven back.

After Naresuan's death in 1605, northern Tanintharyi and Lan Na returned to Burmese control in 1614.

The Ayutthaya Kingdom's attempt to take over Lan Na and northern Tanintharyi in 1662–1664 failed.

Foreign trade brought Ayutthaya not only luxury items but also new arms and weapons. In the mid-seventeenth century, during King Narai's reign, Ayutthaya became very prosperous. In the eighteenth century, Ayutthaya gradually lost control over its provinces. Provincial governors exerted their power independently, and rebellions against the capital began.

SECOND BURMESE WARS

In the mid-eighteenth century, Ayutthaya again became ensnared in wars with the Burmese. The Burmese–Siamese War (1759–60) begun by the Konbaung Dynasty of Burma failed. The Burmese–Siamese War (1765–67) resulted in the sack of the city of Ayutthaya and the end of the kingdom by debellatio in April 1767.

KINGSHIP OF AYUTTHAYA KINGDOM

The kings of Ayutthaya were absolute monarchs with semi-religious status. Their authority derived from the ideologies of Hinduism and Buddhism as well as from natural leadership. The king of Sukhothai was the inspiration of Inscription 1 found in Sukhothai, which stated that King Ramkhamhaeng would hear the petition of any subject who rang the bell at the palace gate. The king was thus considered as a father by his people.

At Ayutthaya, however, the paternal aspects of kingship disappeared. The king was considered the chakkraphat (Sanskrit chakravartin) who through his adherence to the law made all the world revolve around him. According to Hindu tradition, the king is the avatar of Vishnu, destroyer of demons, who was born to be the defender of the people. The Buddhist belief in the king is as righteous ruler (Sanskrit: dharmaraja), aiming at the well-being of the people and who strictly follows the teaching of Gautama Buddha.

The kings' official names were reflections of those religions: Hinduism and Buddhism. They were considered as the incarnation of various Hindu gods: Indra, Shiva or Vishnu (Rama). The coronation ceremony was directed by brahmins as the Hindu god Shiva was "lord of the universe". However, according to the codes, the king had the ultimate duty as protector of the people and the annihilator of evil.

According to Buddhism, the king was also believed to be a bodhisattva. One of the most important duties of the king was to build a temple or a Buddha statue as a symbol of prosperity and peace.

For locals, another aspect of the kingship was also the analogy of "The Lord of the Land" or "He who Rules the Earth" (Phra Chao Phaendin). According to the court etiquette, a special language, Rachasap (Sanskrit: Rājāśabda, "Royal Language"), was used to communicate with or about royalty. In Ayutthaya, the king was said to grant control over land to his subjects, from nobles to commoners, according to the Sakna or Sakdina system codified by King Borommatrailokkanat (1448–88). The Sakdina system was similar to, but not the same as feudalism, under which the monarch does not own the land. While there is no concrete evidence that this land management system constituted a formal palace economy, the French François-Timoléon de Choisy, who came to Ayutthaya in 1685, wrote, "the king has absolute power. He is truly the god of the Siamese: no-one dares to utter his name." Another 17th-century writer, the Dutchman Jan van Vliet, remarked that the King of Siam was "honoured and worshipped by his subjects second to god." Laws and orders were issued by the king. For sometimes the king himself was also the highest judge who judged and punished important criminals such as traitors or rebels.[

In addition to the Sakdina system, another of the numerous institutional innovations of Borommatrailokkanat was to adopt the position of uparaja, translated as "viceroy" or "prince", usually held by the king's senior son or full brother, in an attempt to regularise the succession to the throne - a particularly difficult feat for a polygamous dynasty. In practice, there was inherent conflict between king and uparaja and frequent disputed successions. However, it is evident that the power of the Throne of Ayutthaya had its limit. The hegemony of the Ayutthaya king was always based on his charisma in terms of his age and supporters. Without supporters, bloody coups took place from time to time. The most powerful figures of the capital were always generals, or the Minister of Military Department, Kalahom. During the last century of Ayutthaya, the bloody fighting among princes and generals, aiming at the throne, plagued the court.

SOCIAL AND POLITICAL DEVELOPMENT

THE REFORMS OF KING

Borommatrailokkanat (r.1448–1488) placed the king of Ayutthaya at the centre of a highly stratified social and political hierarchy that extended throughout the realm. Despite a lack of evidence, it is believed that in the Ayutthaya Kingdom, the basic unit of social organisation was the village community composed of extended family households. Title to land resided with the headman, who held it in the name of the community, although peasant proprietors enjoyed the use of land as long as they cultivated it. The lords gradually became courtiers (อำมาตย์) and tributary rulers of minor cities. The king ultimately came to be recognised as the earthly incarnation of Shiva or Vishnu and became the sacred object of politico-religious cult practices officiated over by royal court brahmans, part of the Buddhist court retinue. In the Buddhist context, the devaraja (divine king) was a bodhisattva. The belief in divine kingship prevailed into the eighteenth century, although by that time its religious implications had limited impact.With ample reserves of land available for cultivation, the realm depended on the acquisition and control of adequate manpower for farm labour and defence. The dramatic rise of Ayutthaya had entailed constant warfare and, as none of the parties in the region possessed a technological advantage, the outcome of battles was usually determined by the size of the armies. After each victorious campaign, Ayutthaya carried away a number of conquered people to its own territory, where they were assimilated and added to the labour force. Ramathibodi II (r.1491–1529) established a corvée system under which every freeman had to be registered as a phrai (servant) with the local lords, Chao Nai (เจ้านาย). When war broke out, male phrai were subject to impressment. Above the phrai was a nai (นาย), who was responsible for military service, corvée labour on public works, and on the land of the official to whom he was assigned. Phrai Suay (ไพร่ส่วย) met labour obligations by paying a tax. If he found the forced labour under his nai repugnant, he could sell himself as a that (ทาส, slave) to a more attractive nai or lord, who then paid a fee in compensation for the loss of corvée labour. As much as one-third of the manpower supply into the nineteenth century was composed of phrai. Wealth, status, and political influence were interrelated. The king allotted rice fields to court officials, provincial governors, military commanders, in payment for their services to the crown, according to the sakdi na system. The size of each official's allotment was determined by the number of commoners or phrai he could command to work it. The amount of manpower a particular headman, or official, could command determined his status relative to others in the hierarchy and his wealth. At the apex of the hierarchy, the king, who was symbolically the realm's largest landholder, theoretically commanded the services of the largest number of phrai, called phrai luang (royal servants), who paid taxes, served in the royal army, and worked on the crown lands.

However, the recruitment of the armed forces depended on nai, or mun nai, literally meaning 'lord', officials who commanded their own phrai som, or subjects. These officials had to submit to the king's command when war broke out. Officials thus became the key figures to the kingdom's politics. At least two officials staged coups, taking the throne themselves while bloody struggles between the king and his officials, followed by purges of court officials, were always seen.

King Trailok, in the early sixteenth century, established definite allotments of land and phrai for the royal officials at each rung in the hierarchy, thus determining the country's social structure until the introduction of salaries for government officials in the nineteenth century.

Outside this system to some extent were the sangha (Buddhist monastic community), which all classes of men could join, and the Overseas Chinese. Wats became centres of Thai education and culture, while during this period the Chinese first began to settle in Thailand and soon began to establish control over the country's economic life.

The Chinese were not obliged to register for corvée duty, so they were free to move about the kingdom at will and engage in commerce. By the sixteenth century, the Chinese controlled Ayutthaya's internal trade and had found important places in the civil and military service. Most of these men took Thai wives because few women left China to accompany the men.

Uthong was responsible for the compilation of a Dharmaśāstra, a legal code based on Hindu sources and traditional Thai custom. The Dharmaśāstra remained a tool of Thai law until late in the 19th century. A bureaucracy based on a hierarchy of ranked and titled officials was introduced, and society was organised in a related manner. However, the caste system was not adopted.

The sixteenth century witnessed the rise of Burma, which had overrun Chiang Mai and Laos and made war on the Thai. In 1569, Burmese forces, joined by Thai rebels, mostly royal family members of Thailand, captured the city of Ayutthaya and carried off the whole royal family to Burma. Dhammaraja (1569–90), a Thai governor who had aided the Burmese, was installed as vassal king at Ayutthaya. Thai independence was restored by his son, King Naresuan (1590–1605), who turned on the Burmese and by 1600 had driven them from the country.

Determined to prevent another treason like his father's, Naresuan set about unifying the country's administration directly under the royal court at Ayutthaya. He ended the practice of nominating royal princes to govern Ayutthaya's provinces, assigning instead court officials who were expected to execute policies handed down by the king. Thereafter royal princes were confined to the capital. Their power struggles continued, but at court under the king's watchful eye.

To ensure his control over the new class of governors, Naresuan decreed that all freemen subject to phrai service had become phrai luang, bound directly to the king, who distributed the use of their services to his officials. This measure gave the king a theoretical monopoly on all manpower, and the idea developed that since the king owned the services of all the people, he also possessed all the land. Ministerial offices and governorships - and the sakdina that went with them - were usually inherited positions dominated by a few families often connected to the king by marriage. Indeed, marriage was frequently used by Thai kings to cement alliances between themselves and powerful families, a custom prevailing through the nineteenth century. As a result of this policy, the king's wives usually numbered in the dozens.

Even with Naresuan's reforms, the effectiveness of the royal government over the next 150 years was unstable. Royal power outside the crown lands - although in theory absolute - was in practice limited by the looseness of the civil administration. The influence of central government and the king was not extensive beyond the capital. When war with the Burmese broke out in late eighteenth century, provinces easily abandoned the capital. As the enforcing troops were not easily rallied to defend the capital, the city of Ayutthaya could not stand against the Burmese aggressors.

RELIGION

Ayutthaya's main religion was Theravada Buddhism. However, many of the elements of the political and social system were incorporated from Hindu scriptures and were conducted by Brahmin priests. Many areas of the kingdom also practised Mahayana Buddhism, Islam and, influenced by French Missionaries who arrived through China in the 17th century, some small areas converted to Roman Catholicism. The influence of Mahayana and Tantric prractices also entered Theravada Buddhism, producing a tradition called Tantric Theravada.

ECONOMIC DEVELOPMENT

The Thais never lacked a rich food supply. Peasants planted rice for their own consumption and to pay taxes. Whatever remained was used to support religious institutions. From the thirteenth to the fifteenth centuries, however, a remarkable transformation took place in Thai rice cultivation. In the highlands, where rainfall had to be supplemented by a system of irrigation that controlled the water level in flooded paddies, the Thais sowed the glutinous rice that is still the staple in the geographical regions of the North and Northeast. But in the floodplain of the Chao Phraya, farmers turned to a different variety of rice - the so-called floating rice, a slender, non-glutinous grain introduced from Bengal - that would grow fast enough to keep pace with the rise of the water level in the lowland fields.

The new strain grew easily and abundantly, producing a surplus that could be sold cheaply abroad. Ayutthaya, situated at the southern extremity of the floodplain, thus became the hub of economic activity. Under royal patronage, corvée labour dug canals on which rice was brought from the fields to the king's ships for export to China. In the process, the Chao Phraya - mud flats between the sea and firm land hitherto considered unsuitable for habitation - was reclaimed and placed under cultivation. Traditionally the king had a duty to perform a religious ceremony blessing the rice plantation.

Although rice was abundant in Ayutthaya, rice export was banned from time to time when famine occurred because of natural calamity or war. Rice was usually bartered for luxury goods and armaments from westerners, but rice cultivation was mainly for the domestic market and rice export was evidently unreliable. Trade with Europeans was lively in the seventeenth century. In fact European merchants traded their goods, mainly modern arms such as rifles and cannons, with local products from the inland jungle such as sapan (lit. bridge) woods, deerskin and rice. Tomé Pires, a Portuguese voyager, mentioned in the sixteenth century that Ayutthaya, or Odia, was rich in good merchandise. Most of the foreign merchants coming to Ayutthaya were European and Chinese, and were taxed by the authorities. The kingdom had an abundance of rice, salt, dried fish, arrack and vegetables.

Trade with foreigners, mainly the Dutch, reached its peak in the seventeenth century. Ayutthaya became a main destination for merchants from China and Japan. It was apparent that foreigners began taking part in the kingdom's politics. Ayutthayan kings employed foreign mercenaries who sometimes entered the wars with the kingdom's enemies. However, after the purge of the French in late seventeenth century, the major traders with Ayutthaya were the Chinese. The Dutch from the Dutch East Indies Company (Vereenigde Oost-Indische Compagnie or VOC), were still active. Ayutthaya's economy declined rapidly in the eighteenth century, until the Burmese invasion caused the total collapse of Ayutthaya's economy in 1788.

CONTACTS WITH THE WEST

In 1511, immediately after having conquered Malacca, the Portuguese sent a diplomatic mission headed by Duarte Fernandes to the court of King Ramathibodi II of Ayutthaya. Having established amicable relations between the kingdom of Portugal and the Kingdom of Siam, they returned with a Siamese envoy with gifts and letters to the King of Portugal. They were the first Europeans to visit the country. Five years after that initial contact, Ayutthaya and Portugal concluded a treaty granting the Portuguese permission to trade in the kingdom. A similar treaty in 1592 gave the Dutch a privileged position in the rice trade.

Foreigners were cordially welcomed at the court of Narai (1657–1688), a ruler with a cosmopolitan outlook who was nonetheless wary of outside influence. Important commercial ties were forged with Japan. Dutch and English trading companies were allowed to establish factories, and Thai diplomatic missions were sent to Paris and The Hague. By maintaining all these ties, the Thai court skilfully played off the Dutch against the English and the French, avoiding the excessive influence of a single power.

In 1664, however, the Dutch used force to exact a treaty granting them extraterritorial rights as well as freer access to trade. At the urging of his foreign minister, the Greek adventurer Constantine Phaulkon, Narai turned to France for assistance. French engineers constructed fortifications for the Thais and built a new palace at Lopburi for Narai. In addition, French missionaries engaged in education and medicine and brought the first printing press into the country. Louis XIV's personal interest was aroused by reports from missionaries suggesting that Narai might be converted to Christianity.

The French presence encouraged by Phaulkon, however, stirred the resentment and suspicions of the Thai nobles and Buddhist clergy. When word spread that Narai was dying, a general, Phetracha, killed the designated heir, a Christian, and had Phaulkon put to death along with a number of missionaries. The arrival of English warships provoked a massacre of more Europeans. Phetracha (reigned 1688–93) seized the throne and expelled the remaining foreigners. Some studies said that Ayutthaya began a period of alienation from western traders, while welcoming more Chinese merchants. But other recent studies argue that, due to wars and conflicts in Europe in the mid-eighteenth century, European merchants reduced their activities in the East. However, it was apparent that the Dutch East Indies Company or VOC was still doing business in Ayutthaya despite political difficulties.

THE FINAL PHASE

After a bloody period of dynastic struggle, Ayutthaya entered into what has been called the golden age, a relatively peaceful episode in the second quarter of the eighteenth century when art, literature, and learning flourished. There were foreign wars. Ayutthaya fought with the Nguyễn Lords (Vietnamese rulers of South Vietnam) for control of Cambodia starting around 1715. But a greater threat came from Burma, where the new Alaungpaya dynasty had subdued the Shan states.

The last fifty years of the kingdom witnessed a bloody struggle among the princes. The throne was their prime target. Purges of court officials and able generals followed. The last monarch, Ekathat, originally known as Prince Anurakmontree, forced the king, who was his younger brother, to step down and took the throne himself.

According to a French source, Ayutthaya in the eighteenth century comprised these principal cities: Martaban, Ligor or Nakhon Sri Thammarat, Tenasserim, Jungceylon or Phuket Island, Singora or Songkhla. Her tributaries were Patani, Pahang, Perak, Kedah and Malacca.

In 1765, a combined 40,000-strong force of Burmese armies invaded the territories of Ayutthaya from the north and west. Major outlying towns quickly capitulated. The only notable example of successful resistance to these forces was found at the village of Bang Rajan. After a 14 months' siege, the city of Ayutthaya capitulated and was burned in April 1767. Ayutthaya's art treasures, the libraries containing its literature, and the archives housing its historic records were almost totally destroyed, and the Burmese brought the Ayutthaya Kingdom to ruin.

The Burmese rule lasted a mere few months. The Burmese, who had also been fighting a simultaneous war with the Chinese since 1765, were forced to withdraw in early 1768 when the Chinese forces threatened their own capital.

With most Burmese forces having withdrawn, the country was reduced to chaos. All that remained of the old capital were some ruins of the royal palace. Provinces proclaimed independence under generals, rogue monks, and members of the royal family.

One general, Phraya Taksin, former governor of Taak, began the reunification effort. He gathered forces and began striking back at the Burmese. He finally established a capital at Thonburi, across the Chao Phraya from the present capital, Bangkok. Taak-Sin ascended the throne, becoming known as King Taak-Sin or Taksin.

The ruins of the historic city of Ayutthaya and "associated historic towns" in the Ayutthaya historical park have been listed by the UNESCO as World Heritage Site. The city of Ayutthaya was refounded near the old city, and is now capital of the Ayutthaya province.

WIKIPEDIA

View of lobby window wall setback on south side as seen from pedestrian bridge.