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Ship Union Pacific. That would be neat to see again. C702 rides the man through Dixie.

The word werewolf is thought to derive from Old English wer (or were)— pronounced variously as /ˈwɛər, ˈwɪər, ˈwɜr/— and wulf. The first part, wer, translates as "man" (in the specific sense of male human, not the race of humanity generally). It has cognates in several Germanic languages including Gothic wair, Old High German wer, and Old Norse verr, as well as in other Indo-European languages, such as Sanskrit 'vira', Latin vir, Irish fear, Lithuanian vyras, and Welsh gŵr, which have the same meaning. The second half, wulf, is the ancestor of modern English "wolf"; in some cases it also had the general meaning "beast."

 

An alternative etymology derives the first part from Old English weri (to wear); the full form in this case would be glossed as wearer of wolf skin. Related to this interpretation is Old Norse ulfhednar, which denoted lupine equivalents of the berserker, said to wear a bearskin in battle.

  

Facsimile of the first seven lines of the 14th century English translation of the 12th century French manuscript The Romance of William of PalerneYet other sources derive the word from warg-wolf, where warg (or later werg and wero) is cognate with Old Norse vargr, meaning "rogue," "outlaw," or, euphemistically, "wolf".[1] A Vargulf was the kind of wolf that slaughtered many members of a flock or herd but ate little of the kill. This was a serious problem for herders, who had to somehow destroy the rogue wolf before it destroyed the entire flock or herd. The term Warg was used in Old English for this kind of wolf. Possibly related is the fact that, in Norse society, an outlaw (who could be murdered with no legal repercussions and was forbidden to receive aid) was typically called vargr, or "wolf."

 

Other terms

The term lycanthropy, a synonym, comes from Ancient Greek lykánthropos (λυκάνθρωπος): λύκος, lýkos ("wolf") + άνθρωπος, ánthrōpos ("human").[2] A compound of which "lyc-" derives from the Proto-Indo-European root *wlkwo-, meaning "wolf", formally denotes the "wolf - man" transformation. Lycanthropy is but one form of therianthropy, the ability to metamorphose into animals in general. The term therianthrope literally means "beast-man." The word has also been linked to the original werewolf of classical mythology, Lycaon, a king of Arcadia who, according to Ovid's Metamorphoses, was turned into a ravenous wolf in retribution for attempting to serve his own son to visiting Zeus in an attempt to disprove the god's divinity.

 

There is also a mental illness called lycanthropy in which a patient believes he or she is, or has transformed into, an animal and behaves accordingly. This is sometimes referred to as clinical lycanthropy to distinguish it from its use in legends. Despite its origin as a term for man-wolf transformations only, lycanthropy is used in this sense for animals of any type. This broader meaning is often used in modern fictional references, such as in roleplaying game culture.

 

Another ancient term for shapeshifting between any animal forms is versipellis, from which the English words turnskin and turncoat are derived.[3] This Latin word is similar in meaning as words used for werewolves and other shapeshifters in Russian (oboroten) and Old Norse (hamrammr).

 

The French name for a werewolf, sometimes used in English, is loup-garou (pronounced /lugaˈru/), from the Latin noun lupus meaning wolf.[4] The second element is thought to be from Old French garoul meaning "werewolf." This in turn is most likely from Frankish *wer-wulf meaning "man-wolf."[5]

 

Folk beliefs

Description and common attributes

Werewolves were said to bear physical tell-tale traits in European folklore. These included the meeting of both eyebrows at the bridge of the nose, curved fingernails, low set ears and a swinging stride. One method of identifying a werewolf in its human form was to cut the flesh of the accused, under the pretense that fur would be seen within the wound. A Russian superstition recalls a werewolf can be recognised by bristles under the tongue.[6] The appearance of a werewolf in its animal form varies from culture to culture, though they are most commonly portrayed as being indistinguishable from ordinary wolves save for the fact that they have no tail (a trait thought characteristic of witches in animal form), and that they retain human eyes and voice. After returning to their human forms, werewolves are usually documented as becoming weak, debilitated and undergoing painful nervous depression.[6] Many historical werewolves were written to have suffered severe melancholia and manic depression, being bitterly conscious of their crimes.[6] One universally reviled trait in medieval Europe was the werewolf's habit of devouring recently buried corpses, a trait which is documented extensively, particularly in the Annales Medico-psychologiques in the 19th century.[6] Fennoscandian werewolves were usually old women who possessed poison coated claws and had the ability to paralyse cattle and children with their gaze.[6] Serbian vulkodlaks traditionally had the habit of congregating annually in the winter months, where they would strip off their wolf skins and hang them from trees. They would then get a hold of another vulkodlaks skin and burn it, releasing the vulkodlak from whom the skin came from its curse.[6] The Haitian jé-rouges typically try to trick mothers into giving away their children voluntarily by waking them at night and asking their permission to take their child, to which the disoriented mother may either reply yes or no.[6]

 

Becoming a werewolf

Various methods for becoming a werewolf have been reported, one of the simplest being the removal of clothing and putting on a belt made of wolfskin, probably as a substitute for the assumption of an entire animal skin (which also is frequently described).[7] In other cases, the body is rubbed with a magic salve.[7] To drink rainwater out of the footprint of the animal in question or to drink from certain enchanted streams were also considered effectual modes of accomplishing metamorphosis.[8] The 16th century Swedish writer Olaus Magnus says that the Livonian werewolves were initiated by draining a cup of specially prepared beer and repeating a set formula. Ralston in his Songs of the Russian People gives the form of incantation still familiar in Russia.

 

In Italy, France and Germany, it was said that a man could turn into a werewolf if he, on a certain Wednesday or Friday, slept outside on a summer night with the full moon shining directly on his face.[6]

 

In other cases, the transformation was supposedly accomplished by Satanic allegiance for the most loathsome ends, often for the sake of sating a craving for human flesh. "The werewolves", writes Richard Verstegan (Restitution of Decayed Intelligence, 1628),

 

are certayne sorcerers, who having annoynted their bodies with an ointment which they make by the instinct of the devil, and putting on a certayne inchaunted girdle, does not only unto the view of others seem as wolves, but to their own thinking have both the shape and nature of wolves, so long as they wear the said girdle. And they do dispose themselves as very wolves, in worrying and killing, and most of humane creatures.

 

Such were the views about lycanthropy current throughout the continent of Europe when Verstegan wrote.

 

The phenomenon of repercussion, the power of animal metamorphosis, or of sending out a familiar, real or spiritual, as a messenger, and the supernormal powers conferred by association with such a familiar, are also attributed to the magician, male and female, all the world over; and witch superstitions are closely parallel to, if not identical with, lycanthropic beliefs, the occasional involuntary character of lycanthropy being almost the sole distinguishing feature. In another direction the phenomenon of repercussion is asserted to manifest itself in connection with the bush-soul of the West African and the nagual of Central America; but though there is no line of demarcation to be drawn on logical grounds, the assumed power of the magician and the intimate association of the bush-soul or the nagual with a human being are not termed lycanthropy. Nevertheless it will be well to touch on both these beliefs here.

 

The curse of lycanthropy was also considered by some scholars as being a divine punishment. Werewolf literature shows many examples of God or saints allegedly cursing those who invoked their wrath with werewolfism. Those who were excommunicated by the Roman Catholic Church were also said to become werewolves.[6]

 

The power of transforming others into wild beasts was attributed not only to malignant sorcerers, but to Christian saints as well. Omnes angeli, boni et Mali, ex virtute naturali habent potestatem transmutandi corpora nostra ("All angels, good and bad have the power of transmutating our bodies") was the dictum of St. Thomas Aquinas. St. Patrick was said to have transformed the Welsh king Vereticus into a wolf; Natalis supposedly cursed an illustrious Irish family whose members were each doomed to be a wolf for seven years. In other tales the divine agency is even more direct, while in Russia, again, men supposedly became werewolves when incurring the wrath of the Devil.

 

A notable exception to the association of Lycanthropy and the Devil, comes from a rare and lesser known account of an 80-year-old man named Thiess. In 1692, in Jurgenburg, Livonia, Thiess testified under oath that he and other werewolves were the Hounds of God.[9] He claimed they were warriors who went down into hell to do battle with witches and demons. Their efforts ensured that the Devil and his minions did not carry off the grain from local failed crops down to hell. Thiess was steadfast in his assertions, claiming that werewolves in Germany and Russia also did battle with the devil's minions in their own versions of hell, and insisted that when werewolves died, their souls were welcomed into heaven as reward for their service. Thiess was ultimately sentenced to ten lashes for Idolatry and superstitious belief.

 

A distinction is often made between voluntary and involuntary werewolves. The former are generally thought to have made a pact, usually with the Devil, and morph into werewolves at night to indulge in nefarious acts. Involuntary werewolves, on the other hand, are werewolves by an accident of birth or health. In some cultures, individuals born during a new moon or suffering from epilepsy were considered likely to be werewolves.

 

Becoming a werewolf simply by being bitten by another werewolf as a form of contagion is common in modern horror fiction, but this kind of transmission is rare in legend, unlike the case in vampirism.[6]

 

Even if the denotation of lycanthropy is limited to the wolf-metamorphosis of living human beings, the beliefs classed together under this head are far from uniform, and the term is somewhat capriciously applied. The transformation may be temporary or permanent; the were-animal may be the man himself metamorphosed; may be his double whose activity leaves the real man to all appearance unchanged; may be his soul, which goes forth seeking whom it may devour, leaving its body in a state of trance; or it may be no more than the messenger of the human being, a real animal or a familiar spirit, whose intimate connection with its owner is shown by the fact that any injury to it is believed, by a phenomenon known as repercussion, to cause a corresponding injury to the human being.

 

Vulnerabilities

Most modern fiction describes werewolves as vulnerable to silver weapons and highly resistant to other attacks. This feature does not appear in stories about werewolves before the 19th century. (The claim that the Beast of Gévaudan, an 18th century wolf or wolf-like creature, was shot by a silver bullet appears to have been introduced by novelists retelling the story from 1935 onwards and not in earlier versions.[10])

 

Unlike vampires, they are not generally thought to be harmed by religious artifacts such as crucifixes and holy water. In many countries, rye and mistletoe were considered effective safeguards against werewolf attacks.[citation needed] Mountain ash is also considered effective, with one Belgian superstition stating that no house was safe unless under the shade of a mountain ash.[6] In some legends, werewolves have an aversion to wolfsbane.[citation needed]

 

Remedies

Various methods have existed for removing the werewolf form. In antiquity, the Ancient Greeks and Romans believed in the power of exhaustion in curing people of lycanthropy. The victim would be subjected to long periods of physical activity in the hope of being purged of the malady. This practice stemmed from the fact that many alleged werewolves would be left feeling weak and debilitated after committing depredations.[6]

 

In medieval Europe, traditionally, there are three methods one can use to cure a victim of werewolfism; medicinally (usually via the use of wolfsbane), surgically or by exorcism. However, many of the cures advocated by medieval medical practitioners proved fatal to the patients. A Sicilian belief of Arabic origin holds that a werewolf can be cured of its ailment by striking it on the forehead or scalp with a knife. Another belief from the same culture involves the piercing of the werewolf's hands with nails. Sometimes, less extreme methods were used. In the German lowland of Schleswig-Holstein, a werewolf could be cured if one were to simply address it three times by its Christian name, while one Danish belief holds that simply scolding a werewolf will cure it.[6] Conversion to Christianity is also a common method of removing werewolfism in the medieval period. A devotion to St. Hubert has also been cited as both cure for and protection from lycanthropes.

 

Classical literature

 

Zeus turning Lycaon into a wolf, engraving by Hendrik Goltzius.Herodotus in his Histories[11] wrote that the Neuri, a tribe he places to the north-east of Scythia, were transformed into wolves once every nine years. These rituals were apparently meant to symbolise earthly regeneration and rebirth. Virgil was also familiar with human beings transforming into wolves.[12]

 

In Greek mythology, the story of Lycaon provides one of the earliest examples of a werewolf legend. According to one version, Lycaon was transformed into a wolf as a result of eating human flesh; one of those who were present at periodical sacrifice on Mount Lycæon was said to suffer a similar fate.

 

In Metamorphoses, the Roman poet Ovid vividly described stories of men who roamed the woods of Arcadia in the form of wolves.[13]

 

The Roman scholar Pliny the Elder, relates two tales of lycanthropy. Quoting Euanthes,[14] he mentions a man who hung his clothes on an ash tree and swam across an Arcadian lake, transforming him into a wolf. On the condition that he attacked no human being for nine years, he would be free to swim back across the lake to resume human form. Pliny also quotes Agriopas regarding a tale of a man who was turned into a wolf after tasting the entrails of a human child.

 

In the Latin work of prose, the Satyricon, written about 60 C.E. by Gaius Petronius Arbiter, one of the characters, Niceros, tells a story at a banquet about a friend who turned into a wolf (chs. 61-62). He describes the incident as follows, "When I look for my buddy I see he'd stripped and piled his clothes by the roadside...He pees in a circle round his clothes and then, just like that, turns into a wolf!...after he turned into a wolf he started howling and then ran off into the woods."[15]

 

European cultures

Many European countries and cultures influenced by them have stories of werewolves, including Albania (oik), Armenia (mardagayl) France (loup-garou), Greece (lycanthropos), Spain (hombre lobo), Argentina (lobizón), Mexico (hombre lobo and nahual), Bulgaria (върколак - varkolak), Turkey (kurtadam), Czech Republic/Slovakia (vlkodlak), Serbia/Montenegro/Bosnia (vukodlak, вукодлак), Belarus (vaukalak, ваўкалак), Russia (vourdalak, оборотень), Ukraine (vovkulak(a), vurdalak(a), vovkun, перевертень), Croatia (vukodlak), Poland (wilkołak), Romania (vârcolac, priculici), Macedonia (vrkolak), Slovenia (volkodlak), Scotland (werewolf, wulver), England (werewolf), Ireland (faoladh or conriocht), Wales (bleidd-ddyn), Germany (Werwolf), the Netherlands (weerwolf), Denmark/Sweden/Norway (Varulv), Norway/Iceland (kveld-ulf, varúlfur), Galicia (lobishome), Portugal/Brazil (lobisomem), Lithuania (vilkolakis and vilkatlakis), Latvia (vilkatis and vilkacis), Andorra/Catalonia (home llop), Hungary (Vérfarkas and Farkasember), Estonia (libahunt), Finland (ihmissusi and vironsusi), and Italy (lupo mannaro). In northern Europe, there are also tales about people changing into animals including bears, as well as wolves.

  

A German woodcut from 1722Werewolves in European tradition were mostly evil men who terrorized people in the form of wolves on command of the Devil, though there were rare narratives of people being transformed involuntarily. In the 10 century, they were given the binomial name of melancholia canina and in the 14th century, daemonium lupum.[6] In Marie de France's poem Bisclavret (c. 1200), the nobleman Bizuneh, for reasons not described in the lai, had to transform into a wolf every week. When his treacherous wife stole his clothing needed to restore his human form, he escaped the king's wolf hunt by imploring the king for mercy and accompanied the king thereafter. His behaviour at court was so much gentler than when his wife and her new husband appeared at court, that his hateful attack on the couple was deemed justly motivated, and the truth was revealed. Other tales of this sort include German fairy tales, Märchen, in which several aristocrats temporarily transform into beasts. See Snow White and Rose Red, where the tame bear is really a bewitched prince, and The Golden Bird where the talking fox is also a man.

 

Werewolf folklore is rare in England, possibly because wolves had been eradicated by authorities in the Anglo-Saxon period.[16]

 

Harald I of Norway is known to have had a body of Úlfhednar (wolf coated), which are mentioned in Vatnsdœla saga, Haraldskvæði, and the Völsunga saga resemble some werewolf legends. The Úlfhednar were fighters similar to the berserkers, though they dressed in wolf hides rather than those of bears and were reputed to channel the spirits of these animals to enhance effectiveness in battle.[6] These warriors were resistant to pain and killed viciously in battle, much like wild animals. Ulfhednar and berserkers are closely associated with the Norse god Odin.

 

In Latvian folklore, a vilkacis was someone who transformed into a wolf-like monster, which could be benevolent at times.[citation needed] Another collection of stories concern the skin-walkers. The vilkacis and skin-walkers probably have a common origin in Proto-Indo-European society, where a class of young unwed warriors were apparently associated with wolves[citation needed].

 

In other hand, in the Hungarian folklore, the concept of werewolf goes back to the Middle Ages. The werewolves used to live specially in the region of Transdanubia, and it was thought that the ability to change into a wolf it was obtained in the infant age, after the suffering of abuse by the parents or by a curse. At the age of seven the boy leaves the house and goes hunting by night and can change to person or wolf whenever he wants. The curse can also be obtained when in the adulthood the person passed three times through an arch made of a Birch with the help of a wild rose's spine.

 

The werewolves were known to exterminate all kind of farm animals, especially sheep. The transformation usually occurred in the Winter solstice, Easter and full moon. Later in the XVII and XVIII century, the trials in Hungary not only were conduced against witches, but against werewolves too, and many records exist creating connections between both kinds. Also the vampires and werewolves are closely related in Hungary, being both feared in the antiquity.[17]

 

According to the first dictionary of modern Serbian language (published by Vuk Stefanović-Karadžić in 1818) vukodlak / вукодлак (werewolf) and vampir / вампир (vampire) are synonyms, meaning a man who returns from his grave for purposes of fornicating with his widow. The dictionary states this to be a common folk tale.

 

Common amongst the Kashubs of what is now northern Poland, and the Serbs and Slovenes, was the belief that if a child was born with hair, a birthmark or a caul on their head, they were supposed to possess shape-shifting abilities. Though capable of turning into any animal they wished, it was commonly believed that such people preferred to turn into a wolf.[18]

 

According to Armenian lore, there are women who, in consequence of deadly sins, are condemned to spend seven years in wolf form.[19] In a typical account, a condemned woman is visited by a wolfskin-toting spirit, who orders her to wear the skin, which causes her to acquire frightful cravings for human flesh soon after. With her better nature overcome, the she-wolf devours each of her own children, then her relatives' children in order of relationship, and finally the children of strangers. She wanders only at night, with doors and locks springing open at her approach. When morning arrives, she reverts to human form and removes her wolfskin. The transformation is generally said to be involuntary, but there are alternate versions involving voluntary metamorphosis, where the women can transform at will.

 

The 11th Century Belarusian Prince Usiaslau of Polatsk was considered to have been a Werewolf, capable of moving at superhuman speeds, as recounted in The Tale of Igor's Campaign: "Vseslav the prince judged men; as prince, he ruled towns; but at night he prowled in the guise of a wolf. From Kiev, prowling, he reached, before the cocks crew, Tmutorokan. The path of Great Sun, as a wolf, prowling, he crossed. For him in Polotsk they rang for matins early at St. Sophia the bells; but he heard the ringing in Kiev."

 

There were numerous reports of werewolf attacks – and consequent court trials – in sixteenth century France. In some of the cases there was clear evidence against the accused of murder and cannibalism, but none of association with wolves; in other cases people have been terrified by such creatures, such as that of Gilles Garnier in Dole in 1573, there was clear evidence against some wolf but none against the accused[citation needed]. The loup-garou eventually ceased to be regarded as a dangerous heretic and reverted to the pre-Christian notion of a "man-wolf-fiend." The lubins or lupins were usually female and shy in contrast to the aggressive loups-garous.[citation needed]

 

Some French werewolf lore is associated with documented events. The Beast of Gévaudan terrorized the general area of the former province of Gévaudan, now called Lozère, in south-central France. From the years 1764 to 1767, an unknown entity killed upwards of 80 men, women, and children.[citation needed] The creature was described as a giant wolf by the sole survivor of the attacks, which ceased after several wolves were killed in the area.

 

At the beginning of the seventeenth century witchcraft was prosecuted by James I of England, who regarded "warwoolfes" as victims of delusion induced by "a natural superabundance of melancholic."[20]

 

American cultures

Main article: Skin-walker

During the Norse colonization of the Americas, it is thought by Woodward that the Vikings brought with them their beliefs in werewolves, which would manifest themselves in the folklore of some Native American tribes.[6]

 

The Naskapis believed that the caribou afterlife is guarded by giant wolves which kill careless hunters venturing too near. The Navajo people feared witches in wolf's clothing called "Mai-cob".[21]

 

When the European colonization of the Americas occurred, the pioneers brought their own werewolf folklore with them and were later influenced by the lore of their neighbouring colonies and those of the Natives. Belief in the loup-garou present in Canada, the Upper and Lower Peninsulas of Michigan[22] and upstate New York, originates from French folklore influenced by Native American stories on the Wendigo. In Mexico, there is a belief in a creature called the nahual, which traditionally limits itself to stealing cheese and raping women rather than murder. In Haiti, there is a superstition that werewolf spirits known locally as Jé-rouge (red eyes) can possess the bodies of unwitting persons and nightly transform them into cannibalistic lupine creatures.[6]

 

Origins of werewolf beliefs

Many authors have speculated that werewolf and vampire legends may have been used to explain serial killings in less rational ages. This theory is given credence by the tendency of some modern serial killers to indulge in practices commonly associated with werewolves, such as cannibalism, mutilation, and cyclic attacks. The idea is well explored in Sabine Baring-Gould's work The Book of Werewolves.

 

Until the 20th century, wolf attacks on humans were an occasional, but widespread feature of life in Europe.[23] Some scholars have suggested that it was inevitable that wolves, being the most feared predators in Europe, were projected into the folklore of evil shapeshifters. This is said to be corroborated by the fact that areas devoid of wolves typically use different kinds of predator to fill the niche; werehyenas in Africa, weretigers in India,[6] as well as werepumas ("runa uturunco")[24][25] and werejaguars ("yaguaraté-abá" or "tigre-capiango")[26][27] of southern South America.

 

In his Man into Wolf (1948), anthropologist Robert Eisler drew attention to the fact that many Indo-European tribal names and some modern European surnames mean "wolf" or "wolf-men". This is argued by Eisler to indicate that the European transition from fruit gathering to predatory hunting was a conscious process, simultaneously accompanied by an emotional upheaval still remembered in humanity's subconscious, which in turn became reflected in the later medieval superstition of werewolves.[28]

  

Werewolf, by Lucas Cranach der Ältere, 1512Some modern researchers have tried to explain the reports of werewolf behaviour with recognised medical conditions. Dr Lee Illis of Guy's Hospital in London wrote a paper in 1963 entitled On Porphyria and the Aetiology of Werewolves, in which he argues that historical accounts on werewolves could have in fact been referring to victims of congenital porphyria, stating how the symptoms of photosensitivity, reddish teeth and psychosis could have been grounds for accusing a sufferer of being a werewolf[29]. This is however argued against by Woodward, who points out how mythological werewolves were almost invariably portrayed as resembling true wolves, and that their human forms were rarely physically conspicuous as porphyria victims.[6] Others have pointed out the possibility of historical werewolves having been sufferers of hypertrichosis, a hereditary condition manifesting itself in excessive hair growth. However, Woodward dismissed the possibility, as the rarity of the disease ruled it out from happening on a large scale, as werewolf cases were in medieval Europe.[6] People suffering from Downs Syndrome have been suggested by some scholars to have been possible originators of werewolf myths.[21] Woodward suggested rabies as the origin of werewolf beliefs, claiming remarkable similarities between the symptoms of that disease and some of the legends. Woodward focused on the idea that being bitten by a werewolf could result in the victim turning into one, which suggested the idea of a transmittable disease like rabies.[6] However, the idea that lycanthropy could be transmitted in this way is not part of the original myths and legends and only appears in relatively recent beliefs.

 

Vampiric connections

In Medieval Europe, the corpses of some people executed as werewolves were cremated rather than buried in order to prevent them from being resurrected as vampires.[6] Before the end of the 19th century, the Greeks believed that the corpses of werewolves, if not destroyed, would return to life as vampires in the form of wolves or hyenas which prowled battlefields, drinking the blood of dying soldiers. In the same vein, in some rural areas of Germany, Poland and Northern France, it was once believed that people who died in mortal sin came back to life as blood-drinking wolves. This differs from conventional werewolfery, where the creature is a living being rather than an undead apparition. These vampiric werewolves would return to their human corpse form at daylight. They were dealt with by decapitation with a spade and exorcism by the parish priest. The head would then be thrown into a stream, where the weight of its sins were thought to weigh it down. Sometimes, the same methods used to dispose of ordinary vampires would be used.[6] The vampire was also linked to the werewolf in East European countries, particularly Bulgaria, Serbia and Slovakia. In Serbia, the werewolf and vampire are known collectively as one creature; Vulkodlak.[6] In Hungarian and Balkan mythology, many werewolves were said to be vampiric witches who became wolves in order to suck the blood of men born under the full moon in order to preserve their health. In their human form, these werewolves were said to have pale, sunken faces, hollow eyes, swollen lips and flabby arms.[6] The Haitian jé-rouges differ from traditional European werewolves by their habit of actively trying to spread their lycanthropic condition to others, much like vampires.[6]

 

In fiction

Main article: Werewolf fiction

The first feature film to use an anthropomorphic werewolf was Werewolf of London in 1935. The main werewolf of this film is a dapper London scientist who retains some of his style and most of his human features after his transformation,[30] as lead actor Henry Hull was unwilling to spend long hours being made up by makeup artist Jack Pierce.[31] Universal Studios drew on a Balkan tale of a plant associated with lycanthropy as there was no literary work to draw upon, unlike the case with vampires. There is no reference to silver nor other aspects of werewolf lore such as cannibalism.[32]

 

However, he lacks warmth, and it is left to the tragic character Talbot played by Lon Chaney, Jr. in 1941's The Wolf Man to capture the public imagination. With Pierce's makeup more elaborate this time,[33] this catapulted the werewolf into public consciousness.[30] Sympathetic portrayals are few but notable; the comedic but tortured protagonist David Naughton in An American Werewolf In London,[34] and a less anguished and more confident and charismatic Jack Nicholson in the 1994 film Wolf.[35] Rachel Hawthorne's Dark Guardian novels examine a secret society of werewolves who live peacefully alongside normal humans, are able to initiate the change at will to protect their kind, and generally retain control of themselves when transformed.[36] Other werewolves are decidedly more willful and malevolent, such as those in the novel The Howling and its subsequent sequels and film adaptations.

 

The form a werewolf assumes was generally anthropomorphic in early films such as The Wolf Man and Werewolf of London, but larger and powerful wolf in many later films.[37]

 

The transmogrification process is often portrayed as painful in film and literature within the horror genre. The resulting wolf is typically cunning but merciless and prone to killing and eating people without compunction, regardless of the moral character of its human counterpart.

 

Werewolves are often depicted as immune to damage caused by ordinary weapons, being vulnerable only to silver objects, such as a silver-tipped cane, bullet or blade; this attribute was first adopted cinematically in The Wolf Man.[33] This negative reaction to silver is sometimes so strong that the mere touch of the metal on a werewolf's skin will cause burns. Current-day werewolf fiction almost exclusively involves lycanthropy being either a hereditary condition or being transmitted like an infectious disease by the bite of another werewolf. In some fiction, the power of the werewolf extends to human form, such as invulnerability, super-human speed and strength and falling on their feet from high falls. Also aggressiveness and animalistic urges may be harder to control (hunger, sexual harassment). Usually in these cases the abilities are diminished in human form. In other fictions it can even be cured by medicine men or even antidotes.

 

Fantastic literature sometimes includes the painful element to the change, but often does not. For example, J. K. Rowling maintains the painful transition between forms while Charles de Lint, Terry Pratchett, Fritz Leiber, and myriad others reach back to the non-painful medieval literary sources. Poul Anderson in Operation Chaos presents a modernised American werewolf, in complete control of himself and free of the traditional taints, while in Three Hearts and Three Lions appears a far more traditional (though not unsympathetic) female werewolf.

 

The 1961 Hammer film The Curse of the Werewolf, adapted from the 1933 novel The Werewolf of Paris by American author Guy Endore, in 1961 draws on traditional legends of a child born on Christmas Eve being cursed.[38]

 

cogs that once was useful, now stands, awaiting reclamation

  

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I was fortunate enough to be interviewed recently about my (bizarre) start in photography, my life before photography, how my book deal happened, and how social media helped build my career.

 

Part 2 of my interview just just went up! It's a long interview! This part is about who my photography clients are, how I make a living, how I do my snow photography, and my all time favorite photo I have taken in the snow .

 

Excerpt from Part 2 of the interview (full interview: Full Interview Here )

 

Favorite photos, Vivienne’s approach to capturing ‘fantastical’ images...

 

Dave: Are there a couple of favorite photos of yours that you could talk about how they came about, or what were you thinking and what your process was in making them? We’re kind of interested in your process in general. Do you set out on a photo walk with a mission to find something specific? Or is it more that walk and just let the muse dictate, kind of follow your emotion or thinking at the time?

 

Vivienne: I am absolutely in love with New York City at night in the snow! I started doing a lot of snow images a few years back. I just started going out every single snowstorm and trying to capture how I felt every time I walk around in the snowstorm. [The images] just sort of took off online. A lot of them went super viral. So now I’m super into that project.

I really love it; I think that there’s this sort of really magical quality at night in New York City when it snows, that just can’t be replicated anywhere else.

 

So with that I’m definitely on a mission. There are certain themes that I try to capture that are iconic for me in my memory. One photo that I did was a direct homage to...

  

Continue reading the full (very LONG interview) here:

 

Our favorite photographers: A conversation with Sony Artisan, Vivienne Gucwa: Part II

 

Hope you enjoy!

 

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Curious about the book? Tons of information about my New York photography book with sample pages (including where to order and what stores are carrying it):

 

NY Through The Lens: A New York Coffee Table Book

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View my New York City photography at my website NY Through The Lens.

 

View my Travel photography at my travel blog: Traveling Lens.

 

Interested in my work and have questions about PR and media? Check out my:

 

About Page | PR Page | Media Page

Unsure of specific species. Torn between Dotted Wolf & Rabid Wolf.

  

Weber Spur Trail, south of Bryn Mawr, LaBagh Woods, Chicago, Illinois

 

The Weber Spur Trail is an abandoned Union Pacific Railroad right of way that has been converted to a hiking and biking trail. Currently the trail is very rustic, with plenty of flower & fauna. Eventually the trail will be improved.

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

I had the pleasure of working with Tami earlier today shot at Edgefield. We went into it with a specific idea surrounding 40's and 50's era fashion. This was shot with my trusty 5Dii and Canon 135L Natural light

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

It was a neat experience to limit myself to just the pinhole this past trip to Disneyland. I ended up photographing in a few ways I had not expected to, namely I made a lot of mild self-portraits, and two, rather than photograph from stationary positions, I did a lot of pinhole work with the camera braced on moving rides or against my body for relatively short exposures, as done with this shot. I did not take a tripod, other than a little Gorilla-pod, on this trip, so largely I had to improvise, which kept me creatively on my toes. I loved it.

 

Some quick news. I will be part of a panel discussion this weekend on Alternative Processes and Photography as part of Newspace's SPE Northwest Conference. My panel discussion will be from 10-11 Sunday morning. You do have to register to attend, but if you are already registered, feel free to come listen in. I am on a panel along with Blue Mitchell and Ray Bidegain, and if you don't know those names, you should. Anyway, information can be found here.

 

Secondly, I have been invited by the Photography Council at the Portland Art Museum to present a lecture on my pinhole photography coming up on November 17th as part of their Brown Bag Lecture series. These lectures are free and open to the public, so it would be awesome to see some familiar faces. I have more to say on this subject, and I am sure I will at a later, but relatively soon, date. But for now, mark November 17th on your calendars. The lecture will be either at noon or 1pm. Cannot quite remember off the top of my head.

along Wolf Lake Memorial Trail, Hammond, IN

"This is a photograph of some of the discarded perovskite solar cells in the characterisation lab. They were once high performing but have now degraded as indicated by the colour change from brown to orange and yellow.

 

Due to the cheap materials and ease of processing perovskite solar cells have the potential to be a much cheaper photovoltaic technology than established ones such as silicon. However as shown here the big challenge is preventing their degradation. Therefore research into the stability and lifetime of perovskite solar cells is extremely important."

 

____________

 

"Dyma ffotograff o rai o’r celloedd solar pevroskite sydd wedi cael eu taflu o’r neilltu yn y labordy nodweddu. Roeddent unwaith yn perfformio’n dda ond nawr maent wedi dirywio sy’n amlwg o’r newid yn eu lliw, o frown i oren a melyn.

 

O ganlyniad i’r deunyddiau rhad a rhwyddineb eu prosesu mae gan gelloedd solar pevroskite y potensial i fod yn dechnoleg ffotofoltäig rhatach na rhai safonol megis silicon. Fodd bynnag, fel y dangosir yma, y brif her yw eu hatal rhag dirywio. Felly, mae ymchwil i sefydlogrwydd a hyd oes celloedd solar ‘perovskite’ yn hynod bwysig."

Non-Specific Caution

Wearing the attractive hybrid livery, ARRIVA Kent & Surrey 4296 GN15 CWR is seen departing from Chequers Bus Station in Maidstone whilst working route 85. Monday 17th July 2017.

 

Seven of these vehicles (4294 - 4300) have been delivered to Maidstone for primary use on route 85 but like the five (4289 - 4293) delivered to Guildford for their route 91 they are devoid of any specific route branding.

 

Wrightbus Micro Hybrid StreetLite DF 10.8m

 

Kitesurfing is a style of kiteboarding specific to wave riding, which uses standard surfboards or boards shaped specifically for the purpose. On land, a mountain board or foot steered buggy is used while skis or snowboards can be used in snow,

 

There are different styles of kiteboarding, including freestyle, freeride, speed, course racing, wakestyle, big air, park, and surfing.

 

Compared to the other sailing sports, kiteboarding is both less expensive and much more convenient. It is also unique in that it harvests the wind energy from a much larger atmosphere volume, comparing to sail size.

 

This view is in Sandown Bay which is a broad bay which stretches for much of the length of the Isle of Wight's southeastern coast. It extends ten kilometres from Culver Down and Yaverland in the northeast to just south of Shanklin in the southwest, near the village of Luccombe. Near Luccombe, the bay is separated from The Undercliff by a large headland from which Lowtherville sits atop. The towns of Shanklin, Lake and Sandown are located on the bay's coast, while Luccombe and Lowtherville feature panoramic views across both Sandown Bay to the East and the Undercliff to the southwest.

 

The seabed is a mixture of sand, shells and gravel. The beach is predominantly sand.

 

Large cargo ships as seen here can frequently be observed operating in Sandown Bay, often using the bay as a temporary anchorage before continuing east towards continental Europe.

 

The name of the ship cannot be made out at this distance but it looks very simmilar to the Navig8 Ametrine, an oil/chemical tanker, gross tonnage of23,200 tons, built in 2015 and under the flag of the Marshall Islands. It was in European waters in July 2017 so it could be resting up before continuing is voyage to the Hook of Holland where is was observed 12 days later.

 

Sandown Bay is an excellent example of a concordant coastline, and has well-developed beaches stretching all the way from Shanklin to Culver Down due to Longshore drift. As a result of this, Sandown and Shanklin grew rapidly in the 1800s into bustling seaside resorts, as tourists from across both the Island and the country came to enjoy the seaside.

 

en.wikipedia.org/wiki/Kiteboarding

 

www.shipspotting.com/gallery/photo.php?lid=2163473

 

en.wikipedia.org/wiki/Sandown_Bay

A pair of General Electric Transportations (Specific model identification welcome) finest locomotives pulling a stack train past MP70 on the BNSF C&I line between Shabbona and Lee, IL Some of the Westernmost wind turbines in the Dekalb-Lee Energy windfarm are visible on the horizon

Candid street shot. Fowey, Cornwall UK.

 

Dementia is not a specific disease. It's an overall term that describes a wide range of symptoms associated with a decline in memory or other thinking skills severe enough to reduce a person's ability to perform everyday activities. Alzheimer's disease accounts for 60 to 80 percent of cases. Vascular dementia, which occurs after a stroke, is the second most common dementia type. But there are many other conditions that can cause symptoms of dementia, including some that are reversible, such as thyroid problems and vitamin deficiencies.

 

Dementia is often incorrectly referred to as "senility" or "senile dementia," which reflects the formerly widespread but incorrect belief that serious mental decline is a normal part of ageing.

 

Explored March 05 2014.

 

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

 

Tiro calle Candid. Fowey, Cornwall Reino Unido.

 

La demencia no es una enfermedad específica. Es un término general que describe una amplia gama de síntomas asociados con una disminución de la memoria y otras habilidades de pensamiento lo suficientemente severos para reducir la capacidad de una persona para realizar las actividades cotidianas. La enfermedad de Alzheimer representa el 60 a 80 por ciento de los casos. La demencia vascular, que se produce después de un accidente cerebrovascular, es el segundo tipo más común de demencia. Pero hay muchas otras condiciones que pueden causar síntomas de demencia, incluyendo algunos que son reversibles, tales como problemas de la tiroides y las deficiencias de vitaminas.

 

La demencia es a menudo erróneamente denominado "senilidad" o "demencia senil", que refleja la creencia anteriormente generalizada pero errónea de que el deterioro mental grave es una parte normal del envejecimiento.

 

Exploró 05 de marzo 2014.

 

A specific type of gravitational lensing known to astronomers as hyperbolic umbilic, captured in the James Webb Space Telescope’s image of galaxy cluster MACS-J0417.5, results in the optical illusion of five multiples of one distant galaxy pair, labelled here as A, B, C, D, and E. While the pair exists once in reality, it appears five times when viewed through the funhouse mirror of warped space created by the mass of the cluster. Image D is largely obscured behind the bright white glare of one of the cluster galaxies.

 

This image also includes compass arrows, scale bar, and colour key for reference. The scale bar is labelled in arcseconds, which is a measure of angular distance on the sky. There are 60 arcminutes in a degree and 60 arcseconds in an arcminute. (The full Moon has an angular diameter of about 30 arcminutes.) The actual size of an object that covers one arcsecond on the sky depends on its distance from the telescope.

 

This image shows infrared wavelengths of light that have been translated into visible-light colours. The colour key at the bottom of the image shows which filters from Webb’s NIRCam (Near-Infrared Camera) instrument were used. The colour of each filter name is the visible light colour assigned to represent the infrared light detected by that filter.

 

Credits: NASA, ESA, CSA, STScI, V. Estrada-Carpenter (Saint Mary’s University); CC BY 4.0

site specific light-motion installation shown November 2015 at Prosjektrom Carl Berner, a gallery for experimental three-dimensional art inside a metro station in Oslo.

site specific light-motion installation shown November 2015 at Prosjektrom Carl Berner, a gallery for experimental three-dimensional art inside a metro station in Oslo.

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

The wasp stings a specific part of the cockroach's nervous system and temporarily disables its front legs and escape reflexes. It then chews off half of the each antennae on the cockroach, and leads it back to its nest since it would be too heavy to carry and fly around with.

 

In the nest, it lays an egg or two into the live but immobile cockroach. They would hatch in a few days to chew the cockroach from inside out.

 

Thank you wasp.

 

www.nickybay.com

 

Shot on Samsung Galaxy S9+

Specific identity unknown.

 

Apologies for the low quality phone picture, I didn't have my camera with me.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

THE SPECIFIC DESCRIPTION OF THIS ANCIENT MONOLITHIC STRUCTURE:

 

This is magnificent "Dharmaraja Ratha (chariot)" seen from the southern side...clearly reflecting its unfinished work. Dharmaraja Ratha is another monument in the Pancha Rathas complex at Mahabalipuram, India. It is a splendid example of monolith Indian rock-cut architecture. Dating from the late 7th century, it is attributed to the reign of King Mahendravarman I and his son Narasimhavarman I (630–680 AD) of the Pallava Kingdom.

 

Resembling a chariot (ratha), it is carved out of a single, long stone of pink granite.

 

Though sometimes mistakenly referred to as a temple, the structure was not consecrated because it was not completed following the death of Narasimhavarman I.

 

The structure is named after the eldest of the Pancha Pandavas, of epic Mahabharata fame, though this nomenclature is not supported by its iconography. It is dedicated to Lord Shiva.

 

There are many sculptures on the corners of the sanctum, which depict Shiva; Harihara, Brahma-Sasta, Skanda, Brahma, Ardhanarisvara (half Shiva half Parvati) and Krishna are depicted alongside an inscribed portrait of a king, indicated to be Narasimhavarman I, who commissioned the temple.

  

GENERAL DESCRIPTION:

The monolithic ‘Pancha Ratha Temples’ of Mahabalipuram (The Five chariot temples):

 

In the southern Mahabalipuram is a set of five magnificent monolithic rock structures, built by the Pallavas in early 7th century A.D. This group of monuments is maintained by Archeological Survey of India (ASI) and is part of the UNESCO Heritage Site.

 

The five rathas are named after the 'Pandavas' (five brothers) of Mahabharata and one after Draupadi. The five rathas are Dharmaraja Ratha, Bhima Ratha, Arjuna Ratha, Draupadi Ratha and Nakul-Sahadev Ratha.

 

All the rathas are aligned in north-south direction, and are made up of monolithic granites. Though they are mistakenly referred to as temples, but they were never regarded as such, because none of them were completed before the death of Narasimhavarman I.

  

Descriptions of ‘Pancha Ratha Temples’:

 

Draupadi Ratha

Upon entering the complex the first smallest temple on the left is dedicated to Draupadi, the common consort of Pancha Pandavas. The roof of this is a special arch, like thatched cottage. The temple is guarded on two sides of its entrance by two beautiful sculptures of women. This unfinished structure is dedicated goddess Durga.

 

Arjuna Ratha

The very next to Draupadi Ratha is the temple dedicated to Arjuna. The Arjuna ratha resembles a small palace or pavilion. It is a two-tier structure, and is having an octagonal dome. The walls are curved into panels with fourteen sculptures of gods and humans.

 

Bhima ratha

Bhima ratha is the largest ratha here and is also the most beautifilly carved one.

It is a single tiered oblong structure with a barrel-vaulted roof with an unfinished passage supported on pillars mounted with lion posts as the base.

 

Dharmaraja ratha

The Dharmaraja ratha is a three-tier temple, and has an octagonal dome with a stone lion carved in the front yard. Dharmaraja ratha is at the southern most end of the complex, and has a square structure with a pyramid shaped tower atop.

 

Nakula & Sahadeva Ratha

The ratha dedicated to Nakula & Sahadeva stands isolated towards the northern end with a large sculpture of an elephant adjoining it.

 

There is a big sculpture of a bull behind Draupadi & Arjun Rathas.

 

The premises has a few rocks with unfinished works which indicate more structures were still in plan to be finished.

  

Mamallapuram/ Mahabalipuram:

 

Mamallapuram, also known as Mahabalipuram, is a town in Chengalpattu district in the southeastern Indian state of Tamil Nadu. It is best known for the UNESCO World Heritage Site of 7th- and 8th-century Hindu Group of Monuments. The town was named after Pallava king Narasimhavarman I, who was also known as Mahamalla. It is about 60 kilometres south of Chennai. The site is managed by the Archaeological Survey of India.

  

History

Mahabalipuram was the capital region during the reign of Pallava Dynasty in the 7th century AD. The Pallava rulers used to hold the definitive command in the southern part of India. The rulers were popular for their inclination towards Tamilian art and culture. The power and creativity was at its peak during the kingdom of Narasimha Varman-I and II. The rulers immortalized their glories with the splendid monuments they built. The Monuments reflect their finest architectural splendour, and rich cultural heritage.

 

Source: Wikipedia and others

  

Message me if you are interested of after specific any custom orders

 

Nowhere Specific Lines

 

Benched in Southern California

This is a custom unit prepared by authorized PFi reseller "Reveniens" for an upstart private military contractor. The operators, all self-proclaimed verteran MF pilots, insisted on a very specific feature list and visual aesthetic, all designed around a combat style emphasizing discretion and speed.

 

The exotic metamaterials used in the outer plating are considerably lighter and less durable than conventional armor, but have the advantage of refracting the EM waves used by most electronic scanning technologies, making it exceedingly difficult to get a reliable targeting lock in combat, in addition to making the units virtually invisible to passive, long-range scanners.

 

Whatever purpose these "Stormcrows" have in the Oberon System remains unclear, but thus far they have refused to register as an approved PMC with the Free Allied Ergotocracies, leading many to speculate that they may be working for the asteroid mining firm The Etton Conglomerate, which seceded from the FAE almost a decade ago, but has maintained a tenuous business relationship since.

 

Artillery (Left): Negative Index Metamaterial plating (2B), Wing Verniers (G), Anti material Gauss Rifle (Ra), 2x Disk Mine (SSR),

 

CQC (Right): Negative Index Metamaterial plating (2B), 2x Linear Shiv (2Rh), 1x Disk Mine (SSR),

 

Closer (Left): Negative Index Metamaterial plating (B), Wing Verniers (G), Gauss Rifle (Rd), Bayonette (Rh)

 

Gunman (Right): Wing Verniers (G), Gauss Rifle w. Grenade Launcher (2Rd), Comm Aerial (Y)

 

+++

 

Initially Inspired by Vitor Faria's "Shadow Lockon" (found here: flic.kr/p/EpDyr8), but along the way it took on a mind of its own and the similarities wound up greater than I'd originally intended.

 

Specifically, I tried trans-brown (like Vitor's) instead of the purple, but I felt like they needed a little more color. I tried some Medium Lilac accents, but that felt too vibrant. This solution, I think, split the difference pretty nicely. In-the-brick, I think trans-brown would probably look better.

 

The mini-fig skis for feet make these guys a little shorter than other MCS units, but I wanted to compensate for the fullness of the wings. I'd also considered using the reverse-knee posture, but it didn't work with the rest of the look I was going for here.

 

Oh, and the "disk mine" SSRs are attached to the sides of the calves on the artillery and melee units - they're just 2x2 round jumpers with a 1x1 round tile on the stud. Either they have a launcher built into the leg, or the disks can be hand-thrown - I haven't decided on that yet.

 

I should really spend more time on the backs on my builds...

+++ DISCLAIMER +++

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

  

Some background:

The Panzerkampfwagen E-100, also known as Gerät 383 and TG-01, was a German super-heavy tank design developed towards the end of World War II. It was proposed to be the basis for a heavy artillery system, an anti-aircraft vehicle, and a heavy tank destroyer.

 

The basic design was ordered by the Waffenamt as a parallel development to Porsche's heavy tank design "Maus" in June 1943, but part of the new, standardized Entwicklung (E) series of vehicles, consisting of the E-5, E-10, E-25, E-50, E-75 and finally the E-100. The latter was the heaviest and biggest chassis of the family, which was meant to standardize as many components as possible.

 

In March 1944, Adlerwerke company from Frankfurt am Main submitted blueprint 021A38300 for a super-heavy tank called E-100, after the tank was proposed in April 1943 along with the other Entwicklung series vehicles. According to the blueprints, the tank would be armed with a both a 150 mm gun and a 75 mm gun in a huge turret.

Two types of engines were proposed: one was a 700 hp Maybach HL230, with a transmission and turning mechanism borrowed from the Tiger II. The estimated top speed was 23 km/h, and it was clear that this powerplant was utterly undersized for the E-100, which would be almost twice as heavy as the already underpowered Tiger II.

The second variant,l which was favored for serial production, would have a new, turbocharged 1200 hp Maybach HL 232 engine and a top speed estimated at 40 km/h. Other engines in the 1.000+ hp range were considered, too, e. g. modified Daimler Benz aircraft engines, or torpedo boat engines.

 

The design had removable side skirts and narrow transport tracks to make rail transport more viable. This design was very similar to the original 'Tiger-Maus' proposal, but had larger 900 mm diameter road wheels and a new spring based suspension rather than the original torsion bars. A new turret was designed, too, intended to be simpler and lighter than the massive Maus turret - effectively the E-100 was 40 tons lighter than the 188 ton Maus prototype.

 

However, in July 1944 the development of any super heavy tanks was halted, but work on the E-100 continued at a low priority and with the outlook to produce a limited number of these massive vehicles for special purposes, using existing components. Eventually, permission was granted to proceed with the SdKfz. 193, with the intention to the E-100 as a tank destroyer with either a 15 cm StuK L/63 or 17 cm StuK L/53 gun.

 

The first prototype was completed in January 1945, and from the start several variants were slated for the limited serial production. Four battle tank variants were defined, differing basically through the turret designs and the armament. The first three variants A-C carried the 15 cm StuK as main armament, while the D variant was an interim solution that would carry the new 140mm PaK 46 L/50 cannon, which was originally earmarked for the tank hunter variants of the E-75 and E-100 family. However, since the dedicated E-100 tank hunter SPG "Krokodil" (the SdKfz. 197) with a low, casemate-style hull was still going through troublesome trials in late 1945, it was decided to adapt the new and powerful gun with the already developed cannon mount in a turret and mate it with the E-100 battle tank hull.

 

The result was a battle tank/SPG hybrid with a huge, boxy turret on the E-100's standard chassis, which could be fully rotated by 360°. The turret's front offered excellent ballistic protection, but the tall and massive silhouette made the vehicle hard to conceal.

Designed only as a stopgap solution, only about 20 E-100 Ausf. D were produced in total. Having learnt the painful lesson of the heavy Elefant/Ferdinand SPG deployments, the E-100 Ausf. D was primarily and right from the start only used in defensive roles for strategically important locations, and not as a classic, highly mobile battle tank. Targets could be engaged at very long distances, and the PaK 46 L/60 was able to destroy heavy tanks like the heavily armored Soviet IS-3 with a single, head-on shot.

 

The PaK 46 L/60 was a very powerful weapon, and, like its predecessor, the 12.8 cm PaK 44 L/55, very accurate and deadly even at greater distances. The gun was fed with two-piece ammunition, the projectile and cartridge making up separate pieces. Because of this, the gun could be fired using three different sized propellant charges; a light, medium and heavy charge. The light and medium charges were normally used when the gun was fulfilling the role of an artillery piece, where they would launch the ~32 kg projectiles to a muzzle velocity of 885 m/s and 940 m/s respectively.

The heavy charge was used when the gun was fulfilling its intended role as an anti-tank gun, where it fired a 35.4 kg APCBC-HE projectile (PzGr.46) at a muzzle velocity of 1,050 m/s. During practice, the estimated probability of a first round hit on a 2 m (6 ft 7 in) high, 2.5 m (8 ft 2 in) wide target only dropped below 100 percent at ranges beyond 1,500 m (0.93 mi), to 95–97 percent at 2,000 m (1.24 mi) and 85–87 percent at 3,000 m (1.8 mi), depending on ammunition type. Recorded combat performance was lower, but still over 80 percent at 1,500 m, in the 60s at 2,500 m and the 40s at 3,000 m. Penetration of armoured plate inclined at 30 degrees was 242 and 192 mm (9.5 and 7.5 in) at 100 m (110 yd) and 2,000 m (1.2 mi) respectively for the armour-piercing shell.

In order to take on smaller, lightly armored targets, an MK 103 30 mm machine cannon (firing 425 RPM and having an effective range of up to 5.700m) was mounted co-axially, as well as a light MG 34. Another light machine gun was added in a ball mount in the turret's rear, in order to defend the loading hatches against infantry attacks. Another, manually operated machine gun was mounted on the commander's cupola against aircraft and close soft targets.

 

Aiming of the main weapons was improved by a built-in stereoscopic rangefinder — using twin matching armored blisters, one on each turret side. A "Sperber/FG 1250" night vision scope on the commander's cupola, together with a 30cm infrared searchlight with range of 600m.

 

Some of the vehicles where deployed in the upper Rhine and Ruhrgebiet area, while others were used in the defense of Berlin against the Red Army, and most of the time only one of two of these heavy tanks were allocated to units in which other, more agile vehicles could support and defend them.

 

Nevertheless, like all E-100 tank variants, the Ausf. D variant suffered from a general lack of mobility, so that it was not easy to field it or to change position after a shot. While the heavy armor could absorb a lot of hits and punishment, even from the latest enemy heavy tanks and anti-tank guns, many E-100s had to be abandoned or destroyed by their crews since they could not be saved from advancing enemy forces.

Another general weakness of the whole E-100 series was the massive fuel consumption of the HL 232 engine: with 10l per km (2,35 mpg) the tank had very short legs (only 120 km/75 ml with internal fuel) and was therefore even less suited for dynamic combat situations which involved quick advances or tactical position changes. Even in stationary use, its effectiveness was highly limited.

 

Another flaw, specific to the D variant, was its tall and heavy turret. The layout resulted in a very high center of gravity, so that the turret bearing and its hydraulic traverse mechanism was frequently over-stressed. If the crew would not pay attention to the tank's orientation and the underground conditions, the turret would easily get stuck - another reason why many of these super-heavy tanks were lost in action without direct enemy involvement.

  

Specifications:

Weight: 140 tonnes (154 short tons; 138 long tons)

Length (overall): 10.44 m (34 ft 2.4 in)

Width: 4.48 m (14 ft 8 in)

Height: 3.29 m (10 ft 10 in)

Suspension: Belleville washer coil spring

Crew: 6 (Commander, Driver, Radio Operator, Gunner, 2x Loader)

 

Armor:

Hull front: 150–200 mm (5.9–7.9 in)

Hull sides and rear: 120–150 mm (4.7–5.9in)

Hull top: 40 mm (1.6 in)

Hull bottom: 40–80 mm (1.6–3.1 in)

Turret front: 200 mm (7.9 in)

Turret sides & rear: 80–150 mm (3.1–5.9 in)

Turret top: 40 mm (1.6 in)

 

Engine:

1x turbocharged Maybach HL232 V12 gasoline engine with 1.200 hp

 

Performance:

Maximum road speed: 40 km/h (25 mph)

Sustained road speed: 36 km/h (22 mph)

Cross country speed: 14 to 20 km/h (8.7 to 12.4 mph)

Power/weight: 8,57 hp/ton

Range on raod: 120 km (74 mi)

Range cross counrty: 85 km (53 mi)

 

Armament:

1x 140mm (5.51 in) PaK 46 L/60 with 55 rounds

1x co-axial 30 mm (1.18 in) MK 103 machine cannon with 100 rounds

3x 7.92 mm MG34 (1x co-axial with main gun, 1x in ball mount in the turret's back side

and 1x anti aircraft gun on top of the commander's cupola) with a total of 5,850 rounds

  

The kit and its assembly:

This is an “in between” project, which I tackled on short notice while waiting for parts for another project. I am not a big fan of the huge E-100 tank, but I was given a surplus chassis from a friend who had bought a ModelCollect 12.8mm twin flak on an E-100 chassis in 1:72 – only for the gun, because this combo was less expensive than the flak alone (available separately). Since he had no use for the turret-less E-100 chassis I gladly took it.

 

It was the perfect occasion to invest and try an aftermarket conversion set from the German company Model Trans/Silesian Models, based in Essen, which offers a wide range of resin conversion sets for tanks and other military vehicles – including some Heer ’46 conversions/whiffs.

 

The turret for the fictional “E-100 Ausf. D” is one of these, and I like it for its bizarre, KW-2-esque style. The turret, certainly adapted from the Jagdpanther/E-100 tank hunter hull, looks impressive, even though it features some fishy details like the inward-canted rear wall or the rear of the turret overlapping the engine opening. But, hell, it’s a whiffy design, and the “cheese wedge” look of the turret certainly turns heads.

 

The turret set consists only of two massive resin parts, the turret itself and the barrel. The cast is excellent (no bubbles, almost no flash, crisp detail and clean surfaces; only the barrel had to be cleaned up a little), and I assume that the parts were moulded after parts from other ModelCollect kit parts.

Some missing parts like the hatch for the commander cupola or the Sperber infrared sight can be taken from the E-100 kit (even if it comes without a turret). Gaps between the barrel and the gun's mount were filled with paper tissue soaked with thinned white glue, imitating a leather of cloth shroud.

The pieces go together well and the turret base also matches perfectly the turret ring in the E-100 hull.

 

The E-100 kit itself is more challenging, though. While it is basically of simple construction, the sheer size of the parts and the fact that the hull consists of separate floor, side and rear walls and the upper deck, makes assembly a bit complicated. The fact that the floor and the side walls were slightly twisted did not help either. While everything went together well, I had to use putty in order to close some seams and bridge small gaps. Nothing dramatic, but modelers should be wary.

Mounting the wheels is not easy - esp. the sprocket wheel in the front and even more the idelr wheel at the rear have a very complicated and flimsy construction with a very thin and short locator pin. The PVC tracks also turned out to be too short, unfortunately I found this out I had painted and weathered them. Thankfully the massive side skirts help hiding the gaps, since I could not mount the tracks under any tension.

 

A nice solution are the separate side skirts and the complete engine compartment with separate hatches, a nicely detailed engine block and exhaust manifold as well as coolers.

 

I’ve built the E-100 hull OOB and left away the PE parts on purpose, since the mess of cutting them out or mounting them to the hull (e. g. microscopic lugs or a grate for the air intakes that are so dense that any paint applied by brush would immediately clog and ruin them) would IMHO not really improve the kit.

  

Painting and markings:

I wanted a fictional paint scheme for this one – no standard Hinterhalt camouflage tones, but still with a German feel. The inspiration for this green/grey scheme was lent from the Ma.K./Maschinenkrieger/ZbV3000 model universe, where many vehicles/mecha carry a pseudo-German scheme, some inspired by WWII Luftwaffe aircraft.

 

For the E-100 I adapted one of the Ma.K. designs and used Luftwaffe tones: the pale tone is RLM02 (the base is Revell’s 45, modern RAL 7003, which is slightly more olive green than the original grey), while the dark patches are German Panzergrau (Humbrol 67, modern RAL 7024, and actually a tone from early WWII). The latter turned out to appear very dark, due to the strong contrast to the RLM02, so that the scheme unintentionally reminds a lot of the late-war Allied “Mickey Mouse” scheme in olive drab and black? This was later slightly mended through the addition of RLM74 during the weathering process (see below), but the similarity remains, and once the kit became more and more complete the whole thing started looking like a modern German Bundeswehr Panzerhaubitze 2000?

 

In order to create an improvised and worn look, the camouflage was applied only thinly over an overall base coat with Humbrol 70 (Brick Red), which looks very much like stretched late war primer with which many tanks left the factories, to be camouflaged by the units in the field.

As a small color detail the barrel’s front end received a different scheme in Dunkelgelb (Revell 16, from below, kind of counter-shading against the sky) and Red Brown (Humbrol 160) from above, simulating a replacement part.

 

Once the basic camouflage had been applied, the kit was weathered with a highly thinned wash of dark brown, grey and black acrylic paint. Once dry the major surfaces were lightly wet-sanded, revealing more of the underlying red primer. Next, details and areas were highlighted through dry-brushing with true RLM02 (Humbrol 247) and RLM74 (Humbrol 245). After the application of the few marking decals, the whole kit received another dry brushing treatment, this time with Revell 75 (Hellgrau) and Humbrol 72 (Khaki drill). Some rust traces were painted with thinned sienna red acrylic artist paint.

 

Matt acrylic varnish (Italeri) was used to seal the kit, and once the (also weathered) PVC tracks and the side skirts had been mounted, the lower hull received a treatment with grey/beige/brown pigments, simulation dust and mud residue.

  

A relatively quick build, realized in less than a week, and some (minor) challenges. What a huge vehicle the E-100 has been – but what a waste of effort, resources and tactical limitations due to the vehicle’s sheer size and weight. Looks impressive, though, esp. when you place this hulk next to a “normal” tank…

In the end I am not really convinced of my paint scheme idea, but I ran with it since I wanted something different from the obvious German late war standard scheme.

Babui (baya weaver) birds make a nest on a tree in Haryana, just outskirts of the Delhi.

 

With the reduction of specific trees in the country, the birds are losing their habitats.

  

$$$$$$$$$$$$$$$

Read this extinction story from Neighboring Country of ours. Same is happening everywhere

 

( www.daily-sun.com/post/417327/Stop-extinction-of-Babui-th... )

  

Babui or baya, the little bird whose genius of making grass-made homes considered a miracle and in the words of poet Rajanikantha Sen no less than “mansion,” was slowly becoming rarer in Bangladesh due to ecological changes and could lead to its extinction unless urgent steps are taken to save the species, experts said.

 

The nests of weaver birds hanging from palm trees was a common scene along with the bucolic beauty of Bangladesh and many collected them to decorate their homes. Even textbooks carried information or stories about the Babui, signifying the happiness of liberty and industrious attitude.

In Rajanikantha Sen’s Swadinatar Sukh (the joy of independence) poem, he writes-

 

Says the Sparrow to the Weaver Bird

 

“Look where I live – a mansion, no less!

 

While your nest barely shields you from the wind and the rain.

 

Yet you prize it as art?”

 

The Weaver Bird smiles, “There is no doubt,

that my nest sways in the slightest wind,

 

but I live in it gladly,

 

for unlike the mansion you share with humans my house is mine and mine alone

 

Experts said due to rapid ecological changes the Babui bird is gradually becoming extinct.

 

Bird experts narrated two major reasons including manmade and natural reason. They said that continuous deforestation, poaching and lack of palm trees have pushed away this crafting bird to the verge of extinct.

 

They apprehended that if natural balance gets jeopardised, many species including the weaver bird, may soon become a part of history.

 

Babui builds their exceptional home, said to be the only of its kind in the nature, by weaving collected grass which hangs from the leafs of palm trees

 

They make home in a group on the same tree and the most amazing part of these grass-made homes are its two or three windows or doors for their access, light and ventilation —- indeed a miracle of their genius nature.

 

Babui crafts their nest in dividing two parts. In one portion they lay eggs and bring up its offsprings in the other part, which basically has the hole used as a door.

 

They collect dry grass, but not all kinds, but those which are light in weight and longer than most other varities of grass.

 

Alongside its architect characteristics, it is said that Babui use to catch fireflies, lightning bugs, at night to get lighten up their hanging nest on top of the palm trees.

 

According to the books and bird experts, three kinds of Babui have been seen in Bangladesh which locally called as Deshi Babui, Dagi Babui and Bangla Babui.

 

Not only Babui, Bangladesh once was the house of many varieties of birds with different kinds, sizes, colours and habitual aspects. Being a big part of natural ecology, birds are not only an ornamental species of environment, but their necessity in maintaining the balance of nature and environment is a recognised factor.

 

Experts stressed for undertaking a pragmatic approach of concerned government departments so that this kind of beautiful birds do not become extinct.

  

$$$$$$$$$$$$$$

 

Photo taken via Nikon Gears on 30.07.2017

 

$$$$$$$$$$$$$

Here we have, yet another mystery, about this bike.

 

This cable or wire or... entrance on the top tube.

The rear brake cable enters on the other side , through it's, twin opening . What is this opening for ?? There is no internal tube that would come out somewhere specific to help us understand.

 

faure/macassar, western cape- kramat of sheikh yussuf

 

A Kramat is a shrine or mausoleum that has been built over the burial place of a Muslim who's particular piety and practice of the teachings of Islam is recognised by the community. I have been engaged in documenting these sites around Cape Town over several visits at different times over the last few years. They range widely from graves marked by an edge of stones to more elaborate tombs sheltered by buildings of various styles. They are cultural markers that speak of a culture was shaped by life at the Cape and that infuses Cape Town at large.

 

In my searches used the guide put out by the Cape Masaar Society as a basic guide to locate some recognised sites. Even so some were not that easy to find.

 

In the context of the Muslims at the Cape, historically the kramats represented places of focus for the faithful and were/are often places of local pilgrimage. When the Dutch and the VOC (United East India Company aka Vereenigde Oostindische Compagnie) set up a refuelling station and a settlement at the Cape, Muslims from their territories in the East Indies and Batavia were with them from the start as soldiers, slaves and 'Vryswarten'; (freemen). As the settlement established itself as a colony the Cape became a useful place to banish political opponents from the heart of their eastern empire. Some exiles were of royal lineage and there were also scholars amongst them. One of the most well known of these exiles was Sheik Yusuf who was cordially received by Govenor van der Stel as befitted his rank (he and his entourage where eventually housed on an estate away from the main settlement so that he was less likely to have an influence over the local population), others were imprisoned for a time both in Cape Town and on Robben island. It is said that the first Koran in the Cape was first written out from memory by Sheik Yusuf after his arrival. There were several Islamic scholars in his retinue and these men encouraged something of an Islamic revival amoung the isolated community. Their influence over the enslaved “Malay” population who were already nominally Muslim was considerable and through the ministrations of other teachers to the underclasses the influence of Islam became quite marked. As political opponents to the governing powers the teachers became focus points for escaped slaves in the outlying areas.

 

Under the VOC it was forbidden to practice any other faith other than Christianity in public which meant that there was no provision for mosques or madrasas. The faith was maintained informally until the end of the C18th when plans were made for the first mosque and promises of land to be granted for a specific burial ground in the Bo Kaap were given in negotiations for support against an imminent British invasion. These promises were honoured by the British after their victory.

 

There is talk of a prophecy of a protective circle of Islam that would surround Cape Town. I cannot find the specifics of this prophecy but the 27 kramats of the “Auliyah” or friends of Allah, as these honoured individuals are known, do form a loose circle of saints. Some of the Auliyah are credited with miraculous powers in legends that speak of their life and works. Within the folk tradition some are believed to be able to intercede on behalf of supplicants (even though this more part of a mystical philosophy (keramat) and is not strictly accepted in mainstream contemporary Islamic teaching) and even today some visitors may offer special prayers at their grave sites in much the same way as Christians might direct prayer at the shrine of a particular saint.

  

photographer's note-

 

sheikh yussuf was the brother of the king of Goa (Gowa) with it's capital of Makassar. yussuf fought in battles against the Dutch and was eventually captured. he was transferred to the cape of good hope in 1693. he died in 1699. he had 2 wives, 2 concubines, 12 children and 14 male and female slaves.

 

*********************************************

 

Die Kramat van Sjeg Yusuf, Faure

 

Die Kramat1 van Sjeg Yusuf (Abadin Tadia Tjoessoep)2 op 'n klein heuwel naby die mond van die Eersterivier in Makassar, Faure, is 'n terrein waarheen Kaapse Moslems oor die laaste drie eeue pelgrimstogte onderneem. Yusuf is op 23 April 1699 oorlede en op die heuwel begrawe. Volgens predikant en skrywer, Francois Valentyn (1666-1727), wat sy graf in 1705 besoek het, was dit "een cierlyke Mohammedaansch tombe, wat van zeer hoog opgezette steenen, verheerlykt was".3 Dit is nie heeltemal duidelik of hy van 'n hoog opgeboude graf of 'n struktuur daaroor praat nie.

 

Dié tombe moes mettertyd veranderings en verbouings het en volgens Biskop Patrick Griffith (1798-1862) wat dit meer as 'n eeu later op 25 Januarie 1839 besoek het, het dit heel anders daar uitgesien...

 

and proceeded to a Mr Cloete's where we took horses and road (sic) to a Malay Mosque [i.e. the kramat] situated on the summit of a hill, to which we ascended by a rude Stone Stair Case, rather Circular and partly cut out of Limestone rock, by an hundred steps. We left our horses below tied to the door of a Caravansery where the Pilgrims who come every year from Cape Town and all around, lodge while they go thro' their devotions. Both Lodging House and Mosque are at present deserted and we cd. only see the Exterior of both. The Mosque has a small Mineret (sic) in the centre and contains the Tomb of some Prince and Priest of the Sect. The Building is square and low with a portico: the windows are screened within and all that could be seen through some chinks in the walls was some drapery. A curious sight, however, exists outside: graves covered with white Clothes, five or six of which graves are enclosed together with a low wall round them; two or three more are apart; each has a round black stone at the head round which a Malay handkerchief is tied, with another black stone at foot, represents the feet, so that with the white sheet over the body, one wd. imagine at first view that it was a corpse was directly before him, the representation of it is so like reality. These White cloths (of calico) are renewed every year and we found some sixty or more rotten ones under each of the last white Coverings."1

 

Die terrein is in 1862 deur die imam van die Jamia-moskee in Chiappinistraat, Abdol Wahab, aangekoop,5 maar die gebou het tot vroeg in die 20ste eeu bewaar gebly, hoewel dit by verskeie geleenthede klein veranderings en herstelwerk moes ondergaan het.

 

Die Oostenrykse wetenskaplike, diplomaat en ontdekkingsreisiger, Karl Ritter von Scherzer (1821-1903) het die Kaap in Oktober 1857 aan boord die Novara, op 'n omseilingstog van die wêreld, aangedoen. Hy het die volgende waardevolle beskrywing, deurdrenk met sy eie voor- en afkeure, nagelaat:

 

"The following morning we drove to a hill, ahout a mile and a half distant from Zandvliet, known as Macassar Downs, on which is the spot of interment, (Krammat or Brammat), of a Malay prophet.

 

This individual, so honoured in death, was, if we are to believe the Malays, a direct descendant of Mahomet, named Sheikh Joseph, who, expelled from Batavia by the Dutch Government for political reasons, settled in the colony about a century and a half ago, and died and was buried in the neighbourhood of Zandvliet. An especial deputation came over from Malacca to Cape Colony to fetch away the corpse of the defunct prophet, for conveyance to the land of his birth; but at the disinterment it happened that the little finger of the prophet, in spite of the most persevering research, could nowhere be found. This circumstance appeared to those simple believers sufficient reason for erecting a monument over the spot in which the finger of a Malay prophet lay hid from view. Even to this day the Malays from time to time perform a pilgrimage to the Colony and celebrate their religious ceremonies at the Mausoleum. Four followers of the prophet are buried with him, two of them Mahometan priests, who are regarded with much veneration by the Malays.

 

An extensive flight of stone steps leads to the tomb, the exterior of which is very insignificant, and, but for a small pointed turret, hardly differs from an ordinary dwelling-house. On entering, a low-roofed vault is visible, a sort of front outhouse, which rather disfigures the facade, and much more resembles a cellar than the portal of a Mausoleum. Above the arch of this vault an Arabic inscription has been engraved with a stylus but this is so painted over in brick colour that it has already become almost illegible. Judging by the few words that have been deciphered, it seems to consist of the first propositions of the Koran.

 

The inner room, provided on two sides with modern glazed windows at irregular intervals, is about the size of an ordinary room of 12 feet long, 9 wide, and 7 high (3.66m long, 2.74 wide, and 2.13 high). In the middle rises the monument, to which access is had by some more brick steps. Immense quantities of unwashed white linen cloth are heaped upon it, which seem occasionally sprinkled with a brown odoriferous liquid (dupa). As at the head of Sheikh Joseph, so at his feet several figures, resembling those in enamel used to ornament tarts, are drawn upon the linen cloth with the overflowings of the unguent. These have undoubtedly been formed accidentally, and it appears wrong and unfair to attribute to them any more recondite significance. The monument rests upon four wooden pillars, with pyramidal pinnacles or ornaments, and is richly decorated with fine white muslin, which gives to the whole very much the appearance of an old-fashioned English "fourposter," with its costly drapery and curtains. While the curtains are spread out all around, several small green and white bannerets stand at the upper and lower end of the sarcophagus. The whole interior is, as it were, impregnated with the incense which devout Malay pilgrims from time to time burn here, especially after the forty days' fast (Ramadan), or leave behind upon the steps of the tomb in flasks or in paper-boxes. On such occasions, they always bring wax-candles and linen cloth as an offering, with the latter of which they deck the tomb afresh, so that a perfect mountain of white linen rises above the stone floor. During their devotions they unceasingly kiss this white mass of stuff, and as they are continually chewing tobacco, this filthy habit produces disgustingly loathsome stains.

 

On the same hill which boasts the tomb of Sheikh Joseph, there are also, in ground that is common property, nine other graves of eminent Malays, enclosed with carefully-selected stones, and likewise covered over with large broad strips of bleached linen cloth, protected by stones from any injury by weather or violence. At the head and foot of each individual interred, is a single stone of larger size. Formerly the black inhabitants of the neighbourhood made use of this store of linen cloth to make shirts for themselves, without further thought upon the propriety of the matter. Latterly, however, a shrewd Malay priest spread a report that one of these ebony linen stealers had lost all the fingers off one hand, since which the graves of those departed worthies remain inviolate and unprofaned.

 

At the foot of the hill are some small half-fallen-in buildings, near a large hall, painted white, red, and yellow, consisting of a small apartment and a kitchen, the whole in a most dirty, neglected, and desolate condition. At this point the Moslems must have accomplished certain prayers, before they can climb the hill and proceed to visit the tomb. Over the door of this singular house of prayer some words are likewise engraved in the Arabic character, which, however, are now entirely illegible.

 

On quitting the Malay Krammat, we next undertook a tolerably difficult walk to the Downs or sand-dunes, which at this point extend along the entire coast line, on which the wax-berry shrub, as already mentioned, grows wild in vast quantities, and visibly prevents the further encroachments of the moving sand. The Eerst Rivier (First River) may be regarded as the limit of demarcation between the sand-dunes and the soil adapted for vegetation."6

 

'n Britse joernalis en historikus, Ian Duncan Colvin (1877-1938), beskryf sy besoek aan die Kramat vyftig jaar later in die begin van die 20ste eeu:

 

"It was in springtime that we made the pilgrimage, in October, the springtime of the south... We passed through cow-scented pasture and the cornlands of Zandvliet, and so towards the sea, guided by the white star of the tomb.

 

It stands upon a sandstone rock which the Eerste River bends round on its way to the sea, and you can hear the breakers roaring, though unseen behind the sand-dunes. A little wooden bridge crosses the river beside the drift... On the farther side the little hill rises steeply, and under it nestles a row of very ancient and dilapidated cottages. One of them is used as a stable by the pilgrims and another as a mosque, and upon its porch you will see a little notice in English that 'women are not allowed inside the church', a warning signed with all the weight and authority of the late Haji Abdul Kalil... Inside, this little chapel is touchingly primitive and simple, with blue sky showing through the thatched roof, and a martin's nest plastered on the ceiling of the little alcove. Between these cottages and the stream is a field of sweet marjoram, no doubt grown for the service of the shrine, and the way up the hill is made easy by a flight of steps build perhaps centuries ago, and ruinous with age. With their white balustrades, and overgrown as they are with grass and wild-flowers, they are very beautiful, and in pilgrimage-time we may suppose them bright with Malays ascending and descending. We mounted them to the top, where they open on a little courtyard roughly paved and encinctured by a low white wall. On the farther side, opposite the top of the stairs, is the tomb itself, a little white building with an archway leading into a porch. Beyond is a door, of the sort common in Cape farm-houses, divided into two across the middle. Of course, we did not dare to open it and peep inside; but I am told by a Mahomedan friend that the inner tomb is of white stucco with four pillars of a pleasant design. It is upholstered in bright-coloured plush, and copies of the Koran lie open upon it. The inside of the room is papered in the best Malay fashion, and over the window is a veil of tinselled green gauze. From the roof several ostrich eggs hang on strings, and altogether it is the gayest and brightest little shrine. The ostrich eggs hanging on their strings made me think of a much more splendid tomb which Akbar, the first greatest of the Moguls, build for his friend Selim Chisti, a humble ascetic, in the centre of the mosque at Fatehpur Sikri.7 If any of my readers have made a pilgrimage to that wonderful deserted city, they will remember the tomb build of fretted marble, white and delicate as lace, in the centre of the great silent mosque of red sandstone – surely the finest testimonial to disinterested and spiritual friendship that exists in the world. And, if they look inside, they will recollect that around the inner shrine of mother o’pearl hang ostrich eggs just as they hang in Sheik Joseph’s tomb on the Cape Flats. But this digression is only to show that the Malay of Cape Town knows what is proper to the ornamentation of kramats. The shrine is tended with pious care, kept clean and white by the good Malays – a people of whom it may be said truly that they hold cleanliness as a virtue next to godliness."8

 

Hierdie beskrywing kom ooreen met dié van Scherzer en 'n foto in die Elliot-versameling in die Kaapse argief. Die minaret wat deur Biskop Griffith genoem en deur Scherzer geïllustreer is, en moontlik van hout gemaak was, het intussen verdwyn.

 

In 1925 het die Indiese filantroop, Hadji Sulaiman Sjah Mohamed Ali, opdrag vir 'n nuwe tombe gegee en is die huidige vierkantige en gekoepelde Moghul- of Delhi-inspireerde struktuur opgerig. Die argitek was F.K. KENDALL wat van 1896 tot 1918 in vennootskap met Herbert BAKER praktiseer het.

 

Die kramat vorm deel van die sogenaamde beskermende "Heilige Sirkel van Islam" wat strek van die kramatte teen die hange van Seinheuwel bo die klipgroef waar die eerste openbare Moslemgebede aan die Kaap gehou is, deur die kramatte op die rug van die heuwel en die kramat van Sjeg Noorul Mubeen by Oudekraal, en om die berg na die kramatte van Constantia, Faure, Robbeneiland, terug na Seinheuwel.

 

Sjeg Yusuf van Makassar (1626-1699)

 

Sjeg Yusuf (Abadin Tadia Tjoesoep) is in 1626 te Gowa by Makassar (Mangkasara), op die suidwestelike punt van die Sulawesi-eiland (voorheen Celebes) langs die Straat van Makassar, gebore. Toe die Portugese dit vroeg in die sestiende eeu bereik het, was dit 'n besige handelshawe waar Arabiese, Indiese, Javaanse, Maleise Siamese en Chinese skepe aangedoen en hulle produkte geruil en verkoop het. Met die koms van die Nederlanders, wat die speseryhandel wou monopoliseer en Britse deelname daaraan wou stuit, is die tradisie van vrye handel aan die begin van die 17de eeu omvergewerp. Nadat hulle die fort van Makassar ingeneem het, is dit herbou en as Fort Rotterdam herdoop. Van hier het hulle die vestings van die Sultan van Gowa geteiken.

 

Toe hy agtien jaar oud was, het Yusuf op 'n pelgrims- en studietog na Mekka vertrek waar hy verskeie jare deurgebring het. Met sy terugkeer het hy die Nederlanders in Makassar vermy en hom in Bantam in Wes-Java aan die hof van Sultan Ageng (Abulfatah Agung, 1631-1695) as onderwyser en geestelike rigter gevestig. Hy het die sultan se seuns onderrig en met een van sy dogters getrou. Hy was deeglik in die Shari'ah (Moslem kode en godsdienstige wet) onderlê en diep betrokke by die mistieke aspekte van sy geloof met die gevolg dat sy reputasie as 'n vrome persoon en heilige kenner en geleerde vinnig versprei het.

 

Hoewel die Nederlanders die handel op Java beheer het, het Bantam 'n sterk mate van onafhanklikheid behou. Yusuf was 'n vurige teenstander van die VOC en het en ook 'n rebellie teen die Europeërs gelei toe 'n ouer vredesooreenkoms tussen hulle in 1656 gebreek is. 'n Nuwe ooreenkoms is in 1659 bereik, maar 'n interne tweestryd in die Sultanaat het in die VOC se kraam gepas. Die sultan se seun, later as Sultan Hadji bekend, het met die hulle saamgespan teen sy vader en jonger broer wat voorkeur aan die Britse en Deense handelaars gegee het. Die breuk het in 1680 gekom toe Ageng oorlog teen Batavia (Jakarta) verklaar het. Hadji het 'n opstand teen sy vader gelei wat Ageng tot sy woning beperk het. Hoewel sy volgelinge teruggeveg het, het die Nederlanders Hadji te hulp gesnel en is Ageng na die hooglande verdryf waar hy in Maart 1683 oorgegee het. Hierna is hy na Batavia geneem waar hy oorlede is.

 

Yusuf het die verset voortgesit en is eers teen die einde van 1683 gevange geneem waarna hy ook na Batavia geneem is. Sy invloed in die Moslemgemeenskap van die VOC se hoofkwartier in die Ooste, waar hy as heilige vereer is, asook die aandrang op sy vrystelling deur die vorste van Gowa (Makassar) – wat toe bondgenote van die VOC was – het daartoe gelei dat Yusuf en sy gevolg eers na Ceylon (Sri Lanka) en daarna na die Kaap verban is. Sjeg Yusuf en sy "aanhang", soos in die notules van die Politieke Raad aangedui is, het op 31 Maart 1694 aan boord die Voetboog in Tafelbaai aangekom. Hier is hulle gul deur goewerneur Simon van der Stel ontvang, maar in die Kasteel gehou totdat daar in Junie besluit is om hulle na die mond van die Eersterivier, wat oor die plaas Zandvliet van ds P. Kalden uitgekyk het, te stuur.9

 

Hier in die duine, wat later as Makassar en Makassarstrand bekend sou word, het Yusuf en sy gevolg hulle gevestig. Volgens oorlewering was dit die eerste sentrum van Islam en Islamitiese onderrig in Suid-Afrika en het die terrein 'n sakrosante ereplek gebly na Yusuf se afsterwe op 23 April 1699 en sy begrafnis op die heuwel. Hoewel sommige skrywers nie oortuig is dat ook Yusuf se oorskot na die Ooste terug is nie, argumenteer André van Rensburg dat dit wel gebeur het.

 

"Hoewel 'n aanvanklike versoek van 31 Desember 1701 dat Yusuf se oorskot opgegrawe en na Indonesië gestuur word, geweier is, is in 'n verslag van 26 Februarie 1703 deur die Here XVII gelas dat die sjeg se naasbestaandes en sy oorskot na Indonesië weggebring moes word.

 

Op 26 Februarie 1704 het die amptelike geskrewe instruksies van die VOC in die Kaap aangekom. Die weduwee van Yusuf, hul jong kinders en ander lede van sy gevolg moes toegelaat word om na Indonesië terug te keer.

 

Daar is ook bepaal dat die oorskot van Yusuf onopsigtelik opgegrawe moes word sodat die naasbestaandes dit kon saamneem. Voorsorg moes egter getref word dat ander Oosterse bannelinge nie ontsnap deur voor te gee dat hulle naasbestaandes van sjeg Yusuf is nie."10

 

Die gevolg van Sjeg Yusuf het op 5 Oktober 1704 aan boord van De Spiegel uit Tafelbaai met sy oorskot vertrek en op 10 Desember in Batavia anker gegooi. Hierna is sy hulle na Makassar waar sy oorskot op 6 April 1705 op Lakiung in Ujung Pandang herbegrawe is. Bo-oor Yusuf se nuwe graf is 'n kramat of ko'bang deur die Chinese bouer Dju Kian Kiu opgerig. Ook hierdie Kramat word druk deur pelgrims besoek.

 

________________________________

 

Kramat is die algemeen Kaapse term vir die tombe van 'n [Moslem] heilige of Wali van Allah; in Urdu verwys karamat of keramat na die wonderwerking van 'n heilige, soms word dit ook as sinoniem vir heilige gebruik.

Die meer algemeen gebruikte spelling word hier in plaas van die erkende Afrikaanse "Joesoef" gebruik.

Raidt, E.H. 1971. François Valentyn Beshryvinge van de Kaap der Goede Hoop met de zaaken daar toe behoorende. Kaapstad: Van Riebeeck Vereniging, Vol. 1, p. 198.

Brain, J.S. (ed.). 1988. The Cape diary of bishop Patrick Raymond Griffith for the years 1837-1839. Cape Town: Southern African Catholic Bishops' Conference, pp. 189-90.

Aktekantoor, Kaapstad, Akte 6/3/1862, no. 121.

Scherzer, K. 1861. Narrative of the circumnavigation of the globe by the Austrian frigate Novara, (commodore b. Von Wullerstorf-Urbair,): undertaken by order of the imperial government, in the years l857,1858, & 1859. London: Saunders, Otley & Co, pp. 244-248.

Seremoniële hoofstad [Fatehpur = stad van oorwinning] van 1569 tot 1574 deur die Mughale Keiser Akbar (1542-1605) by Sikri, die hermitage van sy spirituele gids, Sjeg Salim Chisti, opgerig. Die tombe wat deur Colvin beskryf word, is deur Shah Jahan (1592-1666) herbou.

Colvin, I.D. 1909. Romance of Empire, South Africa. London: TC & EL Jack, pp. 16168.

Böeseken, A.J. 1961. Resolusies van die Politieke Raad III 1681-1707. Kaapstad: Argiefkomitee, p. 283 (14.06.1694).

Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, pp. 12-13

Van Rensburg, A. & Van Bart, M. 2004. Waar rus Sjeg Yusuf: van die Kaap tot in Makassar. Kultuurkroniek, Bylae by Die Burger, 10 Julie, p.13.

________________________________

 

Schalk W le Roux, Gordonsbaai, Februarie 2013

 

See also Van Bart, M. & Van Rensburg A.

 

________________________________

 

Wording on Minaret:

 

IN MEMORY OF

SHEIKH YUSUF

MARTYR & HERO

OF BANTAM

1629 - 1699

THIS MINARET

WAS ERECTED BY

HAJEE SULLAIMAN

SHAHMAHOMED

IN THE REIGN OF

KING GEORGE V

MAY 1925

 

_____________________

 

THIS MEMORIAL WAS UNVEILED

19TH DECEMBER 1925 BY

SIR FREDERIC DE WAAL

KCMG:LLD:FIRST ADMINISTRATOR

OF THE CAPE PROVINCE

IN THE YEAR WHEN THIS

DISTRICT WAS VISITED BY

HIS ROYAL HIGNESS

THE PRINCE OF WALES

4TH MAY 1925

 

_____________________

 

THE "DARGAN" OF ASHBAT

[COMPANIONS] OF SAINT SHEIKH YUSSUF

[GALERAN TUANSE] OF MACASSAR.

_____

 

HERE LIE THE REMAINS OF FOUR OF FORTY-NINE

FAITHFUL FOLLOWERS WHO AFTER SERVING

IN THE BANTAM WAR OF 1682-83, ARRIVED WITH

SHEIKH YUSSUF AT THE CAPE FROM CEYLON,

IN THE SHIP "VOETBOOG" IN THE YEAR 1694.

_____

 

THIS COMMEMORATION TABLET WAS ERECTED

DURING THE GREAT WAR ON 8 JANUARY 1918.

BY HAJEE SULLAIMAN SHAHMAHOMED.

SENIOR TRUSTEE.

 

Wording on plaque:

 

PRESIDENT SOEHARTO

OF THE REPUBLIC OF INDONESIA

VISITED THIS SHRINE ON 21 NOVEMBER 1997

TO PAY RESPECT TO THE LATE SHEIKH YUSSUF OF

MACASSAR UPON WHOM THE TITLE OF NATIONAL

HERO WAS CONFERRED BY THE INDONESIAN GOVERNMENT

ON 7 AUGUST 1995

 

Writings about this Kramat of Sheikh Yusuf

 

Davids, Achmat. 1980. The Mosques of Bo-Kaap - A social history of Islam at the Cape. Athlone, Cape: The South African Institute of Arabic and Islamic Research. pp 37-40.

_______________________________________________

De Bosdari, C. 1971. Cape Dutch Houses and Farms. Cape Town: AA Balkema. pp 73.

_______________________________________________

De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1. Kaapstad: RGN/Tafelberg. pp 429-430.

_______________________________________________

Du Plessis, Izak David. 1944. The Cape Malays. Cape Town: Maskew Miller. pp 4-7.

_______________________________________________

Jaffer, M. 2001. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar (Kramat) Society. pp 17-19.

_______________________________________________

Jaffer, Mansoor. 1996. Guide to the Kramats of the Western Cape. Cape Town: Cape Mazaar Kramat Society. pp 17.

_______________________________________________

Le Roux, SW. 1992. Vormgewende invloede op die ontwikkeling van moskee-argitektuur binne die Heilige Sirkel aan die Kaap tot 1950 . Pretoria: PhD-verhandeling: Universiteit van Pretoria. pp 201-202.

_______________________________________________

Oxley, John. 1992. Places of Worship in South Africa. Halfway House: Southern Book Publishers. pp 63-64.

_______________________________________________

Potgieter, DJ (Editor-in-chief). 1975. Standard Encyclopaedia of South Africa [SESA] Volume 11 Tur-Zwe. Cape Town: Nasou. pp 567.

_______________________________________________

Potgieter, DJ (Editor-in-chief). 1972. Standard Encyclopaedia of South Africa [SESA] Volume 6 Hun-Lit. Cape Town: Nasou. pp 454-455.

_______________________________________________

Rhoda, E. 2010. Hajee Sullaiman Shahmahomed and the shrine of Shayk Yusuf of Macassar at Faure. : Unpublished manuscript.

_______________________________________________

Van Selms, A. Joesoef, Sjeik: in De Kock, WJ. 1976. Suid-Afrikaanse biografiese woordeboek : Deel 1: pp 429-430

________________________________________

 

Shaykh Yusuf was born at Macassar in 1626. He was also known as Abadin Tadia Tjoessoep. He was of noble birth, a maternal nephew of King Biset of Goa. He studied in Arabia under the tutelage of several pious teachers.

 

When Shaykh Yusuf arrives at the Cape, on the Voetboeg, he was royally welcomed by Governor Simon van de Stel. His Indonesian background necessitated that he and his 49 followers be settled well away from Cape Town. They were housed on the farm Zandvliet, near the mouth of the Eeste River, in the general area now called Macassar. He received an allowance of 12rix dollars from the Cape authorities for support of himself and his party. At Zandvliet Shaykh Yusuf’s settlement soon became a sanctuary for fugitive slaves. It was here that the first cohesive Muslim community in S.A. was established. The first settlement of Muslims in South Africa was a vibrant one, despite its isolation. It was from here that the message of Islam was disseminated to the slave community living in Cape Town. When Shaykh Yusuf died on 23 May 1699, he was buried on the hill overlooking Macassar at Faure. A shrine was constructed over his grave. Over the years this shrine has been rebuilt and renewed. Today it remains a place of pilgrimage.

This picture is almost 2 weeks old and we have more snow than this but I realized that my last Sakura photo was taken in September... Whoopsie, I guess. Let's just blame her almost-broken body and the fact that the most suitable season for her is summer.

 

She has new eyechips but you can't really see them here. :P I was in an anime/gaming convention last weekend and they had one table where they sold Pullips, wigs and Obitsu bodies and I bought a new wig (It was meant for Cassie but I think that Sakura's going to get it). The only problem is that it was too big and when I tried to make it smaller it had this super annoying air bubble in the middle. Is there a specific way to sew it away? I'd love to make it look normal without beanies :/

 

~ ~ ~

 

School is trying to kill me when this period/semester/? is approaching its end. Too much homework to do, too many projects to finish, too many exams coming... No time for uploading anything here nor to my blog Dx

 

And photographing dolls outside is basically killing me. It's -15°C every day and even walking to the bus stop in the morning is too much for me! (and I live in Southern Finland, some places in Lapland have had even -40°C ...)

site specific vitrine

camera obscura, stereoscoop, mixed media

 

A recurring element in Melissa’s working process is the research and exploration of unstable media. This exploration results in drawings, objects, installations, machines and public-rural interventions. Cruz Garcia is interested in an artisan and portable way of creating performative machines and digital media intending to put the public in a situation where he/she is active part of the work. Using purely what the possibilities and the circumstances provide and in contrast with the concept-subject she is currently employing, Melissa aims to formulate hypothetical futures. She takes discarded materials attributed to different cultures, de-contextualizes and refreshes them by a physical and conceptual transformation.

 

www.melissacruzgarcia.com/

 

Horseheads, NY. August 2017.

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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com

The Haft Sîn

 

Haft Sîn (هفت سین) or the seven 'S's is a major tradition of Norouz. The haft sin table includes seven items specific starting with the letter S or Sîn (س) in Persian alphabet). The items symbolically correspond to seven creations and holy immortals protecting them. Originally called Haft Chin (هفت چین), the Haft Sin has evolved over time, but has kept its symbolism. Traditionally, families attempt to set as beautiful a Haft Sîn table as they can, as it is not only of traditional and spiritual value, but also noticed by visitors during Norouzi visitations and is a reflection of their good taste.

 

The Haft Sin items are:

 

* sabzeh - wheat, barley or lentil sprouts growing in a dish - symbolizing rebirth

* samanu - a sweet pudding made from wheat germ - symbolizing affluence

* senjed - the dried fruit of the oleaster tree - symbolizing love

* sîr - garlic - symbolizing medicine

* sîb - apples, - symbolizing beauty and health

* somaq - sumac berries - symbolizing (the color of) sunrise

* serkeh - vinegar - symbolizing age and patience

 

Other items on the table may include:

 

* traditional Iranian pastries such as baghlava, toot, naan-nokhodchi

* dried nuts, berries and raisins (Aajeel)

* lit candles (enlightenment and happiness)

* a mirror

* decorated eggs, sometimes one for each member of the family (fertility)

* a bowl with goldfish (life, and the sign of Pisces which the sun is leaving)

* a bowl of water with an orange in it (the earth floating in space)

* rose water for its magical cleansing powers

* the national colours, for a patriotic touch

* a holy book (e.g., the Qur'an, Avesta, Kitáb-i-Aqdas, Bible, or Torah) and/or a poetry book (almost always either the Shahnama or the Divan of Hafez)

A Ride on the Rheingold, 12 March 1980

 

My March 1980 Eurailpass trip did not have too many specific objectives. I pretty much made up my itinerary as I went along, thinking "this might be a good idea" and doing it.

 

There were a few things I'd wanted to do and among them were rides on Germany's Rheingold and Le Mistral in France. Both were TEEs in 1980, 1st class only. The TEE network was not as extensivfe by 1980 as it had been a few years earlier with some TEEs having been replaced by or reclassified as Intercity trains with 2nd class as well as 1st class cars. In fact, Germany's Intercity fleet ran every hour with a diner and first class cars that came from the same pool as TEEs would use.

 

I'd read about the Rheingold in various publications since the 1960s. At one time, it had featured a dome car, but that was gone by 1980. It was one of the few European trains with a lounge car as well as a diner.

 

I''d wound up in Switzerland after starting my travels in Spain and probably decided to use the Rheingold to leave Switzerland when I got there. At the time, the Rheingold was a Geneva-Amsterdam train with through cars from Milan and Chur. The Milan car ran on the Tiziano, a Milan-Hamburg train classed an IC in Germany, and is what I rode as the Tiziano swapped directions and power in Luzern after crossing the Gotthard line.

 

The Rheingold trip was my first time in Germany after having been interested in Germany railways since the late 1960s when I got Marklin model trains, and I was very impressed by the 200 km/h running in placed behind a Class 103 electric as well as the overall eifficiency and level of service of the DB. I had gotten used to that level of service, if not quite the speed in several days in Switzerland, but the DB really made a strong positive impression. The Rheingold was one fo the few trains where I ate in the dining car...despite having a 1st class railpass, this was definitely a budget trip and I usually got food at grocery stores or cheap restaurants, as diners are expensive.

 

While waiting at Luzern for the Tiziano, the Metropolitano came through southbound. This was a Frankfurt-Milan IC train with FS 2nd class cars, DB 1st class and, in Switzerland, a Swiss diner and baggage car that looked quite a bit older than the sleek Italian and German coaches.

 

The trip on the Rheingold had a bit of comedy at the Dutch border...Dutch customs searched my bags. I had been on the road for close to 2 weeks since leaving my friends in Belgium and had gone through just about all of my clothes, underwear and socks in that time. I was planning to find a laundromat in Amsterdam as I'd have all day in the Netherlands, so the customs officer got a nosefull of my dirty laundry as he searched for contraband. I was thinking, "You don't smuggle drugs INTO the Netherlands, you buy them in Amsterdam and take them elsewhere!" I had nothing illegal with me, just a lot of film, cameras and dirty laundry.

 

The Rheingold stuck aroundd for a few more years at the TEE network turned into IC and EuroCity trains. I saw it in 1984, by which time, its cars had an extra stripe to distinguish them from the normal DB IC 1st class and dining cars.

 

I just checked and today there is no through Geneva-Amsterdam service. Taking a combination of TGV, and Thalys via Paris with a change of stations takes about 2 1/2 hours less time than the 1980 Rheingold did. From Basel, once again, the trip is faster, but entails several changes of trains, including one ICE and Thalys route with changes at Koln and Brussels. TGVs and ICEs do not lend themselves to having cars switched in and out.

Māri (Tamil: மாரி), also known as Mariamman (Tamil: மாரியம்மன்) and Mariaai (Marathi: मरी आई), both meaning "Mother Mari", spelt also Maariamma (Tamil: மாரியம்மா), or simply Amman or Aatha (Tamil: அம்மன், "mother") is the South Indian Hindu goddess of rain. She is the main South Indian mother goddess, predominant in the rural areas of Tamil Nadu, Karnataka, Andhra Pradesh and Maharashtra. Māri is closely associated with the Hindu goddesses Parvati[1]and Durga[2] as well as with her North Indian counterpart Shitaladevi. Goddess Mariamman and Goddess Kali are closely associated with each other.

 

Festivities for her happen during the late summer, early autumn season of "Aadi". Throughout the Tamil Nadu and deccan region, grand festival known as "Aadi Thiruvizha" are taken for Maariamman. Her worship mainly focuses on bringing rains and curing diseases like cholera, smallpox, and chicken pox.

 

She is worshipped in accordance to the local agamas as "Pidari" or the "Grama Devata" usually by non-Brahmin priests or in some cases of big temples like Samayapuram Maariamman temple, also by Brahmin priests. According to shaktha agamas, she is depicted in sitting posture and might be flanked some times by Ganesha and Subramaniya or Ganesha and Naaga on her sides.[citation needed] She is usually taken in procession in a decorated chariot.

 

Origin[edit]

 

Mariyamman in Tirisool, 10th century, chola peroid,Tamil Nadu,India.

 

Erode Mariamman Ther Thiruvilla

Mariamman is an ancient goddess, whose worship probably originated from pre-Vedic[citation needed] mother goddess cult of Dravidian people before the arrival of the Aryans[citation needed] with their Brahmanic religion[citation needed] .This is well attested by the unemployment of Brahmins in officiating the worshipping rituals of the goddess and by the non-Vedic worshipping method that was embraced by her devotees. In Tamil, the word 'Maari' would mean rain and 'amman' would literally mean mother but here "mother nature.". 'Maari' can also mean female form of 'Indra' who is also called 'Maara'. Since the 'Indra' worship was prevalent among the Sangam Tamil people, 'Maari' as a female form of 'Maara' or 'Indra' is worshipped for bestowing rainfall. 'Indrani' is one of the saptha kannikas and the 7 kannikas find innumerable references in Tamil Sangam literature as well as temple worship. She was believed and worshipped by the ancient Dravidian people to bring rain and hence prosperity to them as their vegetation was mainly dependent upon rain. The goddess was not a local deity, connected to a specific location but worshiped throughout the Dravidian nation.

 

Worship[edit]

The worshiping methods are non-vedic and often accompanied by various kinds of folk dancing.[3] Offerings such as Pongal and Koozh that are cooked using earthen pots are also made during the festive season. Rituals such as fire walking and mouth or nose piercing are also practised.

 

At the temple of Samayapuram, which lies six miles to the north of Tirucirapalli, the Hindu system of worship is still seen today for the worship of Mariyamman. worship for Mariyamman is a ten-day festival, organized by temple authorities during the second week in April. Some continue to use an old village customs of worship by offering chickens and goats to the deity, but the animals are no longer sacrificed but sold after being offered. But the main worshipping of the goddess occurs on the road a mile or two from the temple. A hurried walk and dance carries hundreds of thousands of worshippers along the road to the temple. Countless people in the crowd have fasted, shaved their heads, and wear bright yellow clothes, which are sacred to the goddess. Many women and children carry a pot on their heads decorated with the goddess’s favourite leaves of the margosa tree. Young men and women carry similar pots but are followed by drummers and dance more wildly. Larger men and women carry pots of charcoal fire. Some put themselves through a special tribulation of having one of the sacred weapons, dagger, trident, or a spear, inserted through their cheeks or tongues.[4] Through this worship each individual realizes themselves and others through samsara and moksha. In this self realization he or she is bonded with the goddess, which is the underlining reason of the worship.

 

Myths[edit]

One story about the origin of Maariamman is she was the wife of Thiruvalluvar, the Tamil poet, who was an outcast.[citation needed] She caught smallpox and begged from house to house for food, fanning herself with leaves of the neem or margosa tree to keep the flies off her sores. She recovered and people worshipped her as the goddess of smallpox. To keep smallpox away, neem leaves are hung above the main entryways of South Indian homes. This temple houses both Thiruvalluvar and his wife Vaasuki Ammaiyar.[citation needed]. This is in sharp contrast to the life of Thiruvalluvar where in he advocated love for all. Hence this story cannot be taken to be credible.

 

The Tamil word Muthu means pearl and hence in the ancient usage of the language 'Muthu Maari' was a celebrating, poetic way of telling the rain falls in droplets which were related to pearls given by the nature god for property. Maariamman was also called 'Muthu Maariamman' which meant the goddess who gives prosperous rain. This was wrongly connected to the pearl-like small form of the boils that occur during chickenpox.[citation needed]

 

Another story involves the beautiful virtuous Nagavali, wife of Piruhu[citation needed] , one of the nine Rishis. One day the Rishi was away and the Trimurti came to see if her famed beauty and virtue was true. Nagavali did not know them and, resenting their intrusion, turned them into little children. The gods were offended and cursed her, so her beauty faded and her face became marked like smallpox. The Rishi returned, found her disfigured, and drove her away, declaring she would be born a demon in the next world and cause the spread of a disease which would make people like her. She was called Mari, meaning 'changed.' Both stories are reported by Whitehead[citation needed] and he remarks that in Mysore he was told that Mari meant sakti, power[citation needed] .

 

Local goddesses such as Mariamman who were believed to protect villages and their lands and represent the different castes of their worshippers have always been an important part of the religious landscape of South India. However, we can note periods of special significance. The eclecticism of the Vijayanagar period (1336–1565) encouraged folk religion, which became more important and influenced the more literate forms of religion. In the last century and a half there has been a rebirth of Tamil self-consciousness (see Devotion to Murukan). In the middle of the present century deities such as Mariamman have become linked to the "great tradition" as the strata of society which worship the goddess has become integrated into the larger social order.

 

Iconography[edit]

Māri is usually pictured as a beautiful young woman with a red-hued face, wearing a red dress. Sometimes she is portrayed with many arms—representing her many powers—but in most representations she has only two or four.

 

Māri is generally portrayed in the sitting or standing position, often holding a trident (trisula) in one hand and a bowl (kapala) in the other. One of her hands may display a mudra, usually the abhaya mudra, to ward off fear. She may be represented with two demeanours—one displaying her pleasant nature, and the other her terrifying aspect, with fangs and a wild mane of hair.

 

Goddess of medicine[edit]

 

The Nanalthidal MMāri (Tamil: மாரி), also known as Mariamman (Tamil: மாரியம்மன்) and Mariaai (Marathi: मरी आई), both meaning "Mother Mari", spelt also Maariamma (Tamil: மாரியம்மா), or simply Amman or Aatha (Tamil: அம்மன், "mother") is the South Indian Hindu goddess of rain. She is the main South Indian mother goddess, predominant in the rural areas of Tamil Nadu, Karnataka, Andhra Pradesh and Maharashtra. Māri is closely associated with the Hindu goddesses Parvati[1]and Durga[2] as well as with her North Indian counterpart Shitaladevi. Goddess Mariamman and Goddess Kali are closely associated with each other.

 

Festivities for her happen during the late summer, early autumn season of "Aadi". Throughout the Tamil Nadu and deccan region, grand festival known as "Aadi Thiruvizha" are taken for Maariamman. Her worship mainly focuses on bringing rains and curing diseases like cholera, smallpox, and chicken pox.

 

She is worshipped in accordance to the local agamas as "Pidari" or the "Grama Devata" usually by non-Brahmin priests or in some cases of big temples like Samayapuram Maariamman temple, also by Brahmin priests. According to shaktha agamas, she is depicted in sitting posture and might be flanked some times by Ganesha and Subramaniya or Ganesha and Naaga on her sides.[citation needed] She is usually taken in procession in a decorated chariot.

 

Origin[edit]

 

Mariyamman in Tirisool, 10th century, chola peroid,Tamil Nadu,India.

 

Erode Mariamman Ther Thiruvilla

Mariamman is an ancient goddess, whose worship probably originated from pre-Vedic[citation needed] mother goddess cult of Dravidian people before the arrival of the Aryans[citation needed] with their Brahmanic religion[citation needed] .This is well attested by the unemployment of Brahmins in officiating the worshipping rituals of the goddess and by the non-Vedic worshipping method that was embraced by her devotees. In Tamil, the word 'Maari' would mean rain and 'amman' would literally mean mother but here "mother nature.". 'Maari' can also mean female form of 'Indra' who is also called 'Maara'. Since the 'Indra' worship was prevalent among the Sangam Tamil people, 'Maari' as a female form of

 

Maara' or 'Indra' is worshipped for bestowing rainfall. 'Indrani' is one of the saptha kannikas and the 7 kannikas find innumerable references in Tamil Sangam literature as well as temple worship. She was believed and worshipped by the ancient Dravidian people to bring rain and hence prosperity to them as their vegetation was mainly dependent upon rain. The goddess was not a local deity, connected to a specific location but worshiped throughout the Dravidian nation.

 

Worship[edit]

The worshiping methods are non-vedic and often accompanied by various kinds of folk dancing.[3] Offerings such as Pongal and Koozh that are cooked using earthen pots are also made during the festive season. Rituals such as fire walking and mouth or nose piercing are also practised.

 

At the temple of Samayapuram, which lies six miles to the north of Tirucirapalli, the Hindu system of worship is still seen today for the worship of Mariyamman. worship for Mariyamman is a ten-day festival, organized by temple authorities during the second week in April. Some continue to use an old village customs of worship by offering chickens and goats to the deity, but the animals are no longer sacrificed but sold after being offered. But the main worshipping of the goddess occurs on the road a mile or two from the temple. A hurried walk and dance carries hundreds of thousands of worshippers along the road to the temple. Countless people in the crowd have fasted, shaved their heads, and wear bright yellow clothes, which are sacred to the goddess. Many women and children carry a pot on their heads decorated with the goddess’s favourite leaves of the margosa tree. Young men and women carry similar pots but are followed by drummers and dance more wildly. Larger men and women carry pots of charcoal fire. Some put themselves through a special tribulation of having one of the sacred weapons, dagger, trident, or a spear, inserted through their cheeks or tongues.[4] Through this worship each individual realizes themselves and others through samsara and moksha. In this self realization he or she is bonded with the goddess, which is the underlining reason of the worship.

 

Myths[edit]

One story about the origin of Maariamman is she was the wife of Thiruvalluvar, the Tamil poet, who was an outcast.[citation needed] She caught smallpox and begged from house to house for food, fanning herself with leaves of the neem or margosa tree to keep the flies off her sores. She recovered and people worshipped her as the goddess of smallpox. To keep smallpox away, neem leaves are hung above the main entryways of South Indian homes. This temple houses both Thiruvalluvar and his wife Vaasuki Ammaiyar.[citation needed]. This is in sharp contrast to the life of Thiruvalluvar where in he advocated love for all. Hence this story cannot be taken to be credible.

 

The Tamil word Muthu means pearl and hence in the ancient usage of the language 'Muthu Maari' was a celebrating, poetic way of telling the rain falls in droplets which were related to pearls given by the nature god for property. Maariamman was also called 'Muthu Maariamman' which meant the goddess who gives prosperous rain. This was wrongly connected to the pearl-like small form of the boils that occur during chickenpox.[citation needed]

 

Another story involves the beautiful virtuous Nagavali, wife of Piruhu[citation needed] , one of the nine Rishis. One day the Rishi was away and the Trimurti came to see if her famed beauty and virtue was true. Nagavali did not know them and, resenting their intrusion, turned them into little children. The gods were offended and cursed her, so her beauty faded and her face became marked like smallpox. The Rishi returned, found her disfigured, and drove her away, declaring she would be born a demon in the next world and cause the spread of a disease which would make people like her. She was called Mari, meaning 'changed.' Both stories are reported by Whitehead[citation needed] and he remarks that in Mysore he was told that Mari meant sakti, power[citation needed] .

Local goddesses such as Mariamman who were believed to protect villages and their lands and represent the different castes of their worshippers have always been an important part of the religious landscape of South India. However, we can note periods of special significance. The eclecticism of the Vijayanagar period (1336–1565) encouraged folk religion, which became more important and influenced the more literate forms of religion. In the last century and a half there has been a rebirth of Tamil self-consciousness (see Devotion to Murukan). In the middle of the present century deities such as Mariamman have become linked to the "great tradition" as the strata of society which worship the goddess has become integrated into the larger social order.

 

Iconography[edit]

Māri is usually pictured as a beautiful young woman with a red-hued face, wearing a red dress. Sometimes she is portrayed with many arms—representing her many powers—but in most representations she has only two or four.

 

Māri is generally portrayed in the sitting or standing position, often holding a trident (trisula) in one hand and a bowl (kapala) in the other. One of her hands may display a mudra, usually the abhaya mudra, to ward off fear. She may be represented ariamman,Kattucherry near Porayar,Tamil Nadu

Mariamman cures all so-called "heat-based" diseases like pox and rashes. During the summer months in South India (March to June), people walk miles carrying pots of water mixed with turmeric and neem leaves to ward off illnesses like the measles and chicken pox.[why?] In this way, goddess Māri is very similar to North Indian goddess Shitaladevi.

 

Fertility goddess[edit]

Devotees also pray to Mariamman for familial welfare such as fertility, healthy progeny or a good spouse. The most favoured offering is "pongal", a mix of rice and green gram, cooked mostly in the temple complex, or shrine itself, in terracotta pots using firewood.

 

Some festivals in honour of goddess Māri involve processions carrying lights. In the night, the devotees carry oil lamps in procession.[why?] Mariamman is the family deity for many families in Thanjavur district,Tamil Nadu.It is usually a family custom to initially worship the family deity for any family occasion such as wedding. Many families even have a custom of inviting the family deity first for all occasion in the family.The family deity(Kula-theivam)worship is considered more important in any Hindu festival. The family deity worship runs many generation and it also gives a clue to the origin of family,because the family deities are usually located within the vicinity of the village where the family belongs.

 

Temples[edit]

 

Mariamman temple in a village in Tamil Nadu

 

Main shrine to Mariamman in the Sri Maha Mariamman Temple in Kuala Lumpur, Malaysia.

Most temples to Mariamman are simple village shrines, where non-Brahmins act as lay-priests using non-agamic rituals. In many rural shrines, the goddess is represented by a granite stone with a sharp tip, like a spear head. This stone is often adorned with garlands made of limes and with red flowers. These shrines often have an anthill that could be the resting place of a cobra. Milk and eggs are offered to propitiate the snake.

 

Some temples have also attained enough popularity that Brahmins officiate at them. For example, the Samayapuram temple near the shore of river Cauvery in the northern outskirts of Trichy, maintains a rich agamic tradition and all rituals are performed by Gurukkal of Brahmins.

 

Punainallur, near Thanjavur (Tanjore), is the location of another famous Māri temple. Legend says that Mariamman appeared to the King Venkoji Maharaja Chatrapati (1676–1688) of Tanjore in his dreams and told him she was in a forest of Punna trees three miles distant from Tanjore. The King rushed to the spot and recovered an idol from the jungle. Under the king's orders a temple was constructed, the idol installed and the place was called Punnainallur. Hence the deity of this temple is known as Punnainallur Mariamman. Mud replicas of different parts of the human body are placed in the temple as offerings by devotees pleading for cure. It is said that the daughter of Tulaja Raja (1729–35) of Tanjore, who lost her eyesight due to illness, regained it after worshipping at this temple. Shri Sadasiva Brahmendra is said to have made the Moola Murthy of Goddess Maariamman from the mud from the ant hill where snakes had resided.

 

Erode Mariamman temple festival is grand one in Tamil Nadu. Three mariamman goddess named small, mid and big mariamman in three corners of city combines to a festival at every April month of season. It has ther thiruvilla and all devotions to God which ends in Cauvery river to stack away the kambam(Mariamman's husband) into the flowing river water.

 

Karur Mariamman temple festival which falls in the end of may month every year is also a well noticed grand festival in TamiNadu.

 

Other important temples of Mariamman in Tamil Nadu are in the towns of Veerapandi, Theni, Anbil (near Trichy), Narthamalai, Thiruverkadu, Salem, Virudhunagar and Sivakasi, Vellore. In Chennai (Madras), a famous Mariamman temple is the Putthu Mariamman—the Putthu (ant hill) is across the road from the temple and is located on the Velachery Main Road.

 

Singer Harini rendered in 2012 a song on Samayapuram Mariamman deity which became part of the album OM NAVA SAKTHI JAYA JAYA SAKTHI. The song narrates the power of Sakthi as Samayapuram Amman which has the Peruvalai River as Punya Theertham as believed by people in that area.[5]

 

Another famous Mariamman temple is situated in the state of Karnataka, in the town of Kaup, seven kilometres from the famous temple town of Udipi.

  

Sri Mariamman temple in Medan, Indonesia

Marubai temple matunga

Mariamman Koil, Pilakool

Mariamman Temple, Ho Chi Minh City

Mariamman Temple, Bangkok

Mariamman Temple, Pretoria

Punnainallur Mariamman

Samayapuram Mariamman Temple

Sri Ramamirthamman Temple, Erumaipadukai

Sri Mahamariamman Temple, Kuala Lumpur

Sri Mariamman Temple, Medan

Sri Mahamariamman Temple, Penang

Sri Mariamman Temple, Singapore

Sri Muthumariamman Temple, Negombo

Mariamman Temple, Pretoria

Sri Ramamirthamman Temple[edit]

Sri Ramamirthamman Temple is a famous temple on the banks of the River Vennar near Needamangalam; the beautiful village is called Erumaipadukai. Shri Maan S.Ramachandran pillai is the founder of Ramamirthamman Temple. This amman kovil thiruvilla was very famous; many people celebrate this amman kovil year festival.

 

It is believed by the devotees that the Goddess has enormous powers over curing illnesses[1] and hence, it is a ritual to buy small metallic replicas, made with silver or steel, of various body parts that need to be cured, and these are deposited in the donation box.[citation needed] Devotees also offer mavilakku (Tamil: மாவிளக்கு), a sweet dish made of jaggery, rice flour and ghee. [2] Offerings of raw salt is also made to the Goddess by the rural devotees. The temple attracts thousands of devotees on Sundays, Tuesdays and Fridays, the holy days for Ramamirthamman.

 

Outside India[edit]

There are many Mariamman temples outside of India, in Mauritius, Sri Lanka, Malaysia, Singapore, Thailand, Fiji, Guyana, Vietnam, Germany[6] and South Africa, the product of efforts of the Tamil diaspora. Some notable temples include the Sri Mariamman temple in Singapore, Sri Mariamman temple in Bangkok, a Mariamman temple in Pretoria, South Africa, as well as one in Medan, Sri Mariamman Temple Karachi Pakistan, Indonesia.[citation needed]

 

Hindu tradition[edit]

In Hindu tradition, Mariamman is the sister of Lord Vishnu (Sriranganathar) and called Mahamaya.[citation needed]

 

The Samayapuram Mariamman is worshipped on the first day of the Tamil month of Vaikasi by the Iyengar/Srivaishnava Brahmins of Srirangam. They claim that she is the sister of Lord Renganath (a form of Vishnu) of Srirangam.[citation needed] This is the second most prominent temple in Tamil Nadu, following Palani, on the basis of income.[citation needed]

 

Another version of the traditions suggests she is the mother of Parasurama, Renukadevi who is appeased for rains. She is also known as Sri Chowdeshwari Devi in most of the parts of Karnataka and Andhra Pradesh. In Mysore region she is worshipped as both Chowdeshwari Devi and as well as Mariamman. There are many instances where Mariamman has appeared to people in form an old woman wearing red sari with green bangles and three mangalsutras.[clarification needed] She is also regarded as the Gramdevata[clarification needed] of certain villages, thus reducing the incidence of contagious disease in these villages. Another version depicts her as Pattalamma, goddesses of truthfulness and punctuality. She is said to punish any villager failing to practice these virtues.[citation needed]

 

In reference to Sanskrit stotras, it is suggested Mariamman is not sister of Lord Visnu rather feminine aspect of Lord.[citation needed] The Lord incarnates in this form during Kali yuga, when knowledge is almost void or ignorance at peak. Even few refer or map to other female goddess like Renuka devi, none of them have been proved or validated. The Mariamman represents core aspects of Lord in form of curative aspect to signify direction and awakening of knowledge. She is referred as MahaLakshmi, Mahasaraswati and MahaKali. Varamahalakshi is dedicated to Mariamman. It also represents finite aspect of infinite qualities.

 

en.wikipedia.org/wiki/Mariamman

deposited in the donation box.[citation needed] Devotees also offer mavilakku (Tamil: மாவிளக்கு), a sweet dish made of jaggery, rice flour and ghee. [2] Offerings of raw salt is also made to the Goddess by the rural devotees. The temple attracts thousands of devotees on Sundays, Tuesdays and Fridays, the holy days for Ramamirthamman.

 

Outside India[edit]

There are many Mariamman temples outside of India, in Mauritius, Sri Lanka, Malaysia, Singapore, Thailand, Fiji, Guyana, Vietnam, Germany[6] and South Africa, the product of efforts of the Tamil diaspora. Some notable temples include the Sri Mariamman temple in Singapore, Sri Mariamman temple in Bangkok, a Mariamman temple in Pretoria, South Africa, as well as one in Medan, Sri Mariamman Temple Karachi Pakistan, Indonesia.[citation needed]

 

Hindu tradition[edit]

In Hindu tradition, Mariamman is the sister of Lord Vishnu (Sriranganathar) and called Mahamaya.[citation needed]

 

The Samayapuram Mariamman is worshipped on the first day of the Tamil month of Vaikasi by the Iyengar/Srivaishnava Brahmins of Srirangam. They claim that she is the sister of Lord Renganath (a form of Vishnu) of Srirangam.[citation needed] This is the second most prominent temple in Tamil Nadu, following Palani, on the basis of income.[citation needed]

 

Another version of the traditions suggests she is the mother of Parasurama, Renukadevi who is appeased for rains. She is also known as Sri Chowdeshwari Devi in most of the parts of Karnataka and Andhra Pradesh. In Mysore region she is worshipped as both Chowdeshwari Devi and as well as Mariamman. There are many instances where Mariamman has appeared to people in form an old woman wearing red sari with green bangles and three mangalsutras.[clarification needed] She is also regarded as the Gramdevata[clarification needed] of certain villages, thus reducing the incidence of contagious disease in these villages. Another version depicts her as Pattalamma, goddesses of truthfulness and punctuality. She is said to punish any villager failing to practice these virtues.[citation needed]

 

In reference to Sanskrit stotras, it is suggested Mariamman is not sister of Lord Visnu rather feminine aspect of Lord.[citation needed] The Lord incarnates in this form during Kali yuga, when knowledge is almost void or ignorance at peak. Even few refer or map to other female goddess like Renuka devi, none of them have been proved or validated. The Mariamman represents core aspects of Lord in form of curative aspect to signify direction and awakening of knowledge. She is referred as MahaLakshmi, Mahasaraswati and MahaKali. Varamahalakshi is dedicated to Mariamman. It also represents finite aspect of infinite qualities.

 

en.wikipedia.org/wiki/Mariamman

 

The vista along the Point Buchon trail, accessed via Montana de Oro State Park on California's Central Coast. Access to the trail is controlled by PG&E as it is on part of the property set aside for the Diablo Canyon Nuclear Power Plant (visible in the distance from the southern terminus of the trail). Open specific hours/days of the week with sign in at the trailhead.

Capitolo primo. L’astratta qualità del ricordo. (2016/2017).

Installazione site specific al Museo Civico Villa dei Cedri per la mostra "In(de)finiti luoghi".

Ticino, Svizzera.

 

Chapter one. The abstract quality of remembrance. (2016/2017)

Site specific installation at Villa dei Cedri Museum for the exhibition "In(de)finiti luoghi".

Ticino, Swizterland.

Built in 1858 at no. 2605 East Franklin Street.

 

"Church Hill, also known as the St. John's Church Historic District, is an Old and Historic District in Richmond, Virginia. This district encompasses the original land plat of the city of Richmond. Church Hill is the eastern terminus of Broad Street, a major east-west thoroughfare in the Richmond metropolitan area. The name Church Hill is often used to describe both the specific historic district and the larger general area in the East End encompassing other neighborhoods such as Union Hill, Chimborazo, Fairmount, Peter Paul, Woodville, etc.

 

Richmond (/ˈrɪtʃmənd/) is the capital city of the Commonwealth of Virginia in the United States. It is the center of the Richmond Metropolitan Statistical Area and the Greater Richmond Region. Richmond was incorporated in 1742 and has been an independent city since 1871. At the 2010 census, the city's population was 204,214; in 2020, the population had grown to 226,610, making Richmond the fourth-most populous city in Virginia. The Richmond Metropolitan Area has a population of 1,260,029, the third-most populous metro in the state.

 

Richmond is at the fall line of the James River, 44 mi (71 km) west of Williamsburg, 66 mi (106 km) east of Charlottesville, 91 mi (146 km) east of Lynchburg and 92 mi (148 km) south of Washington, D.C. Surrounded by Henrico and Chesterfield counties, the city is at the intersections of Interstate 95 and Interstate 64 and encircled by Interstate 295, Virginia State Route 150 and Virginia State Route 288. Major suburbs include Midlothian to the southwest, Chesterfield to the south, Varina to the southeast, Sandston to the east, Glen Allen to the north and west, Short Pump to the west and Mechanicsville to the northeast.

 

The site of Richmond had been an important village of the Powhatan Confederacy, and was briefly settled by English colonists from Jamestown from 1609 to 1611. The present city of Richmond was founded in 1737. It became the capital of the Colony and Dominion of Virginia in 1780, replacing Williamsburg. During the Revolutionary War period, several notable events occurred in the city, including Patrick Henry's "Give me liberty, or give me death!" speech in 1775 at St. John's Church, and the passage of the Virginia Statute for Religious Freedom written by Thomas Jefferson. During the American Civil War, Richmond was the capital of the Confederacy. It entered the 20th century with one of the world's first successful electric streetcar systems. The Jackson Ward neighborhood is a traditional hub of African-American commerce and culture.

 

Richmond's economy is primarily driven by law, finance, and government, with federal, state, and local governmental agencies, as well as notable legal and banking firms in the downtown area. The city is home to both a U.S. Court of Appeals, one of 13 such courts, and a Federal Reserve Bank, one of 12 such banks. There are several Fortune 500 companies headquartered in the city including: Dominion Energy, WestRock, Performance Food Group, CarMax, ARKO, and Altria with others, such as Markel, in the metropolitan area.

 

The city continues to struggle with exceptionally high rates of murder and violent crime, making it one of the most dangerous cities in the United States." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

Project Room

Barry McGee (TWIST)

Site-Specific Loft Installation

 

"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."

 

Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.

 

I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.

Not to be too specific with a title but this is exactly as it says it is. I wanted to get some textures going in a bit more detail than I was able to get in the photo uploaded before this one. Alas, I don't have a series of moss to entertain you.

 

I grew up with this stuff all over my front yard. There were time I'd be walking barefoot on gravel or hot pavement and I would seek the comfort of the moss to rest my aching feet. The moss is still there but I don't go barefoot as often as I used to . . . because I know better now.

A few days ago, on Sunday to be specific, while my family and I were on a field trip to a nearby town in San Francisco, we saw the moon surrounded by a halo of light as if it was iluminated from a giant light reflector in the ground. I couldnt get a better shot cause we were riding a Little train around town.. Funny things happening with the moon lately!