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Pictured without systems, in compact mode for shipping.
The 'Scylla', Model KS-612χ, vertical tank. featuring an arctic camouflage paint scheme. The latest release in the Χοινόβιον series of vertical tanks from Voyna Engineering Ltd.
The Scylla was designed primarily as an infantry fighting or support frame for close combat and urban combat operations. While the Scylla offers a viable compromise between mobility, protection, and firepower, it lacks the the offensive punch and high powered weaponry of a main battle frame. With that said, the Scylla features eight hardpoints for attaching frame systems and comes stock with a reactive composite armor that offers partial stealth capabilities.
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Built for Mobile Frame Zero - a tabletop wargame.
Mobile Frame Hangar (MFZ Community Forums).
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Poland after tragic death of its President Lech Kaczynski, who died in a plane crash in Smolensk, Russia, on 10th April 2010.
© Mieszko Stanislawski / Babel Images
Copyright © 2014 Ruggero Poggianella
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Presentata al Salone dell'Automobile di Francoforte del 1951, la 220 era chiamata a sostituire la 230 W153, con la quale condivideva in pratica la stessa struttura telaistica, ad X con tubi a sezione ovale, utilizzata tra l'altro anche sulle più piccole 170V e 170S. Di questi modelli, tra l'altro, la 220 riprende anche l'impostazione stilistica decisamente retrò, tipica dei modelli del periodo immediatamente antecedente la Seconda guerra mondiale. La differenza estetica principale stava nel frontale, dove trovavano posto nuovi fari dal design più moderno, inglobati nei parafanghi.
La 220 è stata prodotta in tre varianti di carrozzeria, ancora separata dal telaio: berlina, cabriolet (a 2 o a 4 posti) e coupé. La berlina è stata di gran lunga la preferita dal pubblico, con 16.066 esemplari prodotti, mentre le cabriolet hanno totalizzato 2.275 esemplari e le coupé solamente 85 esemplari, anche a causa del fatto che la coupé è stata introdotta solo nel 1954, quando già mancava poco alla cessazione della produzione e quando la berlina non era più in produzione.
Le vere novità stavano nel motore M180 da 2.2 litri, primo 6 cilindri Mercedes-Benz del dopoguerra e primo superquadro della Casa tedesca, un motore di tipo monoalbero in testa, contrariamente al 2.3 litri della sua antenata, che era ad asse a camme laterale e valvole laterali. Con una potenza massima di 80 CV, questo motore spingeva la 220 ad una velocità massima di 140 km/h.
Il cambio era a 4 marce con frizione monodisco a secco, l'impianto frenante era idraulico a 4 tamburi e le sospensioni erano a ruote indipendenti con avantreno a triangoli trasversali e retrotreno a semiassi oscillanti.
La 220 proponeva anche alcune chicche per l'epoca, come la serratura di sicurezza per evitare l'apertura accidentale delle portiere, ed l'impianto di riscaldamento ottenibile a richiesta.
I prezzi di vendita delle 200 W187 erano di 11.925 marchi per la berlina, di 15.160 e 18.860 marchi per le due varianti di cabriolet previste e di ben 20.850 marchi per la coupé.
Tra il 1952 ed il 1953 venne realizzata una serie speciale di 220 (41 esemplari) con carrozzeria torpedo, destinate alle forze di polizia.
Nel 1954, come già detto, la berlina è stata tolta di produzione, sostituita dal modello 220S Ponton. Rimase in produzione solo la coupé, equipaggiata dal 2.2 litri M180 in versione leggermente più potente (85CV), montato sulle prime 220S berlina. La 220 Coupé W187 è stata tolta di produzione l'anno seguente, a sua volta rimpiazzata dalla versione coupé della 220S.
Durante la produzione del modello, vennero realizzati anche 47 telai nudi, destinati ad altre carrozzerie.
The Mercedes-Benz W187 is a luxury car produced by Mercedes-Benz from 1951 to 1955. Introduced at the Frankfurt Motor Show in April 1951, the W187 was powered by a single overhead camshaft inline six-cylinder M180 engine and available as a saloon, coupé, and cabriolet, all designated with the 220 model name. Despite its pre-World War II reputation as a manufacturer of luxury cars, in the immediate post-war years Mercedes-Benz produced only four-cylinder-engined passenger cars. The W187 Mercedes-Benz 220 and flagship W186 Mercedes-Benz 300 Adenauer introduced together in 1951 were the first Mercedes to once again feature six-cylinder engines.
The styling was similar to that of the Mercedes-Benz 170S except that the 170's freestanding headlights were for the 220 integrated into the fenders for a slightly more modern look. Two different cabriolet models were built, conceived as exclusive sporting cars of exclusive character, but these only sold 1,278 and 997 for the "A" (2-door, 2/3-seat) and "B" (2-door, 4-seat) versions, respectively.
In December 1953, just as the saloon and cabriolet "B" models were about to be replaced, a "Cabriolet A" derived W187 Coupé was announced for 1954. The Mercedes-Benz sales department let it be known that this development was a direct response to pressing requests from leading celebrities of the time.
During 1953 the manufacturer replaced the conventionally flat windscreen on the 2/3 seater "Cabriolet A" with a slightly curved screen, which also found its way on to the new coupé: this was a way of highlighting the sporting nature of both models. Nevertheless, the coupé once fitted, as many were, with a steel sunroof, was at the end of 1953 offered for 22,000 Marks which was nearly twice the price for the standard W187 "Limousine", and only 85 of the W187 coupés were actually sold. Between August 1952 and May 1953, 41 special soft top "OTP" bodied W187 220s were produced for the police.
All 220s used newly developed M180 six cylinder 2195cc engine producing 80 hp DIN (86 SAE) (59 kW). In contrast with the rather old fashioned look of the car's body, the new engines attracted much attention in the motoring press, being the first new engine presented by Mercedes-Benz in more than ten years.
The valves were operated by short rocker arms from an overhead camshaft. The engine was unusual in Europe at this time in having oversquare cylinder dimensions with a bore of 80.0mm and a stroke of only 72.8mm, which facilitated the design of an efficient cylinder head. The manufacturer claimed a top speed of 140 km/h (87 mph) for the saloons and 145 km/h (90 mph) for the cabriolets which was faster than the 52 PS (38 kW) powered 170S Cabriolet which the cabriolet version of the W187 replaced and from which its bodywork was derived. The new six-cylinder engine would form the basis, repeatedly enlarged and upgraded as the years went on, for a long line of six-cylinder engines powering mainstream Mercedes-Benz models including the six-cylinder version of the early S-Class models in the 1970s. Because of the extra power in what was, by modern standards, a heavy car, the W187 was equipped with Duplex drum brakes.
With the sedan/saloon bodied cars about to be delisted by the manufacturer in May 1954, in April 1954 the "Cabriolet A" and its Coupé derivative were fitted with a new higher compression 85 PS (63 kW) engine that had been developed for the soon to be announced Ponton bodied Mercedes-Benz W180. These faster sporting versions of the W187 continued in production for a further year. The 220 saloon was replaced by the W105/W180 line in 1953. The coupé and cabriolet continued until August 1955.
The saloon went out of production in May, 1954; the Cabriolet models continued for another 15 months until August 1955. The body of the W187 saloon was closely modelled on the 1938 Mercedes-Benz W153, and despite the modern engine that powered it, already looked old fashioned to many observers on the day it was introduced. Two years earlier, in 1949, the Borgward Hansa had served notice that car design had moved on since the 1930s, and the manufacturer's own 1953 W120 confirmed that "modern" European cars were following the North American trend to lower wider bodied designs. This has been seen as an explanation for the W187's own unusually short production run of slightly above three years for the saloon and less than five years for the longest lived of the Cabriolet models.
The W187 was immediately replaced with the Ponton bodied six cylinder Mercedes-Benz 220a (W180). When the cabriolet was withdrawn in 1955 there was no direct successor. However, slightly more than a year later the all-new Mercedes-Benz 220S Cabriolet and Coupé appeared, respectively in July and October 1956, using, like the saloon on which they were based, a modern ponton style body.
(view it large) Chewing on the urban decay. Concrete wasting away due to the rain pelting on it and then drying out. Broken windows due to loss of heat or maybe stones that grew wings. But still the best visual for the surrounding residents, who possibly once worked there and now can only rely on memories. And strangely enough the rats are still content.
Without a doubt, this was probably one of the most scintillating cosplays of the day. This girl was a natural and the costume was elegant and refined. Follow her here www.instagram.com/sarah_darkeair/
St Botolph-without-Bishopsgate is a Church of England church on the west side of Bishopsgate in the City of London, first mentioned in 1212.[1] It survived the Great Fire of London in 1666, and was rebuilt in 1724–29.
The church is on the west side of Bishopsgate near Liverpool Street station. In the Middle Ages the site was just outside the city walls near the "Bishop's Gate" after which the street is named.[2] St Botolph was a patron saint of travellers, so it was an appropriate dedication for a church near a city gate. There were three other churches of St Botolph in medieval London, at Billingsgate, Aldgate and Aldersgate.[3]
Adjoining the buildings is a substantial churchyard – running along the back of Wormwood Street, the former course of London Wall – and a former school.[4] The church is linked with the Worshipful Company of Bowyers.
Christian worship on this site may have Roman origins, though this is not fully proven. Stow, writing in 1598 only describes the church of his time as standing "in a fair churchyard, adjoining to the town ditch, upon the very bank thereof".[3] It narrowly escaped the Great Fire, the sexton's house having been partly demolished to stop the spread of the flames.[5] Writing in 1708, Hatton described it as "an old church built of brick and stone, and rendered over". By this time the Gothic church had been altered with the addition of Tuscan columns supporting the roof, and Ionic ones the galleries.
n 1710, the parishioners petitioned parliament for permission to rebuild the church on another site, but nothing was done. In 1723 the church was found to be irreparable [5] and the parishioners petitioned again.Having obtained an act of Parliament, they set up a temporary building in the churchyard, and began to rebuild the church. The first stone was laid in 1725, and the new building was consecrated in 1728, though not completed until the next year. The designer was James Gold.[2] or Gould.[6] During construction, the foundations of the original Anglo-Saxon church were discovered.
To provide a striking frontage towards Bishopsgate, the architect placed the tower at the east end, its ground floor, with a pediment on the exterior, forming the chancel. The east end and tower are faced with stone, while the rest of the church is brick, with stone dressings.[2]
The interior is divided into nave and aisles by Composite columns, the nave being barrel vaulted. The church was soon found to be too dark, so a large west window was created, but this was largely obscured by the organ[2] installed in front of it in 1764.[5] In 1820 a lantern was added to the centre of the roof.[2]
The church was designated a Grade II* listed building on 4 January 1950.[7]
By permission of the Rector, the Antiochian Orthodox Church worships there.
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Roscoff, le “coteau du forgeron” en breton, est, aujourd’hui, d’un abord facile, à deux pas de Saint-Pol de Léon, vieille cité épiscopale. En ce début de 3e millénaire, la hache de guerre est définitivement enterrée avec les Anglais. La langue de Shakespeare résonne dans les rues du vieux port, comme celles de Goethe ou de Dante Alighieri. Normal, l’île de Bretagne n’a jamais été si proche que depuis qu’Alexis Gourvennec et ses camarades paysans de la Sica de Saint-Pol créèrent la Britanny Ferry, comme un trait d’union entre trois nations séparées par les caprices de l’Histoire. Au port du Bloscon, de gros paquebots blancs attendent leur provende de touristes à destination des eldorados spirituels des Celtes.
L’ombre des contrebandiers…
Le passé, riche et prospère, est toujours là, visible, à fleur de cette peau grenue de vieux granite. La maison dite de Mary Stuart, se tient toujours debout face au nord, à l’île de Batz, à quelques encablures. Elle avait jadis les pieds dans l’eau, avant la rectification des quais et des bassins à flots. Elle n’est que l’un des multiples témoins de pierre des époques fastes, celles où Roscoff se livrait à un négoce officiel et… moins officiel, les deux participant tout autant à son insolente opulence. La contrebande. Mais la guerre de course aussi. Qui fit la fortune du petit port, chanté par Tristan Corbière, le poète maudit morlaisien, qui avait ici ses quartiers d’été et y vit un “trou de flibustiers” un “vieux nid à corsaire”! Pas étonnant qu’avec un passé si grand, les gens d’ici aient eu assez d’écus pour construire, de 1515 et 1545, l’église Notre-Dame de Kroaz-Baz, entièrement restaurée à l’identique. Roscoff, ses vieilles rues, sa maison des Johnnies et de l’oignon, son jardin exotique…
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St Sepulchre without Newgate, Holborn Viaduct, London
Also St Sepulchre Holborn, also St Sepulchre Old Bailey - these were the bells of Old Bailey that asked when can you pay me? - this is one of the biggest churches in the City. No other City church has so much the air of the most important church in a smaller, provincial town - and probably as so often in the City, an East Anglian town, as the south porch with its fan vaulting suggests, we could be in Saxmundham, or Swaffham, or Coggleshall, or March. But on stepping inside there is the reminder that this church has virtually no resident parishioners, for instead of the highly polished, flower-bedecked small town civic pride we'd find in Saxmundham, or Swaffham, or Coggleshall, or March, here is a great dusty space full of disconnected once-proud details, like a rich aunt who has gone awry. And yet it is an entirely loveable church for all that, and many people's City favourite, not least because the Gothic exterior contains an entirely Wrenish interior - or, at least, the spirit of Wren without the letter, shoehorned into a medieval space. This is a rich aunt who at first sight has stopped taking care of herself, but the person she has become is admirable for her eccentricity and intelligence. There's nothing quite like it, and it makes you smile.
How did this happen? Well, the medieval church, which had been rebuilt on a grand scale in the 15th Century, was largely destroyed in the Great Fire, but the reconstruction was something of a mish-mash, with Wren falling out with the vestry. There was a revamp in the late 18th Century when they tried to get rid of the bits that still made it look medieval, and then a big one in the 1870s to make it more medieval than it had ever been, which is pretty much how you see it today. The interior you step into is largely 19th Century, but full of colour and interest. This is one of those churches where there is always something around the next corner. The range of 20th Century glass is one of the most comprehensive in the City, and the best of it is in the north aisle, the musicians' chapel, by Brian Thomas. Other glass is by Francis Skeat, AK Nicholson and GER Smith (a memorial window to AK Nicholson, including an image of him in his workshop).
The organ is fabulous. Sir Henry Wood, who invented the Proms, was the organist here, and is remembered in the musician's chapel in post-war glass along with the likes of George Frederich Handel, William Byrd, John Ireland and Dame Nellie Melba. There is a memorial to Captain John Smith, remembered as the governor of Virginia, but more familiar to us in our Disneyfied times as the lover of Pocahontas. He's buried here. Wayland Young mentions the tradition that the bells of St Sepulchre not only tolled the curfew each night, but also tolled as condemned men passed from the Newgate prison to the scaffold at Tyburn. A church full of stories then, a bit mad, all a bit disconnected, a must-see.
(c) Simon Knott, December 2015
Without a doubt, the busiest train station in Hyde Park. South Shore Line and all branches of the Metra Electric stations stop here, allowing for fairly easy transfer. Intercity trains used to stop here, too, but I don't think any Amtrak trains ever did.
Most of what you see is a result of a very extensive renovation about a decade ago. The station is ADA-compliant and has elevators, not to mention some decent passenger shelters.
The station has a curious distinction of being one of the very, very few Metra Electric stations to have a ticket office (for historic reasons, most stations just have ticket vending machines). The ticket office only sell Metra tickets - South Shore Line riders have to buy the tickets on the train.
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La Giulietta Spider è stata una autovettura costruita dall’Alfa Romeo dal 1955 al 1962.
L'importatore Alfa Romeo degli Stati Uniti, Hoffmann di New York, chiese ai vertici dell'Alfa Romeo di produrre una versione "spider" della Alfa Romeo Giulietta Sprint e si impegnò immediatamente ad acquistarne 2500 esemplari da proporre sul mercato nordamericano, da sempre molto ricettivo per le versioni "aperte" delle vetture sportive. Nel 1955 l’Alfa Romeo bandì un vero e proprio concorso per la realizzazione della futura Giulietta spider. Bertone presentò una vettura disegnata da Franco Scaglione, ma il progetto non passò perché Bertone produceva già la Giulietta Sprint, e forse non sarebbe stato in grado di realizzare un’ulteriore linea di produzione. Vinse quindi il progetto di Pininfarina che si ispirò ad un altro modello creato dalla sua penna e cioè la Lancia Aurelia B24. Le finiture dell'abitacolo erano migliori rispetto a quelle della coupé - vale a dire l’Alfa Romeo Giulietta Sprint - e fu un modello di grande successo, appartenuta, tra gli altri, a Walter Chiari. I primi esemplari furono allestiti con un parabrezza panoramico stile America e vetri laterali scorrevoli che si agganciavano alla capote; successivamente venne adottato un parabrezza piatto più convenzionale e i finestrini laterali discendenti in cristallo. La Giulietta Spider montava un motore a quattro cilindri in linea longitudinale da 1.290 cm³ di cilindrata erogante 65 hp di potenza, che permetteva alla vettura di raggiungere la velocità massima di 160 km/h. Il basamento era in lega leggera con canne dei cilindri riportate in ghisa. La testata era in lega leggera, con candela al centro della camera di scoppio. L’alimentazione comprendeva un carburatore doppio corpo Solex semiinvertito, distribuzione con due valvole per cilindro, disposte a V, comandate da due alberi a camme in testa con azionamento a catena. La trazione era posteriore. I freni erano a tamburo sulle quattro ruote. Le sospensioni anteriori erano a ruote indipendenti, con bracci trasversali, molle elicoidali, ammortizzatori telescopici e barra antirollio. Quelle posteriori erano a ponte rigido, con molle ad elica verticali. La versione Veloce aveva due carburatori tipo Weber a doppio corpo invece che uno ed un rapporto di compressione 9:1; ciò permetteva alla vettura di raggiungere i 180 km/h, rispetto ai 165 km/h della versione normale. Tali prestazioni, superiori a quelle della concorrenza, ponevano la Giulietta al vertice delle categorie delle spider.
1955: la vettura di pre-serie (con parabrezza avvolgente) della Giulietta Spider sigla del modello "750 D" aveva finestrini che scorrevano orizzontalmente, tasche laterali sulle portiere realizzate sfruttando l'intercapedine delle lamiere, plancia in metallo e la strumentazione interamente compresa in tre strumenti circolari. Il volante era a tre razze. Un modello è conservato al Museo Storico dell’Alfa Romeo. Il modello pre-serie aveva rostri ogivali (non approvati in seguito dalla committenza americana) e finestrini che scorrevano già verticalmente. Alcuni esemplari erano dotati di cambio al volante.
1956: la prima serie delle Alfa Romeo Giulietta Spider serie "750 D" in versione "normale" e "750 F" nella versione "Veloce", aveva diversi particolari diversi dai modelli di pre serie: ghiere dei fanali più strette, vetri discendenti ma senza deflettori, portiere con un rivestimento interno (con viti a vista), plancia sempre in lamiera ma con la parte superiore in similpelle nera, portaoggetti senza sportello, volante a due razze con ghiera del clacson.
1959: la seconda serie delle Alfa Romeo Giulietta Spider "serie 101" ricevette un pianale allungato di 50 mm, finti deflettori sui finestrini, catarifrangenti di forma rotonda fissati sotto i fari posteriori, sedili regolabili e vano porta oggetti con sportello. Il rapporto di compressione della serie normale fu aumentato e portato a 8:1, con un aumento della potenza da 65 a 80 cavalli a 6000 giri al minuto.
1961: la terza serie "serie 101" aveva fanaleria posteriore maggiorata, plancia imbottita, sportellino del portaoggetti, specchietto retrovisore con scatto antiabbagliante, portacenere e accendisigari sul pianale, vicino al cambio.
Sleedoorn (Prunus spinosa) , in de griend bij Ammerstol (NL), 2 april 2011
Thanks a lot @wandelgraaf for your ID..:))
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John's B5.5 Passat GLS in Samoa Red Pearl, such an amazing color that's nearly impossible to fully capture with a camera. It is one of just 7 in the US in this color and trim and he goes a step farther by having a full votex kit on it as well.
I shot these last year but they were overlooked for a while and I didn't get to really edit them until recently (also the car had some serious misfortune in the way of internal damage to the motor, all has been rebuilt and is better than ever but it was a long road back).
Border stone N°62.
I stumbled upon it without looking for any ancient border relic.
en.wikipedia.org/wiki/County_of_Nice
en.wikipedia.org/wiki/House_of_Savoy
en.wikipedia.org/wiki/Duchy_of_Savoy
en.wikipedia.org/wiki/Kingdom_of_Sardinia
fr.wikipedia.org/wiki/Villes_libres_de_Menton_et_Roquebrune
There's a comprehensive web site that lists lots of old border markers related to the County of Nice, the Duchy of Savoy and the Kingdom of Sardinia; click on the third AND fourth flashing white cross from the top (in French): bornes.frontieres.free.fr/cartes_alpes-maritimes/carte_mo...
Far from me to sound negative but it looks like there's been some confusion between the two locations. It is nonetheless a very instructive and enriching work done by well documented and athletic folks.
View from above (the border stone is just left of the center cross): wikimapia.org/#lang=fr&lat=43.782202&lon=7.472958...
Another point of view: www.openstreetmap.org/#map=19/43.78218/7.47286
Cave Without A Name, Kendall County, Texas - One of Texas' hidden treasures, in February 2009 the Cave Without A Name was designated an official Natural Landmark!
Despite the innumerable caves and caverns that dot the Texas landscape, there are only a handful of caves that are open to touring by the public. Running along the interstate, it's easy to spot the billboards for Natural Bridge Caverns, Inner Space Caverns, Cascade Caverns - but very few people have ever heard of the Cave Without A Name. In fact, despite living less than an hour away for over ten years, I had no knowledge of it until recently. Yet this little cave is just as interesting as any of the larger, more travelled tourist stops.
Located about ten miles northeast of Boerne at the end of twisty-turny Hill Country roads near the Guadalupe River, the Cave Without A Name led an unremarkable existence until the 1920's. Much like Longhorn Caverns, the cave was used by bootleggers during Prohibition. The cave was opened in 1939 as a tourist attraction, the name chosen by a local boy who decided the caves were too beautiful for a name.
For decades, the Cave Without A Name remained an obscure, out-of-the-way spot, known mostly by locals and advertised by small hand-made signs on the highway. Tragedy struck when the manager of the cave (and the owner's son) passed away while exploring a nearby complex known tragically as Dead Man's Cave for drainage channels. Despite this loss, the cave remains open.
Then in February 2009, the Cave Without A Name was designated an official National Landmark by the National Park Service, along with five other historic sites around the country. Fewer than 600 locations have been designated as National Landmarks since the inception of the program, and only six within the past decade.
At the end of Kreutzberg Road, there is a small visitor's center and gift shop. Stairs lead down to the caverns below, well-lit with several impressive speleological formations - stalagmites, stalactites, soda straws, flowstone, ribbons, rimstone. It's a short tour, but easy and level without difficulty, the tour group size is usually small and it is easy to get up close to the formations (but don't touch - it's still a live cave). Longer 'adventure tours' are available (the website says they have been suspended due to high water, but that was written in 2007 before the area's record drought). Definitely worth the visit for anyone interested in caves or spelunking. Pictures taken April 6, 2008.
For more information on the Cave Without A Name:
- Texas Speleological Survey Entry.
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"Comfort and Joy"
Doctors Without Borders / Médecins Sans Frontières
April 1 through April 27 at BiddingForGood.com/DWB-MSF
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Bug Lighthouse on the North Fork of Long Island, NY.
Read more about my tour here: www.jschusteritsch.com/blog/2014/10/bug-lighthouse
Without a doubt, Graveface Records and museum (and video rental) is one of the most unique "niche" storefronts I've seen in a long while. True Crime. Exploitation films. Human and animal kingdom sideshow oddities. Ritualism. Even a free arcade. If you are a fan of the more "subterranean" types of culture, then this is the place for you (and me).
I wouldn't want to use the word "tchotchke" because the things found here are NOT cheap or throwaway like that word would imply. But I honestly can't think of any words that REALLY fit the things that can be found just randomly placed around here.
c1910 postcard view of Main Street in Burlington, Indiana. The postcard title says the photographer was looking south. The quality of the photograph isn’t very good. The buildings all appear to be wood frame construction and most of the business signs are unclear at best. At least one automobile and two buggies were in the street when this photograph was taken. A few pedestrians were on the sidewalks.
On the left near the far end of the block, two signs advertised MEAT and BAKERY shops. Across the street, the CITY DRUG STORE sign was clearly visible. The top part of that sign probably contained the owner’s name, but it is unreadable. A 1908 directory of druggists¹ listed Pratt W. Stonebraker and William T. Hindman as the druggists in town. A 1912 directory² listed Hindman and B. V. Beck. Neither the 1916 county history nor an online biography of William T. Hindman mention his being a druggist. P. W. Stonebraker is barely mentioned in the 1916 history. He was one of the directors of the Burlington Telephone Company. That history doesn’t mention B. V. Beck.
1. Indiana Board of Pharmacy. Ninth Annual Report (Indianapolis, IN: William B. Burford, 1908). Available online at books.google.com/books?id=afjqAAAAMAAJ&printsec=front....
2. Ezra J. Kennedy, ed. The Era Druggists Directory Sixteenth Edition (New York, NY: D. O. Haynes & Co., 1912). Available online at books.google.com/books?id=_PbNAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/15422451428/
Copyright 2010-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
This car cannot display without mentioning Gordan Murray. Gordan was born in 1946 in Durban, South Africa.After studying mechanical engineering in Durban he left for England and hopefully a job with Lotus.But this was not to be and extraordinary BT46B fan car. After an unsuccessful year with Brabham in 1986 he moved to Mclaren. Here again the main focus would be formula one cars,but in 1988 he got a chance to work on one of his personal passions. To built a car that would be the fastest and most involved car in the world. The Mclaren F1 announced to the public in March 1989 with the first customer car being delivered on Christmas Eve 1993.Production continued until 1997 with each car taking over 6000 hours to produce. only 100 cars were ever produced.
(Continued from the photo of the 2 in the hospital). So I couldn't leave Aswan without visiting Abu Simbel, broken foot or no, signed up for this tour, left to drive south at @ 4 am by cab, hobbled @ at the site on crutches, and was stared at more than a bit. From Aswan it was a trick getting back to Cairo, navigating train stations and trains on those crutches with my backpack. Our cab was in a bad accident on the way back to Aswan, noone was hurt but the car was totaled and the driver was inconsolable. I stayed in the hospital in Cairo for a couple of days, got a second opinion (and a cast with my foot set extended at exactly the wrong angle I learned later, with my toe pointing down - ?), until I contacted the Cdn consul. (At the hospital I was bitten by a wild kitten I tried to pick up from under my bed, plenty of wild cats there, and the consul made me get a rabies shot). I flew back home via London and soon developed amoebic dysentery symptoms, and I got a letter from a Dutch friend who had to rush back to Holland shortly after I last saw her in Aswan for an emergency appendectomy. How's that for a string of bad luck? I have the crutches and a big scar on my foot as souvenirs, but my foot's good.
- This famous shrine in the far south of Egypt, only @ 40-50 clicks north of the Sudanese border as the crow flies, was dedicated to Ramesses II and was raised piece by piece by Unesco in the 60s to a plateau to escape a rising Lake Nasser when the Aswan dam was built. Ramesses reigned for 67 yr.s in the 19th dynasty of the 'New Kingdom' of the 13th cent. B.C.
www.google.com/maps/place/Abu+Simbel,+Aswan+Governorate,+...
- Lotsa photoshop with this one.
- maps.app.goo.gl/xKJyPyhBQoccDqESA
- maps.app.goo.gl/Vka4LjZQbLdrWTVA7
- maps.app.goo.gl/ccd1ce1acYTaWhcv6
- maps.app.goo.gl/5ZC55W2TccMFDM667
- maps.app.goo.gl/LHy59HtEcNRQPQeK7
- "It took 20 yr.s to create [this] complex. ... The temples are dedicated to the gods Ra-Horakty, Ptah, and the deified Ramesses II ('The Great Temple' [this]) and the goddess Hathor and Queen Nefertari, Ramesses' favourite wife ('The Small Temple')."
- "Allegedly, the Swiss explorer Burckhardt was led to the site by a boy named Abu Simbel in 1813 and the site was then named after him. Burckhardt, however, was unable to uncover the site, which was buried in sand up to the necks of the grand colossi and later mentioned this experience to his friend and fellow explorer Giovanni Belzoni. [Read more re Belzoni below.] It was Belzoni who uncovered and first excavated (or looted) Abu Simbel in 1817 and it's considered likely that it was he, not Burckhardt, who was led to the site by the young boy and who named the complex after him."
- "The Great Temple stands 30 m.s high and 35 m.s long with 4 seated colossi flanking the entrance, 2 to each side, depicting Ramesses II on his throne; each one 20 m.s tall. Beneath these giant figures are smaller statues (still larger than life-sized) depicting Ramesses' conquered enemies, the Nubians, Libyans, and Hittites. Further statues represent his family members and various protecting gods and symbols of power. Passing between the colossi, through the central entrance, the interior of the temple is decorated with engravings showing Ramesses and Nefertari paying homage to the gods. Ramesses' great victory at Kadesh [in Syria, the battle against the Hittites] (considered by modern scholars to be more of a draw than an Egyptian triumph) is also depicted in detail across the north wall of the Hypostyle Hall. According to the scholars Oakes and Gahlin, these engravings of the events surrounding the battle "present a lively account in both reliefs and text. Preparations for battle are being made in the Egyptian camp. Horses are harnessed or given their fodder while one solder has his wounds dressed. The king's tent is also depicted while another scene shows a council of war between Ramesses and his officers. Two Hittite spies are captured and beaten until they reveal the true whereabouts of Muwatalli, the Hittite king. Finally, the two sides engage in battle, the Egyptians charging in neat formation while the Hittites are in confusion, chariots crashing, horses bolting and soldiers falling into the River Orontes. In the text, Ramesses takes on the whole of the Hittite army single-handed, apart from support rendered by [the god] Amun who defends him in battle and finally hands him the victory."
- "The location of the site was sacred to Hathor long before the temples were built there and, it is thought, was carefully chosen by Ramesses for this very reason. In both temples, Ramesses is recognized as a god among other gods and his choice of an already sacred locale would have strengthened this impression among the people. The temples are also aligned with the east so that, twice a year, on Feb. 21 and Oct. 21, the sun shines directly into the sanctuary of The Great Temple to illuminate the statues of Ramesses and Amun. The dates are thought to correspond to Ramesses' birthday and coronation. The alignment of sacred structures with the rising or setting sun, or with the position of the sun at the solstices, was common throughout the ancient world ... but the sanctuary of The Great Temple differs in that the statue of the god Ptah, who stands among the others, is carefully positioned so that it is never illuminated at any time. As Ptah was associated with the Egyptian underworld, his image was kept in perpetual darkness." www.worldhistory.org/Abu_Simbel/
- Again, this was first excavated and explored by the great Giovanni Battista Belzoni, hydrologist, pioneering Egyptologist, Herculean strongman, showman and adventurer, the closest anyone's come to a real Indiana Jones. www.aramcoworld.com/Articles/September-2018/Egyptology-s-...
- "[In 1816] Belzoni continued upstream with his party toward the temple of Abu Simbel, some 500 km.s south of Luxor, to investigate the remains of 4 20 m. seated statues of Ramses the Great. They found the temple’s grand entryway drowned in sand, and Belzoni realized that excavating there would be like “making a hole in water … an endless task.” Unless, that is, he could find a way to keep the sand from refilling the hole after every scoop. Deploying his knowledge of hydraulics, engineering and stagecraft, he calculated that the doorway “could not be less than 35' [10 m.s] below the surface of the sand,” and the front of the temple was likely proportionately “117' [36 m.s] wide.” (The top of the temple’s doorway is in fact about 2/3rds of the way down a 30-m.-high façade, and the temple is indeed 36 m.s wide.) With palm logs and locally hired labor, Belzoni drove a palisade into the sand in front of the temple. Then he wet the sand “close to the wall over the door” to stop the drifts from sifting back down into the hole. After exposing the face and shoulders of one statue, he had to interrupt the task to return to Luxor to load the bust of the Ramses statue onto a boat. He arranged for a local tribal leader to safeguard the site, sketched his progress and left “with a firm resolution of returning to accomplish its opening."
- "... In February 1817, ... Belzoni was eager to return to his interrupted excavation at Abu Simbel. It wasn’t until summer that Belzoni got his wish, and he and his crew excavated the front of the temple in temperatures topping 51 degrees Celsius. On July 31 they reached “the upper part of the door as evening approached [and] dug away enough sand to be able to enter,” he wrote. But Belzoni chose to wait until dawn, after he observed that the rising sun would pierce directly into the temple’s massive, east-facing doorway. As the first light for more than a thousand years illuminated the interior, the team “entered the finest and … most magnificent of temples … enriched with beautiful intaglios, painting, colossal figures,” Belzoni gushed." No gushing, he was just being descriptive and accurate.
- "... Although he and his team took little from the temple, they spent several days measuring, drawing and compiling a detailed record of the structure’s interior and exterior. “Taking measurements, drawing pictures - that is real archaeological documentation,” says Ryan, who often refers to Belzoni as a 'proto-archeologist.' The accuracy of Belzoni’s record-keeping ... remains useful to this day."
- Here's one of several doc.s re Belzoni online, 'The Great Belzoni: The Last Tomb Raider Of Ancient Egypt'.: youtu.be/LAm9Rcrh2-0?si=Sl8Zt2fUV0xEA0IU
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Mount Hope, Ontario, Canada
John C. Munro Hamilton International Airport CYHM
RA-76511
Volga-Dnepr Ilyushin Il-76
2123422752 94-08
Connor had a great time at the Museum of Science in Roanoke Virginia. Highly recommended for anyone who finds themselves in Roanoke.