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C126

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    The mid 19th-century, in a frock coat.

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  1. Suddenly occurred to me there could be another hyphen in "INTER-CITY", depending on how '1970's' Mr Gibbs wishes it to be. I think it was in the 1980's it became all one word, with a Swallow.
  2. Looking forward to this title as well very much. Any news of a publication date, please? I think the hyphen is set to align with the font in lower-case, hence its looking wrong 'when all about is upper'. As an appalling compositing pedant, if you could get it corrected it would please me greatly.
  3. Thanks as always @Mikkel for your attention and kind remarks. The paradox about figures struck me when first I started taking photographs. When running trains one has restful poses, but these look less interesting than 'action' figures in one's photographs. This was an excuse to draft a two-part list, of characters found in a goods yard and what they could be doing both 'in motion' and 'at rest'. I would give examples, but I can not put my finger on it at the moment. The only one I remember is two shunter poses, one leaning on a pole and the other reaching over buffers to uncouple wagons.. Composing the list also lead to ideas for tableaux and the multitude of lorries required for the different goods. One day I might have time to play trains.
  4. Please forgive me if I missed it being mentioned previously, but there is also the dismal 'just in time' logistics concept that has taken root. As I understand it, warehouses no longer exist to hold buffer stocks of widgets. As soon as a lorry-load of these is made, it is driven straight to the shop/ firm using them. I remember vividly the television series 'The Factory' (with that irritating ex-green-grocer) about tea-bag manufacturing. The tea-bags were packed, loaded into an artic., and driven off to a super-market who was about to run out of this line. We are now seeing the consequences (and I am told it is to get worse in the next few years) of demolishing all these 'buffer store' warehouses, with interruptions to manufacturing meaning there is no 'slack' for customers to purchase. The bean-counters realised warehouses cost money, so should be eliminated to increase short-term profits. Railways are much more suited to flows to warehouses, I think, concentrating goods in distribution centres that are then delivered over each's 'region' for the firm. Unless firms' distribution models are returned to the more Edwardian system as outlined by @Nearholmer , The accursed lorry will have the advantage. As one who would love dearly to see the return of 'Speedlink', marshalling yards, and shunting 'cuts' of wagons, this is not going to happen with the 'free market' having to lower costs but not pay the environmental consequences. I agree also with Nearholmer's remarks about people's pay, costs, and disposable income. The politicians are scared of increasing people's basic costs back to the Victorian proportions of income because we have a low-wage economy, and we are all paying too much in rent or mortgages. Housing costs have shot up as a proportion of income over the last fifty years. As an aside, when I listen devotedly to Radio 4's 'The Food Programme' droning on about artisan food-makers of quality produce at three or four times the price of supermarket basics, I wonder what proportion of the people can afford to shop thus. There is a reason why the poorer eat cheap bad food, and no amount of farmers' markets and twee stalls will solve this without addressing the underlying poverty of many in the U.K.
  5. As a relief from the brick-work, I have been churning out loads for wagons and lorries over the last week. As a confirmed tea-drinker, I had to have pallets of tea-chests, inspired by @Mikkel 's (if nowhere near as good), so I sawed, trimmed, and edged in silver some wood strip. A delivery awaits collection and complete unloading from the VBB: A load of timber planking is put on a wagon for its customer from the lorry, with the unorthodox aid of the Freightlifter, the product of the plantations on the High Weald: I have been playing around with tissue paper, trying to get a tarpaulin to 'drape' nicely. This looks as if made from Barbour coat cloth (the day-light bulb is flattering) - I will try weathering it later with a grey tone - but I was pleased with the appearance. The gang take a tea-break from loading wool bales, having completed and sheeted an OBA, before putting the remainder on the OCA behind it. I obtained a lump of genuine Lewes chalk, to my delight, when pottering round Southerham on a visit a few months ago. This has been crushed and sieved, and made into loads for lorry and wagon, and a (unconvincing, I admit) pile for the J.C.B. to load. A '56' makes a rare visit to take the minerals away. Finally, after collecting four pallets of widgets, the engineering firm's delivery driver does a little 'private business' with his brother-in-law, taking a package back on the lorry to drop off at home en route... Lots more to do to the model, of course, but I am glad still to be making some sort of progress.
  6. Just wanted to thank you again for this (although the link appears to have vanished now), and show my recent attempt when I had the tin of silver paint open to do the tea-chests and a steady hand: Hope people agree this is an improvement. I will have a go at window surrounds mentioned further down the thread later.
  7. I would add that if you intend running model parcels/mail trains on your layout, the film Night Mail is a must for illustrating the exquisite precision planning and platform choreography as described by @Nearholmer above.
  8. Delighted to be of assistance. Herewith the missing pages: And I thought you might like as well from: the following lists: As to there being "nothing in your diagram for AG (Kensington O. to Brighton)", I can only assume there were no trains diagrammed thus for the duration of this time table. I could have missed it, of course - the diagram has one omission in the Corrigenda - but perhaps others more knowledgable can enlighten us. Incidentally, I would suggest the c.15 mins. wait at East Croydon was for un-loading, not necessarily shunting. This was the time given to un-load the Newspaper trains on weekday mornings at Lewes, if I remember correctly.
  9. Just a quick addendum to @Lacathedrale 's plea for loco-hauled head-codes (if I understand correctly). Sorry it is a quick 'shot'; I am off work till Tuesday so no access to a decent scanner. Anyway, from here: ... the relevant section is: Do say if you want the other pages copied ("Headcodes--main line--loaded passenger trains"). Hope this is of use. I can do a few more recent time tables as well if required.
  10. Excellent idea! I have not got as far as thinking of foliage yet, but this is good. It is 'OO' by the way. It was a feeling of 'exasperation', for want of a better word, at how to join two cuts in a plastic sheet of English (or any other) bond that got me. Having smoothed it over with filler, etched in the courses again, and painted over carefully, I was (as usual, quite unrealistically!) expecting perfection to result. I have learned though it is better to 'cut and shunt' at the side of a recessed panel than half-way between two on the outer buttress. Anyway, I must stop moaning and put it down to experience. I do love my brick structures though, so it rankles rather... Were it some concrete brutalist monstrosity I would not care.
  11. Thanks for your kind words. The new arches' brick-work painting just appeared worse than the first batch's - I am losing my 'dry sponge technique' - with the pointing less visible. Also, I was hoping the joins would be hidden better. Having done my best at smoothing over the cuts, they still show. What more can one do? But enough whining. I can pick up my brickie's trowel another day, and there will be more enjoyable tasks ahead when this is completed...
  12. I will not pretend the making of the passenger viaduct sides is now fun. Found a burst of enthusiasm this weekend to complete another stage of the arches, etc., including the more difficult 'stretching' of brick panels and cutting bespoke piers, buttresses, etc. The arch section of the extreme left need not be finished with another buttress, as it is to be hid by the end of the warehouse (still substituted by cardboard boxes). Sadly, I can not say I am happy with the results. The joined panels from rail height look 'joined' despite my best efforts with modelling clay, scribing, more painting, and finally hand-painting some of the bricks to try and make it uniform. Now disillusioned of the making of a bespoke passenger station building from plastic brick sheet - however superior the preferred finish is to cardboard - I bought a 'Superquick' 'Country Station Building' I hope I can bodge into a sort of terminus structure one day. I tried painting the extreme left arch's orange 'rubbers' individually with a fine brush (took half-an-hour) to compare to the others done with a sponge. It does not appear superior, but I think this is my novice brick painting technique. These photographs were taken using a 'daylight bulb' for the first time, as well. Just need to finish a row of banding on the right arch above, and then do 'Stage 3', being new brick piers for the girder, and the walls under the bridge. Now to regain my enthsiasm by contemplating more wagon loads, especially how to make tea-chests 5x6x8mm.
  13. They look pretty good to me! Well done.
  14. Apologies for the somewhat haphazard typing here - trying to iron shirts for work to-morrow, listen to programme about Louis Armstrong, and ponder Cold War food stores on another thread - but I recommend 'Carriages at eight : horse-drawn society in Victorian and Edwardian times', Huggett, Frank E., Guildford : Lutterworth Press, 1979. p.30: "One of the most popular Victorian carriages was the coachman-driven brougham, a small closed vehicle of French origin, seating two people, which Lord Brougham had redesigned in 1838 as "a refined and glorified street cab that would make a convenient carriage for a gentleman". A brougham cost about £150, though a miniature brougham, which was much favoured by young Guards officers, could be bought for £20 or £30 less. There was also a coupe, or double, brougham, drawn by a pair of horses, and seatign four, which was a popular choice among aristocrats with a large brood of daughters." Also an ill. p.29. "preserved in Glasgow Museum of Transport". Thanks for the link, Mikkel. Don't remember that web-site when I went 'carriage bagging' (e.g. https://museum.maidstone.gov.uk/our-museums/carriage-museum/ , which is recommended, if decaying slowly when I visited years ago.
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