Castle Aching

[Guy Rixon]

That's a SPUD, yes? It may be reluctant to run slowly as it has very little gearing (15:1 IIRC) and limited chances to pick up. I fitted one of these, somewhat mashed for P4, into a Bo-Bo and found that it stalled all the time. Two SPUDs got it moving more often: when one stalled the other would push it along to fresh track. I never got around to wiring them in parallel to keep both spinning. That particular loco is on the list for re-engineering.

 

You might care to consider extra pick-ups wiping directly onto the rails. The skirts should hide these well enough.

[Edwardian]

6 minutes ago, Guy Rixon said:

That's a SPUD, yes? It may be reluctant to run slowly as it has very little gearing (15:1 IIRC) and limited chances to pick up. I fitted one of these, somewhat mashed for P4, into a Bo-Bo and found that it stalled all the time. Two SPUDs got it moving more often: when one stalled the other would push it along to fresh track. I never got around to wiring them in parallel to keep both spinning. That particular loco is on the list for re-engineering.

 

You might care to consider extra pick-ups wiping directly onto the rails. The skirts should hide these well enough.

 

It's a spud equivalent.  I used one essentially similar on the prototype Derwent, where it worked well enough.  Sem improved the performance no end, however, by placing a b00dy great weight on to of it.  It seemed to be reasonably controllable using my old Duette.

 

As the current passenger formation is a 4-wheel coach, a bogie coach and a 4-wheel van, I hope that undue demands will not need to be made of this unit.  Goods trains are likely to be no more than 6-7 wagons plus brake. 

 

However, extra pick-ups is certainly something to bear in mind. 

[mullie]

I ran my trams with Spuds for a while but to be honest they are a bit too lively even CV settings couldn't tame them. As has been said previously the Bullants are excellent, I did a deal with Charlie Petty at DC Kits for the two I needed, they are superb.

 

The other thing worth trying might be a Black Beetle (of the wheeled variety).

 

Martyn

[Nearholmer]

Yes, when I was into 0n16.5, I used Spuds under a few white metal kits of small diesel locos, and even with all that weight on them they were no better than “OK” in terms of controlability. My view is that they simply aren’t geared-down far enough to be ideal.

 

Not “bad”, but not “good” either.

[Nearholmer]

On a completely different topic .........

 

Members are recommended to have a look through the LT&SR collection here, paying particular attention to the adornment of locomotives (follow through to the last image) for the coronation of KGV. https://transportsofdelight.smugmug.com/RAILWAYS/LOCOMOTIVES-OF-THE-LMS-CONSTITUENT-COMPANIES/LOCOMOTIVES-OF-THE-LONDON-TILBURY-SOUTHEND-RAILWAY/i-x3GLmHK

 

 

First time I've seen statues mounted on locomotives!

 

[sem34090]

As and when I eventually make use of this rebuilt LTSR 4-4-2T CAD I have, and get a print done, I'm going to attempt to replicate that in 4mm...

Edited June 5, 2019 by sem34090

[Hroth]

9 hours ago, Nearholmer said:

On a completely different topic .........

 

Members are recommended to have a look through the LT&SR collection here, paying particular attention to the adornment of locomotives (follow through to the last image) for the coronation of KGV. https://transportsofdelight.smugmug.com/RAILWAYS/LOCOMOTIVES-OF-THE-LMS-CONSTITUENT-COMPANIES/LOCOMOTIVES-OF-THE-LONDON-TILBURY-SOUTHEND-RAILWAY/i-x3GLmHK

 

 

First time I've seen statues mounted on locomotives!

 

 

I like the miniature chain and post fencing along the footplate/running board of Thundersley too!

On the other hand, the pillastre'd busts and the similarly mounted half-relief vases with flowers on the tank sides are a tad over the top.....

 

https://transportsofdelight.smugmug.com/RAILWAYS/LOCOMOTIVES-OF-THE-LMS-CONSTITUENT-COMPANIES/LOCOMOTIVES-OF-THE-LONDON-TILBURY-SOUTHEND-RAILWAY/i-w5stF2k

 

Edited June 6, 2019 by Hroth

[Edwardian]

i always pause for reflection at this time of year, because, well, in the words of the Queen 

 

The fate of the world depended on their success, Many of them would never return, and the heroism, courage and sacrifice of those who lost their lives will never be forgotten. 

 

 

 

 

 

 

[runs as required]

I am ashamed that we who succeeded them, J K Galbraith has termed "the Comfort Generation" in denying our successors the benefits we ourselves enjoyed.

Macmillan coined a phrase for us lot: "We've never had it so good"

 

2

I really wanted to post about a very characterful street corner in Blyth, Northumberland.

I've had a life long respect for the architects of the Gothic Revival: Pugin, Street, Pearson etc.

Pevsner who lectured to us on his Pioneers of Modern Design walked us around Liverpool 'Red Brick University Victoria building to  point out how Pre-Raphaelite Gothic fancy dress allowed Waterhouse to get away with a gamut of daring spatial adventures that classical rules would never permit.

My daughter lives in Rugby dominated by hard-edged polychromatic William Butterfield; my all time fave is his All Saints, Margaret St. improbably  inserted into a terrace of stucco commercial buildings just north of Oxford St.

 

Driving around Blyth a couple of days ago I was very delighted to pass by this lively street corner. I stopped and snapped it using my new Chinese Spies' phone. 

the left (south ) side is a tightly organised former Presbyterian,  the centre pic is Google Street View looking west ,  the right is the sandstone Catholic Our Lady  

 

Pevsner's County book notes that the Catholic is 1862,  'rock faced with polygonal apse and SE spikelet' by A,M. Dunn, the Presbyterian is 1874 by Thomas Oliver,

Each has an adjacent Prebytery.

I think it a pity that when one could build such a seriously confrontational street corner, modellers will usually opt for a minimalist 'Million Pound Act' C19 urban gothic:

Edited June 6, 2019 by runs as required

[Compound2632]

Waterhouse lived in Reading for a while in the 1860s-70s, making several notable contributions to an otherwise rather uninspiring townscape. The Victoria University building put me very much in mind of the Town Hall which makes brilliant use of its site, the curved frontage and asymmetric towers calling to mind G.G. Scott's Midland Grand Hotel, built about the same time. It also makes use of the characteristic Tilehurst grey brick - polychromatic brickwork being Reading's distinctive 19th century architectural feature.

 

Not enough, alas, for Reading's reputation. Even in the 21st century socialist idyll that was the Thames Valley of William Morris' imagination in News from Nowhere, the best that could be said of it was:

 

“O, a nice town enough in its way; mostly rebuilt within the last hundred years; and there are a good many houses, as you can see by the lights just down under the hills yonder.  In fact, it is one of the most populous places on the Thames round about here.”

[Buhar]

I recall being told when I lived in Reading that some of the houses in Elgar St were built as an advert for various styles of local brick.

[Donw]

At Tiehurst Clay used to be carried across the road by an ariel ropeway.  People would joke it was treacle because it hindered the trollybuses when spilt on the road.

 

Don

[Edwardian]

 

On 06/06/2019 at 17:36, runs as required said:

 

I really wanted to post about a very characterful street corner in Blyth, Northumberland.

I've had a life long respect for the architects of the Gothic Revival: Pugin, Street, Pearson etc.

Pevsner who lectured to us on his Pioneers of Modern Design walked us around Liverpool 'Red Brick University Victoria building to  point out how Pre-Raphaelite Gothic fancy dress allowed Waterhouse to get away with a gamut of daring spatial adventures that classical rules would never permit.

My daughter lives in Rugby dominated by hard-edged polychromatic William Butterfield; my all time fave is his All Saints, Margaret St. improbably  inserted into a terrace of stucco commercial buildings just north of Oxford St.

 

Driving around Blyth a couple of days ago I was very delighted to pass by this lively street corner. I stopped and snapped it using my new Chinese Spies' phone. 

the left (south ) side is a tightly organised former Presbyterian,  the centre pic is Google Street View looking west ,  the right is the sandstone Catholic Our Lady  

 

Pevsner's County book notes that the Catholic is 1862,  'rock faced with polygonal apse and SE spikelet' by A,M. Dunn, the Presbyterian is 1874 by Thomas Oliver,

Each has an adjacent Prebytery.

I think it a pity that when one could build such a seriously confrontational street corner, modellers will usually opt for a minimalist 'Million Pound Act' C19 urban gothic:

 

A fascinating post, David, which like so many of yours, leads me down many pleasant paths of digression [do we think the the Paths of Digression are to be found within the Folds of the Map?]

 

It is also a clarion call for modellers to explore the rich seams of Nineteenth Century ecclesiastical architecture.  Gems lie there for the taking.

 

Blyth Spirit

 

Blyth is unexplored territory for me, though the distinctive quirkiness of the Blyth & Tyne Railway, with its distinctive loco cabs, holds a fascination. 

 

 

I agree, what a wonderful assemblage of buildings. As you say, this is when competing denominations had learned to use architecture in place of burnings at the stake, which in terms of setting limits to human misery and bequeathing a rich architectural heritage, seems to me to represent a win win outcome.

 

So, in the Nineteenth Century the Roman Catholic church was finally free to replace the ecclesiastical estate lost to it at the Reformation. Catholic emancipation had been achieved by the Roman Catholic Relief Act of 1829, supported, incidentally, by both Wellesley brothers (which means I get to say "Mornington Crescent"!).  I suspect, however, that the real spur to Catholic church building was the decision in 1850 to re-establish the full Catholic church hierarchy. 

 

Here, then, we have an absolutely lovely stone Gothic Revival church of 1862. It rather looks like it should lie in some sleepy  vale, surrounded by a parish of thatched timbered Mediaeval cottages, veiled by river mist and wood smoke.   It could, in other words, make you think it was built when Blyth was settled in the Twelfth Century.  Yet here it is, gracing the urban scene.  The attractive adjacent house offers a contrast in materials, but is surely the parish house, as the Gothic brick porch to the right of the picture below suggests? 

 

 

Blyth was a port, and here it is convenient to let Wiki provide the background:

 

From the mid-19th century, several important events occurred which allowed the port of Blyth to rapidly expand. First, in 1847, a railway line was constructed, connecting Blyth to collieries at Seghill. This line combined with the existing line between Seghill and North Tyneside to form the Blyth and Tyne Railway. In 1853, the Blyth Harbour and Docks Board was formed, then in 1858 the Harbour Act was passed allowing dredging of the harbour to begin. In 1882, the formation of the Blyth Harbour Commission led to the building of new coal loading staiths, as well as the construction of the South Harbour.

 

So, the 1862 Catholic church may be seen as catering for the Roman Catholic portion of a rapidly growing population of a developing industrial and mercantile town.     

 

 

The Protestant riposte was evidently in the form of the brick Presbyterian church, to my eyes an altogether more industrial Gothic.  Built larger and taller than the church across the way, the Historic England website says it was built

 

1874-6 by Thomas Oliver junior. Brick in English Garden Wall Bond 1 and 3, with ashlar dressings; Lakeland slate roof with terracotta ridge cresting. T-plan .

 

 

The use of garden wall bond strikes me as interesting. This I understand as three rows of stretchers to one of headers.  An economy measure?

 

 

The polychromatic William Butterfield

 

The legacy of William Butterfield has been a very pleasant discovery for me. 

 

Naturally, I suppose, there was an outbreak at Rugby school ... 

 

 

And also Keble College, part of Cowley Polytechnic.

 

Masterpiece

 

I can entirely understand your enthusiasm for Butterfield's All Saints (1850-1859), Margaret Street, near Oxford Street in Fitzrovia.  

 

 

The assessment given in Wiki is well worth the time taken to read it:

 

All Saints marked a new stage in the development of the Gothic Revival in English architecture. Simon Jenkins called All Saints "architecturally England's most celebrated Victorian church". In 2014 Simon Thurley, the Chief Executive of English Heritage, listed All Saints as one of the ten most important buildings in the country.

 

The design of the church showed Butterfield (in Sir John Betjeman's words) "going on from where the Middle Ages left off" as a neo-Gothic architect. Previous architecture of the 19th-century Gothic Revival had copied medieval buildings. But Butterfield departed considerably from medieval Gothic practice, especially by using new materials like brick. Charles Locke Eastlake, the 19th-century architect and writer, wrote that Butterfield's design was "a bold and magnificent endeavour to shake off the trammels of antiquarian precedent, which had long fettered the progress of the Revival, to create not a new style, but a development of previous styles". The Victorian critic John Ruskin wrote after seeing All Saints: "Having done this, we may do anything; ... and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries."

 

Butterfield's use of building materials was innovative. All Saints is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone. At All Saints, Butterfield felt a mission to "give dignity to brick",] and the quality of the brick he chose made it more expensive than stone. The exterior of All Saints is employs red brick, heavily banded and patterned with black brick, with bands of stone and carved elements in the gate, the church wall and spire. Decoration is therefore built into the structure, making All Saints the first example of 'structural polychromy' in London.

 

I suppose, as railway modellers, we are mainly concerned with the exteriors of buildings, but the interior of All Saints is something else ....

 

 

Red and spikey Waterhouse

 

Liverpool's Victoria Building is new to me.  It is absolutely splendid.  I learn that It was designed by Alfred Waterhouse and completed in 1892.

 

 

It reminds me somewhat of the Prudential building on High Holborn, a daily sight when I worked in legal London.  This is, perhaps, unsurprising as it was built in phases between 1885 and 1901 to the designs of Alfred Waterhouse and his son Paul Waterhouse.

 

 

 

Having spent five months on the relatively simple Victoria Drill Hall, any such building on a model railway would only seem possible with some short-cut like resin cast standard components, though even so would be a task of many months.  Of course, it could only be accommodated, both in terms of space and visual impact, on the largest of layouts. A smaller scale version as a means of forced perspective, would be a great background feature to an urban layout. 

 

Pleasant food for thought.

 

Thank you, David.

 

 

Edited June 8, 2019 by Edwardian
spelling!

[Compound2632]

It really is still just a little too early in the morning to be posting pictures of Keble - my eyes are still adjusting. I had to walk past it daily on my way to physics lectures many years ago...

 

You shouldn't see the battle of the styles in denominational terms - it was as much, if not more so, an internal battle within the Roman Catholic Church in England, between (very roughly speaking)the newly-established hierarchy, who wanted Italianate, and the lay sponsors such as the Earl of Shrewsbury, who backed Pugin and Gothic and were providing the funds. The outcome was as much of a mish-mash* as railway station architecture.

 

*Points will not be awarded to the first person to repeat the well-worn joke about the inebriate Irishman who failed in his Sunday obligation.

 

"Cowley Polytechnic" indeed - no-where near. Bit rich coming from a graduate of the Fenland Polytechnic. And indeed, deeply disrespectful to graduates of Polytechnics in general - a form of higher education institution the country is sadly now without, since they were obliged to turn themselves into universities, which they were rather deliberately not intended to be.

Edited June 8, 2019 by Compound2632

[Edwardian]

17 minutes ago, Compound2632 said:

It really is still just a little too early in the morning to be posting pictures of Keble - my eyes are still adjusting. I had to walk past it daily on my way to physics lectures many years ago...

 

Agree.  I kept to Rugby, as Rugby was mentioned.

 

17 minutes ago, Compound2632 said:

You shouldn't see the battle of the styles in denominational terms - it was as much, if not more so, an internal battle within the Roman Catholic Church in England, between (very roughly speaking)the newly-established hierarchy, who wanted Italianate, and the lay sponsors such as the Earl of Shrewsbury, who backed Pugin and Gothic and were providing the funds. The outcome was as much of a mish-mash* as railway station architecture.

 

I didn't and I don't.  The architectural styles evolved across denominational lines, by and large, though there were periods of association, see the 'Catholic' architecture of, e.g. Alton Towers.

 

17 minutes ago, Compound2632 said:

*Points will not be awarded to the first person to repeat the well-worn joke about the inebriate Irishman who failed in his Sunday obligation.

 

Far be it from me to trade in national stereotypes.

 

17 minutes ago, Compound2632 said:

"Cowley Polytechnic" indeed - no-where near. Bit rich coming from a graduate of the Fenland Polytechnic. And indeed, deeply disrespectful to graduates of Polytechnics in general - a form of higher education institution the country is sadly now without, since they were obliged to turn themselves into universities, which they were rather deliberately not intended to be.

 

Yes, as an undergraduate, I felt the lack of a nearby car factory most keenly.  Still, you can't have everything in life, can you?

[Compound2632]

5 minutes ago, Edwardian said:

 

Agree.  I kept to Rugby, as Rugby was mentioned.

 

 

Apologies, so you did. 

[RedGemAlchemist]

On 06/06/2019 at 17:36, runs as required said:

I am ashamed that we who succeeded them, J K Galbraith has termed "the Comfort Generation" in denying our successors the benefits we ourselves enjoyed.

Macmillan coined a phrase for us lot: "We've never had it so good"

 

2

I really wanted to post about a very characterful street corner in Blyth, Northumberland.

I've had a life long respect for the architects of the Gothic Revival: Pugin, Street, Pearson etc.

Pevsner who lectured to us on his Pioneers of Modern Design walked us around Liverpool 'Red Brick University Victoria building to  point out how Pre-Raphaelite Gothic fancy dress allowed Waterhouse to get away with a gamut of daring spatial adventures that classical rules would never permit.

My daughter lives in Rugby dominated by hard-edged polychromatic William Butterfield; my all time fave is his All Saints, Margaret St. improbably  inserted into a terrace of stucco commercial buildings just north of Oxford St.

 

Driving around Blyth a couple of days ago I was very delighted to pass by this lively street corner. I stopped and snapped it using my new Chinese Spies' phone. 

the left (south ) side is a tightly organised former Presbyterian,  the centre pic is Google Street View looking west ,  the right is the sandstone Catholic Our Lady  

 

Pevsner's County book notes that the Catholic is 1862,  'rock faced with polygonal apse and SE spikelet' by A,M. Dunn, the Presbyterian is 1874 by Thomas Oliver,

Each has an adjacent Prebytery.

I think it a pity that when one could build such a seriously confrontational street corner, modellers will usually opt for a minimalist 'Million Pound Act' C19 urban gothic:

 

45 minutes ago, Edwardian said:

 

 

A fascinating post, David, which like so many of yours, leads me down many pleasant paths of digression [do we think the the Paths of Digression are to be found within the Folds of the Map?]

 

It is also a clarion call for modellers to explore the rich seams of Nineteenth Century ecclesiastical architecture.  Gems lie there for the taking.

 

Blyth Spirit

 

Blyth is unexplored territory for me, though the distinctive quirkiness of the Blyth & Tyne Railway, with its distinctive loco cabs, holds a fascination. 

 

 

I agree, what a wonderful assemblage of buildings. As you say, this is when competing denominations had learned to use architecture in place of burnings at the stake, which in terms of setting limits to human misery and bequeathing a rich architectural heritage, seems to me to represent a win win outcome.

 

So, in the Nineteenth Century the Roman Catholic church was finally free to replace the ecclesiastical estate lost to it at the Reformation. Catholic emancipation had been achieved by the Roman Catholic Relief Act of 1829, supported, incidentally, by both Wellesley brothers (which means I get to say "Mornington Crescent"!).  I suspect, however, that the real spur to Catholic church building was the decision in 1850 to re-establish the full Catholic church hierarchy. 

 

Here, then, we have an absolutely lovely stone Gothic Revival church of 1862. It rather looks like it should lie in some sleepy  vale, surrounded by a parish of thatched timbered Mediaeval cottages, veiled by river mist and wood smoke.   It could, in other words, make you think it was built when Blyth was settled in the Twelfth Century.  Yet here it is, gracing the urban scene.  The attractive adjacent house offers a contrast in materials, but is surely the parish house, as the Gothic brick porch to the right of the picture below suggests? 

 

 

Blyth was a port, and here it is convenient to let Wiki provide the background:

 

From the mid-19th century, several important events occurred which allowed the port of Blyth to rapidly expand. First, in 1847, a railway line was constructed, connecting Blyth to collieries at Seghill. This line combined with the existing line between Seghill and North Tyneside to form the Blyth and Tyne Railway. In 1853, the Blyth Harbour and Docks Board was formed, then in 1858 the Harbour Act was passed allowing dredging of the harbour to begin. In 1882, the formation of the Blyth Harbour Commission led to the building of new coal loading staiths, as well as the construction of the South Harbour.

 

So, the 1862 Catholic church may be seen as catering for the Roman Catholic portion of a rapidly growing population of a developing industrial and mercantile town.     

 

 

The Protestant riposte was evidently in the form of the brick Presbyterian church, to my eyes an altogether more industrial Gothic.  Built larger and taller than the church across the way, the Historic England website says it was built

 

1874-6 by Thomas Oliver junior. Brick in English Garden Wall Bond 1 and 3, with ashlar dressings; Lakeland slate roof with terracotta ridge cresting. T-plan .

 

 

The use of garden wall bond strikes me as interesting. This I understand as three rows of stretchers to one of headers.  An economy measure?

 

 

The polychromatic William Butterfield

 

The legacy of William Butterfield has been a very pleasant discovery for me. 

 

Naturally, I suppose, there was an outbreak at Rugby school ... 

 

 

And also Keble College, part of Cowley Polytechnic.

 

Masterpiece

 

I can entirely understand your enthusiasm for Butterfield's All Saints (1850-1859), Margaret Street, near Oxford Street in Fitzrovia.  

 

 

The assessment given in Wiki is well worth the time taken to read it:

 

All Saints marked a new stage in the development of the Gothic Revival in English architecture. Simon Jenkins called All Saints "architecturally England's most celebrated Victorian church". In 2014 Simon Thurley, the Chief Executive of English Heritage, listed All Saints as one of the ten most important buildings in the country.

 

The design of the church showed Butterfield (in Sir John Betjeman's words) "going on from where the Middle Ages left off" as a neo-Gothic architect. Previous architecture of the 19th-century Gothic Revival had copied medieval buildings. But Butterfield departed considerably from medieval Gothic practice, especially by using new materials like brick. Charles Locke Eastlake, the 19th-century architect and writer, wrote that Butterfield's design was "a bold and magnificent endeavour to shake off the trammels of antiquarian precedent, which had long fettered the progress of the Revival, to create not a new style, but a development of previous styles". The Victorian critic John Ruskin wrote after seeing All Saints: "Having done this, we may do anything; ... and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries."

 

Butterfield's use of building materials was innovative. All Saints is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone. At All Saints, Butterfield felt a mission to "give dignity to brick",] and the quality of the brick he chose made it more expensive than stone. The exterior of All Saints is employs red brick, heavily banded and patterned with black brick, with bands of stone and carved elements in the gate, the church wall and spire. Decoration is therefore built into the structure, making All Saints the first example of 'structural polychromy' in London.

 

I suppose, as railway modellers, we are mainly concerned with the exteriors of buildings, but the interior of All Saints is something else ....

 

 

Red and spikey Waterhouse

 

Liverpool's Victoria Building is new to me.  It is absolutely splendid.  I learn that It was designed by Alfred Waterhouse and completed in 1892.

 

 

It reminds me somewhat of the Prudential building on High Holborn, a daily sight when I worked in legal London.  This is, perhaps, unsurprising as it was built in phases between 1885 and 1901 to the designs of Alfred Waterhouse and his son Paul Waterhouse.

 

 

 

Having spent five months on the relatively simple Victoria Drill Hall, any such building on a model railway would only seem possible with some short-cut like resin cast standard components, though even so would be a task of many months.  Of course, it could only be accommodated, both in terms of space and visual impact, on the largest of layouts. A smaller scale version as a means of forced perspective, would be a great background feature to an urban layout. 

 

Pleasant food for thought.

 

Thank you, David.

Ah, church architecture. Something I actually have some knowledge in.

I tend to aim for combination Saxon/Norman/Perpendicular designs myself.

[Compound2632]

1 minute ago, RedGemAlchemist said:

 

Ah, church architecture.

 

Is "church architecture" really a distinct thing? Or is it architecture applied to ecclesiastical use? The Victorian Gothic Revivalists had a repertoire of architectural devices that were to some extent derived from their study of medieval architecture in both ecclesiastical and secular buildings, that they applied to buildings of both classes themselves - often creating quasi-ecclesiastical spaces for secular use, making a moral or philosophical point along the way - the Natural History Museum springs to mind.

[cornamuse]

On 27/05/2019 at 21:25, Nearholmer said:

"Hopefully I'll be dead before there's a museum of the 1970s"

 

Thankfully, your hopes were not fulfilled.

 

Leeds City Museum already has a gallery dedicated to that disliked decade.

 

PS: Maybe that period is so much disliked for precisely the reason that I nominated it, because it was so much a time of change. My theory is(!), that between the afternoon of 30 July 1966 (yes, I know that the date of the verdict in the Lady Chatterley's Lover trial is often used, but I have my logic)  and the morning of 4 May 1979, a particular England passed away, and a new version of England arrived, and that a similar process is underway right now, having started on the morning of 23 June 2016.

 

Can always visit Thornaby.... 

 

with apologies to the denizens of said metropolis

[Edwardian]

The ideas of ecclesiastical and Gothic revival architecture are easily and naturally conflated as ecclesiastical buildings of the middle ages were of necessity the most widespread and developed source of the revived styles. The Victorians applied the styles more widely, as was their need, but much of it derived from forms that had been applied and developed more often in spiritual than secular structures of the past.

 

A parallel exists in classical architecture, which is ultimately the application of the form and style of  Greek temple to every possible function, starting with the Romans, via the Renaissance to the English Neo-Classicists and beyond.  

[uax6]

Very interesting. All this polychromaticness reminds me of places like Bournville village and various asylums, Warley, Cane Hill, Rauceby etc (Visit http://www.simoncornwell.com/urbex and click on 'in depth' for more details. And when you have finished there, why not nip over to Simons other webpage on street lighting here: http://www.simoncornwell.com/lighting/ for a visit to the past!).

 

A very interesting part of our history, when it appears that some thought was put into what we built, rather than todays Gerry building of estate houses everywhere, with no regard to the vernacular styles....

 

Andy G

Edited June 8, 2019 by uax6

[cornamuse]

On 05/06/2019 at 17:22, AVS1998 said:

 

This looks fabulous, James - you'll do it far more justice than I would have ever done. In lieu of following through with a kit of one of these, I've elected to bash an ERTL 'Toby' toy instead, which is surprisingly close when compared to the diagrams.

 

 

 

 

 

Naturally it won't be as scale or detailed as your kit, but I'll be happy with it. Former GER 128, withdrawn in 1913, became the Blackstone and Marshland's 'Dr Syn', locomotive no~ 5, tram no~ 3. 

 

I can't wait to see what you'll make of the kit - it'll look smashing once you've finished with it. 

 

Apologies for the brief hijack by the way, just thought Sem and I ought to 'lay claim' to that locomotive! 

 

- Alex 

 

Very nice- where did you get the plan? 

[RedGemAlchemist]

On 05/06/2019 at 17:22, AVS1998 said:

 

This looks fabulous, James - you'll do it far more justice than I would have ever done. In lieu of following through with a kit of one of these, I've elected to bash an ERTL 'Toby' toy instead, which is surprisingly close when compared to the diagrams.

 

 

 

 

 

Naturally it won't be as scale or detailed as your kit, but I'll be happy with it. Former GER 128, withdrawn in 1913, became the Blackstone and Marshland's 'Dr Syn', locomotive no~ 5, tram no~ 3. 

 

I can't wait to see what you'll make of the kit - it'll look smashing once you've finished with it. 

 

Apologies for the brief hijack by the way, just thought Sem and I ought to 'lay claim' to that locomotive! 

 

- Alex 

Hadn't actually thought of doing that. Hmm. If I spot one the next time I'm at the car boot sale I might have to give it a crack.

[Edwardian]

On 05/06/2019 at 17:22, AVS1998 said:

 

This looks fabulous, James - you'll do it far more justice than I would have ever done. In lieu of following through with a kit of one of these, I've elected to bash an ERTL 'Toby' toy instead, which is surprisingly close when compared to the diagrams.

 

 

 

 

 

Naturally it won't be as scale or detailed as your kit, but I'll be happy with it. Former GER 128, withdrawn in 1913, became the Blackstone and Marshland's 'Dr Syn', locomotive no~ 5, tram no~ 3. 

 

I can't wait to see what you'll make of the kit - it'll look smashing once you've finished with it. 

 

Apologies for the brief hijack by the way, just thought Sem and I ought to 'lay claim' to that locomotive! 

 

- Alex 

 

53 minutes ago, cornamuse said:

 

Very nice- where did you get the plan? 

 

45 minutes ago, RedGemAlchemist said:

Hadn't actually thought of doing that. Hmm. If I spot one the next time I'm at the car boot sale I might have to give it a crack.

 

Next on my list of brilliant posts that deserve full attention is Alex's on the ERTL G15.

 

What an absolutely brilliant idea. It looks as if it'll work, too. I love it when something that is not a model can be adapted to be something that is. It is clever of you to have spotted this,

 

Tell us, please, in no particular order:

 

- how you broke it down into components

 

- what you used to strip the paint

 

- where you obtained those plans

 

As I'm working on an incomplete kit with no instructions, those plans would be useful, particularly in reconstructing the interior elements.

 

Please post progress on the build, I'd be fascinated to see it take shape.

 

The name, Dr Syn, is most apt, and wins my approbation as I am a fan of the Russell Thorndike stories.  I believe a Romney, Hythe & Dymchurch Railway loco was named Dr Syn.  As the first novel was published in 1915, the chronology works for you.

 

 

Edited June 8, 2019 by Edwardian
spelling!

[jwealleans]

James, I have cnfirmed that that is the Connoisseur kit and I have instructions if you need them.