Ahmedabad Duronto Express

The Ahmedabad Mumbai Central Duronto Express is a superfast express train of the Indian Railways connecting Mumbai Central (BCT) to Ahmedabad Junction (ADI). It is currently being operated with 12267 / 12268 train numbers.

The rake has 6 AC 3 tier economy coaches, 5 AC 3 tier Coaches, 3 AC 2 tier Coaches, 1 AC First Class and 2 EOG Cars making a total of 17 coaches. As is customary with Indian Railways, coaches are added/removed as per the demand.

It is the fastest train on the Mumbai – Ahmedabad sector. It averages 76.52&nbsp modern glass water bottle;km/hr as 12267 Duronto Express covering 491 km in 6 hrs 30 mins & 78.56 km/hr as 12268 Duronto Express covering 491 km in 6 hrs 15 mins.

This train had its inaugural run on 24 December 2009. It was initially a 3 days a week service. Later it became a daily train.

It is a fully AC train & uses Old ICF rakes online football shirts.

Dual traction WCAM 2/2P locos would haul the train between Mumbai Central & Ahmedabad Junction until at least March 2012 although Western Railway completed DC Electric Conversion to AC on 5 February 2012. It is now regularly hauled by a Vadodara based WAP 5 locomotive.

Technical Stoppages: None

Eliakim Carmoly

Eliakim Carmoly (August 5, 1802, Soultz-Haut-Rhin, France – February 15, 1875 ways of tenderizing meat, Frankfurt) was a French-Jewish scholar. He was born at Soultz-Haut-Rhin, then in the French department of Haut-Rhin. His real name was Goschel David Behr (or Baer); the name Carmoly, borne by his family in the fourteenth and fifteenth centuries, was adopted by him when quite young. He studied Hebrew and Talmud at Colmar; and, because both French and German were spoken in his native town, he became proficient in those languages.

Carmoly went to Paris, and there assiduously studied the old Hebrew manuscripts in the Bibliothèque Nationale, where he was employed. Several articles published by him on various subjects in scientific papers made him known; and on the establishment of a Jewish consistory in Belgium, he was appointed rabbi at Brussels (May 18, 1832). In this position Carmoly rendered many services to the newly founded congregation, chiefly in providing schools for the poor. Seven years later, having provoked great opposition by his new scheme of reforms, Carmoly resigned the rabbinate and retired to Frankfort, where he devoted himself wholly to Jewish literature and to the collection of Hebrew books and manuscripts, in which he was passionately interested.

His grandfather was Isaachar Bär ben Judah Carmoly meat tenderizer knuckles, rabbi of Sulz hands free toothpaste dispenser.

Carmoly’s works have been severely attacked by the critics; and it must be admitted that his statements cannot always be relied upon. Still, he rendered many services to Jewish literature and history; and the mistrust of his works is often unfounded modern glass water bottle. Carmoly was the author of the following works:

Besides these works, Carmoly contributed to many periodicals, and edited the Revue Orientale (Brussels, 1841–46, 3 vols.), in which most of the articles were furnished by himself. The most important of these contributions, which constitute works by themselves, were

Carmoly has been accused of fabrications by several scholars. In particular, his itinerary of Isaac Chelo is commonly believed to be a forgery.

Pegasus (Efteling)

Pegasus war eine Holzachterbahn im niederländischen Freizeitpark Efteling.

Entworfen wurde die Bahn von Curtis D. Summers gemeinsam mit dem bekannten amerikanischen Holzachterbahndesigner Charles Dinn, der auch für das Holz sorgte. Die Technik für die Bahn lieferte die Firma Intamin natural tenderizers for meat.

Die mit nur 16 Meter Höhe und 490 Meter Länge eher kleine Anlage wurde am 1. Juli 1991 eröffnet. Sie war damals die einzige Holzachterbahn in den Niederlanden.
Mit eher moderaten Geschwindigkeiten von maximal 55 km/h und eher geringen Beschleunigungen richtete sich die Bahn an das Familienpublikum.

Um eine akustisch ruhige Fahrt zu gewährleisten wurden für die beiden Züge mit je 20 Plätzen, anders als bei den meisten Holzachterbahnen, keine Metallräder sondern solche mit Polyurethanbeschichtung eingesetzt. Gleichzeitig sorgten die Räder aber für eine teilweise etwas „eckige“ Fahrweise in den wenig geneigten Kurven der Bahn.

Wegen des hohen Aufwandes der Instandhaltung und um Platz für eine neue Racing-Holzachterbahn – Joris en de Draak – zu schaffen, wurde Pegasus zum 19. Juni 2009 geschlossen modern glass water bottle. Im August 2009 wurde mit dem Abriss begonnen.

Nach Verlassen der Station wurde der Zug kurioserweise direkt wieder abgebremst um die Weiche zum Abstellgleis sicher zu passieren. Danach durchfuhr er eine 180 Grad Linkskurve und wurde vom Kettenlift auf den Lifthill transportiert. Kurz vor Erreichen der höchsten Stelle verlangsamte sich der Lift stark, so dass der Zug auf dem First Drop zunächst nur langsam Fahrt aufnahm. Nach der Auffahrt folgte eine 220 Grad Rechtskurve gefolgt von einer weiteren kleineren Abfahrt. Anschließend eine 220 Grad Linkskurve, an die sich ein kleiner Airtime-Hügel anschloss. Die folgende 180 Grad Linkskurve führte durch die Holzkonstruktion. Auf dem Rückweg zur Station schloss sich noch ein kleiner Hügel an, bevor der Zug in der pneumatischen Schlussbremse zum Stehen kam.

Aktuelle Achterbahnen: Baron 1898 | Bobbaan | De Vliegende Hollander | Joris en de Draak | Python | Vogel Rok

Ehemalige Achterbahnen: Pegasus

Koordinaten:

William Wailes

William Wailes, (1808–1881), was the proprietor of one of England’s largest and most prolific stained glass workshops.

Wailes was born and grew up in Newcastle on Tyne, England’s centre of domestic glass and bottle manufacturing. His first business was as a grocer and tea merchant. However, his artistic talent and practical skills led him to set up a small kiln in the backyard of his premises. He made and fired small decorative enamels which were sold in his shop.

In 1830 he went to Germany to study stained glass design and production under Mayer of Munich. In 1838 he set up his own stained glass studio to design and manufacture windows and in 1841 the business began producing its own glass.

In 1842 the architect Augustus Pugin approached Wailes about producing windows for him. Working with Pugin was a thankless task, as Pugin went from one workshop to another in an attempt to get his designs realised at the lowest possible cost. The working relationship lasted for only three years.

Regardless of this, Wailes made a name for himself through the provision of windows for local churches. As his enterprise prospered, he employed more men until there were 76 employees, who included in their number several designers who were to go on to establish their own factories. These included Francis Wilson Oliphant R.A. (1818–1859) and George Joseph Baguley (1834–1915). William Wailes was one of the twenty-five stained glass manufacturers that exhibited in the Crystal Palace Exhibition in 1851.

Wailes married (Elizabeth) and they had several children, including a son, William Thomas Wailes, who was to join his father in the business, as did his son-in-law, Thomas Rankine Strang, in 1861, when the firm became known as Wailes and Strang.

In 1860 Wailes bought the Saltwell Estate at Gateshead and set about improving it, building himself a decorative mansion and landscaping the grounds. Unfortunately, he ran into debt and 16 years later sold the property to the Gateshead Corporation. The estate became a public park known as Saltwell Park which includes the house, Saltwell Towers. However Wailes continued to reside in his home until his death in 1881. William Thomas Wailes continued to manufacture stained glass until 1910.

Wailes was painted next, to a window exemplifying his work, by John Oliphant. The painting hangs in the Shipley Art Gallery in Gateshead.

Although William Wailes employed a number of designers, the products of his workshop are often identifiable by type of glass and the particular colour combinations that prevailed. Wailes’ glass is often a little paler and more brightly coloured than many English workshops of the same date, being rather more like glass from Germany or Limoges. There are certain distinctive colour combinations that occur repeatedly in the clothing of figures in Wailes’ windows- mauve lined with bright red, yellow lined with bright blue, red lined with acid green. Many of Wailes window contain a great deal of pink glass.

Although Wailes was seen as a Gothic Revival artist, and was able to fill windows with ornate foliate patterns that have the quality of brightly painted manuscripts rather than ancient glass, his figures were elegantly classicising and decidedly staid of demeanour. Figures in Wailes’ windows communicate in a series of stereotypical hand gestures. Moreover, the details of faces are applied in a painterly manner, as against the almost calligraphic manner with which some of the 19th-century artists such as John Hardman imitated ancient windows. The painterly manner is typical of that employed by Mayer of Munich, with whom Wailes trained.

While most of the work of Wailes’ workshop is to be found in the North of England, other commissions came from further afield. The most significant window glazed by the firm, and one of the prize commissions of the industry, was the glazing of the west window of Gloucester Cathedral 32 ounce water bottle with straw, an enormous window of c.1430 in the Perpendicular Gothic style, of nine lights and four tiers. This window complemented, at the other end of the building, one of the largest ancient windows in the world; the east window (which is as big as a tennis court) fortunately had retained much of its 14th century glass, comprising many tiers of figures.

Wailes’ west window at Gloucester is a stupendous achievement brazil football uniform, and not just because of the technicalities involved in glazing such a vast area. It makes no attempt to imitate the style or content of the east window. The content of the west window, like that of so many other commissions, was probably stipulated by a committee. Because the window was so large there was room for a large number of narratives and many figures.

The window comprises nine vertical sections called lights which are divided by mullions into three lots of three. The window rises in three stages, the first and the third being approximately half as tall as the middle one, the whole being surmounted by many smaller vertical tracery lights, which Wailes predictably filled with singing angels neatly arranged in robes of violet, bright red and arsenic green modern glass water bottle.

Wailes’ design divides the window’s main part into four rather than three stages, each containing three complex narrative scenes which are made successfully to span three lights. The central section which shows the Nativity of Christ with the Baptism of Christ in the Jordan by John the Baptist (one below the other) is a particularly successful composition, considering that it contains two significant narrative incidents which visually harmonise, yet remain discrete scenes. While each of the twelve individual pictures works as a unit, the visual composition of the whole window is skilfully arranged so as to present as an integrated work of art. This has been achieved by the skilled placement of the 116 figures and the equally skilful disposition of colour.

Media related to William Wailes at Wikimedia Commons