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Western Approaches Museum

The Western Approaches Museum in Liverpool, England, is a museum chronicling the work of Western Approaches Command around Atlantic convoys, combating the U-boat menace and the Battle of the Atlantic. Set in the restored former WW2 command centre responsible for coordinating the effort, the museum consists of re-opened rooms housing artifacts from when the command centre was in active use; the museum includes a tour that covers the Central Operations room, cypher room, a 1940s street scene, NAAFI canteen and community classroom facility. It contains the original Gaumont Kalee Dragon projector which Winston Churchill used to watch secret war footage. Since September 2017, the museum has been run by Big Heritage. Since taking over, Big Heritage have undertaken a restoration of the site, unearthing artifacts and parts of the facility that have been closed off since the 1960s. Western Approaches

Beningbrough Hall

Beningbrough Hall is a large Georgian mansion near the village of Beningbrough, North Yorkshire and overlooks the River Ouse. It has baroque interiors, cantilevered stairs, wood carving and central corridors which run the length of the house. Externally the house is a red-brick Georgian mansion with a grand drive running to the main frontage and a walled garden, The house is home to more than 100 portraits on loan from the National Portrait Gallery, it has a restaurant and garden shop, was shortlisted in 2010 for the Guardian Family Friendly Museum Award. The Hall is set in extensive grounds and is separated from them by an example of a ha-ha to prevent sheep and cattle entering the Hall's gardens or the Hall itself. Beningbrough Hall, situated 6.2 miles north west of York, was built in 1716 by a York landowner, John Bourchier III to replace his family's modest Elizabethan manor, built in 1556 by Sir Ralph Bourchier on his inheritance to the estate. Local builder William Thornton oversaw the construction, but Beningbrough's designer remains a mystery.

Bourchier was High Sheriff of Yorkshire for 1719–1721 and died in 1736 at the age of 52. John Bourchier followed his father as owner of Beningbrough Hall and was High Sheriff in 1749, it passed to Dr. Ralph Bourchier, a 71-year-old physician and from him to his daughter, who lived there for 70 years. Today a Bourchier knot is cut into a lawn adjoining the house. After over 100 years in the Bourchiers' possession, the estate passed in 1827 to the Rev. William Henry Dawnay, the future 6th Viscount Downe, a distant relative, he died in 1846 and left the house to his second son, High Sheriff for 1851. The house was neglected. In 1916 however, a wealthy heiress, Enid Scudamore-Stanhope, Countess of Chesterfield, bought it and set about its restoration, filling it with furnishings and paintings from her ancestral home, Holme Lacy in Herefordshire. During the Second World War the hall was occupied by the Royal Air Force latterly, the Royal Canadian Air Force, when under No. 6 Group of Bomber Command, they took over some of the bases in the region.

Lady Chesterfield died in 1957, in June 1958 the estate was acquired by the National Trust after it had been accepted by the government in lieu of death duties at a cost of £29,250. In partnership with the National Portrait Gallery the hall exhibits more than a hundred 18th-century portraits and has seven new interpretation galleries called'Making Faces: 18th-century Style'. Outside the main building there is a Victorian laundry and a walled garden with vegetable planting, the produce from, used by the walled garden restaurant. Beningbrough Hall includes a wilderness play area, community orchard, an Italianate border and garden shop, it hosts events, activity days, family art workshops, an annual food and craft festival which in 2010 was a Big Green Festival. Bourchier knot a.k.a. the Granny knot Baring-Gould, Sabine. "The Tragedy of Beningbrough Hall". Yorkshire Oddities and Strange Events. London: Methuen. Pp. 216–222. National Trust page Beningbrough Hall page on National Portrait Gallery website Historic England.

"Details from listed building database". National Heritage List for England

Thickness-to-chord ratio

In aeronautics, the thickness-to-chord ratio, sometimes chord ratio or thickness ratio, compares the maximum vertical thickness of a wing to its chord. It is a key measure of the performance of a wing planform. At speeds approaching the speed of sound, the effects of Bernoulli's principle over curves on the wing and fuselage can accelerate the local flow to supersonic speeds; this creates a shock wave that produces a powerful form of drag known as wave drag, gives rise to the concept of the sound barrier. The speed at which these shocks first form, critical mach, is a function of the amount of curvature. In order to reduce wave drag, wings should have the minimum curvature possible while still generating the required amount of lift; the natural outcome of this requirement is a wing design, thin and wide, which has a low thickness-to-chord ratio. At lower speeds, undesirable parasitic drag is a function of the total surface area, which suggests using a wing with minimum chord, leading to the high aspect ratios seen on light aircraft and regional airliners.

Such designs have high thickness-to-chord ratios. Designing an aircraft that operates across a wide range of speeds, like a modern airliner, requires these competing needs to be balanced for every aircraft design. Swept wings are a practical outcome of the desire to have a low thickness-to-chord ratio at high speeds and a lower one at lower speeds during takeoff and landing; the sweep stretches the chord as seen by the airflow, while still keeping the wetted area of the wing to a minimum. For practical reasons, wings tend to be thickest at the root. For this reason, it is common for wings to taper their chord towards the tips, keeping the thickness-to-chord ratio close to constant, this reduces induced drag at lower speeds; the crescent wing is another solution to the design to keep a constant thickness-to-chord ratio. Andrianne, T.. "Aerodynamics". Université de Liège. Pp. 49–50

Sam Trott

Samuel W. Trott was an American professional baseball player and manager whose career spanned from 1877 to 1891, he played eight seasons in Major League Baseball, principally as a catcher, for the Boston Red Caps, Detroit Wolverines, Baltimore Orioles. Trott served as the manager the Washington Statesmen for their inaugural season in 1891. Trott was born in Maryland in 1859, his father, Samuel E. Trott, was a carpenter, his mother, Laura J. Trott, was a Maryland native. Trott began his professional baseball career in 1877 playing for the Chicago Fairbanks and Philadelphia Athletic clubs in the League Alliance. In 1879, he played for the Washington Nationals. In May 1880, Trott was purchased from the Nationals by the Boston Red Caps of the National League where he made his major league debut, he appeared in 39 games for the Red Caps, 36 as a catcher, compiled a.208 batting average. In 1881, he joined the newly formed Detroit Wolverines in the National League, he played for the Wolverines in their first three seasons from 1881 to 1883, serving principally as a backup to catcher Charlie Bennett, though he played 42 games at second base in 1883.

In his three seasons with the Wolverines, Trott appeared in 113 games and compiled a.241 batting average with 23 doubles, three triples and 43 runs batted in. Trott concluded his major league career by playing four seasons, principally as a catcher, for the Baltimore Orioles, he spent the 1884, 1885, 1887 and 1888 seasons with the Orioles, appeared in 208 games, compiled a.262 batting average with 46 doubles, 18 triples, three home runs, 71 RBIs, nine stolen bases. In 1891, Trott served as the first manager of the Washington Statesmen. In their inaugural season, the Statesmen compiled a 44-91 record and finished ninth in American Association. Trott was handicapped as a manager by having a pitching staff that compiled a 4.83 earned run average, far above the league average of 3.71. By 1900, Trott was living with his wife Emma in Baltimore, they had two children living with them and Samuel. Trott's occupation was listed as a cigar salesman. Ten years Trott was still living in Baltimore with wife and they by had three children, Bessie and Dorothy.

His occupation in 1910 was traveling salesman. Trott died in Catonsville, Maryland, in June 1925 at the age of 66

Philipp Uffenbach

Philipp Uffenbach was a German painter and etcher. He was born in Frankfurt, trained under Hans Grimmer. One of his pupils was Adam Elsheimer. In 1598 Uffenbach obtained the citizenship of Frankfurt, after he had married and had taken over the painter’s workshop of his father-in-law in 1592. Only a few of his paintings and engravings are preserved, his chief work is Ascension of Jesus of 1599, which he painted for the Dominican-Church in Frankfurt on Main. Conserved fragments can be found in the Historical Museum of the City of Frankfurt, it is known that he worked on behalf of the council of the city, e.g. he represented the Brückenfreiheit at the tower of Old Bridge of Frankfurt on Main, he colored the figure Justitia for the Fountain of Justicia on Römerberg. 1887 this figure had been replaced by a sculpture in bronze. For Landgrave Philipp III. of Hessen-Butzbach he made the ceiling fresco for the "Landgrafschloss". Uffenbach's interests included mechanics, geometry alchemy, anatomy. In 1598 he wrote the booklet Zeitweiser containing a printed diptych sundial.

On the horizontal part of this sundial he presented the oldest gnomonic world map known so far. He was interested in the problem of squaring the circle and published the book with the title De quadratura circuli mechanici. Bryan, Michael. Walter Armstrong & Robert Edmund Graves. Dictionary of Painters and Engravers and Critical. York St. #4, Covent Garden, London. Pp. 598–599. CS1 maint: location Reinhard Folk: Uffenbach's "Zeitweiser" published 1598 in The Compendium, Journal of the North American Sundial Society, Vol. 21 Num. 3 Pag.4 September 2014 ISSN 1074-3197 Ursula Opitz: Philipp Uffenbach Ein Frankfurter Maler um 1600 Deutscher Kunstverlag, Berlin München 2015, ISBN 3-422-07241-1. self-portrait information