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After finalizing the financing of the vessels , which had been made without any subsidising, the construction started in The price per liner would be RM 41,7mio. In the end it was RM 65mio. The interior design concept was made by Prof. Paul Ludwig Troost, Munich. Fritz August Breuhaus de Groot , Prof. Despite the revolutionairy Art Deco exterior the interior design was a modernized mid 20ties "German styling", the " Neue Sachlichkeit ", but not Bauhaus Design, as one would have expected.

For the fans of the "old fashion" it was to could instead. Restaurant on the Sun Deck - courtesy of Rich Turnwald. Main Salon - own collection. While under construction the engineers remembered the innovation of the US marine engineer D. With this bulbous the tank tests made it clear, the new liners had to build with this bulbous to reach the contracted speed.

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Despite this discussion the building of the vessels created 4, to 5, new employments at each yard and more so in Germany with the delivery partners. Even abroad the building created new employmnents. But trouble lay ahead. At first a strike of the shipbuilders workers for higher wages. This strike lasted from October till January Europe was burried under snow and ice. Only A. Weser was able realising a delivery date in June But destiny hit once more. Midship and bridge section had been vastly damaged. An insurance inspection declared the vessels could be restored. Both liners had the state of the art Steam turbine technology on board installed.

But for the boiler rooms another novelty - high pressure air. The rooms could only be accessed by gates. This had a number of advantages - no Howden tubes. These are neccessary for "open aired" boiler rooms. Each boiler room got its own fresh air casing, which is less weight and for the design a cleaner top deck. With a further increasing of the air pressure in the boiler rooms the boilers could produce more steam, and therefore more power for the turbines. Professor Gustav Nathanael Bauer had been responsible for implementing this technology.

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  • The boilers delivered their steam to the four turbines. Each had a gearing of While at normal cruising speed the turbines produced 84, hp to the propellers, which rotated at UpM. The maximum power was , hp, while ts to 1, ts of oil per had been used. The bunkering capacity was only 8, ts of oil.

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    • Another of the serveral "firsts" that ss BREMEN introduced: the vessels name in big letters, enlighted during the night - own collection. As the Ocean Express liners became official mail steamers, they got too a catapult installed which should shoot a mail delivering airplane in reach of land for the faster transport of special charged mail. Almost all the first class passengers had crowded together outside the Sonnendeck Restaurant where they watched the heavy bag of Luftpost being hauled aboard the Heinkel float plane. The pilot, looking every inch a German air ace, swung himself athletically into the cockpit and started up the engine.

      The noise was deafening and people blocked their ears if they didn't have to hang on to their hats. The excitement mounted and then there was a mechanical sound and suddenly the plane was catapulted from the ramp and was flung over the side of the liner and into the air. It didn't simply plunge into the water as Martin had feared, but dipped for a second and then regained height and headed into the setting sun on its way to New York. It would beat them there by a full day, although it was widely believed that the Bremen would take the Blue Riband on this maiden voyage.

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      But during the inaugural crossing in ss BREMEN turned its bow into the wind and let the plane start for the mail delivery. This delivery prooved to be too costly and unprctic and was abandoned later in These new German Greyhounds again shocked the British public.

      And she was a North Atlantic Greyhound. Build for speed, luxury and comfort. But clouds emrged on the horizon. First it hit the US sconomy. And with no clue what to do, the Republican US administration ordered, over night, all loans to be payed back. Further banks went bancrupt and the turn down began. The German Republic of Weimar was soon near its ending. Till the unemployment grew tremendously.

      The social aid system crumbled and public food kitchens emerged to feed the poor and those who lost everything. This was the soil where demagogic politicians, with only their own interests in mind, got into power - in Germany the painter from Austria, Adolf Hitler. And far to many abroad applauded him for his doing. Vair represents the winter coat of the red squirrel , which is blue-grey above and white below.

      These furs were commonly used to line the cloaks and robes of the nobility. Both ermine and vair give the appearance of being a combination of metal and colour, but in heraldic convention they are considered a separate class of tincture that is neither metal nor colour. Ermine Fr. The use of white instead of silver is normal, even when silver is available, since this is how the fur naturally appears; but occasionally silver is used to depict ermine.

      Vair Ger. Feh derives its name from Latin varius , "variegated". It is usually depicted as a series of alternating shapes, conventionally known as panes or "vair bells", of argent and azure, arranged in horizontal rows, so that the panes of one tincture form the upper part of the row, while those of the opposite tincture are on the bottom. Succeeding rows are staggered, so that the bases of the panes making up each row are opposite those of the other tincture in the rows above and below. As with ermine, the argent panes may be depicted as either white or silver; silver is used more often with vair than with ermine, but the natural fur is white.

      Buntfeh , "gay-coloured" or "checked vair" is also known, usually consisting of two metals and two colours. Several variant shapes exist, of which the most common is known as potent [vii] Ger. In this form, the familiar "vair bell" is replaced by a T-shaped figure, known as a "potent" due to its resemblance to a crutch. These can be modified with the color, arrangement, and size variants of vair, though those variants are much less common. The heraldic scholar A. Fox-Davies proposed that, in some circumstances, white should be considered a heraldic colour, distinct from argent. In a number of instances, a label or collar blazoned as "white" rather than "argent" appears on a supporter blazoned argent or or.

      The use of "white" in place of "argent" would be consistent with the practice of heraldic blazon that discourages repeating the name of a tincture in describing a coat of arms, but if it were merely intended as a synonym of "argent", this placement would clearly violate the rule against placing metal on metal or colour on colour see below. This difficulty is avoided if "white" is considered a colour in this particular instance, rather than a synonym of "argent".

      Other exceptional colours have occasionally appeared during the twentieth and twenty-first centuries:. The arms of the Jewish Autonomous Region in Russia have a field of aquamarine , which is emblazoned more as a kind of dark green than a true aquamarine colour. The Canadian Heraldic Authority granted arms containing rose as a colour in Ochre , both red and yellow, appears in South African heraldry; the national coat of arms, adopted in , includes red ochre , while yellow ochre appears in the arms of the University of Transkei.

      In the United States , heraldry is not governed by any official authority; but the United States Army , which makes extensive use of heraldry, does have its own authority, the United States Army Institute of Heraldry. The armorial designs of the Institute of Heraldry include a number of novel tinctures, including buff employed variously as either a metal or a colour , [25] and horizon blue.

      A charge that is coloured as it naturally appears is blazoned proper Fr. In some cases, a charge depicted in a particular set of colours may be referred to as "proper", even though it consists entirely of heraldic tinctures; a rose proper, whether red or white, is barbed vert and seeded or. The most extensive use of non-heraldic colours is probably associated with "landscape heraldry", a common feature of British and German armory during the latter part of the eighteenth century, and the early part of the nineteenth.

      Although rarely used for the field itself, landscapes were often granted as augmentations , typically depicting a fortress successfully captured or defended, or a particular ship, or a battle in which the armiger to whom the augmentation was granted was involved. Such landscapes, usually appearing on a chief, might be blazoned with great particularity as to the things portrayed and the colours used to portray them.

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      Officially, these landscapes appeared on a field of argent, but it was common, and perhaps expected, for the artist to add further details, such as the sky and clouds, by which the field might be wholly obscured. The use of landscapes in heraldry fell out of fashion during the Victorian era , when heraldic scholars and artists began looking to earlier and simpler periods of armorial design for inspiration. In the English-speaking world, heraldic terminology is based largely on that of British armory, which in turn is based on Norman French.

      With respect to the heraldic tinctures, French heraldry, which is often cited by heraldic authors, uses similar terminology. However, German heraldry, also highly influential, uses a different vocabulary; it calls the colours by their everyday names. In its original sense, tincture refers only to the group conventionally referred to as "colours". In most heraldic tradition, the various metals and colours have no fixed appearance, hue, or shade. The heraldic artist is free to choose a lighter or darker blue or green, a deeper or brighter red; to choose between depicting or with yellow or any of various gold paints, to depict argent as white or silver.

      If the official description of a coat of arms gives its tinctures as Gules red , Azure blue and Argent white or silver then, as long as the blue is not too light and the red not too orange, purple or pink, it is up to the artist to decide which particular shades they think are appropriate.

      Most heraldic authors do not capitalize the names of the various tinctures, although a few do sometimes inconsistently , and some who do not capitalize the other tinctures recommend capitalizing "or" in order to avoid confusion with the conjunction. However, there are relatively few occasions in which the conjunction "or" would appear in the blazon of a coat of arms; and if properly worded, which meaning is intended should be readily apparent from the context.

      A long-standing heraldic tradition has been to avoid repeating the names of tinctures multiple times in any given blazon. If it is possible to mention multiple charges of the same tincture at once, followed by the name of the tincture, then this problem is avoided; but when it is impossible to combine elements of the same tincture in this manner, more creative descriptions may be used.

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      For example, instead of "gules, on a fess or between three chess-rooks argent, a lion passant gules, armed and langued argent", one might say, "gules, on a fess or between three chess-rooks argent, a lion passant of the field , armed and langued of the third. Alternately, descriptions such as "gold" and "silver" might be substituted for "or" and "argent" on a subsequent occurrence.

      Another rule of blazon relating to tinctures suggests the placing of a comma after each occurrence of a tincture. In recent years, the College of Arms has regularly dispensed with many of these practices, believing them to cause confusion; and in new grants of arms, the names of tinctures are repeated on each instance that they occur. The names of all tinctures and charges are capitalized, although the word "proper", indicating the colour of nature, is not; and internal commas are entirely omitted.

      The first so-called "rule" of heraldry is the rule of tincture : metal should not be placed upon metal, nor colour upon colour , for the sake of contrast. The main duty of a heraldic device is to be recognized, and the dark colours or light metals are supposed to be too difficult to distinguish if they are placed on top of other dark or light colours, particularly in poor light. Though this is the practical genesis of the rule, the rule is technical and appearance is not used in determining whether arms conform to the rule.

      Another reason sometimes given to justify this rule is that it was difficult to paint with enamel colour over enamel, or with metal over metal. This use of metal on metal, that is to say white and gold together, is seen on the arms of the King of Jerusalem , the flag and arms of the Vatican, and the bishop's mitre in the arms of Andorra. It indicates the exceptional holy and special status of the Coat of Arms. An example of "colour on colour" is the arms of Albania , with its sable two-headed eagle on a gules field.

      The "rule of tincture" has had an influence reaching far beyond heraldry. It has been applied to the design of flags, so that the flag of Saxe-Weimar-Eisenach was modified to conform to the rule. When a charge or group of charges is placed across a division line, variation , or ordinary , it may be counterchanged Fr. In the municipal arms of Behnsdorf , Saxony-Anhalt , seen at right, the field is divided with the left half white argent and the right half green vert , and the counterchanged tree is green where it lies on the white part of the field, and white where it lies on the green part.

      The flag of Maryland is another example of counterchanging. The only U. In the 1st and 4th quarters, the field is divided into six vertical bands of gold or and black sable with a diagonal band a bend in which the colours are reversed i. The 2nd and 3rd quarters are themselves quartered between white argent and red gules with a counterchanged cross bottony that is red where it lies on the white part of the field and white where it lies on the red part of the field.

      Counterchanging is rare in early heraldry; early examples from German heraldry are found in the late fifteenth-century Wernigerode Armorial ; [47] it becomes more frequently applied from the seventeenth century onward, especially with the substantial number of newly-created coats of arms, of which some notable examples include Baron Baltimore , Nightingale baronets , Barrett-Lennard baronets , Verney baronets , and Baron Alvingham In Scottish heraldry, charges are sometimes blazoned as counterchanged of different colours from the field; for instance, per fess gules and azure, a sun in splendour counterchanged or and of the first.

      A more typical blazon for this would be per fess gules and azure, a sun in splendour per fess or and of the first. The term countercoloured is sometimes used in place of counterchanged. The arms of the Fenwick baronets were originally blazoned as silver, a chief gules with six martlets countercoloured. In this case, three martlets argent rest on a chief gules, while three martlets gules rest on the argent field.

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      Some heraldic authorities regard the use of this term as erroneous. Pages Front Matter Pages Replacement mothers, bedtricks and daughters out of place. Replacement, renewal and redundancy. Lost boys in Little Eyolf. The Sisters Antipodes : replacement and its ripples of sibling rivalry. Artificial intelligence and synthetic humans: loss and replacement. The metaphysics of replacement in photoplay novels of immigration. Of ghosts and girls in Ulysses