Kevin

.Good evening everyone
 
with my summer break i am starting another wagon, 
 
Taken from Wikki
 
Stagecoaches were familiar vehicles along the main roads of the East and the South before the coming of railroads in the 1830s and 1840s. Even as the nation's network of iron and steel rails grew larger and more comprehensive, stagecoach connections to small and isolated communities continued to supplement passenger trains well into the second decade of the twentieth century. However, stagecoach travel was most difficult and dangerous across the vast expanse of the American West, where it attracted the most attention. In large measure that was because of the inordinately great distances involved and the Herculean effort required to maintain regular service across the region's dry and sparsely populated landscape.
Stagecoach lines in the East tended to connect preexisting centers of population, and passengers took regular meals at the established inns and taverns along the way. Nothing of the kind existed in the West in 1858, when John Butterfield undertook an overland stage line connecting St. Louis and San Francisco by way of El Paso, Texas. The route also ran through Tucson and Los Angeles, but neither was more than a village of a few hundred residents at that time. A federal contract paid the stage company $600,000 a year to carry U.S. mail across the continent, and that money helped subsidize way stations at regular intervals, where, in the absence of existing settlements along most of the proposed route, the coaches could change draft animals and the passengers could find food. The Butterfield organization spent nearly a year getting everything into place to support semiweekly stagecoach service.
When Butterfield's Overland Mail Line opened for business on 16 September 1858, the 2,795-mile journey between San Francisco and St. Louis required approximately three weeks of hard traveling, and that was during the best weather. The coaches kept moving all through the day and night except for brief intervals at way stations. Stagecoach fare did not include the cost of meals, which at an average price of a dollar each three times a day for three weeks might effectively add 50 percent to the cost of a through ticket. Sleep had to be obtained aboard the rocking coach.
Antedating Butterfield's line, a stage line connected San Diego and San Antonio in 1857 with semimonthly coaches. Even earlier, in 1849, a stage line of sorts connected Independence, Missouri, and Santa Fe, New Mexico. But these earlier carriers were not as ambitious as the Butterfield line, nor were they run with the attention to detail that a large support structure demanded.
In the spring of 1861, with the threat of Civil War and Texas's secession from the Union, the transcontinental stage line moved north. Following the central Over-land Trail, it stretched through the future states of Wyoming,
Utah, and Nevada. Again the Overland Stage Line had to spend a small fortune to build the support structure required for regular operations across the sparsely populated corridor. The long transcontinental journey remained as rigorous as before.
The transcontinental stage line attained its greatest geographical reach under the leadership of Ben Holladay. In the mid-1860s, lines of the Holladay Overland Mail and Express Company extended west from the Missouri River steamboat landings in Kansas and Nebraska to a hub in Salt Lake City. From there additional lines served outposts as distant as Butte, Montana, and The Dalles, Oregon, where steamboat connections to Portland were available. Incurring heavy losses in 1864 and 1965 during the Native American unrest that sometimes prevented overland stagecoaches from running, Holladay in November 1866 sold his interests to Wells, Fargo and Company. Wells, Fargo operated stagecoaches along the transcontinental route between Salt Lake City and Sacramento, California, where steamboats connected to San Francisco. Holladay subsequently acquired and built railroad lines in Oregon.
Railroads generated a great deal of excitement all across the West. As the tracks of the first transcontinental railroad extended east from Sacramento and west from Omaha in the late 1860s, stagecoaches served a shrinking gap. That gap closed when railroad officials drove a last spike at Promontory, Utah, in May 1869 and trains linked California with the rest of the United States for the first time. The era of stagecoaches along the central Overland Trail was over, but thereafter various smaller stage lines linked transcontinental trains to distant outposts. Until buses became popular around the time of World War I, many a road-weary stagecoach continued to meet passenger trains and provide transportation to remote villages in the West. The term "stage" was commonly used to describe any coach, wagon, or sleigh used as a public conveyance. In the 1860s, the heyday of stagecoach lines, the Concord coach, handcrafted in Concord, New Hampshire, by Abbot, Downing and Company, became the quintessential icon of transportation across the frontier West. The first Concord in California, transported aboard a clipper ship that sailed from New England around Cape Horn, inaugurated service out of San Francisco on 25 June 1850.
The familiar egg-shaped body of the Concord coach was renowned for its great strength and its ability to keep passengers dry while floating them across flood-swollen streams. Because the inevitable twisting of the coach body on the rough terrain could easily shatter glass windows, it had only adjustable leather curtains to keep out the dust, wind, and rain. The heavy body, often weighing a ton or more, rode on thick, six-or eight-ply leather belts called thoroughbraces to insulate it from the constant pounding of the wheels over makeshift roads. Nevertheless, the swaying made some passengers seasick. Mark Twain aptly characterized the Concord coach as a "cradle on wheels."
Not all stagecoaches were of the familiar type. Vehicles called "celerity" or "mud" wagons were much lighter and cheaper than Concord coaches and, because they had no springs, offered a much rougher ride. They were primarily used on lines where passenger and express traffic was too light to justify the expense of Concord coaches.
A Concord coach could accommodate as many as nine passengers inside and another six or more on the roof, though no one in a crowded coach rode in comfort. In an age renowned for its propriety and formality, perfect strangers, both men and women, might have to interlock knees in the cramped space of the interior or rest a weary head on another's shoulder. Some passengers passed the long hours of an overland journey by drinking themselves into alcoholic stupors, while others organized or participated in impromptu songfests. One common form of entertainment was to shoot at the wild animals, such as antelope and prairie dogs, visible from coach windows. Some passengers probably whiled away the long hours worrying about Indian attacks, even though attacks and stagecoach holdups were both infrequent. The violence associated with stagecoach travel in the West was for the most part an exaggeration fostered by dime novels, Buffalo Bill Cody's Wild West Show, and Hollywood westerns.
Each stagecoach passenger was allowed a maximum of twenty-five pounds of baggage, which rode in a large rear pouch called a boot. The U.S. mail typically rode in the front or rear boot, although, as Mark Twin recalled from personal experience in Roughing It (1872), a large load of mail might be shoved among the feet of passengers. Any express shipments, often gold and silver, rode close to the feet of the driver, a skilled horseman who handled the team of four or six draft animals from a seat atop the coach. Sometimes a special messenger accompanied express shipments to guard them from bandits. On occasion a stagecoach might carry a shipment of produce, such as fresh apples from the orchards of Utah to remote towns in Idaho and Montana.
Twain's personal account of overland stage travel in the early 1860s is evocative and true to fact. However, the 1939 Hollywood epic Stagecoach, directed by John Ford and featuring a young John Wayne, probably did more than anything else to foster modern perceptions of stagecoach travel as both romantic and dangerous. Louis McLane, onetime head of Wells, Fargo and Company, the most famous name in overland stagecoach travel, wrote to his wife in 1865 about artistic depictions of travel by coach, "I thought staging looked very well to the lithographer, but was the devil in reality." Many hearty travellers who crossed the West by stagecoach in the late 1850s and the 1860s surely would have agreed.

and i wasted my money on mine, sparmax compressor and evolution gun, never got a decent result once and not been used since the Bismarck build

rated as one being better detailed than the 1/12 Model Trailways Concorde Stagecoach i fancied this after the discovery of my Tudor mansion, built and forgotten about, and it quickly follows my completion of the hearse build
what i have found to be a pain, no instruction handbook, just a CD, or you can download from different places

.Good evening everyone
 
with my summer break i am starting another wagon, 
 
Taken from Wikki
 
Stagecoaches were familiar vehicles along the main roads of the East and the South before the coming of railroads in the 1830s and 1840s. Even as the nation's network of iron and steel rails grew larger and more comprehensive, stagecoach connections to small and isolated communities continued to supplement passenger trains well into the second decade of the twentieth century. However, stagecoach travel was most difficult and dangerous across the vast expanse of the American West, where it attracted the most attention. In large measure that was because of the inordinately great distances involved and the Herculean effort required to maintain regular service across the region's dry and sparsely populated landscape.
Stagecoach lines in the East tended to connect preexisting centers of population, and passengers took regular meals at the established inns and taverns along the way. Nothing of the kind existed in the West in 1858, when John Butterfield undertook an overland stage line connecting St. Louis and San Francisco by way of El Paso, Texas. The route also ran through Tucson and Los Angeles, but neither was more than a village of a few hundred residents at that time. A federal contract paid the stage company $600,000 a year to carry U.S. mail across the continent, and that money helped subsidize way stations at regular intervals, where, in the absence of existing settlements along most of the proposed route, the coaches could change draft animals and the passengers could find food. The Butterfield organization spent nearly a year getting everything into place to support semiweekly stagecoach service.
When Butterfield's Overland Mail Line opened for business on 16 September 1858, the 2,795-mile journey between San Francisco and St. Louis required approximately three weeks of hard traveling, and that was during the best weather. The coaches kept moving all through the day and night except for brief intervals at way stations. Stagecoach fare did not include the cost of meals, which at an average price of a dollar each three times a day for three weeks might effectively add 50 percent to the cost of a through ticket. Sleep had to be obtained aboard the rocking coach.
Antedating Butterfield's line, a stage line connected San Diego and San Antonio in 1857 with semimonthly coaches. Even earlier, in 1849, a stage line of sorts connected Independence, Missouri, and Santa Fe, New Mexico. But these earlier carriers were not as ambitious as the Butterfield line, nor were they run with the attention to detail that a large support structure demanded.
In the spring of 1861, with the threat of Civil War and Texas's secession from the Union, the transcontinental stage line moved north. Following the central Over-land Trail, it stretched through the future states of Wyoming,
Utah, and Nevada. Again the Overland Stage Line had to spend a small fortune to build the support structure required for regular operations across the sparsely populated corridor. The long transcontinental journey remained as rigorous as before.
The transcontinental stage line attained its greatest geographical reach under the leadership of Ben Holladay. In the mid-1860s, lines of the Holladay Overland Mail and Express Company extended west from the Missouri River steamboat landings in Kansas and Nebraska to a hub in Salt Lake City. From there additional lines served outposts as distant as Butte, Montana, and The Dalles, Oregon, where steamboat connections to Portland were available. Incurring heavy losses in 1864 and 1965 during the Native American unrest that sometimes prevented overland stagecoaches from running, Holladay in November 1866 sold his interests to Wells, Fargo and Company. Wells, Fargo operated stagecoaches along the transcontinental route between Salt Lake City and Sacramento, California, where steamboats connected to San Francisco. Holladay subsequently acquired and built railroad lines in Oregon.
Railroads generated a great deal of excitement all across the West. As the tracks of the first transcontinental railroad extended east from Sacramento and west from Omaha in the late 1860s, stagecoaches served a shrinking gap. That gap closed when railroad officials drove a last spike at Promontory, Utah, in May 1869 and trains linked California with the rest of the United States for the first time. The era of stagecoaches along the central Overland Trail was over, but thereafter various smaller stage lines linked transcontinental trains to distant outposts. Until buses became popular around the time of World War I, many a road-weary stagecoach continued to meet passenger trains and provide transportation to remote villages in the West. The term "stage" was commonly used to describe any coach, wagon, or sleigh used as a public conveyance. In the 1860s, the heyday of stagecoach lines, the Concord coach, handcrafted in Concord, New Hampshire, by Abbot, Downing and Company, became the quintessential icon of transportation across the frontier West. The first Concord in California, transported aboard a clipper ship that sailed from New England around Cape Horn, inaugurated service out of San Francisco on 25 June 1850.
The familiar egg-shaped body of the Concord coach was renowned for its great strength and its ability to keep passengers dry while floating them across flood-swollen streams. Because the inevitable twisting of the coach body on the rough terrain could easily shatter glass windows, it had only adjustable leather curtains to keep out the dust, wind, and rain. The heavy body, often weighing a ton or more, rode on thick, six-or eight-ply leather belts called thoroughbraces to insulate it from the constant pounding of the wheels over makeshift roads. Nevertheless, the swaying made some passengers seasick. Mark Twain aptly characterized the Concord coach as a "cradle on wheels."
Not all stagecoaches were of the familiar type. Vehicles called "celerity" or "mud" wagons were much lighter and cheaper than Concord coaches and, because they had no springs, offered a much rougher ride. They were primarily used on lines where passenger and express traffic was too light to justify the expense of Concord coaches.
A Concord coach could accommodate as many as nine passengers inside and another six or more on the roof, though no one in a crowded coach rode in comfort. In an age renowned for its propriety and formality, perfect strangers, both men and women, might have to interlock knees in the cramped space of the interior or rest a weary head on another's shoulder. Some passengers passed the long hours of an overland journey by drinking themselves into alcoholic stupors, while others organized or participated in impromptu songfests. One common form of entertainment was to shoot at the wild animals, such as antelope and prairie dogs, visible from coach windows. Some passengers probably whiled away the long hours worrying about Indian attacks, even though attacks and stagecoach holdups were both infrequent. The violence associated with stagecoach travel in the West was for the most part an exaggeration fostered by dime novels, Buffalo Bill Cody's Wild West Show, and Hollywood westerns.
Each stagecoach passenger was allowed a maximum of twenty-five pounds of baggage, which rode in a large rear pouch called a boot. The U.S. mail typically rode in the front or rear boot, although, as Mark Twin recalled from personal experience in Roughing It (1872), a large load of mail might be shoved among the feet of passengers. Any express shipments, often gold and silver, rode close to the feet of the driver, a skilled horseman who handled the team of four or six draft animals from a seat atop the coach. Sometimes a special messenger accompanied express shipments to guard them from bandits. On occasion a stagecoach might carry a shipment of produce, such as fresh apples from the orchards of Utah to remote towns in Idaho and Montana.
Twain's personal account of overland stage travel in the early 1860s is evocative and true to fact. However, the 1939 Hollywood epic Stagecoach, directed by John Ford and featuring a young John Wayne, probably did more than anything else to foster modern perceptions of stagecoach travel as both romantic and dangerous. Louis McLane, onetime head of Wells, Fargo and Company, the most famous name in overland stagecoach travel, wrote to his wife in 1865 about artistic depictions of travel by coach, "I thought staging looked very well to the lithographer, but was the devil in reality." Many hearty travellers who crossed the West by stagecoach in the late 1850s and the 1860s surely would have agreed.

The next project is going to be great mate  - looking forward to this  just as much.
 
OC.

thank you my friend
 

and i wasted my money on mine, sparmax compressor and evolution gun, never got a decent result once and not been used since the Bismarck build

and i wasted my money on mine, sparmax compressor and evolution gun, never got a decent result once and not been used since the Bismarck build

thank you my friend
 

this is on the table next

thank you my friend
 

well i finished it
 
an enjoyable build
kit quality 10/10
my effort 3/10
paints rattle can
glue was pva and medium C/A
sort furnishings by the wife, thank you
 
thank you for following, i have another ready to go on the build table

Nicely done hearse, Kevin. Turned out great.
 
Your stagecoach build will be another good one.

lovely work OC

this is on the table next

Thank you everyone, very much appreciated
 

well i finished it
 
an enjoyable build
kit quality 10/10
my effort 3/10
paints rattle can
glue was pva and medium C/A
sort furnishings by the wife, thank you
 
thank you for following, i have another ready to go on the build table

Good afternoon everyone
 
a final few pictures before the reveal
 

thank you Dennis, dont quite know how its going to be presented yet, the wife is contemplating turning one of her dolls houses (shop fronted), into a wagons for hire then i could just park it outside , i have another one arrive today 
 

this is on the table next

this is on the table next

Thank you everyone, very much appreciated
 

good evening everyone
 
day 61 still on after 1/2 deck
 
i dont think i have ever been on a small project for so long, well not since the copper plates and the gun ports, (i still loose sleep over them) on the 1/72 Victory, lol, that seams so very long time ago, infact that was april 2011
it was make or break time this afternoon, commit to the work that i have prepared, or do the bulkheads again, this time with a bit of depth to them
the reason for not doing that, was that very little of the bulkheads will be seen, and in a few months time none of this will be either, unless i remove some of the frames 
the adapted lower deck beams that will be fitting over the area were checked
paper tape removed and i started to put the bulkheads in place, test fitting the deck beams as i go along, and adapting where necessary
 

Love it Kevin.   Came out very well.

a splendid model indeed Kevin......very well done!   the added touches really stand out