Gloster E.5/42

Gloster E.5/42

Gloster E.5/42

The Gloster E.5/42 was a design for a single engined jet fighter that saw some development work in 1943 as an alternative in case the Meteor project was delayed by problems with the Whittle W.2B jet engine. The E.5/42 (named after the Air Ministry specification) would have been powered by the de Havilland H.1 engine, and in some ways would have resembled the experimental Gloster E.28/39. The H.1 was expected to produce up to 3,000lb of thrust, making it much more powerful than the W2.B engines, making it more suitable for use in a single engined fighter. Three serial numbers were allocated to the project, to be used on three planned prototypes, but no aircraft were developed before Gloster moved on to the Gloster E.1/44 Ace, a larger single engined aircraft that eventually flew in prototype form in 1948.


Gloster Rocket

The development of the jet engine revolutionized the design of both military and civilian aircraft, but it was the former, particularly the fighter platform, which benefited first. Frank Whittle’s achievement in developing the jet has been well covered, but the task of producing the first generation of aircraft designed to use his engines, mainly by the Gloster Aircraft Company, is not so well documented, especially some of its most obscure, early projects. One of those ‘block’ projects was the little know Gloster Rocket fighter.

The ‘Rocket’ proposal was briefly mentioned in an August 1943 declaration paper. In it, the company stated that “it marked the introduction of a new design for a fighter and shows the possibility of a future important advance along the road towards ultimate development. It outlines the prospect of achieving a low-level speed of 550 miles per hour and a climb rate, commencing at sea level, of around 9,000 feet per minute’.

The original Rocket design was similar in scope as the Gloster E.5/42 Ace, which although popular in many circles, never passed out of the mock-up stages. The main difference between the two proposals was the Rocket’s twin side-by-side engine installation which served almost as a single operating unit. Two prototypes Rolls-Royce B.37s occupied the same position in the rear fuselage area as the Halford engine had occupied in the original E.5/42 Ace. Of course, the air frame’s width was modified in order to accommodate the new format. The extra width was just about the level necessary to duct the air intakes on either side of the frontal frame section. Gloster engineers believed that the combine thrust of the two units, when fully developed, would be around 5,000lb. This increase on power was much more than could be effectively utilized from a single power plant in a similar aircraft-type.

Nevertheless, there were no profound differences between the E.5/42 and the Rocket. Those which could actually be seen were basically that of the fuselage length and the center wing structure. The frontal part of the airplane, outer wing sections, the undercarriage and tailplane were almost identically. The front part design was one of the first ergonomically concepts ever conceived. Besides housing the all important pressure cockpit, the section was filled with state of the art sensors and other related materials. The Rocket model was expected to use the newly high speed wing structure developed by the Royal Aircraft Establishment for the E.28/39 project.


Model of the Gloster Rocket. (photo, via author)

Because it similarities with the E.5/42, Gloster expected that full production, if ordered, would had been shift and relative, easy. The Rocket would have been fitted with B.37 engines. Each of them would supply around 2,200 pounds of thrust given the aircraft a top speed of 545mph at sea level. Climb rate was to be 7,650′ per minute. Operational ceiling was estimated to be at 55,000 feet.

On the morning of August 31st 1943, Gloster’s managers reported to Whittle about the possibility of installing the vaunted W4.100 engine on the E.5/42 platform. The idea was quickly nixed because it was ‘not a very suitable solution’ according to Whittle. Still, the inventor was reluctant to accept the tandem configuration. Early on the program life, the RAE and Gloster estimated that the Rocket pure, raw speed would be at around 449mph at sea leave. Impressive, but far below what the Royal Air Force desired.

On October 9th, Frank Whittle meet with Dr. Roxbee Cox and several high members of the RAE at Ministry of Aircraft Production. The conference centered on a new project, the M.52 supersonic research airplane and the Rocket. Whittle, now a full doubter of the whole twin engine configuration on the Rocket concept, stated that ‘if they (RAE) are going for a super fighter (Rocket), an aero plane which has not yet gone beyond the drawing stage, they should make a proper job and put it the most suited power plant, instead of fiddling with several units’.

No definitely conclusion was reach in the meeting. Engineers at Gloster would continued to work on the drawing for several more months before the whole idea was shelved in favor of a similar, but vastly more promising one: the E.1/44 Ace.

References:
Gloster Aircraft since 1917, Derek James, Putnam Books 1971
Interceptor, James Goulding, Ian Allan 1986


Gloster E.5/42 - History

Gloster first started making furniture exactly 50 years ago in West Africa in 1960. Firstly just for local market consumption but then, when they realised they were actually quite good at it, for export to Europe. From the start they were always both environmentally and ethically aware - they even used the discarded branches and tree stumps, which would otherwise have been burnt, to make the smaller components. Within ten years they became the largest furniture producer in Africa supplying components and finished furniture to many of the top indoor brands in Europe. In the 1970's they transferred their African factory's expertise to Asia so that they could have access to the plantation grown teak that was only available in Indonesia.

Thirty years ago, in 1981, they started the Gloster brand as a specialist, UK based manufacturer of teak garden benches and seats. Once again they were soon exporting our furniture all around the world. Over the 80's and 90's Gloster grew to be the principle high end worldwide brand for teak outdoor furniture. In April 1992 new owners took over the company and manufacturing was moved to their own factory in Indonesia. At the end of the 1990's Gloster diversified into different types of furniture, including folding chairs, dining tables and sunloungers. Now, fifty years since they started, they are worldwide leaders in teak, aluminium, stainless steel and now outdoor lounge furniture.

Whatever the material however, they believe that quality is everything - they do not cut any corners or manufacture their products to any price-point. You will probably be able to find cheaper outdoor furniture, but you won't find better.

Also key to their philosophy, is the belief that outdoor furniture is as important a style statement as indoor furniture, hence our range incorporates both classic and contemporary designs to cater for all tastes and requirements. And, as it was right at the start, they remain committed to green and ethical policies in everything we do.

We have stocked Gloster products in our shop since we first opened and they have consistently produced the best made and designed outdoor furniture across the market. We hope that you choose Gloster furniture for your home or business, and having done so enjoy it for many years to come.

Manufacturing

Gloster furniture is selected by the most demanding customers who insist on the best and so, they believe that they have to be the very best in all that they do - starting with the manufacturing.

Gloster has its own factory near Surabaya in Java, Indonesia which they started nearly 20 years ago. Here they use both traditional and modern methods to achieve production standards that usually exceed those of most other indoor and outdoor furniture manufacturers. Their factory is located close to the teak plantations, is run by a European management team and currently employs over 1,000 people.

In addition to teak, Gloster is expert in the use of a variety of materials for the manufacture of their furniture. Extensive use is made of stainless steel, powder coated aluminium, man-made wicker and sling material and there are specialist departments within the factory entirely devoted to the working of these materials to the same high standards as their teak components.

They also work in partnership with a few select manufacturers who have specialist skills and techniques that they do not have in their own manufacturing plant. These factories have been chosen because of their ability to produce the highest quality consistent with their standards.

Here are a few things that they think are special about their manufacturing.

They orbital sand all their teak with very fine sand paper (320 grit), which gives the furniture a surface finish that is extremely soft to the touch. Furthermore, sanding the furniture this way also reduces the amount the grain will rise after the timber has been exposed to moisture.

All Gloster furniture is tested to international standards and where there aren't any, they create their own. These tests not only cover the furniture, but also the packaging.

Their joints are all machined to exacting tolerances - a key feature that ensures their furniture will last longer outdoors compared to their competitors. Each piece of furniture is assembled and then subsequently disassembled in the factory before packaging as a last check to ensure it lives up to their high standards.

Although furniture with teak of varying colours will eventually mellow to an even colour when exposed to the sun, they colour grade every piece of teak that goes into their furniture to ensure that the furniture has the best possible colour right out of the box.

Their teak furniture comes with solid teak dowels for the assembly of the product. These dowels are pre-dried to have almost zero moisture content. After the furniture is assembled and the dowels knocked-in, they absorb the moisture from the air and the surrounding wood, expand and create an extremely strong joint.

Their stainless steel components are made of certified AISI 304 stainless steel. For the welding of stainless steel they use TIG welding technology to ensure that the welds are corrosion resistant and have a consistent, small welding bead.

Powder coated furniture is pre-treated by coating the aluminium with chromium prior to powder coating. This ensures maximum corrosion resistance and coating adhesion.

To ensure maximum strength and corrosion resistance, they use one of the aluminium alloys (A356.2) commonly used in the aviation and automotive industry for the cast component in their aluminium furniture.


Like other pet birds, gloster canaries are a social species, so they will want attention and stimulation from their owner.

A lonely gloster canary will not thrive, nor will one that is kept in too small of an enclosure, but these birds can become territorial if housed with other canaries so it is best to keep them separated.

Ideally, a canary's cage will allow them to fly and hop around from perch to perch, contain a nest, water dish, bathing bowl, food dish, and toys.


Take Three


This week the Irish Aesthete celebrates its third birthday. When first posting in September 2012, I had no idea that the project would develop as it has since done, nor that it would attract such a loyal following (and certainly not that I would still be doing this now). A sincere thanks to everyone who has been reading these pages over the intervening period, and for your support and encouragement which – as any writer can confirm – make such a difference. Your own contributions and comments continue to be most welcome although a courteous tone is necessary if you wish for a response.
Over the past three years many posts have been gloomy or dispiriting in character, reflecting the problems faced by Ireland’s architectural heritage, and its want of sufficient support from public and private quarters alike. But given today’s occasion demands a more celebratory spirit, here is a trio of historic houses which have been featured before, all of them restored and brought back to vibrant life thanks to the imagination and passion of their respective owners.





Rokeby Hall, County Louth which first featured here in February 2013 (Building on a Prelate’s Ambition) was built in the 1780s as a country retreat for then-Archbishop of Armagh Richard Robinson. As his architect Robinson chose Thomas Cooley who had already been responsible for many of the new buildings in Armagh, including the Archbishop’s Palace. Unfortunately Cooley died in 1784 and so his plans were handed over to the youthful Francis Johnston: born in Armagh, Johnston’s abilities had been noticed by Robinson who sent him as an apprentice to Cooley in 1778. The house’s severe limestone façade hides a more inviting interior, of three storeys over basement, since Rokeby contains a particularly generous attic concealed behind the parapet, centred on a circular room lit by glazed dome. A similar circular landing on the first floor provides access to the main bedrooms.
Descendants of the Robinson family remained in possession, although not necessarily in occupation, of Rokeby until the middle of the last century. Thereafter the property passed through a variety of hands often with unfortunate consequences. When the present owners bought the place in 1995, for example, the library had been stripped of its bookcases and divided in two with one half used as a kitchen. Over the past twenty years, a process of reclamation has taken place, driven by the correct balance of enthusiasm, commitment and ongoing research into the house’s history. Most recently the present owners have impeccably restored Rokeby’s mid-19th century conservatory.





The County Cork farmhouse shown above was discussed here in May 2014 (A Dash of Panache). when I noted that far too many such buildings in Ireland are abandoned to the elements ‘for no apparent reason other than the fallacious notion that they have ceased to be fit for purpose.’ This is especially true of the country’s older domestic dwellings, ripe for adaptation to contemporary use but instead deserted in favour of something newer – something which will in turn no doubt suffer the same fate. Indeed, one has only to venture into the countryside to see bungalows considered the ne plus ultra of modernity a few decades ago now drifting into a ruinous condition. More regrettably the same fate befalls far too many of Ireland’s handsome old farmhouses which with just a modicum of inventiveness could be given fresh leases of life as an alternative to their more common fate: mouldering into dereliction.
That looked the only prospect for this property until it was taken on by the present owner and brought back to life after a half-century of being left unoccupied. A low-key and sympathetic approach was adopted to the rescue programme. The old kitchen, for example, retains its original tiled floor and as much of the old ochre wall colouring as could be preserved new cupboards have been sympathetically painted to harmonise with what was already in situ. A slightly more elaborate approach was taken to the decoration of two reception rooms to the front of the house – the chimneypieces here are clearly not original – but they share the same comfortable, unassuming character found throughout the building, as does the large glazed space that now runs along the ground floor. Chairs, tables and other items of furniture have been picked up over a period of time and during the course of extensive travels, none of them for great price. Most of the artwork was acquired in the same way or came via friends. The result serves as a model of how to transform an apparently unsalvageable old farmhouse into a comfortable and smart private residence





The double-height entrance hall of Gloster, County Offaly featured here last month (Spectacle as Drama) but the rest of this house merits equal attention. Gloster is believed to date from the third decade of the 18th century and to have been designed by Sir Edward Lovett Pearce, a cousin of then-owner Trevor Lloyd. The original two-storey building was of nine bays but two further bays were later added on either side making the facade exceptionally long. A series of terraces in front offer views to a lake and then mountains beyond, while another vista is closed by an arch flanked by obelisks. The sense of baroque theatre evident in Gloster’s siting continues indoors, and not just thanks to its spectacular entrance hall. To left and right run further rooms providing a wonderful enfilade rarely found in Ireland. These reflect changes in taste after the house was first constructed. The cornicing in the sitting room above, for example, is evidently from later in the 18th century as is the chimney piece but there is no sense of disharmony anywhere and diverse stylistic elements comfortably co-exist.
Gloster remained in the ownership of the Lloyds until 1958 when it was sold to the Salesian order of nuns who opened a convalescent home in the house and built a large school to the rear. When I first visited in the early 1980s the nuns were still in occupation but it was already evident that they were struggling to maintain the property. Indeed in 1990 they closed down operations and Gloster’s future looked uncertain, especially since it changed hands on a couple of occasions. Thankfully the present owners bought the place in 2001 and since then they have worked tirelessly and splendidly to turn around Gloster’s prospects. Inevitably, given the scale of the undertaking, this remains a work in progress. But already an enormous and admirable programme of restoration and refurbishment has been undertaken. Gloser demonstrates what can be done, even on limited means, provided the task is accompanied by sufficient courage and verve.


My thanks again to all readers and followers of the Irish Aesthete for your ongoing support. Please encourage more people to become interested and engaged in Ireland’s architectural heritage. You can also discover me on Facebook (TheIrishAesthete), Twitter (@IrishAesthete), Pinterest (irishaesthete) and Instagram (The.Irish.Aesthete).


Piegan-Gloster Mine

The Piegan-Gloster Mine is a silver and gold mine located in Lewis and Clark county, Montana.

About the MRDS Data:

All mine locations were obtained from the USGS Mineral Resources Data System. The locations and other information in this database have not been verified for accuracy. It should be assumed that all mines are on private property.

Mine Info

Name: Piegan-Gloster Mine

Primary Mineral: Silver, Gold

Lat, Long: 46.76194, -112.34083

Piegan-Gloster Mine MRDS details

Site Name

Primary: Piegan-Gloster Mine

Commodity

Primary: Silver
Primary: Gold
Secondary: Copper

Location

State: Montana
County: Lewis and Clark
District: Marysville District

Land Status

Holdings

Workings

Ownership

Production

Year: 1942
Time Period: 1906-1942
Mined: 288000.000 mt
Material type: ore

Deposit

Record Type: Site
Operation Category: Past Producer
Deposit Type: Polymetallic veins
Operation Type: Unknown
Years of Production:
Organization:
Significant: Y
Deposit Size: S

Physiography

General Physiographic Area: Rocky Mountain System
Physiographic Province: Northern Rocky Mountains

Mineral Deposit Model

Model Name: Polymetallic veins

Orebody

Structure

Type: R
Description: Boulder Batholith

Type: L
Description: Marysville Stock

Alterations

Rocks

Name: Diorite
Role: Associated
Age Type: Host Rock
Age Young: Late Cretaceous

Name: Diorite
Role: Associated
Age Type: Associated Rock Unit
Age Young: Late Cretaceous

Name: Diorite
Role: Associated
Age Type: Associated Rock
Age Young: Late Cretaceous

Analytical Data

Materials

Ore: Gold
Gangue: Quartz
Gangue: Pyrite
Gangue: Calcite

Comments

Comment (Location): NEAR THE HEAD OF PIEGAN GULCH.

Comment (Other Database): RECORD NUMBER 719 IS A POTENTIAL DUPLICATE OF THIS RECORD

Comment (Deposit): AT THE FACE OF TUNNEL THE VEIN NARROWS TO 1FT OF MASSIVE QUARTZ CONTAING SMALL STREAKS OF PYRITE.

Comment (Geology): POST MINERAL MOVEMENT

Comment (Workings): PIEGAN MINE HAD A TUNNEL WITH A WINZE 750 FT FROM THE PORTAL AND WAS SUNK TO A DEPTH OF 750 FT. GLOUSTER HAS A 1200 FT TUNNEL.


HISTORY OF THE GLOSTER JAVELIN

During the early Cold War years, the RAF was in need of an all-weather high-performance fighter. There were two designs available as prototypes in 1951: the DH110 and GA5 (Gloster), which became the Sea Vixen and Javelin. Neither was a classic or a beauty, but both were operational during the 1950s.

The Sea Vixen entered service with the Navy and the Javelin, on the promise of being available earlier, with the RAF however, so unready were the first production Javelins, there were no fewer than nine versions entering service with RAF squadrons between 1956 and 1959.

Although the &lsquoFlat Iron&rsquo met the requirements of range, weapons and all-weather capability, it was underpowered and cumbersome. Nevertheless, the Gloster Javelin was under-rated.

Entering service at the wrong time as Duncan Sandys&rsquo 1957 Defence White Paper unwittingly claimed the end of the manned fighter, the Javelin was also superseded by the English Electric Lightning with its truly supersonic performance. These factors combined to produce a situation that shortened the service life of the Javelin and halted further development.


Gloster Javelin

Authored By: Staff Writer | Last Edited: 06/18/2017 | Content ©www.MilitaryFactory.com | The following text is exclusive to this site.

The Gloster Javelin was the first twin-engine delta-wing jet fighter design to take up service with any one air force. The system would also become the United Kingdoms first all-weather day or night fighter and the very final production design of the fabled World War Two powerhouse company Gloster.

The Javelin was a twin-seat turbojet fighter designed to fulfill the role of all-weather interception for the Royal Air Force. The system was produced as far back as 1948 but not fielded till 1956. In between that time, three prototype and pre-production aircraft were lost in maneuvers that prompted a complete redesign of the aircraft. By designs end, the system would be fielded with an all-delta wing surface structure fitted to two Armstrong Siddeley Sapphire turbojet engines with a dominant tailplane section consisting of a high-mounted elevator assembly with rudder.

At the time of production, the Javelin was one of the most technologically advanced aircraft of the day. The ability for the system to be able to see and attack in any weather, day or night, was quite an advantage when fielded against lesser foes. Armed with a conservative array of 2 x 20mm cannons, the system would have to wait until the FAW.Mk 7 in 1958 to see the implementation of air-to-air infra-red homing missiles, completing the transformation of the post-world war design to a more contemporary fighter. Variants later, the Javelin system would be fielded with an inflight refueling probe and drop tanks that would impressively increase the overall combat radius of the aircraft.

As it stood, the Javelin maintained a successful service record, being fielded by as many as 14 squadrons in the Royal Air Force alone. The system would see production until 1967, by which time the Javelin would be replaced by more modern turbojet and turbofan fighters - ultimately closing the book on one of the most successful aviation companies in history.


What Gloster family records will you find?

There are 11,000 census records available for the last name Gloster. Like a window into their day-to-day life, Gloster census records can tell you where and how your ancestors worked, their level of education, veteran status, and more.

There are 1,000 immigration records available for the last name Gloster. Passenger lists are your ticket to knowing when your ancestors arrived in the UK, and how they made the journey - from the ship name to ports of arrival and departure.

There are 1,000 military records available for the last name Gloster. For the veterans among your Gloster ancestors, military collections provide insights into where and when they served, and even physical descriptions.

There are 11,000 census records available for the last name Gloster. Like a window into their day-to-day life, Gloster census records can tell you where and how your ancestors worked, their level of education, veteran status, and more.

There are 1,000 immigration records available for the last name Gloster. Passenger lists are your ticket to knowing when your ancestors arrived in the UK, and how they made the journey - from the ship name to ports of arrival and departure.

There are 1,000 military records available for the last name Gloster. For the veterans among your Gloster ancestors, military collections provide insights into where and when they served, and even physical descriptions.


Product Description

From the Heinkel He 178 to the Caproni Camini N.1, this is the authoritative illustrated guide to the revolutionary aircraft that led to start of the military jet age.

While World War II raged, pioneering aircraft and engine designers were busy developing the world's first practical jet-powered research aircraft to test and prove the new technology. This book examines the aircraft that paved the way for Germany's Me 262 and Britain's Meteor - the world's first jet fighters.

Throughout the war, Germany, Italy, and Britain engaged in top-secret jet programs as they raced to develop the airpower of the future. Various experimental aircraft were trialed in order to achieve the goal of producing an effective engine and fighter that could harness the potential of the jet power. These included the German Heinkel He 178 research aircraft and Heinkel He 280 jet fighter prototype, the famed British E.28/39 research aircraft built by Gloster Aircraft as well as the stillborn E.5/42 fighter and E.1/44 Ace fighter prototype, and finally the remarkable Italian Caproni-Campini N.1/CC 2 research aircraft.

Illustrated throughout with full-color artwork and rare photographs, this fascinating study examines the fore-runners to the military jet age.

Jet Prototypes of World War II Paperback edition by Tony Buttler


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