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Anthony van Dyck

Sir Anthony van Dyck (Antoon van Dyck ; 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England after success in the Spanish Netherlands and Italy.

The seventh child of Frans van Dyck, a wealthy silk merchant in Antwerp, Anthony painted from an early age. He was successful as an independent painter in his late teens and became a master in the Antwerp Guild on 18 October 1617. By this time, he was working in the studio of the leading northern painter of the day, Peter Paul Rubens, who became a major influence on his work.

Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. In the late 1620s he completed his greatly admired Iconography series of portrait etchings of mainly other artists and other famous contemporaries. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the Archduchess Isabella, Habsburg Governor of Flanders. At the request of Charles I of England he returned in 1632 to London as the main court painter.

With the exception of Holbein, van Dyck and his contemporary Diego Velázquez were the first painters of pre-eminent talent to work mainly as court portraitists, revolutionising the genre. Van Dyck is best known for his portraits of the aristocracy, most notably Charles I, and his family and associates. He was the dominant influence on English portrait-painting for over 150 years. He also painted mythological, allegorical and biblical subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching.

His influence extends into the modern period. The Van Dyke beard is named after him. During his lifetime, Charles I granted him a knighthood, and he was buried in St Paul's Cathedral, an indication of his standing at the time of his death.

Family and early life
Anthony van Dyck was born in Antwerp on 22 March 1599 as the seventh of 12 children of his parents. He was baptized the next day in the Onze-Lieve-Vrouwekerk (now the Antwerp Cathedral) His father was Frans van Dyck, a well-to-do silk merchant. His mother was Maria Cupers (or Cuypers), daughter of Dirk Cupers (or Cuypers) and Catharina Conincx and the second wife of Anthony’s father. He was baptised on 23 March 1599 (as Anthonio). His parental grandfather, also called Anthoni, had commenced his career as a painter and had been registered in 1556 as a master painter at the Antwerp Guild of Saint Luke as a pupil of Jan Ghendrick, alias van Cleve. The elder brother of his grandfather was also admitted as master painter in the Guild and had studied with Geert Ghendrick., He had later become a successful merchant in silk and small writing articles. He had bought the birth house of Anthony called Den Berendans (The Bear Dance) on the Grote Markt in Antwerp (Main Square) in 1579. On Anthony's mother's side there were also a few artists who were Guild members.

After his birth his family moved to a house called the Kasteel van Rijssel (Castle of Lille) in the Korte Nieuwstraat. His mother died when he was only 8 years old. At the time the family was living in a more luxurious house in the Korte Nieuwstraat called the Stadt van Ghent (City of Ghent). His artistic talent was evident very early. When he was 10 years old, he started his formal training as a painter with Hendrick van Balen the Elder. Van Balen was a successful painter of small cabinet paintings who had multiple pupils. It is not known how long he studied with van Balen, and estimates vary from two to four years. While it was common for apprentices to stay on in their master's workshop until they were formally registered as a master in the local guild, van Dyck is believed to have left his master's workshop in 1615 or 1616 to set up his independent workshop before he became a master. The reason was that in that period his father was experiencing financial difficulties and could use any assistance he could get. It was during the period van Dyck may have started painting the series of panels of Christ and the Apostles in bust-length, although it is also possible that this only happened after his first return from Italy in 1620-21.

By the age of fifteen he was already a highly accomplished artist, as shown by his Self-portrait dated 1613–14. He was admitted to the Antwerp Guild of Saint Luke as a free master on Saint Luke's day, 18 October 1617.

Within a few years he became the chief assistant to Peter Paul Rubens, the leading master painter of Antwerp and the whole of Northern Europe. Rubens operated a large workshop and often relied on sub-contracted artists. His influence on the young artist was immense. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".

The origins and exact nature of their relationship are unclear. It has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen's style, but there is no clear evidence for this.

At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens's contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them.

Italy
In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. It was in London in the collection of the Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle modeling of form would prove transformational, offering a new stylistic language that would enrich the compositional lessons learned from Rubens.

He returned to Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. There he studied the Italian masters while starting a successful career as a portraitist. He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist's colony in Rome, says Giovan Pietro Bellori, by appearing with "the pomp of Zeuxis ... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."

He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily, where he was quarantined during the 1624 plague, one of the worst in Sicily's history. There he produced an important series of paintings of the city's plague saint Saint Rosalia. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from Luca Giordano to Pietro Novelli. Versions include those in Madrid, Houston, London, New York and Palermo, as well as Saint Rosalia Interceding for the City of Palermo in Puerto Rico, and Coronation of Saint Rosalia in Vienna. Van Dyck's series of St Rosalia paintings have been studied by Gauvin Alexander Bailey and Xavier F. Salomon, both of whom curated or co-curated exhibitions devoted to the theme of Italian art and the plague. In 2020, the New York Times published an article about the Metropolitan Museum of Art's painting of Saint Rosalia by Van Dyck in the context of the COVID-19 virus.

For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens' style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. In 1627, he went back to Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as stylish as possible. A life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, which added to his ability to obtain commissions. By 1630, he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he also produced many religious works, including large altarpieces, and began his printmaking.

London and death
King Charles I was the most passionate collector of art among the Stuart kings and saw painting as a way of promoting his elevated view of the monarchy. In 1628, he bought the fabulous collection that the Duke of Mantua was forced to sell, and he had been trying since his accession in 1625 to bring leading foreign painters to England. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was an especial target, who eventually in 1630 came on a diplomatic mission, which included painting, and he later sent Charles more paintings from Antwerp. Rubens was very well-treated during his nine-month visit, during which he was knighted. Charles's court portraitist, Daniel Mytens, was a somewhat pedestrian Dutchman. Charles was very short, less than 5 ft tall, and presented challenges to a portrait artist.

Van Dyck remained in touch with the English court and helped King Charles's agents in their search for pictures. He sent some of his own works, including a self-portrait (1623) with Endymion Porter, one of Charles's agents, his Rinaldo and Armida (1629), and a religious picture for Queen Henrietta Maria. He had also painted Charles's sister, Queen Elizabeth of Bohemia, at The Hague in 1632. In April of that year, van Dyck returned to London and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 a year, in the grant of which he was described as principalle Paynter in ordinary to their majesties.

He was well paid for his paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years and reduced the price of many paintings. He was provided with a house on the River Thames at Blackfriars, then just outside the City of London, thus avoiding the monopoly of the Worshipful Company of Painter-Stainers. A suite of rooms in Eltham Palace, no longer used by the royal family, was also put at his disposal as a country retreat. These residences were managed by his partner Margaret Lemon.

His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.

He was an immediate success in England, where he painted large numbers of portraits of the King and Queen, as well as their children. Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. Altogether van Dyck has been estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of the Earl of Strafford, and multiple ones of other courtiers. He painted many of the court, and also himself and his mistress, Margaret Lemon.

In England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. His portraits of Charles on horseback updated the grandeur of Titian's Equestrian Portrait of Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King". Although his portraits have created the classic idea of "Cavalier" style and dress, in fact a majority of his most important patrons in the nobility, such as Lord Wharton and the Earls of Bedford, Northumberland and Pembroke, took the Parliamentarian side in the English Civil War that broke out soon after his death.

The King in Council by letters patent granted van Dyck denizenship in 1638. On 27 February 1640 he married Mary Ruthven, with whom he had one daughter. Mary was the daughter of Patrick Ruthven, who, although the title was forfeited, styled himself Lord Ruthven. She was a lady-in-waiting to the Queen in 1639–40; this may have been instigated by the King in an attempt to keep him in England. He had spent most of 1634 in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment.

A letter dated 13 August 1641, from Lady Roxburghe in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. In November, van Dyck's condition worsened, and he returned to England from Paris, where he had gone to paint Cardinal Richelieu. He died in Blackfriars, London on 9 December 1641, the same day as the baptism of his daughter Justiniana. He was buried on 11 December, in the choir of St Paul's Cathedral. His mortal remains and tomb (erected by the king) were destroyed in the Great Fire of London in 1666.

Portraits and other works

In the 17th century, demand for portraits was stronger than for other types of work. Van Dyck tried to persuade Charles to commission large-scale series on the history of the Order of the Garter for the Banqueting House, Whitehall, for which Rubens had earlier completed the large ceiling paintings (sending them from Antwerp). A sketch for one wall remains, but by 1638 Charles was too short of money to proceed. This was a problem Velázquez did not have, but equally van Dyck's daily life was not encumbered by trivial court duties as faced by Velázquez. In his visits to Paris in his last years, van Dyck attempted to obtain the commission to paint the Grande Gallerie of the Louvre without success.

A list of history paintings produced by van Dyck in England survives. It was compiled by van Dyck's biographer Bellori, based on information from Sir Kenelm Digby. None of these works appear to remain, except the Eros and Psyche done for the King (below). But many other works, rather more religious than mythological, do survive, and though they are very fine, they do not reach the heights of Velázquez's history paintings. Earlier ones remain very much within the style of Rubens, although some of his Sicilian works are individualistic.

Van Dyck's portraits flattered more than Velázquez's. When Sophia of Hanover first met Queen Henrietta Maria (who was in exile in Holland) in 1641, she wrote: "Van Dyck's handsome portraits had given me so fine an idea of the beauty of all English ladies, that I was surprised to find that the Queen, who looked so fine in painting, was a small woman raised up on her chair, with long skinny arms and teeth like defence works projecting from her mouth..."

Some critics have blamed van Dyck for diverting a nascent, tougher English portrait tradition—of painters such as William Dobson, Robert Walker and Isaac Fuller—into what certainly became elegant blandness in the hands of many of van Dyck's successors, like Lely or Kneller. The conventional view has always been more favourable: "When Van Dyck came hither he brought Face-Painting to us; ever since which time ... England has excel'd all the World in that great Branch of the Art" (Jonathan Richardson: An Essay on the Theory of Painting, 1715, 41). Thomas Gainsborough is reported to have said on his deathbed "We are all going to heaven, and Van Dyck is of the Company."

A fairly small number of landscape pen and wash drawings or watercolours made in England played an important part in introducing the Flemish watercolour landscape tradition to England. Some are studies, which reappear in the background of paintings, but many are signed and dated and were probably regarded as finished works to be given as presents. Several of the most detailed are of Rye, a port for ships to the Continent, suggesting that van Dyck did them casually whilst waiting for wind or tide to improve.

Printmaking
Probably during his period in Antwerp after his return from Italy, van Dyck began his Iconographie, which became a very large series of prints with half-length portraits of eminent contemporaries. He produced drawings, and for eighteen of the portraits he himself etched the heads and main outlines of the figure, for an engraver to work up: "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art".

He left most of the printmaking to specialists, who engraved after his drawings. His etched plates appear not to have been published until after his death, and early states are very rare. Most of his plates were printed after only his work had been done. Some exist in further states after engraving had been added, sometimes obscuring his etching. He continued to add to the series until at least his departure for England, and presumably added Inigo Jones whilst in London.

The series was a great success, but was his only venture into printmaking; portraiture probably paid better. At his death there were eighty plates by others, of which fifty-two were of artists, as well as his own eighteen. The plates were bought by a publisher; with the plates reworked periodically as they wore out they continued to be printed for centuries, and the series added to, so that it reached over two hundred portraits by the late 18th century. In 1851, the plates were bought by the Calcographie du Louvre.

The Iconographie was highly influential as a commercial model for reproductive printmaking; now forgotten series of portrait prints were enormously popular until the advent of photography: "the importance of this series was enormous, and it provided a repertory of images that were plundered by portrait painters throughout Europe over the next couple of centuries". Van Dyck's brilliant etching style, which depended on open lines and dots, was in marked contrast to that of the other great portraitist in prints of the period, Rembrandt, and had little influence until the 19th century, when it had a great influence on artists such as Whistler in the last major phase of portrait etching. Hyatt Mayor wrote:

"Etchers have studied Van Dyck ever since, for they can hope to approximate his brilliant directness, whereas nobody can hope to approach the complexity of Rembrandt's portraits."

Studio

Van Dyck's success led him to maintain a large workshop in London, which became "virtually a production line for portraits". According to a visitor he usually only made a drawing on paper, which was then enlarged onto canvas by an assistant; he then painted the head himself. The costume in which the client wished to be painted was left at the studio and often with the unfinished canvas sent out to artists specialised in rendering such clothing. In his last years these studio collaborations accounted for some decline in the quality of work.

In addition many copies untouched by him, or virtually so, were produced by the workshop, as well as by professional copyists and later painters. The number of paintings ascribed to him had by the 19th century become huge, as with Rembrandt, Titian and others. However, most of his assistants and copyists could not approach the refinement of his manner, so compared to many masters consensus among art historians on attributions to him is usually relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in some cases).

The relatively few names of his assistants that are known are Dutch or Flemish. He probably preferred to use trained Flemish artists, as no equivalent English training existed in this period. Van Dyck's enormous influence on English art does not come from a tradition handed down through his pupils. In fact it is not possible to document a connection to his studio for any English painter of any significance. Dutchman Adriaen Hanneman (1604–1671) returned to his native city, The Hague in 1638 to become the leading portraitist there.

Flemish painter Pieter Thijs studied in van Dyck's workshop as one of van Dyck's last pupils. He became a very successful portrait and history painter in his native Antwerp.

Legacy
Much later, the styles worn by his models provided the names of the Van Dyke beard for the sharply pointed and trimmed goatees popular for men in his day, and the van Dyke collar, "a wide collar across the shoulders edged copiously with lace". During the reign of George III, a generic "Cavalier" fancy-dress costume called a Van Dyke was popular. Gainsborough's The Blue Boy is wearing such a Van Dyke outfit. In 1774 Derby porcelain advertised a figure, after a portrait by Johann Zoffany, of "the King in a Vandyck dress".

A confusing number of different pigments used in painting have been called "Vandyke brown" (mostly in English-language sources). Some predate van Dyck, and it is not clear that he used any of them. Van Dyke brown is an early photographic printing process using such a colour.

When van Dyck was knighted in 1632, he anglicized his name to Vandyke. The heraldic blazon of his coat of arms is ''Quarters 1 & 4. Azure six roundels 3, 2 and 1 Or and for augmentation on a chief Gules a lion passant gardant Or. 2 & 3. Sable a saltire Or. Over all an inescutcheon Or thereon a bend sinister Azure''. The coat of arms is crested with a greyhound's head.

Collections

The British Royal Collection, which still contains many of his paintings, has a total of twenty-six paintings. The National Gallery, London (fourteen works), The Museo del Prado (Spain) (twenty-five Works, such as: Self-portrait with Endymion Porter, The Metal Serpent, Christ Crowned with Thorns, The taking of Christ, Portrait of Mary Ruthven, the painter's Wife), The Louvre in Paris (eighteen works), the Alte Pinakothek in Munich, the National Gallery of Art in Washington, D.C., the Museum of Fine Arts, Boston, and the Frick Collection have examples of his portrait style. Wilton House still holds the works he did for one of his main patrons, the Earl of Pembroke, including his largest work, a huge family group portrait with ten main figures. Spanish museums own a rich presence of this artist in addition to The Prado's ensemble. The Thyssen-Bornemisza Museum preserves the Portrait of Jacques Le Roy, property of The Carmen Thyssen-Bornemisza Collection but also on display at the Museum there's a Crucified Christ, and The Bilbao Fine Arts Museum houses a great Lamentation before the dead Christ. In 2008, Patrimonio Nacional of Spain recovered a Martyrdom of Saint Sebastian and returned it to El Escorial, two centuries after its removal and, subsequently, The Real Academia de Bellas Artes de San Fernando has revealed as its own a long-stored painting, added to another, The Virgin with the Child with the repentant sinners, in addition the institution has an original sketch. In addition, in December 2017, a Virgin with Child, which is kept in The Cerralbo Museum and was previously considered the work of Mateo Cerezo, was revealed as the painter's original after an exhaustive study and restoration project. Finally, The Museum of Fine Arts of Valencia owns an Equestrian Portrait of Don Francisco de Moncada (currently undergoing restoration, April 2020).

Tate Britain held the exhibition Van Dyck & Britain in 2009. In 2016 the Frick Collection in New York had an exhibition "Van Dyck: The Anatomy of Portraiture", the first major survey of the artist's work in the United States in over two decades.

The estate of the Earl Spencer at Althorp houses a small collection of van Dycks including War and Peace (Portrait of Sir George Digby, 2nd Earl of Bristol, English Royalist politician with William Russell, 1st Duke of Bedford), which is the most valuable painting in the collection and the favourite of the earl.

title: Anthony van Dyck


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Talk:Timeline of computer and video games

''Note: Restored discussion that was deleted by User:24.173.71.114 on 13:58, 10 Dec 2004 without comment. (If the talk page becomes too long, archive it instead.).''

This is the most brilliant and comprehensive chronological timeline of the history of videos games that I've found so far on the web. Cheers to the creator of this page; also another cheers to him for his ever-lasting stamina of efficiently updating and maintaining this blossoming site of eternal fountain of knowledge. :.)

Sincerely,

170.63.192.32

Is it necessary to have anything before the creation of the first video game? I found it misleading. Rmhermen 13:12, Aug 12, 2003 (UTC)

Good Point, I have modified the format of the Timeline to specify the dates which are 'Before The Video Game Era'.

Is it necessary to include dates of when an important person is born? Possibly not, yet it states the timeframe in which the people grew up, which cultivated their importance.

These dates are the birthdates of the major players of the video game industry.

Tonius 13:08|2003.08.14

Readability
I feel that the format of this timeline makes it unreadable and sometimes not very useful. Things like
 * Sega Corporation
 * · is incorporated

especially stand out to me. I'm going to start reducing the formatting and make it a bit more like the year pages (including adding actual dates when I can find them). A few other points of whining: Feedback would be appreciated. Also, I removed the "Eras" section because the list was unsubstantiated and periodization would be better suited for the history of the video game article. --Mrwojo 19:11, 8 Feb 2004 (UTC)
 * For categories, I think simpler would be better. How about just Events, Business, People (births/deaths). And/or maybe also Games and Hardware.
 * Don't forget that this is about video games and not only video game companies ;)
 * Reduce verbiage (goes overboard on Corp., Ltd., Inc., Co. in places; don't need to wikilink something multiple times in the same entry; don't mention years where it's obvious -- i.e., "E3 1998" under the 1998 heading)
 * As a timeline, I think we can stick with present tense.

Split
This timeline is rather unwieldy. I propose moving all content to per-year pages and keeping history of the video game as the main article. It should be expanded with thorough per-decade overviews and links to the individual years, of course. Fredrik 19:14, 17 Apr 2004 (UTC)

 * Yeah, I was thinking about doing that. When you say "It should be expanded with [...]", are you referring to this page or history of the video game? --Mrwojo 23:12, 17 Apr 2004 (UTC)

 * The history page. With content merged into history of the video game, this one should be made a redirect. By the way, would "history of video games" be a more appropriate title? Fredrik 00:44, 18 Apr 2004 (UTC)

 * I think there should be a central page for the list of years in video games. Perhaps the timeline could redirect back to list of years in video gaming. History of video games is probably a better title; it is shorter by a word. :) One more naming thought concerns "2003 in video gaming" -- I was considering "2003 in video games" but didn't know if that title was better enough to change the few articles named that way. Thoughts? --Mrwojo 01:00, 18 Apr 2004 (UTC)

 * Or "2003 in computer and video games"? "History of computer and video games"? Or do we need separate lists? Darn, this is a problem. Fredrik 01:17, 18 Apr 2004 (UTC)

 * So, are there any objections? If not, I'll go ahead and start the "XXXX in video gaming" pages and move the content from this timeline over to them. Fredrik 19:29, 22 Apr 2004 (UTC)

 * I agree. I also suggest calling it "XXXX in video game industry" or some such. As it is, there is actually very little said about the games, it's mostly lawsuits, M&A, PR, etc. Either someone should actually add the missing info about, you know, games, or it should be renamed to "blah-blah industry". There is also too strong an emphasis on console video games. It can't be seriously called timeline of video games and computer games now.Paranoid 21:03, 4 Jun 2004 (UTC)

Good idea, here are some useful links for formatting.

List of musical events 1969_in_music History_of_the_video_game Timeline_of_video_games

Also your idea from the chat to get a poll on this to ask ppl and get more ppl involved is a good idea. To join the project come here: Wikipedia Video Game Project --ShaunMacPherson 18:24, 27 Apr 2004 (UTC)

My proposal

 * Timeline of video games is dissolved into individual year pages.
 * The individual year pages are named XXXX in video gaming.
 * Each year page is properly and consistently sectioned - releases, events, hardware, business, etc.
 * "Video games", when used in the general sense in Wikipedia, shall be an umbrella term for all of console games, computer games, portables and arcade games.
 * A list of individual year pages should be added under each decade in history of the video game.

Fredrik (talk) 16:35, 5 Jun 2004 (UTC)

 * As far as I am concerned, every single point is absolutely correct. The chronological way of organising it is the only one that seems feasible. And judging from the number of one-line entries in the article now, a decent writeup can be made on almost every year. The structure should first be drafted, discussed and edited here and then the content should be gradually exported from the timeline. Paranoid 19:15, 5 Jun 2004 (UTC)

 * I filled in 2002 in video gaming with what's in the timeline. How does it look?  I think we can ignore the issue of naming right now since that can be changed later. --Mrwojo 15:01, 23 Nov 2004 (UTC)

 * The release section seems like it's going to be a pain to update and keep going for all years. Instead why not link (or something?) to the category XXXX computer and video games? Perhaps make a change to the title: "Notable releases" for big titles such as GTA:VC and Warcraft 3 (AAA titles). K1Bond007 19:33, Dec 10, 2004 (UTC)

 * Sounds good. --Mrwojo 14:08, 11 Dec 2004 (UTC)

This article is no longer one of the largest on the 'pedia anymore, as I've split the 1980s-2000s. I'll continue splitting the 1970s, but will stop there. Anything before that can perhaps be moved to a "timeline of early video games" or be mentioned on the appropriate history page. At this point, everything listed before the 1950s is hardly relevant (birth years, company creations, etc.). --Mrwojo 15:44, 24 Dec 2004 (UTC)

 * I stopped at 1971 in video gaming. Computer Space (or Pong) is a good point to mark the beginning of modern era. --Mrwojo 16:01, 24 Dec 2004 (UTC)

 * Looks really good. K1Bond007 17:35, Dec 24, 2004 (UTC)

 * Thanks! All that remains is to use proper headings for most of the years before 2000 and then do something with this article.  --Mrwojo 18:20, 24 Dec 2004 (UTC)

MSX
The MSX system is missing from the timeline. Andete 16:13, 2004 Sep 19 (UTC)

Tengen start
Under 1988 "Warner Communications' Atari Games Corp establishes the Tengen division" - According to the Ultimate History of Video Games, Tengen acquires a license from Nintendo in December of 1987, so I can't see how the division was started in 1988. Tengen did release their first games in 1988 though - Gantry 02:46, 19 Dec 2004 (UTC)

 * I moved Tengen's establishment to 1987 - Gantry 04:10, 22 Dec 2004 (UTC)

Timeline
I removed the section on "before the video game era" and other entries that were trivial bits about companies that later made video games. With all that gone, this article could now be merged into history of video games. I don't really care at this point, since I found that many other timelines in the 'pedia are actually just lists of years. --Mrwojo 17:30, 30 Dec 2004 (UTC)

 * Well, I'm not so sure removing it altogether is the right thing to do. Perhaps a seperate article instead? OR we can revert to how it was by rearranging the years to put 2005 on top and thus the "before the video game era" on the bottom? K1Bond007 18:59, Dec 30, 2004 (UTC)

 * The timeline can just go away, as User:Fredrik suggested earlier. The latter bit is a list of years mostly superfluous with Category:Computer and video games by year (and a probable Category:Years in computer and video games).  The early developments should be (and mostly are) mentioned in the history of video games.

 * IMO, the corporate details give the timeline a bizarre fixation on the industry, especially before the 1970s when there was no industry yet. Computers, fantasy fiction, and other types of games have had at least as strong an impact on computer and video games, yet their events are correctly not listed.  I guess I'm generally more of a fan of directly related statements such as "197x: Nintendo releases its first video game" rather than "1889: The company later known as Nintendo is founded". --Mrwojo 19:54, 30 Dec 2004 (UTC)

 * Oh ok. That makes sense then. I agree with you. Make it so :) K1Bond007 21:42, Dec 30, 2004 (UTC)

Year standards
On XXXX in video gaming, here's the sort of standard layout I've evolved after looking at them all (each bold item is a heading):

 * Events
 * General computer and video gaming-related events that can't be categorized under the lower headings.
 * Notable releases
 * Include a sentence to explain the significance of the release ("7 million copies", "the first Star Wars game", etc.). Should also include game-related software, such as game engines/middleware, emulators, open-source games, PunkBuster, Roger Wilco, etc. Arcade games should generally go here too.
 * Hardware
 * New consoles, peripherals, gaming-related advances in PCs (graphics cards).
 * Business
 * Companies founded, renamed, murders and executions, business-v-business lawsuits, and that kind of thing.
 * Trends
 * A metaphorical screenshot in history. Not necessarily "events", but info on the state of gaming at the time.
 * Top consoles
 * A short list of the dominant video game consoles.
 * Top-selling games
 * Preferably, top 10 or top 5 lists for computer and video game sales.

This format should be flexible in that sections can be omitted if there's no need for them. Try to find actual dates for events. --Mrwojo 17:30, 30 Dec 2004 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Talk:Erich von Stroheim

comments
Is this original material, or copied from another source? It isn't really encyclopedic. RickK 02:30, 12 Aug 2003 (UTC)

 * It looks alright to me now: history shows quite a bit of work on it. Ellsworth 14:20, 8 Nov 2004 (UTC)

Just wondering how his film "Greed" can be "mostly lost"? Is it lost or isn't it? Perhaps the author meant that certain parts of the film are lost?
 * Greed was originally a six-hour-plus film. It exists in current format of about two hours in length, but the full version is lost.

Right - so I'll change the wording a little bit, if that's all right.

The following is confusing: "a nine-hour film of which only a two-hour fragment has survived, however there still remains an approximately four hour version." Blima3000 17:49, 19 February 2006 (UTC)
 * That means someone took the two-hour version and interpolated some scenes based on still photos. What happened to the original film is really horrible, basically the studio head didn't like it and ordered that the original negative be recycled for silver recovery.  There's a biography from the 1970's(?) that goes into this at length.

 * I had never heard that Stroheim's native language wasn't German. Any idea what it was?  Phr 00:01, 12 April 2006 (UTC)

That's of course utter nonsense. In "Five Graves to Cairo" (1943) Stroheim plays field-marshal Rommel. He has no trouble speaking German but he fails utterly in his attempt at a Prussian accent. Instead he always falls back into the softer sounds of his native Viennese dialect. I should know, I'm from Vienna myself. Perhaps the alleged remark by Renoir refers to this same "problem". Ver sacrum 20:38, 8 October 2007 (UTC)

Shouldn't there be sources for the claim that his biography has factual errors? —Preceding unsigned comment added by 91.177.42.143 (talk) 20:22, 7 October 2008 (UTC)

In The Great Gabbo, Stroheim speaks German briefly, but his language shows signs, as far as I can tell, of a heavy American accent.

Stroheim's Native Tongue Skills
Renoir was exaggerating a bit about Stroheim's lost ability to speak his native tongue. In his only german production "Alraune", made in 1952, he can be seen talking perfectly. His Viennese accent is very heavy though and indeed has a decidedly lower/middle class tinge, as Wilder has pointed out.Wilutzky 06:06, 11th March 2009 (CEST) —Preceding undated comment added 05:06, 11 March 2009 (UTC).

Felled by a stroke?
Is it true that he had to be wheeled into the Légion d'honneur award ceremony on a bed? 81.158.42.208 (talk) 21:43, 23 June 2009 (UTC)

Last year a real life Sunset Boulevard?
I have an 1978 encyclopedia called "Out of this World" that describes the last year of Erich von Stroheim's life as a kind of real life Sunset Boulevard with the fact that he was effectively broke being hidden from him by Denise Vernac. To pay the staff of butler, cook, two maids, and a gardener Denise Vernac had to sell Erich's Cadillac but the buyer allowed it to remain on the property to preserve the illusion of Erich still being well off. The article ends with the statement that the very day Erich died the Cadillac was collected and staff paid off and Erich's final expensive 'set' was stuck.

I was wondering if there were any supporting evidence for this or if it was a kind of life imitates art psudohistory that tends to crop up around stars and directors.--BruceGrubb (talk) 11:34, 27 October 2010 (UTC)

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title: Talk:Erich von Stroheim


text:
School zone

A school zone refers to an area on a street near a school or near a crosswalk leading to a school that has a likely presence of younger pedestrians. School zones generally have a reduced speed limit during certain hours.

Fines
Fines for speeding in school zones may be enhanced. For example, many authorities double speeding fines in school zones. In New South Wales, Australia there are increases in fines that apply in school zones, during school zone times. The most common offences that occur in a school zone also attract demerit points. This includes most parking offences, such as parking on a footpath or nature strip, double parking, disobeying a no stopping or no parking sign and stopping in a bus zone. In the United Kingdom the fine for stopping next to a school is £30.

When active
School zone speed limits are often, but not always, only applicable during posted weekday hours near the beginning and end of the school day, when children are likely to cross roads. In some jurisdictions, the school zone speed limit is effective at all times when school is in session, plus additional time before and after the school day. Flashing amber lights often indicate when the school zone is effective. When a school zone also has a large playground facility, it may double as a playground zone and the speed limit could be in effect longer — or even continuous.

In California, school zones are generally in effect only "when children are outside or crossing the street", and usually have a speed limit of 25 mph, or 40 km/h. School zone signs are sometimes amended with the notice "When children are present" (as shown on the photo), which emphasizes its definition in the drivers' handbook.

School zones may also sometimes be in effect during school holidays, due to holiday programs that use school premises. In some locations, however, school zone signs will be locked up during school holidays so that motorists can drive to the normal speed limit.

School zones typically have speed limits between 15 and 25 mph (25 and 40 km/h).

Overtaking moving or stationary vehicles in active school zones is prohibited in some jurisdictions.

Effectiveness
In a review of the available research, the Committee for Guidance on Setting and Enforcing Speed Limits of the Transportation Research Board, part of the United States National Research Council, stated: In the Canadian Journal of Civil Engineering it was concluded that "the results of this study provide strong evidence that reducing speed limits to 30 km/h in school zones can bring significant safety benefits by reducing vehicular speeds and fatal and injury crashes."

Despite this there has been no conclusive figures on the effectiveness of school zones.

title: School zone


text: Talk:James Fenimore Cooper

title: Talk:James Fenimore Cooper


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Smith Tower

Smith Tower is a skyscraper in the Pioneer Square neighborhood of Seattle, Washington, United States. Completed in 1914, the 38-story, 462 ft tower was among the tallest skyscrapers outside New York City at the time of its completion. It was the tallest building west of the Mississippi River until the completion of the Kansas City Power & Light Building in 1931. It remained the tallest building on the U.S. West Coast for nearly half a century, until the Space Needle overtook it in 1962.

The tower is named after its builder, the firearm and typewriter magnate Lyman Cornelius Smith (unrelated to Horace Smith of Smith & Wesson), but its construction was largely overseen by his son Burns Lyman Smith after his father's 1910 death and would remain under the ownership of the Smith family into the 1940s. It was originally known as the L.C. Smith Building until the Smith Tower became its official name in 1929. It was designated as a Seattle landmark in 1984.

History
In the wake of the Klondike Gold Rush, Eastern financial interest in Seattle was at an all-time high. Prominent local attorney James Clise, who represented numerous capitalists in New York and Boston was responsible for many of the land transactions that saw numerous new office buildings built in the city. Among his largest clients at the turn of the century was Syracuse, New York millionaire industrialist Lyman Cornelius Smith and his brother Wilbert Lewis Smith who, through Clise, purchased and developed numerous buildings in Seattle's Pioneer Square district. L.C. was soon the city's biggest taxpayer and the largest individual owner of Seattle real estate in the country. Among those properties was the odd-shaped lot at the Northeast corner of Yesler Way and Second Avenue, then known as the Wirth Corner (or Bailey Corner) which L.C. purchased in May 1899 from William E. Bailey (Builder of the nearby Broderick Building), who had built a 1-story brick building on the lot following the Great Seattle Fire with intentions of building something more substantial before the Panic of 1893 struck. Smith, who saw great potential in the site, made no immediate plans to build, but would visit Seattle to inspect the property.

During a trip to Seattle in 1909, Smith began planning a 14-story building for the Bailey Corner. After consulting with Clise about what kind of building Seattle's economy would bear, his son, Burns Lyman Smith, convinced him to build instead a much taller skyscraper to steal the crown from rival city Tacoma's National Realty Building as the tallest west of the Mississippi River. Smith chose the Syracuse architectural firm of Gaggin and Gaggin to design his tower and in February 1910, Edwin H. Gaggin arrived in Seattle with blueprints in hand and an official announcement for a 26-story building that would not only be the highest west of the Mississippi, but the highest outside of New York City. With construction proposed to begin in June 1910, instead came the announcement that month that Smith would be willing to build to an unheard of 40-floors (35-story base, 5-story tower) on the condition that Seattle's city hall and civic center not be moved uptown from their property at 3rd Avenue and Yesler Way on the adjoining block. With the passage of a bond to purchase the city hall site and assurance from mayor Hiram C. Gill and the city council, the proposed Smith Tower would be the third tallest office building in the world behind only the Metropolitan Life Insurance Company Tower and Singer Building in New York City.

With L.C.'s health declining and other business interests in New York requiring his attention, he put construction of the $1,000,000 building in the hands of B.L. Smith and E.H. Gaggin, who returned to Seattle in October 1910 with the final plans for a 467-foot, 42-story (22-story base, 20-story tower, at his son's suggestion) building that would incorporate all the modern features of the Metropolitan Life and Singer Buildings. With a steel-frame and concrete structure, the building would be clad in granite at the base, and the rest in gleaming white terra cotta that would, according to local media, "cast the rays of the sun in a blaze that should be seen 15 or 20 miles". The building would be equipped with eight high-speed elevators that could carry an estimated 22,000 passengers per day. A heating plant would be built in the basement as well as a water cooler to supply drinking water to all the tenants, that would be fed by a 12,000 gallon tank in the pyramid roof of the tower. The first building permit was issued on October 20, 1910, but the elder Smith died the following month and never saw his building break ground. The original permit, however, was delayed by concerns from the city about the ground soil conditions of the site and the use of wired safety glass on the windows, among other things. Because the building already exceeded the city's existing building codes, excessive reviews and negotiations were required before the building could get final approval. All was settled by February 1911 when the final building permit was issued on the 24th.

After settling the final details of the building with the Smith Estate that had been left in limbo after L.C.'s death and putting to rest the public's doubt that it would even be built, bids for construction were opened at Gaggin & Gaggin's Syracuse, New York office to contractors across the country on May 10, 1911. Over 160 bids were submitted; 56 firms placed bids on the general construction contract alone and it would take the Smith heirs nearly two months to review them all. While bids were being prepared, tenants of the old Wirth Corner building were served notices to vacate the building by June 1 to prepare for its demolition. To celebrate the beginning of construction of the Smith Tower as well as the Lake Washington Ship Canal, Hoge Building and other major projects underway around Seattle, the city declared June 1 Progress and Prosperity Day and threw a parade to visit all these sites attended by delegations from all over Puget Sound. At the Smith Tower site a single brick was removed from the old building to ceremonially mark the beginning of construction, though actual demolition work wouldn't begin for several weeks. Although the winning contractors were chosen and notified by the end of June, the signing of contracts and beginning of construction now relied on the final settlement of L.C. Smith's estate, which would deed the Smith Tower site to his son Burns Lyman Smith by the end of August.

On September 5, 1911, the first contracts for general construction and excavation were signed by the New York-based Whitney-Steen Company, who had recently constructed the Daniels & Fisher Tower in Denver, Colorado and had several international projects under their belts. They would in turn contract the American Bridge Company to provide and assemble the nearly 5,000 tons of steel from their own foundry at Ambridge, Pennsylvania that would be required to build the Smith Tower's frame. Several local firms were awarded early contracts including Charles W. Rodgers (tiling), the Rautman Plumbing & Heating Company and the Agutter-Griswold Company for the electric wiring. The Harper-Hill Company run by T.S. Lippy, who operated a brick plant near Southworth at Harper that had previously supplied bricks for the Puget Sound Naval Shipyard and the Moore Theatre, won the contract for supplying the common brick that would insulate the building's walls. Representatives from the Whitney-Steen Company arrived in Seattle in late October and set up their construction office on the 6th floor of the Smith-owned Pacific Block (which would later be known as the Smith Tower Annex). They would soon be joined by H.W. Thompson, also of Syracuse, who would act as supervising architect. Most tenants vacated the old building by October 1 but many more insisted on remaining until the last possible moment and arrangements were made to excavate around them until the structural steel and other needed equipment was scheduled to arrive in February 1912 at which time construction would go into full swing. Selective demolition began on November 1, officially marking the start of construction.

Excavation continued day and night throughout November and December 1911, only being stopped when the derrick used for removing spoils collapsed, narrowly missing several workers. As the 25' deep foundation was being dug and retaining walls built, rigorous geological tests of the ground soil were being undertaken by supervising architect Thompson. Several holes were bored into the ground to a depth of 123', well below the proposed footing and core samples were examined. A test box weighing 80 tons was constructed on equally placed pilings on the center of the property to monitor ground settling and test the weight capacity of the soil. Smith and Gaggin returned to Seattle in January 1912, where they would stay for several months to personally oversee construction of the building's base floors. Smith would bring with him to Seattle a 6' tall oil painting of the building, used for advertising literature, where it would stand on display in a nearby business. In an unparalleled advertising campaign, images of the Smith Tower would be displayed in every L.C. Smith Company office and published nationwide to promote Seattle as an up and coming metropolis. Postcards were published of the yet to be completed building and sent across the world.

From April to May 1912 while excavation of the foundation and retaining walls was wrapping up and while the contractors were still awaiting the delivery of the steel beams from Pennsylvania, further contracts were signed for building materials from local and national firms. Granite for the building's base floors would come from A.D. Gunn's quarry at Index, Washington and a further 1,500,000 bricks were ordered from the Builders' Brick Company. One of the largest electrical contracts ever let outside of New York City was awarded to Nepage, McKenny & Co., who would install 18.5 miles of conduit and 60 miles of light, power and telegraph cables throughout the building's 42 floors. Concrete pilings, the style and strength of which were determined based on the results of the geological tests, would be manufactured and driven by the Raymond Concrete Piling Company of New York. All marble work would be handled by the Vermont Marble Company of Proctor, Vermont and Mexican onyx used in the lobby would be provided by the New Pedrara Mexican Onyx Company of San Diego, California. Most metal work including wrought iron railings, bronze fixtures and the fireproof metal windows would be provided and installed by firms from New York and Chicago. The final contracts, for plastering and fireproofing, were awarded to Denver and Fargo firms, respectively, on July 8, 1912. By late July the first 40 carloads of steel for the tower's frame had arrived in the city, removing any lingering doubts of the project's reality among locals. The last of the 1,276 pilings were driven and the brick-lined reinforced concrete foundation was complete by the beginning of August and the steel frame began to rise rapidly out of the pit. The top of the first floor was reached by October as 140 more carloads of steel arrived. The first reported work-site injury occurred on October 15 when laborer J.O. Charest's foot was crushed by an iron girder and was later amputated. B.L. Smith returned to Seattle several days later with a group of New York businessmen to give an impromptu tour of the local banks and landmarks, including Seattle's then tallest building, the Hoge Building from whose roof they viewed the Smith Tower's construction site.

The building's steel frame took shape very quickly, with the final rivet being driven on the top of the 42nd floor on February 15, 1913. Seattle Times photographer Will T. Curtis scaled the building, which still lacked stairways above the 16th floor, to capture the event. One of the biggest incidents to happen during the building's construction occurred on the morning of February 20 when a 70' wooden derrick weighing 3 tons fell from the 34th floor as it was being lowered, crashing through the roof of the building's base and piercing 13 floors. Miraculously there was not a single injury and damage was limited to repairing the holes in the concrete flooring. Construction proceeded without delay and steelwork was completed the very next day, marked by the raising of the American flag from the highest point by the superintendent and several of his men, who after a photoshoot featuring various daredevil poses around the flagpole, accidentally dropped their camera off the building, destroying it and the film. Concrete work and fireproofing were completed during the summer and the glistening terracotta façade began to rise over the steel frame. Before a completion date was in sight and the steel frame was even complete superintendent Thompson was bombarded by companies jockeying to rent entire floors in the building; 540 offices would be available in the main building with 13 suites in the tower, one per floor.

Although L.C. Smith did not live to see construction begin, his namesake building was completed in 1914 to a height of 143 m from curbside to the top of the pyramid, with a pinnacle height of 159 m. Smith Tower opened to the public on July 4, 1914. Over 4,000 Seattleites rode to the 35th floor on opening day. The Chinese Room, whose name was retired following the 2016 renovation, derived from the carved teak ceiling and blackwood furniture that adorned the room on opening. The room was furnished by the last Empress of China, Cixi. Furnishings include the famous Wishing Chair. The chair incorporates a carved dragon and a phoenix, which, when combined, portends marriage. According to folklore, any wishful unmarried person who sits in it would be married within a year. The legend came true for Smith's daughter, who married in the Chinese Room itself.

Ivar Haglund of Ivar's restaurant fame bought the tower for $1.8 million in 1976. The Samis Foundation acquired the tower in 1996. In 2006, the building was purchased by Walton Street Capital. The building has been renovated twice, in 1986 and in 1999.

In recent years high-tech companies have been occupants of Smith Tower, which sports fiber-optic wiring. The burst of the dot-com bubble hurt Smith Tower by raising its vacancy rate to 26.1 percent, twice Seattle's commercial vacancy rate, as of December 21, 2001. The Walt Disney Internet Group, for example, at the time reduced its seven floors to four. By 2007, the occupancy rate had rebounded to about 90 percent, with new occupants such as Microsoft Live Labs.

Following the announced departure of the building's two largest occupants that included Disney, which moved to the Fourth and Madison Building, Walton Street Capital filed an unsuccessful application to convert the building into condominiums.

In 2011, CBRE Group reported that it had purchased a 2006 $42.5 million mortgage in default on the Smith Tower. The loan recipient was building owner Walton Street. When CBRE stepped in, the building was 70 percent vacant, its rental income was not covering its operating expenses, and its value was assessed by the county to be less than half of its 2006 mortgage. Smith Tower was sold to CBRE at a public foreclosure auction on March 23, 2012.

In the spring of 2012 Smith Tower experienced a brief revitalization in the form of new companies moving into some of its empty floors including Portent, Inc., Aukema & Associates, Push Design, and Rialto Communications.

In January 2015, Seattle-based real estate investment and operating company Unico Properties bought Smith Tower for $73.7 million. Later that year, the new owners stopped the visitor tour and began remodeling the public areas, including the Chinese Room, which had been closed since 2014. A new speakeasy-themed restaurant, with Prohibition era-inspired food and drink was built on the observatory floor, in the same space as the Chinese Room, which was permanently closed. Parts of the Chinese Room decor and furniture, such as the Wishing Chair and carved teak ceilings, were used in this new restaurant.

A revised Smith Tower self-guided visitor tour, with new exhibits, resumed on August 25, 2016, along with the opening of the observation floor bar, open to tour ticket holders at a cost of $19.14 — the price being a reference to the date of the building. A discount is offered with a Washington State driver's license. Access to the bar without paying for the tour requires a cover charge of about half that price. A new retail store on the ground floor was also opened following the renovation. The building was sold to Goldman Sachs in October 2018 as part of a $750 million package of Unico properties in Seattle and Denver.

Description
Smith Tower is an example of neoclassical architecture. Its outer skin is granite on the first and second floors, and terracotta on the rest. The exterior has been washed only once in 1976.

The building was one of the last on the West Coast to employ elevator operators. The Otis Elevator Company provided the elevators, which have brass surfaces. The original doors were latticed scissor gates, so a rider could see into each hallway and through the glass walls in front of each office. The elevators were automated and modernized beginning in 2017, for faster service time and seismic safety, with new glass doors still allowing riders a view into the hallways and lobbies.

After the restoration in the early 1990s, workers removed the 10000 USgal water tank in the top of the tower. The resulting space along with a former maintenance man's apartment became a three-story penthouse, the only residence in the building. It was occupied in 2010 by a family of four. The penthouse apartment was listed on public markets in 2021 for $17,000 per month.

The building is crowned by an 8 ft glass dome illuminated by blue light, except during December when it is changed to green.

In popular culture
In 2012, Death Cab for Cutie frontman Benjamin Gibbard paid tribute to the Smith Tower in the song "Teardrop Windows".

title: Smith Tower


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Witchblade

Witchblade is an American comic book series published by Top Cow Productions, an imprint of Image Comics, which ran from November 1995 to October 2015. The series was created by Top Cow founder and owner Marc Silvestri, editor David Wohl, writers Brian Haberlin and Christina Z, and artist Michael Turner.

The Witchblade comic was adapted into a television series in 2001, as well as an anime, a manga and a novel in 2006. A feature film based on the comic, titled The Witchblade, was announced for a 2009 release, but was never produced. A second Witchblade television series was announced for development in January 2017, but there has been no update since.

Top Cow relaunched Witchblade comic in December 2017 with the creative team of writer Caitlin Kittredge and artist Roberta Ingranata. The series features journalist Alex Underwood as the main character.

The first of a new Witchblade comic series was released in July 2024 featuring new Witchblade creative team, writer Marguerite Bennett, artist Ariel Kristantina, colorist Bryan Valenza and letterer Troy Peteri.

Plot summary
The series follows Sara Pezzini, an NYPD homicide detective who comes into possession of the Witchblade, a supernatural, sentient gauntlet that bonds with a female host and provides her with a variety of powers in order to fight supernatural evil. Sara struggles to hone the powers of the Witchblade and fend off those with a nefarious interest in it, such as entrepreneur Kenneth Irons and his bodyguard Ian Nottingham.

The Witchblade
The Witchblade is a sentient gauntlet; described as being the offspring of the Darkness and Angelus and serving as the balance between the two forces. Often described as being a male entity, though occasionally taking a feminine form whenever it manifests itself, the Witchblade symbiotically bonds itself to humans—typically women—to serve as its bearers.

Sara Pezzini
A New York City detective, Sara first encountered the Witchblade while on a case with her then partner, Michael Yee. After both officers were mortally wounded by criminal Ian Nottingham, the gauntlet suddenly left the possession of his employer, Kenneth Irons, and gave its power to Sara, healing her wounds. When Jackie Estacado, the host of the Darkness, was possessed by its influence, he impregnated a temporarily comatose Sara as part of an effort to sway the Witchblade's balance. However, neither of them became aware of this until later. Eventually, Sara met and relinquished the Witchblade to Danielle Baptiste, to whom the artifact had a strong affinity. Amidst complications during the birth of her daughter, Hope, Sara's life was saved when she received half of the Witchblade from Dani. Sara now possesses the full Witchblade and Dani is now the host for the Angelus.

Danielle Baptiste
Danielle is a young ballet dancer who was born in New Orleans. After moving to New York to pursue her career, she experienced a mysterious dream in which she saw herself inheriting great power by means of a mystical gauntlet. Dani found herself taking a walk and wandering to an antique shop the next day. It was there that she encountered Sara Pezzini, the current host of the Witchblade. Having become pregnant, Sara realized that the time had come for her to relinquish the artifact. Sara relinquished the Witchblade to Dani when she realized that she was meant to become its next host. While exploring her powers, Dani faced and overcame a number of mystical opponents. Eventually, Dani returned half of the Witchblade to Sara in order to save Sara's life following the birth of her child. She currently does not have any portion of the Witchblade as she is the present host to the Angelus.

Patrick Gleason
An NYPD detective, Sara's partner and boyfriend. Following Hope's birth, he serves as the baby's surrogate father and Sara's confidant in issues involving the Witchblade.

The Curator/The Survivor
The owner of an antiques shop, the Curator is a sage-like spectator, occasional informant, and the second primary antagonist of the series. One of Sara and Dani's most trusted confidants, he knows much about the various Artifacts. The Curator later dies, spontaneously exploding after saying "all hope is lost". It was later revealed that the Curator was actually the Survivor, the mysterious mastermind behind all of the recent events in Sara's life. He is the sole survivor of the previous universe in which he was the "Codex", a being meant to ensure its survival in the event of Armageddon. Having failed in his duty and witnessed the destruction of his family, the Survivor has been gradually gathering and manipulating the Artifacts and their bearers throughout history as part of his plan to resurrect his universe.

Tau'ma
The Curator's brother, Tau'ma has sided with the Darkness and can pull Darklings from out of his head to attack or spy on others. He also wields a powerful cane with a gem-encrusted hawk head.

Hope Pezzini
Sara's daughter with Jackie Estacado. She is neither of the Darkness nor the Angelus, but has unknown powers that are dormant. Hope is the subject of a search by several Artifact bearers following her capture by the Survivor. Hope is the "Codex" for the entire universe, meant to survive and ensure its survival. The Survivor planned to kill Hope and replace her as the Codex in order to guarantee the resurrection of his own universe.

Julie Pezzini
Sara's sister. She was romantically involved with Jake, but the two broke up when Jake discovered that she was running drugs. Jake later returned and shot Julie, but she survived, leading to her arrest and imprisonment. Julie was later released after serving her sentence and was reunited with Sara. While taking Hope to a fair, Julie was surprised by Aphrodite IV, who killed her after shooting her in the head.

Ian Nottingham
Formerly a Captain of the British Special Air Service, Ian subsequently joined MI5. He underwent behavioural modifications for the purpose of infiltrating the Yakuza. Afterwards, he forgot his past and became Kenneth Irons' bodyguard. Ian has phenomenal skill with both ancient and modern weapons. Ian kills Sara's partner, Michael Yee. For a time he underwent a great change, allowing him the capability to absorb great quantities of energy and to drain energy from entities, even going so far as to temporarily host both the Witchblade and the Darkness. He also temporarily wielded Excalibur, the Witchblade's twin, but it was revealed that Excalibur was merely a shard of the Witchblade, which quickly reabsorbed it. After he lost Excalibur and was defeated by Sara, Ian was taken to prison, only to be freed later by Aphrodite IV. He then retrieved the Blood Sword from Michael Finnegan, gravely wounding the wielder of the Glacier Stone in the process, and left him in the river to die.

Kenneth Irons
The first main antagonist of the series, Kenneth Irons is a wealthy entrepreneur who discovered the Witchblade in Greece. Irons' age is unknown. It was eventually revealed that he was a Templar Knight of the Third Crusade and that he once drank from the Holy Grail, granting him a healing factor and immortality, establishing his age as greater than 800 years. However, due to his exposure to the Witchblade during an attempt to host it, Irons does not age at a normal rate; he appears to be no older than 35. In a failed bid to gain control of the Witchblade, Irons lost his hand and sacrificed his wife. Later he was one of two characters left in the Deathpool. As a result, Chief Joe Siry killed Irons for all of the trouble that he had unleashed on Sara. Kenneth is the father of Geraud Irons.

Joe Siry
Sara's former captain when she served at the 18th Precinct. He was the partner of Sara's dead father, Detective Vincent Pezzini.

Jake McCarthy
An NYPD detective, Jake was Sara's best friend and former partner. He fell in love with Sara, but his feelings were unrequited. A demon came to Earth and entered Jake's body, possessing him while he was wounded defending a weakened Sara. While in a coma he was placed in a hospital. When he woke up later, the god-like demon took full control of his body. The demon was bent on destroying the world to remake it into a hellish kingdom with him as ruler. Sara eventually drove the demon's influence out of Jake's mind, but Jake, still possessed by the demon, committed suicide to ensure that the demon could never control his body again.

Lisa Buzanis
Daughter of Maria, a deceased friend of Sara's.

Alex Underwood
A journalist who bonds with the Witchblade.

The Darkness
Jackie Estacado is a former mob hitman and later becomes the host for the Darkness. The Darkness is one of the parents of the Witchblade and one of the primordial forces of the Witchblade universe. He is a supporting character in the Witchblade series and is the main character in his own spin-off series.

The Angelus
The Angelus is the light counterpart of the Darkness and one of the parents of the Witchblade. The Angelus possesses many female hosts and is the arch-enemy of the Darkness. The Angelus was the primary antagonist of the Darkness series and the third primary antagonist of the Witchblade series.

Magdalena
Magdalena is a supporting character in the spin-off series Darkness and later in Witchblade.

Tora No Shi
Tora No Shi is an assassin for hire and a former bodyguard for Irons.

Sabine
Sabine is a former lieutenant of the Angelus cult before becoming the Wheel of Shadows.

Finch
A former student of Dani. She was a former host of the Angelus and has dated a boyfriend and Dani.

Gerald Irons
The son of Kenneth Irons who seeks to avenge his death, and the ex-boyfriend of Daphne.

Aphrodite IV
The fourth female android in a line of Aphrodites, she was an assassin who rarely missed a target.

Katarina Godliffe
A British knight who was also one of the Witchblade's hosts and teamed up with Medieval Spawn, with whom she had a relationship.

Celestine Wright
A woman who was one of the hosts of the Angelus.

Apparition
A ghost of woman who was a field agent tracking down Sara

The Demon
A demonic entity possessing humans

Butcher Knight
A knight from ancient times.

TNT series
Following a pilot film in August 2000, TNT premiered a television series based on the comic book series which ran for two seasons from June 12, 2001 to August 26, 2002. The series was directed by Ralph Hemecker, written by Marc Silvestri and J.D. Zeik, and starred Yancy Butler as Sara Pezzini. Although critically acclaimed and popular with audiences, the series was canceled in September 2002, reportedly due to Butler’s issues with substance abuse. Warner Home Video released Witchblade: The Complete Series—a seven-disc collector's set including the original made-for-TV movie, all 23 episodes of the series, and special features—on DVD on July 29, 2008.

Music
Witchblade the Music is a compilation album of music from/inspired by the Witchblade TV series and the comic book. The songs included on this album are performed by Various Artists. It was compiled and produced by G Tom Mac, it was conceived by Christina Z and released in 2004 on the Edge Artists record label. The album notes credit G Tom Mac a.k.a. Gerard McMahon for the music and Eddie Kislinger for the lyrics for "Wicked Town", "Drop Dead Pretty", and "Was It Magic”. McMahon is also credited for "Greater Powers"; "Child of Mine" with Roger Daltrey; and "Cry Little Sister" which he wrote with Michael Maineri. In addition, McMahon and Kislinger are credited as the Executive Producers of the soundtrack.

NBC series
In January 2017, NBC announced to develop a Witchblade television series, with Carol Mendelsohn and Caroline Dries serving as executive producers.

Anime series
Top Cow and Japanese animation studio Gonzo produced an anime adaptation of Witchblade, which began broadcast during April 2006 and ran for 24 episodes. Although the anime features a new story with all new characters, it exists in the same continuity as the comic book and manga. The anime focuses on Masane Amaha, who has no recollection of her past beyond six years earlier.

Manga
In August 2004, Top Cow made an agreement with manga publisher Kodansha to produce a manga adaptation of Witchblade. The subsequent adaptation, Witchblade Takeru (ウィッチブレイド丈流), was released in March 2006, written by the anime's main writer Yasuko Kobayashi (小林靖子) and drawn by Kazuasa Sumita (隅田 かずあさ). The manga features a different plot and characters from the Witchblade anime and comic book but is set in the same continuity as both. The manga focuses on Takeru Ibaraki, an average Japanese high school girl raised in a Buddhist convent who experiences recurring nightmares about the Witchblade and eventually becomes its newest bearer. The manga was released in the U.S. by Top Cow and Bandai Entertainment from February 2007 to February 2008.

Japanese novel
Witchblade: Ao no Shōjo (ウィッチブレイド 碧の少女) is a Japanese novel written by Satoshi Ichikawa (市川智士) with art and illustrations by Makoto Uno (うのまこと), who previously worked on the Witchblade anime as the lead art and character designer. It was published in August 2006. The protagonist is Yuri Miyazono, a sickly 15-year-old Okinawan girl who bonds with the Witchblade for her own survival. The novel is set the same continuity as the Witchblade anime and manga, with Yuri as the immediate successor of Takeru Ibaraki from Witchblade Takeru and the immediate predecessor of Masane Amaha from the Witchblade anime.

Cancelled film and untitled video game adaptation
A feature film adaptation of the comic was announced in 2008 and scheduled for a 2009 release, but was never produced. The film was to have been produced by Platinum Studios, Top Cow Productions, and Arclight Media, with Top Cow's Matt Hawkins & Marc Silvestri, Platinum's Rich Marincic, and Greenberg Group's Randy Greenberg serving as executive producers. Production was planned for September 2008, with filming to be done in Australia. A video game was announced but was later scrapped.

title: Witchblade


text:
Peter–Weyl theorem

In mathematics, the Peter–Weyl theorem is a basic result in the theory of harmonic analysis, applying to topological groups that are compact, but are not necessarily abelian. It was initially proved by Hermann Weyl, with his student Fritz Peter, in the setting of a compact topological group G. The theorem is a collection of results generalizing the significant facts about the decomposition of the regular representation of any finite group, as discovered by Ferdinand Georg Frobenius and Issai Schur.

Let G be a compact group. The theorem has three parts. The first part states that the matrix coefficients of irreducible representations of G are dense in the space C(G) of continuous complex-valued functions on G, and thus also in the space L2(G) of square-integrable functions. The second part asserts the complete reducibility of unitary representations of G. The third part then asserts that the regular representation of G on L2(G) decomposes as the direct sum of all irreducible unitary representations. Moreover, the matrix coefficients of the irreducible unitary representations form an orthonormal basis of L2(G). In the case that G is the group of unit complex numbers, this last result is simply a standard result from Fourier series.

Matrix coefficients
A matrix coefficient of the group G is a complex-valued function $$\varphi$$ on G given as the composition

 * $$\varphi = L\circ \pi$$

where π : G → GL(V) is a finite-dimensional (continuous) group representation of G, and L is a linear functional on the vector space of endomorphisms of V (e.g. trace), which contains GL(V) as an open subset. Matrix coefficients are continuous, since representations are by definition continuous, and linear functionals on finite-dimensional spaces are also continuous.

The first part of the Peter–Weyl theorem asserts :

"Peter–Weyl Theorem (Part I). The set of matrix coefficients of G is dense in the space of continuous complex functions C(G) on G, equipped with the uniform norm."

This first result resembles the Stone–Weierstrass theorem in that it indicates the density of a set of functions in the space of all continuous functions, subject only to an algebraic characterization. In fact, the matrix coefficients form a unital algebra invariant under complex conjugation because the product of two matrix coefficients is a matrix coefficient of the tensor product representation, and the complex conjugate is a matrix coefficient of the dual representation. Hence the theorem follows directly from the Stone–Weierstrass theorem if the matrix coefficients separate points, which is obvious if G is a matrix group. Conversely, it is a consequence of the theorem that any compact Lie group is isomorphic to a matrix group.

A corollary of this result is that the matrix coefficients of G are dense in L2(G).

Decomposition of a unitary representation
The second part of the theorem gives the existence of a decomposition of a unitary representation of G into finite-dimensional representations. Now, intuitively groups were conceived as rotations on geometric objects, so it is only natural to study representations which essentially arise from continuous actions on Hilbert spaces. (For those who were first introduced to dual groups consisting of characters which are the continuous homomorphisms into the circle group, this approach is similar except that the circle group is (ultimately) generalised to the group of unitary operators on a given Hilbert space.)

Let G be a topological group and H a complex Hilbert space.

A continuous linear action ∗ : G × H → H, gives rise to a continuous map ρ∗ : G → HH (functions from H to H with the strong topology) defined by: ρ∗(g)(v) = ∗(g,v). This map is clearly a homomorphism from G into GL(H), the bounded linear operators on H. Conversely, given such a map, we can uniquely recover the action in the obvious way.

Thus we define the representations of G on a Hilbert space H to be those group homomorphisms, ρ, which arise from continuous actions of G on H. We say that a representation ρ is unitary if ρ(g) is a unitary operator for all g ∈ G; i.e., $$\langle \rho(g)v,\rho(g)w\rangle = \langle v,w\rangle$$ for all v, w ∈ H. (I.e. it is unitary if ρ : G → U(H). Notice how this generalises the special case of the one-dimensional Hilbert space, where U(C) is just the circle group.)

Given these definitions, we can state the second part of the Peter–Weyl theorem :

"Peter–Weyl Theorem (Part II). Let ρ be a unitary representation of a compact group G on a complex Hilbert space H. Then H splits into an orthogonal direct sum of irreducible finite-dimensional unitary representations of G."

Decomposition of square-integrable functions
To state the third and final part of the theorem, there is a natural Hilbert space over G consisting of square-integrable functions, $L^2(G)$; this makes sense because the Haar measure exists on G. The group G has a unitary representation ρ on $$L^2(G)$$ given by acting on the left, via

 * $$\rho(h)f(g) = f(h^{-1}g).$$

The final statement of the Peter–Weyl theorem gives an explicit orthonormal basis of $$L^2(G)$$. Roughly it asserts that the matrix coefficients for G, suitably renormalized, are an orthonormal basis of L2(G). In particular, $$L^2(G)$$ decomposes into an orthogonal direct sum of all the irreducible unitary representations, in which the multiplicity of each irreducible representation is equal to its degree (that is, the dimension of the underlying space of the representation). Thus,

 * $$L^2(G) = \underset{\pi\in\Sigma}{\widehat{\bigoplus}} E_\pi^{\oplus\dim E_\pi}$$

where Σ denotes the set of (isomorphism classes of) irreducible unitary representations of G, and the summation denotes the closure of the direct sum of the total spaces Eπ of the representations π.

We may also regard $$L^2(G)$$ as a representation of the direct product group $$G\times G$$, with the two factors acting by translation on the left and the right, respectively. Fix a representation $$(\pi,E_\pi)$$ of $$G$$. The space of matrix coefficients for the representation may be identified with $$\operatorname{End}(E_\pi)$$, the space of linear maps of $$E_\pi$$ to itself. The natural left and right action of $$G\times G$$ on the matrix coefficients corresponds to the action on $$\operatorname{End}(E_\pi)$$ given by
 * $$(g,h)\cdot A=\pi(g)A\pi(h)^{-1}.$$

Then we may decompose $$L^2(G)$$ as unitary representation of $$G\times G$$ in the form

 * $$L^2(G) = \underset{\pi\in\Sigma}{\widehat{\bigoplus}} E_\pi\otimes E_\pi^*.$$

Finally, we may form an orthonormal basis for $$L^2(G)$$ as follows. Suppose that a representative π is chosen for each isomorphism class of irreducible unitary representation, and denote the collection of all such π by Σ. Let $$\scriptstyle{u_{ij}^{(\pi)}}$$ be the matrix coefficients of π in an orthonormal basis, in other words

 * $$u^{(\pi)}_{ij}(g) = \langle \pi(g)e_j, e_i\rangle.$$

for each g ∈ G. Finally, let d(π) be the degree of the representation π. The theorem now asserts that the set of functions

 * $$\left\{\sqrt{d^{(\pi)}}u^{(\pi)}_{ij}\mid\, \pi\in\Sigma,\,\, 1\le i,j\le d^{(\pi)}\right\}$$

is an orthonormal basis of $$L^2(G).$$

Restriction to class functions
A function $$f$$ on G is called a class function if $$f(hgh^{-1})=f(g)$$ for all $$g$$ and $$h$$ in G. The space of square-integrable class functions forms a closed subspace of $$L^2(G)$$, and therefore a Hilbert space in its own right. Within the space of matrix coefficients for a fixed representation $$\pi$$ is the character $$\chi_\pi$$ of $$\pi$$, defined by
 * $$\chi_\pi(g)=\operatorname{trace}(\pi(g)).$$

In the notation above, the character is the sum of the diagonal matrix coefficients:
 * $$\chi_\pi=\sum_{i=1}^{d^{(\pi)}}u_{ii}^{(\pi)}.$$

An important consequence of the preceding result is the following:
 * Theorem: The characters of the irreducible representations of G form a Hilbert basis for the space of square-integrable class functions on G.

This result plays an important part in Weyl's classification of the representations of a connected compact Lie group.

An example: U(1)
A simple but helpful example is the case of the group of complex numbers of magnitude 1, $$G=S^1$$. In this case, the irreducible representations are one-dimensional and given by
 * $$\pi_n(e^{i\theta})=e^{in\theta}.$$

There is then a single matrix coefficient for each representation, the function
 * $$u_n(e^{i\theta})=e^{in\theta}.$$

The last part of the Peter–Weyl theorem then asserts in this case that these functions form an orthonormal basis for $$L^2(S^1)$$. In this case, the theorem is simply a standard result from the theory of Fourier series.

For any compact group G, we can regard the decomposition of $$L^2(G)$$ in terms of matrix coefficients as a generalization of the theory of Fourier series. Indeed, this decomposition is often referred to as a Fourier series.

An example: SU(2)
We use the standard representation of the group SU(2) as
 * $$ \operatorname{SU}(2) = \left \{ \begin{pmatrix} \alpha&-\overline{\beta}\\ \beta & \overline{\alpha} \end{pmatrix}: \ \ \alpha,\beta\in\mathbb{C},\, |\alpha|^2 + |\beta|^2 = 1\right \} ~,$$

Thus, SU(2) is represented as the 3-sphere $$S^3$$ sitting inside $$\mathbb{C}^2=\mathbb{R}^4$$. The irreducible representations of SU(2), meanwhile, are labeled by a non-negative integer $$m$$ and can be realized as the natural action of SU(2) on the space of homogeneous polynomials of degree $$m$$ in two complex variables. The matrix coefficients of the $$m$$th representation are hyperspherical harmonics of degree $$m$$, that is, the restrictions to $$S^3$$ of homogeneous harmonic polynomials of degree $$m$$ in $$\alpha$$ and $$\beta$$. The key to verifying this claim is to compute that for any two complex numbers $$z_1$$ and $$z_2$$, the function
 * $$(\alpha,\beta)\mapsto (z_1\alpha+z_2\beta)^m$$

is harmonic as a function of $$(\alpha,\beta)\in\mathbb{C}^2=\mathbb{R}^4$$.

In this case, finding an orthonormal basis for $$L^2(\operatorname{SU}(2))=L^2(S^3)$$ consisting of matrix coefficients amounts to finding an orthonormal basis consisting of hyperspherical harmonics, which is a standard construction in analysis on spheres.

Representation theory of connected compact Lie groups
The Peter–Weyl theorem—specifically the assertion that the characters form an orthonormal basis for the space of square-integrable class functions—plays a key role in the classification of the irreducible representations of a connected compact Lie group. The argument also depends on the Weyl integral formula (for class functions) and the Weyl character formula.

An outline of the argument may be found here.

Linearity of compact Lie groups
One important consequence of the Peter–Weyl theorem is the following:
 * Theorem: Every compact Lie group has a faithful finite-dimensional representation and is therefore isomorphic to a closed subgroup of $$\operatorname{GL}(n;\mathbb{C})$$ for some $$n$$.

Structure of compact topological groups
From the Peter–Weyl theorem, one can deduce a significant general structure theorem. Let G be a compact topological group, which we assume Hausdorff. For any finite-dimensional G-invariant subspace V in L2(G), where G acts on the left, we consider the image of G in GL(V). It is closed, since G is compact, and a subgroup of the Lie group GL(V). It follows by a theorem of Élie Cartan that the image of G is a Lie group also.

If we now take the limit (in the sense of category theory) over all such spaces V, we get a result about G: Because G acts faithfully on L2(G), G is an inverse limit of Lie groups. It may of course not itself be a Lie group: it may for example be a profinite group.

title: Peter–Weyl theorem


text:
Talk:List of LGBT rights organizations

Untitled
A picky point. I can certainly understand why gay rights folks would NOT want NAMBLA on this page. But the unfortunate fact is that NAMBLA is a "gay organization" by definition (man/boy). The category is unfortunately titled "gay organizations" not "gay rights organizations" or "gay organizations acceptable to the majority of gay people".

I would suggest that perhaps the entry should be renamed to be a list of "gay rights" organizations, or the addition of a caveat about consenting adults, or something of that nature so there is a valid reason to keep NAMBLA off the list or shuffle it off to a list that better fits it.

 * Well, the first sentence ends with " .. which have made contributions to the gay community and the process of gay rights." Groups such as NAMBLA have been used to discredit the gay community on the basis that they were portrayed as a bunch of child molesters, looking for children to "recruit". Furthermore, the term "homosexuality" is not generally understood to include "the desire to seek sexual relationships with minors of the same gender". That is why there is a separate term, pederasty, for this sexual orientation. Similarly, a man attracted to young girls would not be simply described as a heterosexual, but as a pedophile, or a heterosexual pedophile -- the interest towards partners of a much younger age is so specific (and much differently perceived) that it cannot be included in a single common designation.—Eloquence 02:56, Aug 12, 2003 (UTC)

 * I merely suggested that it might be a good idea to make the distinctions you just made a bit clearer on the page. Even the addition of something like "mainstream organizations that have...." would help clarify the situation.  Just a suggestion.

 * It's a thorny issue, really. The article is not necessarily about mainstream groups, but it should also not sound like a Monty Python sketch: "This is a list of gay organizations. And they don't have anything to do with buggering children or animals, honest."—Eloquence 03:39, Aug 12, 2003 (UTC)

 * Sorry, Eloquence, I meant to creat a page about gay rights organizations or something like that, I don't know much about that in America ( what is NAMBLA? ). See, I am from China, and I just want to put all the gay organizations together, hmm... gay organizations or something like that, you know, there is not a single one in China, so in fact, I don't know exactly what they are. The idea of creating this page came into my mind when I read gay rights, I think there should be a lot abroad! About the sentence you mentioned above, just forgive my poor English! ( I hope you can understand this discussion :p ) If you think this page is not appropriate, just delete it, or move it or improve it, thanks! --Gboy 17:21, 12 Aug 2003 (UTC)

Anyone knows anything about the gay-rights organizations in Hong Kong if there is any? --Yacht 11:09, Feb 29, 2004 (UTC)

Deletion
The article List of transgender-support organizations was recently deleted, and now List of transgender-rights organizations is up for deletion. Please weigh in on the discussion there, as the outcome will inevitably set a precendent for this article as well. See Articles for deletion/List of transgender-rights organizations. ntennis 23:34, 1 September 2006 (UTC)
 * Update: the List of transgender-support organizations deletion discussion has been re-opened. See Articles for deletion/List of transgender-support organizations. ntennis 02:39, 4 September 2006 (UTC)

Pruning
I have pruned this bloated and indiscriminate list:

 * As this ought to be a list of noteworthy LGBT rights organizations, I have removed all redlinked entries. Feel free to restore any of these once they are demonstrated to be sufficiently noteworthy to merit an article (See Notability (organizations and companies)).
 * I have also removed all the external links in accordance with External links, which states that "links to web pages outside Wikipedia ... should not normally be used in the body of an article."
 * I have removed organizations not principally known as LGBT rights organizations, like the American Medical Association.

I have been guided by Verifiability, WP:NOTDIRECTORY, WP:NOTPROMOTION, External links, Notability (organizations and companies) and Manual of Style (stand-alone lists) in deciding what to remove. -- Rrburke (talk) 18:36, 14 March 2011 (UTC)

New Organization ready for a page UN LGBTI CORE GROUP
The United Nations LGBTI Core Group is referred to both in the OUTRIGHT INT'L's article and in LGBT Rights in the UN article. SHOULD IT BE ON THIS LIST? Mrphilip (talk) 06:19, 19 June 2018 (UTC)

 * Generally speaking, each entry on a Wikipedia list should have its own Wikipedia article. If you look at this list, you'll see that all of the entries are blue links, not red, which means each has an article of its own. It may well be that the organization you mention meets notability guidelines (see WP:NOTABLE and WP:ORG), in which case one would ideally write the article first before trying to list it here. Rivertorch FIREWATER  13:39, 19 June 2018 (UTC)

Freedom and acceptance
Is been long bumpy road since I understood that ostracizing people of same sex behaviors is very wrong. Arinze Goodman (talk) 11:54, 16 November 2018 (UTC)

title: Talk:List of LGBT rights organizations


text:
Naomi

Naomi or Naomie may refer to:

People and biblical figures

 * Naomi (given name), a given name and a list of people with the name
 * Naomi (biblical figure), Ruth's mother-in-law in the Old Testament Book of Ruth
 * Naomi (Romanian singer) (born 1977), a.k.a. Naomy
 * Naomi (wrestler) (born 1987), professional wrestler
 * Terra Naomi, American indie folk singer-songwriter

Fictional entities

 * Naomi, a character in the 2009 American fantasy comedy movie 17 Again
 * Naomi, a supporting character in the upcoming 2023 indie video game Goodbye Volcano High
 * Naomi Bohannon, a character in the TV series Hell on Wheels
 * Naomi, Florida, a fictional town in the Kate DiCamillo novel Because of Winn-Dixie
 * Naomi Leon, a character in PBS Kids GO! Becoming Naomi Leon (2009)
 * Naomi Turner, a character in the American animated television series Elena of Avalor

Music

 * Naomi Awards, a former British music award
 * Naomi (album), by American band The Cave Singers
 * "Naomi" (song), by Neutral Milk Hotel

Other uses in arts and entertainment

 * Naomi (novel), a 1924 novel by Jun'ichirō Tanizaki
 * Naomi (comics), a 2019 miniseries published by DC Comics under the Wonder Comics imprint
 * Naomi (TV series), a 2022 series based on the comic book series of the same name
 * "Naomi" (Skins), episode of British television drama Skins, 2009
 * Sega NAOMI, an arcade hardware system

United States

 * Naomi, Georgia, an unincorporated community
 * Naomi, Missouri, an unincorporated community
 * Naomi, Ohio, an unincorporated community
 * Naomi, Pennsylvania, an unincorporated community
 * Naomi, South Dakota, an unincorporated community
 * Naomi Peak, Utah
 * Lake Naomi, Pocono Pines, Pennsylvania
 * Site of the Naomi Mine explosion, a 1907 mining disaster in Pennsylvania, United States

Other places

 * Na'omi, an Israeli settlement

Other uses

 * 6139 Naomi, a main-belt asteroid
 * Naomi Institute, a defunct school in Nebraska, United States

title: Naomi