text:
Talk:Garth Ennis

Personal Life: Christianity
There is the bold statement 'Ennis is a devout atheist who has a marked distaste for christianity' Neither the reference provided or the reference it links to seems to provide any evidence of this at all, beyond the author's opinion. A quick google search shows a bunch of links claiming he's atheist, mostly criticizing his work "preacher", but I can't find anything from HIM that says he's atheist, much less anything where he says he dislikes christianity.

I'm not saying that it's wrong. I'm just saying the reference doesn't support the statement, and that I can't find any references that ether validates or refutes the statement.

~ ~ ~ ~

http://www.sequentialtart.com/archive/dec03/tth_1203.shtml

http://www.adherents.com/people/pe/Garth_Ennis.html — Preceding unsigned comment added by 69.231.223.14 (talk) 05:13, 14 January 2012 (UTC)

 * On the Celebrity Atheist list, he's quoted (from Wizard: The Guide to Comics #62, October 1996, p.56) as saying "I'm an atheist, really. But everyone seems to think I'm some terrible lapsed Catholic who suffered the worst of a Catholic upbringing and had the crap kicked out of him by nuns and monks. In actual fact, I'm not Catholic, and I never had any kind of direct religious upbringing at all, although I was exposed to the inevitable religious influence that growing up in Ireland will give you. And slightly more directly, my school had what was known as the Scripture Union or Christian Union, which young people were very strongly encouraged to join. They weren't too overt about it, but the kind of insidious propaganda that they employed used to, quite frankly, annoy the piss out of me. But I've always been interested in the history of Christianity and its effect on the world, and more generally speaking, in the idea of faith and of someone giving control over his destiny to what he sees as a higher power. These things have always just fascinated me and they're bound to show up in my work again and again. Negatively." --Nicknack009 (talk) 13:29, 14 January 2012 (UTC)

Untitled
Apologies to the writer of the original stub for erasing most of your work - I figured the fact that you thought Ennis was English rather than Irish means you're not that attached to the subject - Joe.

Nationality
Sure, he's Irish, but he was born in Northern Ireland, so does'nt that make him a subject of the UK? What does his passport say?

No. Since the Good Friday agreement and the Anglo Irish agreement before that, people living in Northern Ireland have the right to choose their nationality and passport (British or Irish or both) perhaps a unique situation in the world. — Preceding unsigned comment added by 212.240.141.48 (talk) 14:34, 2 May 2012 (UTC)

But Northern Ireland isn't a nation. Northern Irish isn't a Nationality, he's either British, Irish or Dual Nationality. Bunnyman78 (talk) 14:31, 8 August 2013 (UTC)

--Ulsterman2021 (talk) 15:56, 18 September 2020 (UTC) If he was born in Northern Ireland he is Northern Irish. Irish is not an appropriate term unless someone either describes themselves as Irish or they hold an Irish passport. But nobody can make that assumption as it is a personal and sensitive matter and could also cause offence. In the absence of knowing what passport someone holds, Northern Irish best describes a person from Northern Ireland. 'Subject of the UK' is an incorrect and out of date term to use.

Shouldn't there be a paragraph on how he has revitalized the Punisher and is largely considered to be the character's definitive writer? He has written over 60 appearances of the character; I consider that notable enough to warrant a paragraph. - Gasface

 * Then Be bold and add it in people can then tweak it. For my own part I was thinking it'd be best to redo the bibliography in chronological order. The same suggestion came up over on the Grant Morrison entry and I've made a start throwing in dates and we'd need to full range of dates here too. (Emperor 01:31, 20 May 2006 (UTC))

Merge?
I see no reason for an entry Garth Ennis work for 2000 A.D./Judge Dredd and it also makes a chronological sorting of publications impossible. (Emperor 21:04, 31 May 2006 (UTC))
 * Agreed. Rudá 21:50, 31 May 2006 (UTC)

 * The other entry has now been put up for deletion so anyone looking to thrown in their opinions should do so over there. (Emperor 02:36, 1 June 2006 (UTC))

I'm sorry; my logic was that it could easily be linked straight from 2000 AD, rather than an indirect link to his page, scrolling around to find the extremely incomplete list that was there ... and because, since it was early and fairly obscure to American audiences, it would be more an interesting bit of info but not neccessarily for everybody. Now I see the conversation going on down below, so obviously people disagree. I hadn't been able to figure out this talk section before. Sorry for causing trouble.

Concise vs comprehensive bibliographies
It came up on the VfD discussion for the above merge and I thought it best to continue it hre rather than bog down the deletion discussion. To reiterate my viewpoint: I think the bibliography needs to be as comprehensive as possible as all the work from someone notable like Garth Ennis, Grant Morrison and Alan Moore is notable. While I don't see the length of the bibliographies being too much of an issue at the moment it has been an issue I have pondered. If it did become an issue I'd favour a "concise bibliography" in the entry and a separate "comprehensive bibliography" link through form there. At the moment I think the main issue at the moment is other entries that are largely just bibliography. This isn't a problem with the bibliography just that a longer biography is required but as this is all a work in progress it is handy to have the bibliography to help create the biography. The three entries I linked to above are good examples of "mature" entries that have grown to be (partly due to the popularity of the authors involved). So as things stand I am more in favour of adding more to the biographies rather than taking things out of bibliogrpahies (which, as I've said, is a judgement call and very difficult to get a consensus on and impossible to properly police). It also partly reflects the moderate problem of expanding UK writers and artists entries unless they have crossed over to the American mainstream (but then again there are a lot of entries for US writers and artists that need similar work). (Emperor 14:03, 2 June 2006 (UTC))

 * To summarise the opposing view: Listing every single 5 page Dredd story from someone like John Wagner would create a very long list, but uit wouldn;t necessarily be particualrly interesting or informative. Add a listing for every single reprint of those stories and you end up with a very long list of very little interest whatsoever, undiferentiated data rather than useful information. --Artw 17:16, 2 June 2006 (UTC)

 * I agree. An encyclopedia article should be a readable guide to the general reader, not a checklist for obsessives. --Nicknack009 17:55, 2 June 2006 (UTC)

 * There are ways and means to cope with what might start to become an overwhelming list in this case listing the actual reprints seems a reasonable compromise if this is really thought to be a problem (and I'm not yet convinced it will be in this case). (Emperor 13:54, 7 June 2006 (UTC))

 * As, I suppose, one of the people making the contributions in question, I'll explain the logic as I saw it. I thought this was meant to be a source of information, and, as such, it seemed like the information should be as complete as possible.  It seemed, reading through the articles about Moore or Ennis (for instance) as if the biography section already gave a decent "readable guide", an overview bibliography explaining what the general important ones are and linking to extensively detailed information about the issues and the series, making the bibliography as written seem largely redundant.  When I saw the Ennis page (for instance), it was inconsistently arranged (some things referred to by story name, some by the title, some collected under a character name).  To say that it was a guide to the "important" works would be quite a judgement call; it was missing all of his Dredd work but the most recent one, but had an entry for "Chopper" with both obscure stories.  It included "Flinch" #3 but not The Demon ... and "Star Wars Tales" but not "Dicks".  I can see the logic in arranging the information so that it would go from "general interest" [maxi-series] to "more obscure" [one-offs and short stories], but it seems to me like it's editorializing to try to determine what is "imporant" in the career of a writer.  (Just as a for instance, one of the four short stories from 'Crisis' is about John Wayne and the "F*** Communism" lighters, which eventually factored in heavily with 'Preacher' (I concede, that information isn't in the entry at present, but that does tend to make that an interesting story to be aware of.))  If you opt not to include a definitive bibliography, or even form a seperate page for a specifically definitive one, I would then suggest offering a clear link to another site which does include it.
 * ThatGuamGuy 04:17, 3 June 2006 (UTC)Sean (TGG)

 * Yes, it is supposed to be a source of information, but a long list of undifferentiated facts is not really information. My own inclination is not to bother with bibliographies, but to mention his most significant work in the body of the article, and describe what made it significant, its themes etc. And yes, that is a judgement call. If you're going to write a helpful encyclopedia article you need to exercise judgement, otherwise you end up with an article that's so full of trivia that someone looking to find out who Garth Ennis is and what's significant about him will leave overwhelmed and none the wiser. This is a reference work which needs to be accessible to the general reader. It needs to make sense to someone who has no idea who Garth Ennis is. A link to a comprehensive biography, if one exists elsewhere on the web, is an excellent idea, but it's not necessary or desirable, in my opinion, to include one here. --Nicknack009 09:45, 3 June 2006 (UTC)

 * It my view, just based on the appearances of the page, the bibliography is a supplement to the article. I do agree with you that people don't read a bibliography in order to understand themes and reasons that specific works are the most significant in his body of work -- that's what they read the article for.  It seems as if you're saying there shouldn't be bibliographies at all; that's certainly a valid opinion, and I'd like to hear what other people think on that subject, and I would go so far as to half-sgree: I don't see the point of bibliographies if they're going to be haphazard and incomplete (which it was before I contributed) and, at best, just duplicating the information in the article.  Perhaps I'm misunderstanding you, though; is there a reason to have a bibliography section which just lists the specific stuff which is mentioned in the biography?  Because that seems really redundant to me, especially when the individual titles generally have their own pages.
 * It seems to me like the interesting thing about a bibliography on this website would be having it be extensive, because then you can really get into the inter-connectedness, which I thought was part of the point of wikipedia. (I don't actually know, I'm clearly new here, but that seemed to be one of the big appeals.)
 * One other thing I don't understand... if I go to the X-Men page (for instance), there's a nice long article, and a list of current members, and notable former members... and then there's another wikipedia entry directly linked which lists every single person who has ever been a member of the X-Men, or any X-Men related team. It lists the issue they joined, their full name, and a full paragragh describing them.  And, of course, it links to their own page, which they all have, and which has all that info.  Why is a complete bibliography of a major comic book writer less accessible to a general reader than that?  I can see the logic in "Click here to view a full bibliography", but it seems as if the information should be here somewhere for those who do want it.
 * ThatGuamGuy 23:15, 3 June 2006 (UTC)sean (TGG)

 * However, looking at the initial post in here (sorry, I don't know what "VfD" means), I would agree with Nicknack that an extensive bibliography is counter-productive in a situation, as described by Emperor, where the biography section is short or non-existent. If the bibliography is the primary source of information about what the person wrote, that's a different situation.  I guess all the writers I like are too mainstream, because I haven't seen that yet. :)

ThatGuamGuy 23:34, 3 June 2006 (UTC)sean (TGG)

 * Basically I think bibliographies just overwhelm articles, ending up with a map that's as big as the territory depicted and thus useless as a map. I suppose a bibliography probably serves a useful function by providing somewhere for completeness-obsessives to cram more information in without unbalancing the article itself. --Nicknack009 23:46, 3 June 2006 (UTC)

 * You make a good point, to which I'd add: the problem with a democratic thing like wikipedia depending on judgement calls is that every story will be somebody's favorite, so somebody will miss if it there's no mention at all.
 * I certainly don't want the bibliography to overshadow the biography (and can totally see how that could happen with too much info), especially with regard to Garth Ennis, as I think the bio is quite good and a *great* career overview (other than agreeing with the guy above that The Punisher should be elaborated upon, which I didn't want to do myself before all this back-and-forth was resolved).
 * I'd go with the idea of taking detailed bibliographies (where they exist) and moving them to a seperate entry. ThatGuamGuy 00:25, 4 June 2006 (UTC)sean

 * I can't see the article becoming unbalanced. The biography is a good lengthy one touching on the big works and themes and the bibliography is tagged on then end with a more detailled overview of what he has done (if it was above the bibliography and people had to go through it to get to the bibliography then that would be an issue). It is also a useful way of presenting the information. I find that once I've read the bibliography an entries us is for quick reference and the like and I skip the opening section and go straight to the bibliography or the external links section. The web is a different medium to print and large blocks of text don't make for great reading online and sometimes a stripped down list is a more usable way of getting the information. Bottom line is that as people can skip sections of the page (thanks to the handy menu) if they don't want to have anything to do with one part of the page then they don't have to. (Emperor 13:54, 7 June 2006 (UTC))

 * Although I personally haven't been adding them, I don't understand why they could be a problem with comprehensive bibliographies. All Wikipedia creator biographies - literary or otherwise - follow the same pattern, with biographical details at the top, career details second, other issues third, and finally a list of achievements, accomplishments, and/or published works.   Wikipedia is not paper, and these pages so far are not breaking even the recommended page sizes.  It's more useful for this information to be gathered in one place than scattered here and there over the interweb.
 * Merging the two pages together results in a page substantially below the recommended 30kb limit. However, the guidelines on size state that even this limit should not be taken too seriously for lists. Vizjim 09:41, 5 June 2006 (UTC)

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 * Done. For starters it is missing a photo but there is also a need for quite a few more references. I'll return to this and flag the points but in the meantime you can't go wrong sourcing any claims you find. (Emperor (talk) 01:45, 8 August 2008 (UTC))

Misogyny
I'm actually something of a fan of Garth's work and have read almost all of it. But he's come under fire for being misogynistic. I can probably troll out sources from CBR (Comic book resources) and reviews, but really it's as self evident as his "interest in male friendships." I'm not trying to just smear the guy, but it's a theme in his work. —Preceding unsigned comment added by 76.180.22.148 (talk) 05:36, 5 February 2009 (UTC)

Ennis has explicitly addressed issues of misogyny in his work, as opposed to the vast majority of comic books creators who simply perpetuate misogynistic norms without, it would seem, much reflection. Ennis is obviously interested in masculinity, and his treatment of women is from masculine perspectives, but you can't really say that his portrayals of women are characterized by contempt and hatred for their gender, which is what "misogyny" entails. Also, by flat-out stating that his work is characterized by rampant misogyny, you're passing your own judgement on it - the very least you could do is fit some clause in there like, "Ennis has drawn allegations of misogyny throughout his career," or whatever. Your edit seems fairly out of order - I'm changing it back. —Preceding unsigned comment added by 138.16.8.108 (talk) 09:16, 12 February 2009 (UTC)

 * Yes there is room for analysis - "X has said this about this" just try and keep thingss balanced and fair. Without sources it is original research (and would be violating WP:BLP too). (Emperor (talk) 19:12, 12 February 2009 (UTC))

 * Probably worth giving WP:BLP and WP:UNDUE a certain amount of thought when addressing this as well. Artw (talk) 20:02, 12 February 2009 (UTC)

 * Keeping BLP in mind should be top priority for any real-living-person article. Lots42 (talk) 21:39, 12 February 2009 (UTC)

Heh. I see we've had another round of edits on Ennis hot button topics being made and rolled back. TBH I think we *should* have something about Ennis's choice of "edgy" subject matter, accusations of sexism, homophobia, and all that goes with it. But we need to do a proper job of it, it needs to be very carefully balanced, and we need to source the hell out of it with proper sources that meet WP:RS - something that's easier said than done with all the google hits on messageboards and blog postings that don't really cut it. If I turn up anything that looks usable I'll post it here. Artw (talk) 04:54, 16 February 2009 (UTC)

The darkness

just perused the article and i see little regarding garths run on the drakness comic. most importantly the first arc or two

i'dd add some detials my self. but cant fact check anything as at work and this limts my web searching abilitys

just thought i'd ,mention it ```` —Preceding unsigned comment added by 80.195.38.130 (talk) 15:29, 25 January 2010 (UTC)

Cleanup tag
I've removed the cleanup tag, which seemed old and out of date. As far as I can tell none of the old issues mentioned there apply to the article, with particularly good work being done to add references and move citations inline. I hope everyone is okay with that assessment. Artw (talk) 17:02, 8 October 2014 (UTC)

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November 2020 sourcing issues
It was claimed that I added uncited information when writing about the book being withdrawn due to controversy, although I did take the time to cite it down to the very page number, here is the scan: https://postimg.cc/dZZFLbkT

In terms of the villain in True Faith being a militant atheist rather than a militant maltheist, I can't scan the entire book, but here's just one of many instances where he says his goal is to literally kill God because he hates him: https://postimg.cc/XGJLc3gX

To be clear, the HERO is an atheist, but the villain is a believer, albeit a believer who hates God. Even if you haven't read Truth Faith Nightscream, don't you think that's more likely that the villain being a militant atheist, given Ennis' stated beliefs and depictions of believers versus atheists in his better known material? Lynchenberg (talk) 20:11, 12 November 2020 (UTC)

While a lot of the information removed from the article after I edited it for organization was uncited, having read/watched a substantial amount of Ennis interviews, I know most of that information can be confirmed. Given time, I will find the sources for all or most of it. I won't add it to the article until/if I do, but going forward, please add a citation needed while we look for the source. The sources for most of this stuff are out there, they just need to be found.

In case I am not believed (I've been accused of original research instead of merely organizing what was already there), here's a link to the state of the article before I started editing it: https://en.wikipedia.org/w/index.php?title=Garth_Ennis&oldid=969621563

You'll note all all my so-called "original research" is already there, Nightscream. You had been editing the article long before me at that point, yet just now, you suddenly have a problem with this so-called "original research" and you try to blame it on me. All I did was try to make the article easier to read. Lynchenberg (talk) 20:36, 12 November 2020 (UTC)

 * I have long-monitored articles for uncited material, poorly cited material, and/or original research. There is nothing "sudden" about it. I pointed out, for example, that you cannot support a claim like a book being withdrawn due to complaints over its content to the book itself, and even linked to the guideline in question, yet you reverted it anyway, with no counterargument to this, much as you did to all or most of my edits. I have restored my edits, this time doing it piecemeal, so I could cite each policy or guideline in each edit summary. If you dispute my citation of those policies, then let's talk about it here. If necessary, we can invite other editors to join the discussion to gain a consensus.

 * Aside from that, thank you for shoring up the article with material and proper citations, where applicable. :-) Nightscream (talk) 23:49, 12 November 2020 (UTC)

 * Sorry for being grumpy.Lynchenberg (talk) 08:36, 15 November 2020 (UTC)

 * It seems to me that it's perfectly permissible to cite the withdrawal of one edition of a book to the introduction to another edition of the book from a different publisher. That's a secondary source. --Nicknack009 (talk) 12:23, 15 November 2020 (UTC)

 * I'm sorry, but it is not. Since the book is still property of its owner, who has the last word on its content, including extras that go into different editions, whether it's character sketches, pages of the script, epilogues, afterwords or introductions, etc., then the source is still him/the book. As WP:PSTS makes clear, a secondary source is one that is removed from the event in question. Information on the work's impact is precisely the sort of thing that you cannot source to the people responsible for its publication, and is exactly the sort of thing for which you need a source independent of those who produced the book. If such an event occurred and received coverage, then you should be able to find secondary sources for it. Nightscream (talk) 13:48, 15 November 2020 (UTC)

 * Quick google search brings up these sources. Any of them suitable to use?
 * https://www.dynamite.com/htmlfiles/infoDB.html?show=NS07100988644
 * https://www.comicsreview.co.uk/nowreadthis/2009/12/18/true-faith-%E2%80%93-a-crisis-graphic-novel/
 * https://www.dynamicforces.com/htmlfiles/infodatabase.html?showInfodatabase=NS03220777161 Lynchenberg (talk) 05:33, 16 November 2020 (UTC)

Wow, you really didn't notice that the Dynamite and Dynamic Forces articles are both copies of the Wikipedia article? Even though one of them explicitly mentions this?

As for the Comics Review site, I'm not familiar with it. At first I thought it looked like a fan's blog, but then on the About page, I noticed that he says he's paid to write books about comics. Doing a curosory search, I found this book by him, and verified that the publisher, Quality Books, is not a vanity press, but a legit publisher with this Publishers Weekly article, so yeah, I think Wiacek would pass WP:IRS. What does anyone else think? Nightscream (talk) 17:24, 16 November 2020 (UTC)

 * I noticed the similarities, but assumed that if anything, the Wikipedia article was copied from these articles, considering Dynamite Entertainment is a legitimate comic book publisher that has published much of Ennis' material, including The Boys and Dynamic Forces is an official distributor. It would be pretty unprofessional for them to copy from Wikipedia, but looking at the bottom of the Dynamic Forces page, it seems you're right, at least in the case of Dynamic Forces. I think I can be forgiven for not seeing that though, as it comes after the written portion of the article, at the very bottom, following a very long bibliography that just lists various Ennis credits on various comics. I didn't read through that, as a bibliography didn't seem relevant to citing the protests regarding True Faith. I just read through the article portion. I hope this isn't going to turn into us trying to each make the other look stupid because we made some conflicting edits and I got upset. I already apologized. Lynchenberg (talk) 19:07, 16 November 2020 (UTC)

 * Sorry, I didn't mean to come off so snarky. I'm a somewhat sarcastic person at times. I apologize. Thanks for making a good faith attempt at finding sources. ;-) Nightscream (talk) 03:25, 17 November 2020 (UTC)

 * Found an article in The Comics Journal in 1991 that provides a good source for the withdrawal of True Faith. --Nicknack009 (talk) 11:59, 24 November 2020 (UTC)

 * Just so everyone knows, I am going to be updating Ennis personal life and influences. There will be some stuff the I will have a note for pending citations, but I promise, there are sources out there, I know I've seen them. Either I'll find them eventually or someone else will, please wait on removing them.Lynchenberg (talk) 08:21, 25 November 2020 (UTC)

 * Understood. Just so you know, websites w/ user-generated info like imdb, other wikis, Patch Media, or YouTube videos by anonymous or individuals that do not have a reputation for editorial control are not considered reliable under WP:USERG, which is part of Wikipedia's policy on source reliability. Diamond and Previews, however, is certainly reliable, so I think their YouTube videos are perfectly fine. So are those by other legit sources, like SyFy Wire, IGN, etc. Always make sure that any info you add to articles comes directly from those sources, per WP:NOR/WP:SYNTH. Nightscream (talk) 17:45, 25 November 2020 (UTC)

 * Even videos with Garth Ennis actually talking in them and was interviewed by the person uploading the video? A lot of the interviews you removed aren't even with random fans, but just smaller companies than a Previews of SyFy Wire. That seems a bit spurious. So the fact that it's Ennis giving the information isn't what matters, it's platform he's on that matters? In either case, can we reinstate the information I added if not the sources, and just add citation needed? This is common stuff Ennis says in multiple interviews, so even if it's not what Ennis says that matters but who he says it to, I guarantee I can find interviews where he says it to someone representing a big corporation rather than someone with a YouTube channel or who represents a smaller corporation. As an aside, this seems like an odd standard. If you had video footage of Ennis robbing a bank, he'd go to jail whether FOX News reported it or Tom Smith reported the video footage. I don't see why it matters if he tells a fan he liked reading Battle as a kid or if he told a spokesperson for Marvel. I don't know how much more reliable you can get than video footage of the actual man talking. But if that's how Wikipedia rolls, that's how Wikipedia rolls.Lynchenberg (talk) 18:09, 25 November 2020 (UTC)

 * Just another note. If you want to reinstate what I wrote and word it so it is more general and not gleaned from those specific videos, that would be fine. Like I said, I guarantee I or somebody else can find other sources where Ennis says this stuff that Wikipedia considers more "reliable" and it would just be worded slightly differently, so we can solve it by making what I wrote less specific to those sources. I think we can all agree between ourselves that video footage of Ennis is pretty reliable right, even if Wikipedia doesn't? I imagine this rule was meant to originally apply to videos that could be deleted off YouTube because they were owned by third-parties and illegally uploaded, not because video of someone speaking isn't reliable unless it's the New York Times or something. But all the videos I referenced looked to be uploaded by the rights holders, some were just smaller organizations and some were fans, but it's nothing that was swiped from a DVD by a fan and would get copyright claimed in a week; they'd been a decade or more. Like, I would get this if I was citing a fan site made by some guy because you can write whatever you want and say Ennis said it, I understand needing a more reputable website for citing text articles. But how do you fake video footage of Garth Ennis at a comic book convention with an entire auditorium of witnesses?Lynchenberg (talk) 18:29, 25 November 2020 (UTC)

Unfortunately, the relevant policies and guidelines are clear. It's not a question of whether the interview is "faked", but whether the source has a general reputation for editorial control, reliability, etc.

And if he gives this information "in multiple interviews", then interested editors should be able to find those published by those aforementioned sources. I'm sorry that you did all that work and saw so much of it removed (it it makes any difference, I've had that happen to me too), but much of it was indeed kept, as the Previews videos should pass muster, and I added the publication info to it too. I hope this doesn't discourage you from continuing to edit. If you ever need further help or tips on collaborating, I'm here for you, for what it's worth. Nightscream (talk) 19:25, 25 November 2020 (UTC)
 * I am not going to contest this, if it's how Wikipedia rolls, it's how Wikipedia rolls. But what is the reasoning? Why does the source need to have a general reputation for reliability when it's something that cannot reasonably be contested like a video interview or filmed convention? I would get it if it was an an article on a website where anyone can claim anything, but why not video? To me this is like if I filmed a person getting mugged on my camera phone and the police said "Sorry, you're not reliable," and then if I gave the same footage to CNN and they broadcast it, suddenly the police took it seriously and arrested the mugger.Lynchenberg (talk) 19:44, 25 November 2020 (UTC)

Responding to this from the edit history: "No, you're not "leaving it as citation needed." You don't put an uncited passage in an article and then fact-tag it yourself. You accompany it with a citation that supports it, or doesn't go in the article, period.; Again, an anonymous person's YouTube channel w/ 42 subscribers does NOT pass WP:IRS; adding missing cite publication info to SyFy Wire video cite; etc."

First off, I didn't cite that video when I made the edit, I just said we needed the citation. You were okay with that until we found a Wikipedia-approved source for Troubled Souls being withdrawn from sale. I thought you'd be okay with this too. I said I was going to do that earlier on this talk page and you were okay with it. Second, you make it sound like I originally cited some guy on YouTube with 42 subscribers saying this, and I never did. Maybe I'm misinterpreting your tone, but you now sound angry and seem to be trying to skew things to make it sound like I'm pulling this out of nowhere or citing some guy alone in his basement, presenting his own "History of Garth Ennis" video into his webcam. Even before, I never did that. I cited Garth Ennis himself saying this in a YouTube interview with The Comic Collective, who actually have 878 subscribers, not many by any means, but it's an important distinction: https://www.youtube.com/watch?v=9ifrWA2JPcM

Again, I also have to ask this because I never received an answer. In your revert, you didn't address this and instead made it sound like I was citing some random YouTuber and linked an article on rules that seem to be referring more to self-published blogs than video interviews. So once again, I'll ask, what is the reasoning behind this? Let's say this exact same video was mirrored on Previews.Org, would it suddenly become reliable because Previews.Org is a well-known brand with more subscribers? Or take this video which you do say is reliable: https://www.youtube.com/watch?v=f23Br_pVRuc&t This channel just seems to be some guy interviewing Garth Ennis in a video call, a much less professional presentation than The Comic Collective. As far as I can tell, the only difference is that this channel has 89.4K subscribers. Is it considered more reliable simply because this guy successfully gained a following and The Comic Collective didn't? Is the fact that this is Garth Ennis himself, on video, giving the information irrelevant? If so, why? Is it some kind of status thing? Is the Wikipedia attitude, "We don't care about what's true, we don't care about what can be verified, we care about status?" If that's it, so be it, but if that's the case I think I deserve the real explanation instead of you painting it like I'm just citing some random fan.

If we can't use The Comic Collective source, okay. I don't really get why, but it's Wikipedia's house, so I'll respect that. I'll accept that on Wikipedia, what Ennis says doesn't matter, the platform he says it on matters. But given what we all can objectively see, can I at least change it from "Ennis' first American work appeared in 1991 when he took over the horror series Hellblazer, from DC Comics' Vertigo imprint" to "In 1991, Ennis took over the horror series Hellblazer, from DC Comics' Vertigo imprint," so we're just stating confirmed facts and not untruths? I didn't re-add other information that isn't important in the article, like small details about Garth Ennis saying his run on the Punisher was influenced by Chuck Dixon or that Battle was the specific war comic he read growing up. My issue isn't that trivia was removed, my issue is that a verified falsehood is consistently returned to the article.

I don't think we should have verified falsehoods in the article. If you don't consider this a falsehood (which given your frustrated tone, you might), I have to ask, is this beyond just having to follow the rules? Are you saying it's accurate to call Hellblazer Ennis' first American work? Are you saying Ennis cannot be trusted? Are you saying he needs a YouTuber with enough status around to make sure he's telling the truth? If this interview appeared on ComicPop and the interviewer called Ennis out and said, "No Ennis, you're wrong, neither Goddess or Hellblazer were your first American work, Preacher was," would we be trusting that interviewer over Ennis and calling Preacher his first American work? I am asking this separately from what the specific rules on Wikipedia are. We're using Wikipedia so the rules are what they are and we have to abide by them. I am asking you personally. In your personal view, am I the one promoting objective falsehoods by considering Garth Ennis himself a reliable source on the career of Garth Ennis? That is what you seem to be implying.Lynchenberg (talk) 14:30, 29 November 2020 (UTC)

 * "First off, I didn't cite that video when I made the edit, I just said we needed the citation."
 * You seem to be conflating two separate parts of your edits. Your comment about fact-tagging was made in the edit summary of this edit, which mentioned delays in publishing. That edit did not concern a video. Apart from that, I don't have any issue with including the correct title by him to be first published in the U.S., though if this is a contentious issue (since cover dates are not exactly the same thing as release dates), then this is all the more reason why citing secondary sources are important.

 * My comment about YouTube subscriptions was made in reference to this edit, in which you cited [this video], which is on the YouTube channel of some person calling themself Thomas ODonnell, which indeed has 42 subscribers. Ultimately, though, that comment, though an embellishment, was not to be interpreted as the crux of the WP:IRS policy.

 * As I stated above --- which included explicitly naming the related policies/guidelines in question, complete with wikilink --- the criteria that govern Wikipedia's Reliable Sources policy is a reputation for reliability and editorial control, and not number of subscribers, nor the question of whether a video was "faked", so when I see you again adding more of the same, and asking me what the policies are, after I just did so above, it leads me to wonder if you're ignoring what I'm trying to tell you. If I came across as impatient or irritated as a result, I apologize. I strongly urge you to familiarize yourself with that policy. You're obviously capable of understanding that policy and citing sources that are easily reliable, like Previews and SyFy Wire, and thus, I think you can make a valuable addition to the editing community here. If I missed any other questions, of if you have any others, just shoot 'em my way. :-) Nightscream (talk) 02:31, 30 November 2020 (UTC)

Critics of Religions.
Someone just added the Critics of Religions category. While Ennis is critical of religion, does that in fact make him a Critic of Religion in the sense in which that category is applied? He is a comic book writer, he doesn't write books or essays attempting to discredit or deconstruct religion. Even his comics that have a blasphemous or antireligious tone aren't truly critiques of religion but are just Ennis' own feelings coming out through his work. The overall goal of these comics seem to be to entertain the reader not to critique religion. Surprisingly little religious content is actually in comics like Preacher or Chronicles of Wormwood beyond just a general irreverence but no real argument is made or even attempted.Lynchenberg (talk) 18:01, 31 January 2021 (UTC)

Awards
I suppose it's possible Ennis didn't win anything between 2001 and 2021, but I doubt it. There are probably just some missing. Richard75 (talk) 22:52, 21 February 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 15:53, 22 August 2021 (UTC)
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Bibliography discussion: Fleetway and Rebellion
Would there be any objection to modifying this so the Rebellion 2000 AD material is under the Fleetway stuff and not buried in the "other publishers" section? 2600:1700:96F1:550:DDE3:B7AD:2931:B429 (talk) 20:38, 29 July 2023 (UTC)

title: Talk:Garth Ennis


text:
Notre-Dame de la Garde

Notre-Dame de la Garde (lit. : Our Lady of the Guard), known to local citizens as la Bonne Mère (French for 'the Good Mother'), is a Catholic basilica in Marseille, Southern France, the city's best-known symbol. The site of a popular Assumption Day pilgrimage, it is the most visited site in Marseille. It was built on the foundations of an ancient fort at the highest natural point in Marseille, a 149 m limestone outcropping on the south side of the Old Port of Marseille. Construction of the basilica began in 1853 and lasted for over 40 years. It was originally an enlargement of a medieval chapel but was transformed into a new structure at the request of Father Bernard, the chaplain. The plans were made and developed by the architect Henri-Jacques Espérandieu. It was consecrated while still unfinished on 5 June 1864. The basilica consists of a lower church or crypt in the Romanesque style, carved from the rock, and an upper church of Neo-Byzantine style decorated with mosaics. A square 41 m bell tower topped by a 12.5 m belfry supports a monumental 11.2 m statue of the Madonna and Child, made of copper gilded with gold leaf.

An extensive restoration from 2001 to 2008 included work on mosaics damaged by candle smoke, green limestone from Gonfolina which had been corroded by pollution, and stonework that had been hit by bullets during the Liberation of France. The restoration of the mosaics was entrusted to Marseille artist Michel Patrizio, whose workmen were trained in Friuli, north of Venice, Italy. The tiles were supplied by the workshop in Venice which had made the originals.

History
The rocky outcrop upon which the basilica would be built is an Urgonian limestone peak dating from the Barremian and rising to a height of 162 metres (531 ft) above sea level. Due to its height and proximity to the coast, the hill became an important stronghold and lookout point, as well as a landmark for sailing. In 1302 Charles II of Anjou ordered one of his ministers to set beacons along the Mediterranean coast of Provence. One of these beacon sites was the hill of Notre-Dame de la Garde.

First chapel
In 1214 maître (master) Pierre, a priest of Marseille, was inspired to build a chapel dedicated to the Virgin Mary on the hill known as La Garde, which belonged to the abbey of Saint-Victor. The abbot granted him permission to plant vines, cultivate a garden and build a chapel. The chapel, completed four years later, appears in a June 18, 1218 papal bull by Pope Honorius III listing the possessions of the abbey. After maître Pierre died in 1256, Notre-Dame de la Garde became a priory. The prior of the sanctuary was also one of four claustral priors of Saint-Victor.

From the time the chapel was founded, surviving wills show bequests in its favour. Also, sailors who survived shipwrecks gave thanks and deposited ex-votos at Notre-Dame of the Sea in the church of Notre-Dame-du-Mont. Towards the end of the 16th century they began going to Notre-Dame de la Garde instead.

The first chapel was replaced at the beginning of the 15th century by a larger building with a richly equipped chapel dedicated to Saint Gabriel.

Fort and place of worship from the 16th to 18th centuries
Charles II d'Anjou mentioned a guardpost in the 15th century, but the present basilica was built on the foundations of a 16th-century fort erected by Francis I of France to resist the 1536 siege of Marseille by the Emperor Charles V during the Italian War of 1536–38.

Visit of Francis I
On January 3, 1516 Louise of Savoy, the mother of Francis I of France, and his wife, Queen Claude of France, daughter of Louis XII, went to the south of France to meet the young king, right after from his victory at Marignan. On January 7, 1516, they visited the sanctuary. On January 22, 1516, Francis accompanied them to the chapel as well.

The king noted during his visit that Marseille was poorly defended. The need to reinforce its defenses became even more obvious in 1524 after the Constable of Bourbon and emperor Charles V lay siege to the city and almost took it. François I built two forts: one on the island of If, which became the famous Chateau d'If, the other at the top of La Garde, which included the chapel. This is the only known example of a military fort sharing space with a sanctuary open to the public.

The Chateau d'If was finished in 1531, while Notre-Dame de la Garde was not completed until 1536, when it was used to help repel the troops of Charles Quint. It was built using stone from Cap Couronne, as well as materials from buildings outside the ramparts of the demolished city to keep them from providing shelter to enemy troops. Among these was the monastery of the Mineurs brothers where Louis of Toulouse was buried near the and Cours Saint-Louis.

The fort was a triangle with two sides of approximately 75 metres and a third of 35 metres. This rather modest fort remains visible on a spur west of the basilica, which was restored in 1993 to its original state when a 1930 watch tower was removed.

Above the door can be seen a very damaged escutcheon of François I, the arms of France, three fleurs-de-lys with a salamander below. Nearby, to the right, is a rounded stone weathered by time which once represented the lamb of John the Apostle with its banner.

Wars of religion
In 1585 Hubert de Garde de Vins, chief of the Catholic League of Provence, sought to seize Marseille and combine forces with, the second consul of Marseille, and Claude Boniface, captain of the Blanquerie neighborhood. On the night of April 9, 1585, Dariès occupied La Garde, from which his guns could fire on the city. But the attack on Marseille failed, leading to the execution of Dariès and his accomplice, Boniface. In 1591 Charles Emmanuel, Duke of Savoy, tried to seize the Abbey of Saint Victor, a stronghouse near the port. He charged Pierre Bon, baron de Méolhon, governor of Notre-Dame de la Garde, with seizing the abbey. On November 16, 1591, Méolhon did so but it was quickly retaken by, first consul of Marseille. in 1594. He sent two priests, Trabuc and Cabot, to celebrate mass in the chapel. Trabuc wore armour under his cassock and after the ceremony killed the captain of the fort. Charles de Casaulx took possession of it and named his son Fabio its governor. After the assassination of Charles de Casaulx on February 17, 1596, by, Fabio was driven out of the fort by his own soldiers.

Last royal visit
While in Marseille on November 9, 1622, Louis XIII rode in spite of the rain to Notre-Dame de la Garde. He was received by the governor of the fort, Antoine de Boyer, lord of Bandol. When the latter died on June 29, 1642, Georges de Scudéry, mainly known as a novelist, was named governor, but he did not take up his post until December 1644.

He was accompanied there by his sister, Madeleine de Scudéry, a woman of letters who gave in her letters many descriptions of the area as well as of various festivals and ceremonies. "Last Friday... you could see the citadel covered from head to foot with ten or more flags, the bells of our tower swinging, and an admirable procession returning to the castle. The statue of Notre-Dame de la Garde holding in her left arm the naked child and in her right hand, a bouquet of flowers, was carried by eight shoeless penitents veiled like ghosts."

Georges de Scudéry scorned the fort and preferred to live at, the aristocratic quarter of the time. The stewardship of the fort was entrusted to a mere sergeant, named Nicolas.

In the 1650 Caze affair, the governor of Provence, the Count of Alais, opposed the Parliament of Provence in the Fronde and wanted to put down the revolt in Marseilles. Since La Garde was a desirable strategic position, he bribed Nicolas and on August 1, 1650, installed there one of his men, David Caze. He hoped to support an attack by galleys from Toulon, a city faithful to him. The consuls of Marseille reacted to this threat by forcing David Caze to leave the fort.

18th century
In 1701, the Dukes of Burgundy and of Berry, grandsons of Louis XIV, visited the sanctuary. Sébastien Vauban, who succeeded Louis Nicolas de Clerville, the builder of, studied ways to improve Marseilles' defences. On April 11, 1701, he presented an imposing proposal for a vast enclosure connecting Fort Saint Nicolas to Notre-Dame de la Garde and continuing to the plaine Saint-Michel, currently Place Jean-Jaurès, and the quay d'. This project was not followed through.

During the Great Plague of Marseille, which killed 100,000 people in Marseille in 1720, the bishop Henri de Belsunce went three times on foot to the chapel at the Notre-Dame de la Garde on September 28 December 8, 1720; and August 13, 1721, to bless the inhabitants of the city.

Closing of the chapel
On April 30, 1790, the fort was invaded by anti-clerical revolutionaries who crossed the drawbridge on the pretext of attending mass in the chapel, a ruse previously adopted by the ligueurs in 1594. On June 7, 1792, Trinity Sunday, the day's traditionally large procession was disturbed by demonstrations. During the statue's return to the sanctuary, the Virgin was wrapped in a scarf in the revolutionary tricolour and a Phrygian cap, icon of the French Revolution, was placed on the head of the baby Jesus.

On November 23, 1793, the church buildings were closed down and worship ceased. On March 13, 1794, the statue of the Virgin, made in 1661 from silver, was melted down at the mint of Marseille, located at 22 Rue du Tapis-Vert at the former convent of Order of the Blessed Virgin Mary of Mercy.

A prison for princes
In April 1793, the King's cousin Louis Phillipe, Duke of Orléans was imprisoned in Notre-Dame de la Garde for several weeks, along with two of his sons, the Duke of Montpensier and the Count of Beaujolais, his sister Louise, Duchess of Bourbon, and the Prince of Conti. Despite the lack of amenities in the old apartments of the governor, the prisoners enjoyed the panorama. Each day the Duchess of Bourbon attended mass then went to the fort's terrace and often remained as much as two hours in contemplation. The princess Louise, who painted well, left behind a pencil drawing of Marseille as seen from the Virgin of Notre-Dame de la Garde. The prisoners were then transferred to Fort Saint-Jean.

A providential man: Escaramagne
The last of the objects from the sanctuary were auctioned off on April 10, 1795. The chapel was nationalized and rented to Joseph Escaramagne. A former ship's captain who lived in what is now the current place du Colonel-Edon, Escaramagne had a deep devotion to the Virgin. After worship resumed in some parishes, he wrote in September 1800 to the Minister of War, Lazare Carnot, asking to reopen the sanctuary. But prefect Charles-François Delacroix voiced opposition when the minister consulted him. The chapel finally re-opened for worship on April 4, 1807.

Escaramagne bought at auction an 18th-century statue of the Virgin and child from a monastery of the Picpus Fathers that had been demolished during the Revolution. He offered the statue to the La Garde church. The scepter that the virgin had held was replaced by a bouquet of flowers, hence the statue became known as the "Virgin of the bouquet". To make way for a new silver statue created in 1837, this statue was given to the, then returned in 1979 to the sanctuary. The statue of the Virgin of the bouquet is currently displayed on the altar in the crypt.

Renaissance of the sanctuary
On the day the chapel of Notre-Dame de la Garde was reopened for worship, a procession started from Marseille Cathedral, bringing to the sanctuary the statue that Escaramagne had bought. The traditional procession of the Fête-Dieu (Corpus Christi Day) resumed in 1814. Julie Pellizzone mentions this event in her diary: "On Sunday June 12, 1814, Fête-Dieu, the gunners of the city guard went in the morning with barefoot penitents to get Our Lady of the Guard and to bring her into town, according to the ancient custom. She was greeted by several cannon blasts. Mass was said, then she was brought here, carried by penitents with their hoods covering their faces, a procession such as had not taken place since the Revolution.

Chapel expansions
During this period the fort itself went almost unused while the number of people visiting the chapel increased significantly. This increase was so great that the 150 square meter chapel was extended in 1833 with the addition of a second nave, which increased its area to approximately 250 square meters. The bishop of Marseilles,, consecrated this chapel in 1834.

Distinguished visitors
After escaping a shipwreck while returning from Naples, the Duchess of Berry climbed to the chapel on June 14, 1816, and left a silver statuette as an ex voto – although the statue was melted down a few years later.

Marie Therese of France, daughter of Louis XVI and Duchess of d'Angoulême, climbed to Notre-Dame de la Garde on May 15, 1823, which was a day of strong mistral winds. Despite the wind, the duchess remained on the terrace, struck by the beauty of the view.

In 1838 the Virgin of the Guard had another distinguished visitor: François-René de Chateaubriand.

In 1947, Pope John Paul II, then still Father Karol Wojtyla, visited the basilica.

Pope Francis visited the Notre-Dame de la Garde basilica on September 22, 2023.

Black Madonna and Child
Thanks to various offerings, notably a gift of 3000 francs that the Duchess of Orleans made while travelling through Marseille in May 1823, a new statue of the Virgin was commissioned to replace the one melted down during the French Revolution. In 1829, Marseilles goldsmith Jean-Baptiste Chanuel, an artisan with a workshop in the, began work on this statue based on a model by the sculptor Jean-Pierre Cortot. This very delicate work of hammered gold was finished five years later, in 1834. On July 2, 1837, blessed the statue on the, which was then brought to the top of the hill. It replaced the Virgin of the Bouquet, which was given to the. The Virgin of the Bouquet was later returned to the crypt in 1979. The two statues, the Virgin of the Bouquet and the silver Virgin, thus pre-date the basilica where they are displayed.

New church bell
The rebuilding of the bell tower in 1843 was accompanied by the purchase of not just a new bell but a bourdon commissioned from the Lyons foundery of Gédéon Morel thanks to a special collection among the faithful. It was cast on February 11, 1845 and arrived in Marseille on September 19, 1845. It was placed in Jean-Jaurès square and blessed on Sunday October 5, 1845, by Eugène de Mazenod and baptized "Marie Joséphine". The bell's godfather was, then , and the godmother of the wife of shipping magnate (born Canaple). Their names are engraved on the bell. On October 7, the bell which weighed 8234 kg, was placed on a harnessed carriage of sixteen horses. It descended by Thiers Street, Leon Gambetta Alley, the Rue du Tapis-Vert, the, Canebière, the , and the. Ten horses were added there to the convoy, bringing their number to twenty-six. On October 8, 1845, the ascent of the bell up the hill began with the help of capstans and continued until Friday October 10, when the bell arrived at the summit. The bell was set up on Wednesday October 15. It rang out its first notes on December 8, the day of Immaculate Conception. On this occasion the poet Joseph Autran composed a poem:

 * "Sing, vast bell! sing, blessed bell
 * Spread, spread afloat your powerful harmony;
 * Pour over the sea, the fields, the mounts;
 * And especially from this hour when your hymn begins
 * Ring out into the skies a song of immense joy
 * For the city that we love!"

Like the statues of the Virgin displayed in the interior of the basilica, the bell came before the construction of the current building.

Negotiations with the army
On June 22, 1850, Father Jean-Antoine Bernard, who took responsibility for the chapel, asked the Ministry of War to authorise an expansion of the existing building. This request was denied on October 22, 1850, the day he resigned, by Minister of War Alphonse Henri d'Hautpoul, for being too vague. He agreed to the expansion in theory but invited a more precise proposal. On April 8, 1851, a more precise request was submitted, calling for the construction of a new and larger church, essentially doubling the area of the existing building. This design would mean that there would no longer be room for military buildings inside the fort. Thanks to the support of General Adolphe Niel, the fortifications committee advocated the proposal on January 7, 1852. Authorization to build a new chapel was given by the Minister of War on February 5, 1852.

Project set-up
On November 1, 1852, Monseigneur Eugene de Mazenod requested offerings from the members of the parish. Studies were requested from various architects. The administration council of the chapel met with Mazenod almost two months later, on December 30. The proposal presented by Leon Vaudoyer, who worked at the Marseille Cathedral, was the only one of Romano-Byzantine style; the others were Neo-Gothic. Each project received five votes, but the vicar's tie-breaking vote went to Vaudoyer, whose project was commissioned. The plans were in fact drawn up by Henri-Jacques Espérandieu, his former pupil who was only twenty-three years old.

On June 23, 1853, Espérandieu was named as architect and developed the project. While he was Protestant, it does not seem that his religion was a major cause of the difficulties he encountered with the committee in charge of the work. The committee decided, without consulting him, not to open up labour for competitive bidding, but to award it directly to Pierre Bérenger (on August 9, 1853), contractor and architect of the Saint-Michel church. He himself had proposed one of the Neo-Gothic plans and was a close relative of Monseigneur Mazenod. The commission also imposed their choice of artists, such as sculptor Joseph-Marius Ramus and the painter Karl Müller of Düsseldorf, without concern for whether their works would fit within the structure. Karl Müller's commission was later rejected, which allowed the architect to direct mosaics as the decor.

Construction
The first stone was laid by the bishop of Marseille, Monseigneur de Mazenod, on September 11, 1853. Work began but financial problems quickly developed because the foundations had to be laid in very hard rock. In 1855, the government authorized a lottery, but this produced less revenue than anticipated. The financial shortfall grew larger when the sanctuary commission decided to enlarge the crypt to run not only under the choir, but to extend under the entire higher vault. In spite of a loan secured by the personal assets of the bishop, building stopped from 1859 to 1861, the year of Mazenod's death. The new bishop, Patrice Cruice, arrived at the end of August in 1861, and resumed work. The generosity of citizens of all religions and all social positions allowed completion of the work, from the Emperor Napoleon III and the Empress Eugénie, who visited Notre Dame de la Garde on September 9, 1860, to the poorest of Marseillais. The sanctuary was dedicated on Saturday June 4, 1864, by the Cardinal of Villecourt, a member of the Roman curia, in the presence of forty-three other bishops. In 1866, mosaic flooring was laid in the upper church and the square bell tower was finished; the bell was installed in October of the same year. In 1867, a cylindrical pedestal or belfry was built on the square bell tower to receive the monumental statue of the virgin. The statue was financed by the town of Marseille. Sketches for the statue made by three Parisian artists, Eugène-Louis Lequesne, Aimé Millet and Charles Gumery were examined by a jury of Espérandieu the architect,, mayor of Marseilles, and Philippe-Auguste Jeanron, director of the School of Fine Arts, , sculptor and professor of sculpture and Luce, president of the Civil Court and administrator of the sanctuary. The committee selected the proposal of Lequesne. For reasons of cost and weight, copper was chosen as the medium for the statue. A very new method for the time was adopted to realize of the statue: galvanoplasty, a type of electroplating, or "the art of moulding without the help of fire" was chosen over hammered copper. A scientific report of November 19, 1866, said that electrotype copper allowed an "irreproachable reproduction" and a solidity that left nothing to be desired. Only Eugène Viollet-le-Duc thought that the galvanoplasty technique would not long resist the atmospheric pollution in Marseilles.

Espérandieu had the statue made in four sections because of the difficulty of getting it up the hill and to the top of the bell tower. He inserted into the center of the sculpture an iron arrow, the core of a spiral staircase to the Virgin's head, to be used for maintenance and sight-seeing. This metal structure, used to support the statue, made it possible to assemble the whole by connecting it to the body of the tower. The execution of the statue, entrusted to the workshops of, was finished in August 1869.

The first elements were assembled on May 17, 1870, and the statue was dedicated on September 24, 1870, but without fanfare, since defeat by the Prussian army dampened all spirits. The statue was gilded, which required 500 g gold, and regilding in 1897, 1936, 1963 and 1989.

In March 1871 Gaston Crémieux formed the revolutionary Commune of Marseille. Helped by followers of Giuseppe Garibaldi, the rebels seized the Prefecture of the Rhone delta and took the prefect captive. On March 26, 1871, General retreated to Aubagne, but undertook to retake the city beginning on April 3. The rebels who took refuge in the prefecture took fire from the batteries installed in and in Notre-Dame de la Garde. They capitulated on April 4 and said that the Virgin had changed her name and should from then on be called "Notre-Dame of bombardment"

Following the death of Espérandieu on September 11, 1874, Henri Révoil was charged with finishing the interior of the basilica, in particular the mosaics. The construction of the major crypt and installation of the mosaics in the choir was carried out in 1882. Unfortunately a fire on June 5, 1884, destroyed the altar and the mosaic in the choir; moreover the statue of the Virgin was damaged. The statue and the mosaics were restored and the altar was rebuilt according to the drawings of Révoil. On April 26, 1886, cardinal Charles Lavigerie consecrated the new crypt. In 1886, walnut stalls were built in the choir; the last mosaics in the side vaults were finished between 1887 and 1892. In 1897, the two bronze doors of the upper church and the mosaic above them were installed and the statue of the Virgin was regilded for the first time. Final completion of the basilica thus took place more than forty years after the first stone was laid.

Funicular

In 1892 a funicular was built to reduce the effort of scaling the hill; it became known as the ascenseur or elevator. The base was at the lower end of. The upper station led directly onto a footpath to the terrace beneath the basilica, leaving only a short climb to the level of the crypt at 162 m. Construction took two years.

The funicular consisted of two cabins each weighing 13 tons when empty, circulating on parallel cogged tracks. The movement was powered by a "hydraulic balance" system: each cabin, in addition to its two floors capable of holding fifty passengers total, was equipped with a 12 cubic meter tank of water. The cabins were linked by a cable; the tank of the descending cabin was filled with water and that of the ascending cabin emptied. This ballasting started the system moving. The vertical distance between the two stations was 84 m.

The water collected at the foot of the apparatus at the end of each trip was brought back to the top with a 25-horsepower pump—true horsepower, because the pump was powered by steam. Travel time was two minutes, but filling the upper tank took more than ten minutes, forcing waits between departures, in spite of often considerable crowds. The last adventure after the ascent was crossing the 100-meter footbridge up the steep slope. Built by Gustave Eiffel, the footbridge was only 5 m wide and very exposed to the mistral winds.

On August 15, 1892, the number of visitors exceeded 15,000, but the advent of the automobile killed the funicular. On September 11, 1967, at 18:30, the funicular was shut down as unprofitable. It was demolished after having transported 20 million passengers over 75 years.

Liberation of France
On August 24, 1944, General Joseph de Monsabert ordered General Aimé Sudre to take Notre-Dame de la Garde, which was covered in German Army blockhouses. But his orders stipulated "no air raid, no large-scale use of artillery. This legendary rock will have to be attacked by infantrymen supported by armoured tanks". The primary attack was entrusted to Lieutenant Pichavant, who commanded the 1st company of the On August 25, 1944, at 6 am, troops began moving towards the hill, very slowly, because sniping from German riflemen impeded their advance. One French soldier, Pierre Chaix-Bryan, was familiar with the neighborhood, and knew that at No. 26 Cherchel street, (now ) a hallway ran through the building to a staircase unknown to the Germans. A commemorative plaque marks this spot today. The Algerian riflemen used this staircase and arrived under the command of Roger Audibert at the Cherchel plateau. Other soldiers took the staircases up the Notre-Dame slope from the boulevard of the same name. The attackers on the northern face came under fire from the blockhouses then were also attacked from the rear by the guns of. The support of the tanks was essential.

In the early afternoon the tanks of the 2nd regiment of cuirassiers of the 1 D.B also attacked from Boulevard Gazzino, now, and from the church slope. The tank Jeanne d' Arc was hit full force and stopped at the place du Colonel Edon, its three occupants killed. The tank can still be seen today. A second tank, the Jourdan, hit a mine but was protected by a rocky overhang, and so could continue shooting. This had a decisive effect not known until later: the German non-commissioned specialist in charge of the flame throwers was killed by the Jourdan's fire. Because of this a young, inexperienced German soldier prematurely ignited the flame throwers, which allowed the French to spot the site of the guns.

Around 3:30pm a section of the 1st company of the 7th Algerian riflemen under Roger Audibert, joined by Ripoll, took the hill by storm. They were greeted by Monseigneur Borel, who had taken refuge in the crypt. The French flag was hoisted atop the bell tower, although the position was still shelled from the Angelus and from Fort Saint Nicolas, until they too were retaken. In the evening the German officer who had commanded the German troops at Notre-Dame de la Garde returned. He was wounded and died two days later. The liberation of Marseille took place on the morning of August 28, 1944.

Architecture
The exterior of the building features layered stonework in contrasting colours: white Calissane limestone alternates with green sandstone from Golfolina near Florence. Marble and pictorial mosaics in various colours decorate the upper church. A 35 m double staircase leads to a drawbridge, granting access to the crypt and, via another set of stairs, to the church's main entrance.

Crypt
The entrance hall under the bell tower features marble statues of Bishop Eugène de Mazenod and Pope Pius IX, both carved by Joseph-Marius Ramus. Staircases on both sides of the entrance lead to the church above.

The Romanesque crypt is composed of a nave with low barrel vaults, bordered by six side chapels corresponding exactly to those of the upper church. Unlike the upper church, the crypt is dim and somber. The side chapels contain plaques with the names of various donors. The side altars are devoted to saints Philomena, Andrew, Rose, Henry, Louis and Benedict Labre.

The main altar was built of Golfolina stone with columns of Spanish marble. Behind the altar is a statue of the Madonna holding a bouquet, the Vierge au Bouquet. Joseph-Elie Escaramagne obtained this statue for the original chapel in 1804. At first the Madonna held a sceptre, but due to the sceptre's poor condition, it was replaced by flowers. Two staircases flanking the main altar lead to the sacristy buildings and the choir above, but they are off-limits to the public.

Bell tower
At a height of 41 m, the square bell tower above the entrance porch has two identical storeys of five blind arches, of which the central arch has a window and a small balcony. This is surmounted by a belfry, with each face composed of a three-light window divided by red granite mullions, behind which are abat-sons. The belfry is covered by a square terrace, which is enclosed by a stone balustrade bearing the arms of the city on each side and an angel with a trumpet at each corner. These four statues were carved by Eugène-Louis Lequesne.

From the square terrace a cylindrical bell tower rises to a height of 12.5 m. It is made of sixteen red granite columns, supporting a 11.2 m tall statue of the Virgin Mary. A staircase within the bell tower leads to the terrace and to the statue, but is off-limits to the general public.

At the base of the tower, bronze doors by Henri Révoil grant access to the church. The central door panels bear the monogram of the Virgin placed within a circle of pearls resembling the rosary. The tympanum above the main entrance is decorated with a mosaic of the Assumption of the Virgin, patterned after a painting by.

Upper church
The nave's interior is 32.7 m long and 14 m wide. Each side chapel measures 3.8 m by 5.4 m. The interior is decorated with 1200 m2 of mosaics as well as alternating red and white marble columns and pilasters. Espérandieu wanted a subtle red that would harmonise with the mosaics and not clash too much with the whiteness of the Carrara marble. Jules Cantini, the marble worker, discovered such a red marble with yellow and white veins in the commune of La Celle near Brignoles, Var. For parts higher up, plaster—i.e. reconstituted marble—was used.

The mosaics were created between 1886 and 1892 by the Mora company from Nimes. The tesserae came from Venice and were manufactured by craftsmen at the height of their art. Each panel comprises nearly ten thousand tesserae per square metre, which means that the basilica contains approximately 12 million small squares of 1 to 2 cm2. The floors are covered with approximately 380 m2 of Roman mosaics with geometric patterns.

Nave
The aisles of the nave are divided into three equal parts, each with a central window that illuminates a side chapel. The external pilasters and arches are composed of alternating green and white stones and voussoirs. Basement windows at ground level allow some daylight into the crypt's underground chapels. Since the nave is higher than the side chapels, a clerestory with two-light windows illuminates the domes of the nave, although these windows are not visible form the terrace.

The nave is topped by three cupolas decorated on the inside with similar mosaics: on a field of flowers, doves form a circle around a central floret. The colours of the flowers differ for each cupola: white for the southeastern one, blue for the middle and red for the northwestern cupola. Medallions on the pendentives depict scenes from the Old Testament:

The mosaics of the northwestern cupola depict a grapevine, a thorned lily, an olive branch with silver leaves and a date palm.

Transept
The transept is oriented east to west and lit by two paired windows, each with a rose window above. Above the crossing of the transept is an octagonal tholobate supporting a dome of nine meters in diameter, composed of thirty-two ribs and crowned by a cross. Each outward face of the octagon contains a window flanked by two red granite columns and topped by a triangular pediment. The semicircular apse is adorned with five blind arches on the outside, each flanked by two red granite columns. The sacristy buildings that were added later hide part of the apse.

The inside of the dome is decorated with a mosaic of four angels on a field of gold. The angels hold up a wreath of roses which they offer to the Virgin Mary, represented by her monogram in the middle of the composition. The pendentives at the base of the dome contain representations of the Four Evangelists: Mark symbolized by a lion, Luke by a bull, John by an eagle and Matthew by a man.

The tympanum above the apse depicts the Annunciation of Mary: the archangel Gabriel on the right announces the birth of Jesus to Mary on the left.

Choir
The white marble altar was designed by Henri Révoil and constructed by Jules Cantini between 1882 and 1886. The base of the altar is formed by five gilded bronze arches resting on colonettes of lapis lazuli. The silver-gilt tabernacle is framed by two columns and two mosaics of doves drinking from a chalice.

Behind the altar, a red marble column topped by a gilded capital supports a statue of Mary, made of hammered silver by the goldsmith Chanuel of Marseille.

The mosaic of the apse's semi-dome depicts a ship in its central medallion. The ship's sail features the monogram of Mary, while a star in the sky shows an intertwined A and M, which stands for Ave Maria. This medallion is surrounded by rinceaux and thirty two birds, including peacocks, parrots, hoopoes, bluethroats, herons, and goldfinches.

The band beneath the semi-dome is decorated with nine medallions, which represent several titles of Mary from the Litany of Loreto: Foederis Arca, Speculum Iustitiae, Sedes Sapientiae, Turris Davidica, Rosa Mystica, Turris Eburnea, Domus Aurea, Vas Spirituale, Ianua Coeli.

Side chapels
The aisles on either side of the nave house a total of six side chapels. Henri Révoil designed and Jules Cantini constructed the altars; Cantini also created the statue of Peter and made it a gift to the sanctuary. Each altar tomb features the coat of arms of its respective saint. The ceiling of each chapel is decorated with a mosaic, depicting the name and arms of the financer on one side and a symbol of the saint on the other.

Long and meticulous restoration: 2001–2008
By 2001 the interior facades had severely aged. Also, the cathedral's mosaics had been badly restored after the war. After four years of preparatory studies, a major restoration project was launched in 2001 under the direction of the architect Xavier David. The work lasted until 2008, financed by local government agencies and by donations from private individuals and businesses.

External restoration
Although the majority of the stones used proved very resistant over time, this did not hold true for the green stone, a beautiful hard stone which degrades very quickly when exposed to industrial and domestic pollution, especially coal smoke, and was found to be corroded to a depth of 3 to 5 cm. As the original quarry near Florence had been closed for a long time, a new source was sought. A quarry in a vineyard close to Chianti supplied 150 cubic metres of Golfolina. The defective stone was replaced by stone treated to resist pollution. Moreover, rusting metal reinforcements had split some of the stone. Two sets of reinforcements posed a serious problem: those that girdle the top of the bell tower to reinforce against the swinging of the bell, and those around the upper part of the bell tower that supports the monumental statue. Some of the reinforcements were treated with cathodic protection, and others replaced with stainless steel.

Interior restoration
Interior work was even more important. Some water-damaged stuccos in higher areas had to be redone. Mosaic panels damaged by bullets or shells had earlier been repaired with a poor and rushed technique: missing tiles had been replaced by plaster covered with paint. Moreover, all the mosaics were blackened by candle smoke. Mosaics which threatened to fall apart needed to be consolidated with resin injections. The most damaged part was in the central cupola of the nave, where all the gold mosaics needed to be replaced.

The restoration of the mosaics was entrusted to Marseille artist Michel Patrizio, whose workmen were trained in traditional mosaic skills at the school of Spilimbergo in Friuli, north of Venice. The mosaic tiles were supplied by the Orsoni Venezia 1888 workshop in Venice which had made the originals.

Writers
Many writers have described the famous basilica, for example:

"She who governs the roads of the sea, Who shines above the waves and the sun, The giantess standing behind the blue hours, high gold inhabitant of a long white country, Christian Pallas of the Gauls.
 * Valery Larbaud:
 * Paul Arene: "Here the true good mother, the only one, who rules in a gold coat stiff with pearls and rubies, under the dome of Notre-Dame de la Garde, a cupola of hard lapis lazuli encrusted with diamonds for stars, condescended to be angry with me.
 * Chateaubriand: "I hastened to go up to Notre-Dame de la Garde, to admire the sea bordered with the ruins the laughing coasts of all the famous countries of Antiquity.
 * Marie Mauron: "It is she whom one sees from the sea, first and last on her summit of light hemmed of blue, dominating its Greek Provence which knows or does not know any more that it is it, but the remainder. Who would miss, believer or not, climbing up to the Good mother?
 * Michel Mohrt: "And there high on the mountain, the good Virgin, the good mother, looked out this crowd, presided over the traffic in the false identity cards, at the open-air black market behind the Stock Exchange, with all the attacks, all the denunciations, all the rapes, the Good mother of the Garde who takes care on the sailors who are ashore, – as for those who are at sea, let them sort themselves out! "
 * André Suarès: "Notre Dame of the Guard is a mast: it oscillates on its skittle. It will take its flight, the basilica, with the virgin who serves as its crest. Thus the basilica perched on the hill of the guard, and the gilded copper statue which they hoisted on the basilica. There, once more, this style which wants to be Roman and Byzantine, without ever succeeding in being a style: neither the force of the Roman, nor the science of the Byzantine."

Painters of the Basilica
Many painters have depicted Marseille's port with Notre-Dame's basilica in the background. Paul Signac, who helped to develop pointillism, produced a painting in 1905 that is now shown in the Metropolitan Museum of Art, New York. Albert Marquet produced three works. The first was a drawing executed in ink in 1916, shown at Musee National d'Art Moderne in Paris. The second is an oil on canvas painted in 1916 entitled "The horse at Marseille". This painting, now at the Museum of Fine Arts in Bordeaux, shows a horse on the port quay with the hill of Notre-Dame de la Garde in the background. The third, shown at the Annonciade museum at Saint-Tropez, is called "The Port of Marseille in fog"; the basilica emerges from a misty landscape where the purification of form indicates distance.This painting shows this painter did not always represent the port of Marseilles from the front, moving his easel to the riverbank side, sometimes close to the town hall, to represent the hill of Notre-Dame de la Garde.

Charles Camoin painted two canvases in 1904 featuring Notre-Dame de la Garde: "The Old Port with Barrels", at the Gelsenkirchen museum, and "The Old Port and Notre-Dame de la Garde" shown at the Fine Art museum of Le Havre. This museum also possesses a painting by Raoul Dufy done in 1908, entitled "The Port of Marseille". In 1920, Marcel Leprin made a pastel drawing "Notre-Dame de la Garde Seen from the Town Hall"; this work is in the Petit Palais museum in Geneva. Louis-Mathieu Verdilhan, about 1920 "The Canal from Fort St. John"; the silhouette of Notre-Dame de la Garde is at the rear of the painting with a boat in the foreground. This painting is at the Musée National d'Art Moderne in Paris.

M.C. Escher produced a wood engraving of the city, entitled Marseille, in 1936.

Bonne Mère
The people of Marseille regard the Notre-Dame basilica as the guardian and protectoress of the city, hence its nickname Bonne Mère ("Good Mother"), which is also a nickname of Mary, mother of Jesus.

Ex-votos
A Mediterranean-style religiosity is expressed here with numerous votive candles and ex-votos offered to the Virgin to thank her for spiritual or temporal favours and to proclaim and recall the grace received.

One of the oldest documents about this practice is a deed of August 11, 1425, in which a certain Jean Aymar paid five guilders for wax images offered in gratitude to the Virgin. During his travels in the south of France at the beginning of the 19th century, Aubin-Louis Millin de Grandmaison was struck by the number of ex-voto at Notre-Dame de la Garde: "The path that leads to the oratory is stiff and difficult. The chapel is small and narrow, but decorated everywhere with tributes from pious mariners: on the ceiling small vessels are suspended with their rigs and have their name registered on the stern; they represent those that the mother of Christ has saved from cruel shipwreck or from the fury of pirates and corsairs". The ceiling of the upper church still features many scale models of recently restored boats and planes.

The walls of the side vaults of the two sanctuaries, the crypt and upper church, are covered with a first level of marble slabs. The upper walls of these side vaults are occupied by painted ex-votos hung in several rows above; the most recent are on the walls of the terraces of the basilica. Most of these ex-votos date only from the second half of the 19th century; earlier ones disappeared during the Revolution. Most depict shipwrecks and storms, but there are also very different scenes: fire, car and railway accidents, bedridden patients, and political and social events. The events of May 68 were the inspiration for one drawing; an Olympique de Marseille flag recalls that the players of the club mounted a pilgrimage to the basilica after a victory.

Symbol of Marseille
Visible from the motorways of Marseille and from the train station, the gare Saint-Charles, Notre Dame de la Garde is the city's most well-known symbol. It is the most-visited site in Marseille, and receives hundreds of visitors every day, a number of pilgrims remarkable for a site that with no association with a saint, vision or miracle, nor for that matter with a famous person. For Cardinal Etchegaray, former bishop of Marseille, the Virgin of the Garde "does not merely form part of the landscape like the Chateau d'If or the Old Port, it is the living heart of Marseille, its central artery more than the Canebière. It is not the exclusive property of Catholics; it belongs to the human family that teems in Marseille." Notre-Dame de la Garde remains the heart of the diocese of Marseille, even more so than the cathedral. It was here that Bishop Jean Delay on August 30, 1944, hoped that deep reforms would bring to the poorest more humane and more just living and working conditions. It was also here that Etchegaray compared, in May 1978, the ravages of unemployment to those of the plague of Marseille of 1720.

A museum opened on the site on June 18, 2013, retracing the building's eight-century history. It was officially inaugurated July 11, 2013, with civil and military authorities participating. As with prior renovations, a fundraising appeal received generous support from the public, in addition to gifts from public agencies.

The logo of the popular French soap opera Plus belle la vie, set in Marseille, depicts Notre-Dame de la Garde. The Marseille-based company Compagnie Maritime d'Expertises used a model of the church for a maritime test launch in 2017 where the symbol was sent to near-space in 20 km altitude.

Tourism
Notre-Dame de la Garde receives around a million and half visitors each year, many just for the view. Pilgrims come for various reasons, some writing them down in a guestbook. One in particular sums up these reasons: "I came here first for the peace and comfort one finds at the feet of the Blessed Virgin, then for the feast for the eyes that the basilica offers, for the panorama, the pure air and the space, for the feeling of freedom."

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

title: Notre-Dame de la Garde


text:
Waterford Institute of Technology

The Waterford Institute of Technology (WIT; Institiúid Teicneolaíochta Phort Láirge) was an institute of technology, located in Waterford, Ireland. The institute had six constituent schools and offered programmes in business, engineering, science, health sciences, as well as education & humanities.

The institute opened in 1970 as a Regional Technical College and adopted its name on 7 May 1997. Along with the Institute of Technology, Carlow, the institute was dissolved on 1 May 2022 and was succeeded by the South East Technological University.

History
At the time of the founding of the RTC, there were two other third-level institutions in the city, St John's Seminary Waterford News and Star which notes the closing of the St John's Seminary in 1999 and De La Salle Brothers teacher training college, but both had been closed.

Waterford politicians made strenuous but unsuccessful efforts to locate a university in Waterford at the time of the formation of the Queen's University of Ireland in the 1840s. The cause was led by Thomas Wyse, Member of Parliament for Waterford City, who was not influential in the House of Commons, having strong Napoleonic links (he married a niece of Napoleon I of France), being a Catholic and leaning towards an independent Ireland. Galway, a much smaller city at the time, won out over Waterford, perhaps because of the necessity for geographical dispersion or to bolster the Irish language. Wyse wrote in the round on the matter in his text "Education reform or the necessity of a national system of education" (London, 1836).

The institute was founded in 1970 as the Regional Technical College, Waterford. Once founded, the regional technical college grew very quickly as a result of the obviously strong regional need for tertiary education. In 1997 the college adopted its present name by order of the Minister for Education Niamh Bhreathnach, with Dublin Institute of Technology being the only other institution with the "institute of technology" title at the time in Ireland. Following a change of government and enormous political pressure on behalf of other regional technical colleges, especially Cork Regional Technical College, all other regional technical colleges were renamed similarly by Minister for Education Micheál Martin.

Since 2001, the institute had conferred its own awards at all levels from Higher Certificate to PhD, subject to standards set and monitored by the Higher Education and Training Awards Council (HETAC) which was established by the Government in June 2001, under the Qualifications (Education and Training) Act, 1999. In October 2005 the institute was selected by The Sunday Times newspaper as the "Institute of Technology of the Year" in Ireland.

The institute now has a student population of approximately 6,000 full-time students and 1,000 part-time students. The Staff currently consists of approximately 470 Full-time academic, 300 part-time and 300 support staff.

The institute formally applied in 2006 for university status in accordance with the Universities Act, 1997, and the process of examining the case for redesignation has commenced. In January 2007 Dr Jim Port was engaged by the government to carry out a "preliminary assessment" of the institute's case.

WIT and Nemeton TV (which is based in the Waterford Gaeltacht) run a Higher Diploma in Arts in Television Production supported by Údarás na Gaeltachta.

Ranking
In 2018, Webometrics placed WIT as the 7th best higher education body in Ireland (out of 32). The institute is also ranked at 10th place by Unirank, and the leading Irish institute of technology (with the exception of DIT, which is now classified as a Technology University).

Campuses
The institute has 5 campuses: Cork Road, College Street, Carriganore, the Applied Technology Building and the Granary.

Organisation
The institute is divided into 6 schools and their various departments.

• School of Business

• *Department of Accountancy & Economics

• *Department of Management & Organisation

• *Department of Graduate Business Studies

• School of Lifelong Learning & Education

• *Department of Education

• *Department of Lifelong Learning

• School of Engineering

• *Department of Architecture

• *Department of the Built Environment

• *Department of Engineering Technology

• School of Health Sciences

• * Department of Nursing & Health Care

• * Department of Health, Sport & Exercise Science

• School of Humanities

• *Department of Applied Arts

• *Department of Creative & Performing Arts

• *Department of Languages, Tourism & Hospitality Studies

• School of Science and Computing

• *Department of Chemical & Life Sciences

• *Department of Computing and Maths

Research Centres

 * Walton Institute for Information and Communications Systems Science
 * Pharmaceutical and Molecular Biotechnology Research Centre (PMBRC)
 * Eco-Innovation Research Centre
 * Nutrition Research Centre Ireland (formerly MPRG)
 * South Eastern Applied Material Research (SEAM)

Research Groups
• School of Business

• Centre for Enterprise Development & Regional Economy

• Centre for Management Research in Healthcare & Healthcare Economics

• Centre for Newfoundland and Labrador Studies

• AIB Centre for Finance and Business Research

• Research in Innovation, Knowledge Transfer and Organisational Networks

• Waterford Crystal Centre for Marketing Studies

• School of Engineering

• Advanced Automotive Electronic Control Group

• Advanced Manufacturing Technology Research Group

• Construction Industry Research & Knowledge Centre

• Materials Characterisation and Processing Group

• Microelectronics and Systems Research Group

• Nanotechnology Research Group

• Wireless Communications & Large Scale Simulation Group

• Convergent Technologies Research Group

• Building Information Modelling Research Group

• iBerg

• School of Health Sciences

• Health Informatics Research Group

• Centre for Health Behaviour Research

• School of Humanities

• Spirituality in Society and the Professions

• Centre For Research, Creativity & Innovation in Tourism

• Centre for Social and Family Research

• Content & Language Integrated Learning Research Group

• Creativity & Culture Research Group

• School of Science

• Automotive Control Group

• Centre for INformation SYstems and Techno-culture

• Game Based Learning

• Health Informatics Research Group

• Optics Research Group

Technological University for the South East
The institute has been planning a joint application with IT Carlow for the formation of a technological university for the south east region since the mid-2010's. A vision document, "Technological University for the South East" (TUSE) was published in 2015, and a memorandum of understanding was signed in 2017. At the launch of TU Dublin in July 2018, the Taoiseach expressed regret that this TUSE bid had not progressed sufficiently following the Technological Universities Act 2018.

Approval was announced in November 2021, and the TU will be formally established in.

Notable alumni
Arts
 * Gráinne Mulvey – Irish composer, currently Professor and Head of Composition at the Technological University of Dublin
 * Máiréad Nesbitt – Irish fiddler, former member of the ensemble Celtic Woman

Politics
 * Ciara Conway – TD
 * Martin Cullen – Teachta Dála & Government Minister
 * Grace O'Sullivan – MEP
 * John Paul Phelan – Teachta Dála

Sport
 * Niamh Briggs – Irish Rugby Player
 * Setanta Ó hAilpín – GAA & Australian Football League player
 * Geordan Murphy – Irish Rugby Player
 * Henry Shefflin – GAA player
 * Ayo Williams – GAA player

Business
 * Philip Lynch – businessman, CEO of IAWS Group
 * Kerrie Power – businesswoman, CEO of HEAnet

title: Waterford Institute of Technology