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Ubaid period

The Ubaid period (c. 5500–3700 BC) is a prehistoric period of Mesopotamia. The name derives from Tell al-'Ubaid where the earliest large excavation of Ubaid period material was conducted initially in 1919 by Henry Hall and later by Leonard Woolley.

In South Mesopotamia the period is the earliest known period on the alluvial plain although it is likely earlier periods exist obscured under the alluvium. In the south it has a very long duration between about 5500 and 3800 BC when it is replaced by the Uruk period.

In Northern Mesopotamia the period runs only between about 5300 and 4300 BC. It is preceded by the Halaf period and the Halaf-Ubaid Transitional period and succeeded by the Late Chalcolithic period.

History of research
The excavators of Eridu and Tell al-'Ubaid found Ubaid pottery for the first time in the 1910-20s. In 1930, the attendees at a conference in Baghdad defined the concept of an "Ubaid pottery style". This characteristic pottery of this style was a black-on-buff painted ware. This conference also defined the Eridu and Hajji Muhammed styles. Scholars at this conference thought that these pottery styles were so different that "[...] they could not have developed out of the old, as is the case with the Uruk ware after the al-'Ubaid ware [...]". For many attendants of the conference, "this sequence based largely on pottery represented a series of different 'ethnic elements' in the occupation of southern Mesopotamia." These ideas about the nature of the Ubaid phenomenon did not last. The term Ubaid itself is still used, but its meaning has changed over time.

Joan Oates showed in 1960 that the Eridu and Hajji Muhammed styles were not distinct at all. Instead, they were part of the greater Ubaid phenomenon. She proposed a chronological framework that divides the Ubaid period in 4 phases. Other scholars later proposed phases 0 and 5.

Scholars in the 1930s only knew a few Ubaid sites. These included the type site of Tell al-'Ubaid itself, Ur, and Tepe Gawra in the north. Since then, archaeologists found Ubaid material culture all over the ancient Near East. There are now Ubaid sites in the Amuq Valley in the northwest all the way to the Persian Gulf coast in the southeast. Important research includes the many excavations in the Hamrin area in the 1970s. There, archaeologists found a complete Ubaid settlement at Tell Abada, and a really well-preserved house at Tell Madhur. The excavation at Tell el-'Oueili in the 1980s revealed occupation layers that were older than those from Eridu. This discovery pushed back the date for the earliest human occupation of southern Mesopotamia.

Excavations along southcoast of the Persian Gulf provided a lot of evidence for contacts with Mesopotamia. The site of H3 in Kuwait, for example, provided the earliest evidence in the world for seafaring. The explosion of archaeological research in Iraqi Kurdistan since the 2010s also led to a lot of new data on the Ubaid. For example, this research showed that cultural links between the Shahrizor Plain and the Hamrin area further south were stronger than those with the north.

Climate and environment
Mesopotamia does not have local, high-resolution climate proxy records such as the Soreq Cave. This makes it difficult to reconstuct the region's past climate. Even so, it is known that the environment during the sixth and fifth millennium BC was not the same as today. A more temperate climate settled in around 10,000 BC. Marshy and riverine areas transformed into floodplains and finally river banks with trees. The area south of Baghdad may have been inhabitable by humans in the eleventh millennium BC. Humans could have lived south of Uruk as early as the eighth millennium BC. This is much earlier than the oldest evidence of human occupation in this area. The oldest known site in southern Mesopotamia (Tell el-'Oueili) dates to the Ubaid 0 period. Archaeobotanical research in the Ubaid 0 levels at 'Oueili (6500-6000 BC) has indicated the presence of Euphrates poplar and sea clubrush, both indicative of a wetland environment. As a result of changes in sea-level, the shoreline of the Persian Gulf during the Ubaid was different from that of today. At the beginning of the Ubaid, around 6500 BC, the shoreline at Kuwait may have run slightly further south. During the subsequent 2.5 millennia, the shoreline moved further northward, up to the ancient city of Ur around 4000 BC.

Date palms were present in southern Mesopotamia since at least the eleventh millennium BC, predating the earliest evidence for domesticated dates from Eridu by several millennia. Date palms require a perennial water source, again indicating that this period may have been wetter than today. Similarly, oak was present from the eighth millennium, but disappeared at around the same time that Ubaid material culture spread outward from southern Mesopotamia during the sixth millennium BC. It has been suggested that acquisition of high-quality wood may have played a role in this expansion.

The available evidence in northern Mesopotamia points to a cooler and drier climate during the Hassuna and Halaf periods. During the Halaf-Ubaid Transitional (HUT), Ubaid and early Uruk periods, this developed into a climate characterised by stronger seasonal variation, heavy torrential rains and dry summers.

Dating and geographical distribution
Ubaid and Ubaid-like material culture has been found over an immense area. Ubaid ceramics have shown up from Mersin in the west to Tepe Ghabristan in the east, and from Norşuntepe and Arslantepe in the north to Dosariyah in the south along the Gulf coast of Saudi Arabia. In this area, researchers have discerned considerable regional variation, indicating that the Ubaid was not a monolithic culture through time and space.

The Ubaid period is most commonly divided in 6 phases, called Ubaid 0-5. Some of these phases equate with pottery styles that were, in earlier publications, considered to be distinct from Ubaid, but that are now considered to be part of the same phenomenon. Some of these styles, such as Hajji Muhammed (previously thought to be Ubaid 2) are now known to occur in Ubaid 3 contexts as well, thereby limiting their value as chronological markers. The relative chronology is based on the long stratigraphic sequences of sites such as Ur, Eridu and Tepe Gawra. The absolute chronology is harder to establish, mainly due to a lack of abundant radiocarbon dates coming from southern Mesopotamia.

Southern Mesopotamia
In the south, corresponding to the area that would later be known as Sumer, the entire Ubaid spans an immense period from ca. 6500 to 3800 BC. It is here that the oldest known Ubaid site - Tell el-'Oueili - was found. In southern Iraq, no archaeological site has yet yielded remains older than Ubaid, However, this might be more a result of the fact that such ancient settlements are now buried deep under alluvial sediments. This was the case, for example, of the site of Hadji Muhammed, which was discovered only by accident.

Central and northern Mesopotamia
In central and northern Iraq, the Ubaid was preceded by the Hassuna and Samarra cultures. The Ubaid may have developed out of the latter. In northern Syria and southeastern Turkey, the Ubaid follows upon the Halaf period, and a relatively short Halaf-Ubaid Transitional period (HUT) dating to c. 5500-5200 BC has been proposed as well. HUT pottery assemblages displayed both typically Ubaid and Halaf characteristics. The relations between these periods - or cultures - is complex and not yet fully understood, including how and when exactly the Ubaid started to appear in northern Mesopotamia. To resolve these issues, modern scholarship tends to focus more on regional trajectories of change where different cultural elements from the Halaf, Samarra, or Ubaid - pottery, architecture, and so forth - could co-exist. This makes it increasingly hard to define an occupation phase at a site as, for example, purely Ubaid or purely Halaf.

In northern Mesopotamia, Ubaid characteristics only start to appear in Ubaid 2-3, i.e. toward the end of the sixth millennium BC, so that the entire Ubaid period would be much shorter. For Syria, a range of 5300-4300 BC has been suggested. However, some scholars have argued that the interaction between the originally southern Mesopotamian Ubaid and the north started already during Ubaid 1-2.

Persian Gulf
Ubaid pottery started to appear along the Persian Gulf coast toward the end of the sixth millennium BC, reaching a peak around 5300 BC and continuing into the fifth millennium. Coastal sites where Ubaid pottery has been found include Bahra 1 and H3 in Kuwait, Dosariyah in Saudi Arabia, and also island sites such as Dalma Island in the United Arab Emirates. Ubaid pottery has also been found further inland along the central Gulf coast at sites like Ain Qannas, suggesting that the pottery may have been traded and valued in and of itself, rather than just being a container for some other commodity. This suggestion is reinforced by locally-produced pottery imiting Ubaid wares found at Dosariyah. It is unclear which products were exchanged for the pottery. Suggestions include foodstuffs (dates), semi-precious materials, jewellery (made from pearl and shell), animal products, and livestock. Notably, the degree of cultural interaction between the Ubaid and local Neolithic communities is much stronger in the area of Kuwait than further south, up to the point that it has been suggested that Mesopotamians may have actually lived (part of the year) at sites like H3 and Bahra 1. Small objects such as labrets, tokens, clay nails and small tools that may have had cosmetic use, and that are known from southern Mesopotamian sites also occur on sites along the Gulf coast, notably the sites in Kuwait.

Conversely, there is also evidence for Arabian Neolithic material in southern Mesopotamia. It has been noted that certain types of flint arrowheads found at Ur show clear resemblance with the Arabian Bifacial Tradition. Arabian Coarse Ware has been found at the sites of 'Oueili and Eridu. As at the sites in Kuwait, it may have been possible that Arabian Neolithic persons lived in southern Mesopotamia.

Pottery
The Ubaid period was first distinguished on the basis of its painted pottery. Ceramics continue to be a main characteristic to determine the chronology and geographical distribution of the period. The paint varies from black to brown, purple and dark green and the pottery fabric itself usually has a buff to red/green brown color. Ubaid 1-2 pottery had dense, geometric and abstract decoration. Later pottery was less decorated, with bands and swags being the most common patterns. The slow potter's wheel became in use during Ubaid 3-4, which may have played a role in the decrease in decoration.

The coarse, plant-tempered, found at many Late and Post-Ubaid sites in northern Mesopotamia from , has been interpreted as some kind of vessel for handing out rations or as evidence of more specialized production, and as such may have been a precursor of the beveled rim bowl from the Uruk period. As with many other aspects of Ubaid material culture, it is possible to distinguish different geographical traditions in the production of the coba bowl during the Ubaid period.

Stone tools
Flint was widely available in Mesopotamia and could be sourced from outcrops in the Zagros and the Jebel Sinjar, from limestone and river terraces in northern Mesopotamia and from alluvial deposits in southern Mesopotamia. Different qualities of flint were used, depending on what kind of tool was made from it. For example, blades were made from a higher quality flint than other tools, and they may have been produced off-site, indicating that not only raw materials but also finished products were transported over larger distances. Flint was used for a variety of tools, including arrowheads, sickle blades, hoes (which are sometimes considered a hallmark of the Ubaid) and a variety of tools for piercing and drilling. Flint assemblages display both regional and temporal variation.

Obsidian was also in use during the Ubaid, although the percentage of obsidian tools that was found at archaeological sites fluctuates widely across Mesopotamia. At sites along the middle Euphrates, only few pieces were usually found, and the number of obsidian artefacts was also limited in southern Mesopotamian sites. At sites along the Khabur and the upper Tigris, obsidian was more common. Also, obsidian seems to have been less common during the Ubaid than during the preceding Halaf period and the subsequent Uruk period. Obsidian could be transported over hundreds of kilometers. For example, obsidian tools found along the Gulf coast at sites such as Dosariyah (Saudi Arabia) and Wadi Debayan (Qatar) came from sources in southeastern Turkey.

The Ubaid may have witnessed a shift in the production of flint tools from being carried out as a domestic activity to a more specialized activity carried out by dedicated craftspeople. This may have been associated with the introduction of Canaanean blade technology, which became common in the 4th millennium BC and may itself have been linked to increased mass-production and intensification of agricultural strategies.

Metallurgy
Evidence for metallurgy comes from several sites in Upper Mesopotamia, all dating to the final stages of the Ubaid period. At Mersin, Level XVI (5000-4900 BC), unalloyed copper pins and chisels were found. At southeastern Anatolian sites like Değirmentepe and Norşuntepe, metallurgical production was practiced during the Ubaid 3, as evidenced by furnaces, and related finds. At late fifth millennium Tell Nader, northern Iraq, kilns were excavated that may have been used for the production of both pottery and metal. Copper objects are also known from the Ubaid levels at Tepe Gawra (XVII-XII) and Tell Arpachiyah. Copper objects were absent in the Ubaid levels at Eridu and 'Oueili, possibly indicating that copper use spread southwards from the north. However, copper may have been traded, as it was present in elite burials of the Susa I (terminal Ubaid) necropolis at Susa east of the Tigris. In general, copper objects seem to be very rare, and gold has not been found at Ubaid sites either.

Wool production
Evidence for the production of wool is ambiguous and mostly indirect. Wool-bearing sheep have been clearly attested in Uruk-period sites, and the domestication of sheep and goat started in the ninth millennium BC, but exactly when wool-production emerged between those two fixed points is unclear. There is some evidence for emerging wool production in the fifth millennium BC, i.e. late Ubaid. Some of the earliest evidence comes in the form of an animal figurine from Iran dated to c. 5000 BC with incised decorations that might possibly represent wool. At Kosak Shamali, an Ubaid site in northern Syria, indirect evidence for wool production has been found in the form of spindle whorls, clay scrapers, and a clay sealing with a cord impression that might have come from rope spun from wool fibers. The animal bone assemblage at this site had a large percentage of domesticated sheep/goat, with changes in the assemblage suggesting that the production of secondary products (such as wool and milk) became more important toward the late Ubaid and the Uruk period. The spindle whorls from Kosak Shamali, and also those from Telul eth-Thalathat II (northern Iraq), gradually decreased in weight, which could indicate that more and more finer-quality or softer fibers were spun.

Stamp seals
Stamp seals had been in use in Upper Mesopotamia since the 7th millennium BC. By the time of the Ubaid period, a wide range of motifs had developed, including geometric patterns and depictions of animals and occasional humans. The Ubaid period saw the first depictions of ibex-headed and bird-headed humans.

Figurines
The majority of Ubaid figurines represented various animals, including sheep, cattle and dogs. Human figurines were already present in previous periods. Those from the early Ubaid reflect a continuation of earlier traditions. A single, painted figurine from the Ubaid 0 levels at Tell el-'Oueili has been interpreted as an early representation of the so-called "ophidian figurines", which became common in the later Ubaid. Both seating and standing figurines were made, with paint being used to detail body parts, clothing, or body modifications. "Ophidian figures" have been exclusively found at various southern Mesopotamian sites. They are characterised by a slender body, long, reptilian head with incised eyes and mouth and a threedimensional small nose. This particular rendering of the face may be a representation of a mask or possibly headshaping. The hands are placed before the stomach, sometimes with incised fingers. They are thought to be naked. Paint is sometimes used to indicate hair or other details. The majority of these figures is female, but male and sexless figurines exist as well. In the earlier Ubaid, ophidian figures were only used in domestic contexts, whereas in Ubaid 3-4, they appear in graves as well, indicating a shift in how these figures were used. The rarity of ophidian figures as grave gifts may indicate differential treatment of the dead, possibly based on age, kinship or social standing.

Burials
The most common burial practice during the Ubaid seems to have been primary inhumation; i.e. burial of the complete body. During Ubaid 4, some 80% (adults) and 94% (infants) of the burials consisted of primary inhumations. The dead were often accompanied by personal adornments such as beads, necklaces, and headdresses. Pots (presumably) containing foodstuffs were also common. Pieces of red ochre have also been recovered from graves. Burials have been excavated at many Ubaid sites, with exceptionally large numbers coming from Tell Abada (127 infant burials) and Eridu (193 burials).

By the fifth millennium BC, children and adults were given differential treatment in death. The available evidence indicates that infants were primarily buried inside the settlement, often near larger, presumably more important dwellings, and often in pots. The association of children's burials with larger buildings is well-illustrated at the sites of Tell Abada and Tepe Gawra. It has been suggested that this pattern of children's burials near larger dwellings was related to increasing social differentiation between kin groups. Adults, on the other hand, were buried at the edge of the settlement in communal burial grounds in pit burials or inside clay boxes. Such burial grounds have for example been excavated at Eridu.

These burial practices represent a clear break from those of the preceding Late Neolithic period. During the Late Neolithic, burials were often secondary and burial treatment was very diverse. The Ubaid witnessed a marked shift toward primary burial, less diverse burial customs, and less diversity in burial gifts. This shift has been interpreted as a reflection of changing perceptions of personhood.

Body modification
Evidence for cranial modification, i.e. deliberate headshaping, among both men and women, has come from many archaeological sites throughout wider Mesopotamia. Where headshaping was detected, it was all of the same type, i.e. one- or two-band circumferential headshaping, which results in an elongated shape of the head. Different types of headshaping were practiced prior to and after the Ubaid period across the Near East, but it seems that the specific technique of circumferential headshaping may have originated in Iran, east of the area of Ubaid influence, and reached its peak during the Ubaid period. It has been interpreted as a marker for socio-cultural group affiliation during the Ubaid.

Labrets and/or ear-spools were likewise recovered from many archaeological Ubaid sites across Mesopotamia and its border regions. In at least one case from southwestern Iran, a labret was found in situ in a burial, located at the mandible of the buried individual and with associated tooth wear indicating that it had been worn. Labrets were absent from Halaf sites in northern Mesopotamia, again indicating that they may have been important markers of socio-cultural identity during the Ubaid. Their use seems to have declined again during the Uruk period.

Agriculture
The modern excavations at Tell Zeidan have revealed a wealth of information on the subsistence economy of a large northern Mesopotamian Ubaid settlement. Cultivated species included barley, wheat, lentil, ervil, and flax. There is some evidence that the inhabitants of Zeidan practiced a form of floodwater irrigation on agricultural lands. The excavators have suggested that the unpredictability of this type of irrigation may have been a factor in increasing social complexity. The relative absence of animal dung, and the common presence of charred wood remains, suggests that wood was used as fuel.

Animal husbandry
Tell Zeidan again provides a wealth of information. The composition of the animal bone assemblage from Zeidan changed considerably from the Halaf to the Ubaid period. During the Halaf, some 50% of the animal bones came from wild species (indicative of hunting), whereas during the Ubaid over 90% represented domesticated species (indicative of herding and keeping animals). Common animals were sheep, goat, cattle, and pigs. A comparison with other Ubaid sites in northern Mesopotamia showed that, in general, pastoralism became more important and reliance on wild fauna decreased somewhat, but this pattern was not as evident at other sites as it was at Zeidan. There was no indication at Zeidan that there was spatial differentiation across the site in how animal products were consumed, suggesting that food stuffs weren't a means to express social differentiation.

Society
Ubaid culture is characterized by large unwalled village settlements, multi-roomed rectangular mud-brick houses and the appearance of the first temples of public architecture in Mesopotamia, with a growth of a two tier settlement hierarchy of centralized large sites of more than 10 hectares surrounded by smaller village sites of less than 1 hectare. Domestic equipment included a distinctive fine quality buff or greenish colored pottery decorated with geometric designs in brown or black paint. Tools such as sickles were often made of hard fired clay in the south, while in the north stone and sometimes metal were used. Villages thus contained specialised craftspeople, potters, weavers and metalworkers, although the bulk of the population were agricultural labourers, farmers and seasonal pastoralists.

During the Ubaid Period (5000–4000 BC), the movement towards urbanization began. "Agriculture and animal husbandry [domestication] were widely practiced in sedentary communities". There were also tribes that practiced domesticating animals as far north as Turkey, and as far south as the Zagros Mountains. The Ubaid period in the south was associated with intensive irrigated hydraulic agriculture, and the use of the plough, both introduced from the north, possibly through the earlier Choga Mami, Hadji Muhammed and Samarra cultures.

The Ubaid period as a whole, based upon the analysis of grave goods, was one of increasingly polarized social stratification and decreasing egalitarianism. Bogucki describes this as a phase of "Trans-egalitarian" competitive households, in which some fall behind as a result of downward social mobility. Morton Fried and Elman Service have hypothesised that Ubaid culture saw the rise of an elite class of hereditary chieftains, perhaps heads of kin groups linked in some way to the administration of the temple shrines and their granaries, responsible for mediating intra-group conflict and maintaining social order. It would seem that various collective methods, perhaps instances of what Thorkild Jacobsen called primitive democracy, in which disputes were previously resolved through a council of one's peers, were no longer sufficient for the needs of the local community.

Ubaid culture originated in the south, but still has clear connections to earlier cultures in the region of middle Iraq. The appearance of the Ubaid folk has sometimes been linked to the so-called Sumerian problem, related to the origins of Sumerian civilisation. Whatever the ethnic origins of this group, this culture saw for the first time a clear tripartite social division between intensive subsistence peasant farmers, with crops and animals coming from the north, tent-dwelling nomadic pastoralists dependent upon their herds, and hunter-fisher folk of the Arabian littoral, living in reed huts.

Stein and Özbal describe the Near East oecumene that resulted from Ubaid expansion, contrasting it to the colonial expansionism of the later Uruk period. "A contextual analysis comparing different regions shows that the Ubaid expansion took place largely through the peaceful spread of an ideology, leading to the formation of numerous new indigenous identities that appropriated and transformed superficial elements of Ubaid material culture into locally distinct expressions."

There is some evidence of warfare during the Ubaid period although it is extremely rare. The "Burnt Village" at Tell Sabi Abyad could be suggestive of destruction during war but it could also have been due to other causes, such as wildfire or accident. Ritual burning is also possible since the bodies inside were already dead by the time they were burned. A mass grave at Tepe Gawra contained 24 bodies apparently buried without any funeral rituals, possibly indicating it was a mass grave from violence. Copper weapons were also present in the form of arrow heads and sling bullets, although these could have been used for other purpose; two clay pots recovered from the era have decorations showing arrows used for the purpose of hunting. A copper axe head was made in the late Ubaid period, which could have been a tool or a weapon.

During the late Ubaid period around 4500–4000 BC, there was some increase in social polarization, with central houses in the settlements becoming bigger. But there were no real cities until the later Uruk period.

Language, ethnicity and genetics
The languages that were spoken during the Ubaid period cannot be determined. Despite the fact that the Ubaid period is prehistorical, it has featured prominently in discussions on the origin and presence of the Sumerian and Akkadian languages in Sumer. This debate has been called the "Sumerian problem" or "Sumerian question". The starting point of this debate was that the oldest cuneiform tablets were written in Sumerian, and that earlier pictographical tablets from the Late Uruk and Jemdet Nasr periods (3200-3000 BC) were likely written in the same language. Based on this evidence, Henri Frankfort proposed in the 1930s that the people who wrote and presumably spoke Sumerian, originally came from the Iranian highlands and settled Mesopotamia at the start of the Ubaid period. Speiser, on the other hand, thought that the Sumerians entered Mesopotamia during the Uruk period and interpreted the regional styles that existed before that time, i.e. Ubaid, Hassuna, Halaf, as evidence of distinct ethnic groups.

More recent discussion has taken a more careful approach, taking pains not to equate pots with people or language with ethnicity. Archaeologists have stressed that a high degree of cultural continuity is evident throughout the Ubaid and Uruk periods, and it seems that there is some agreement that "the relation between three categories, linguistic, racial and ethnic, is exceedingly complex in Mesopotamia and still far from being sufficiently investigated".

Scarce DNA analysis of human skeletal material from various archaeological sites in Upper Mesopotamia (none of which dated to the Ubaid period) provides some evidence for genetic links with other regions, but also provides evidence for continuity in Mesopotamia itself. Most importantly, the dating of genetic influxes that have been detected, has not been refined up to the point that it can be assigned to the Ubaid period - or any other period earlier than the one from which the skeletal material came. In other words, this genetic influx could have happened during the Ubaid - or not.

title: Ubaid period


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Darren Hayes

Darren Stanley Hayes (born 8 May 1972) is an Australian singer, songwriter, music producer and composer. He was the frontman and singer of the pop duo Savage Garden until their disbandment. Their 1997 album Savage Garden peaked at number 1 in Australia, number 2 in the United Kingdom and number 3 in the United States. It spawned the singles "I Want You", "To the Moon and Back", and Australian and US number 1 "Truly Madly Deeply". The duo followed the success of their debut album with Affirmation (1999), which provided additional hits such as Australian and US number 1 "I Knew I Loved You", and Australian number 3 "The Animal Song". Savage Garden parted ways in 2001.

Hayes released his first solo album Spin in 2002. The album sold two million copies worldwide, debuted at Number 2 in the UK and number 3 in Australia. It delivered the hit single "Insatiable". Hayes's second album, The Tension and the Spark, preceded by single "Pop!ular", was released in 2004. Hayes parted ways with his record label Columbia Records in 2006 and started his own independent record label, Powdered Sugar, from which he would release his third and fourth solo albums, 2007's double-album This Delicate Thing We've Made and 2011's Secret Codes and Battleships. After a decade-long hiatus, Hayes returned in 2022 with his fifth studio album; Homosexual, which was released in October 2022, spawned the singles "Let's Try Being in Love", "Do You Remember?", "Poison Blood", "All You Pretty Things" and "Feels Like It's Over". Hayes' autobiography is due for publication by Penguin Books in 2024.

Early life and education
At school, Hayes was bullied and physically and verbally abused. He described himself as "a big-hearted, emotional, and excitable" teenager, with an obsession for Star Wars and E.T. Hayes' father was an alcoholic, and regularly subjected Hayes and his mother to violence.

In late 1987, he got the chance to see his hero Michael Jackson performing live in Brisbane as part of the Bad Tour. He credits this as encouraging him to pursue a career in entertainment. His other acknowledged influences are Stevie Nicks, Madonna, Peter Gabriel, Kate Bush, Annie Lennox, Prince and Marvin Gaye, and he has cited U2's "With or Without You" as the most touching song he has ever heard.

1993–2001: Savage Garden
In 1993, Hayes answered an advertisement in a Brisbane music magazine, Time Off, placed by Daniel Jones, for a lead vocalist position in the band called Red Edge. Hayes was successful, despite his voice breaking in the audition, as he mentioned in an interview with Rosie O'Donnell. The cover band broke up in 1994 and Hayes formed a partnership with Jones, a duo band initially called Crush. However, another band in the UK already owned the rights to the name. Hayes and Jones submitted their first demo tape to record companies under the name Bliss, before they eventually changed their name to Savage Garden, a phrase used by Anne Rice to describe the world through the eyes of Lestat de Lioncourt in her novel The Vampire Lestat. The Savage Garden is a vision of Earth in which the natural laws of the world govern over anything aesthetic or civil.

Savage Garden started recording their debut album in 1995 with producer Charles Fisher. Their first single, "I Want You", was released in 1996 and was the best selling single by an Australian artist that year. The second single, "To the Moon and Back", topped the Australian charts at the end of 1996. The third single, "Truly Madly Deeply", was their second number one and was the best-selling Australian single of 1997. Their debut album, Savage Garden, was the best-selling album in Australia during 1997 and the duo won ten ARIA awards.

Hayes moved to New York City to promote Savage Garden internationally, while Daniel Jones stayed in Brisbane. The move proved to be successful, with "Truly Madly Deeply" going to the top of the American charts in 1998. The Savage Garden album sold seven million copies in the US on the back of this success.

In New York City, Hayes wrote Affirmation. He had recently divorced his wife of several years. Parts of the album reflected the pain from the end of the relationship. Affirmation was released in 1999 and proved to be another hit, with lead single "I Knew I Loved You" going to number one in the United States, and the album selling six million copies worldwide by the end of 2000. The pair played the title track of the album at the closing ceremony of the 2000 Sydney Olympics.

Hayes moved to Sausalito in 2000. He became the public face of the duo, doing most of the media. Hayes announced that Savage Garden had broken up in October 2001 during a chat with an Australian journalist. Hayes thought the information would be saved for a later article; it was not. When confronted with this information during the early morning hours, before an unrelated interview, Jones denied the break-up of the band. However, it appears that Jones did not believe the reporter was accurately quoting Hayes and denied what he thought was yet another break-up rumour. Still, the fact that Jones took a back seat in all promotional activities for Affirmation seems indicative that Jones was not content to remain within Savage Garden as it had operated in the past. Savage Garden had sold over 23 million albums by that stage. Luciano Pavarotti and Darren Hayes sang "O Sole Mio" together in a concert in 2000.

In 2005, manager of Savage Garden, John Woodruff confirmed that Jones had announced his intention of leaving Savage Garden prior to the promotion for Affirmation. Woodruff criticised the media for their treatment of Hayes. The duo have never issued a united statement regarding the situation, yet Hayes has guaranteed that the group will "never, by any chance" reunite, adding in 2020, "Imagine if you had come out and survived a really dysfunctional and toxic relationship, and then for years later people would ask you to please get back in that relationship [...] "I once said I'd only do it if it cured cancer and that's still how I feel."

2002–2004: Spin and The Tension and the Spark
Hayes recorded his first solo album, Spin, which was released in 2002. The album was produced by Walter Afanasieff, the producer of Affirmation. Spin carried on in the same musical vein as Savage Garden, with a less soft rock sound and more edgy R&B vibe, although the first single "Insatiable" was a ballad, reaching Number 3 in Australia. Other singles "Strange Relationship", "Crush (1980 Me)" and "I Miss You" also performed well in charts. The album reached the Top 5 in Australia at Number 3, and in the UK at Number 2. It also reached the top ten in Denmark, Sweden and Finland. In the United States, the album failed to make the same impact as Savage Garden's previous releases, reaching Number 35 on Billboard. It was later re-issued with a bonus disc consisting of some live and studio tracks.

Hayes spent two years working on his second solo album, The Tension and the Spark. Other than the track "I Forgive You", which was produced with Madonna collaborator Marius De Vries, the entire album was produced by Hayes and Robert Conley (with whom he had previously toured and recorded "Crush (1980 Me)" for Spin and "Do You Believe" for Specificus). The album marked a bold change of direction for Hayes. Conley's production was almost entirely electronic, with acoustic instruments buried under walls of sequenced sounds. Although artistically this was a huge step forward and earned Hayes the strongest praise of his career, it alienated a large portion of his audience, who were expecting another album of radio-friendly pop songs. The first single, "Pop!ular", was released on 12 July 2004. This single reached Number One on the US Dance Charts, and fared well in the UK. Hayes's follow-up single, "Darkness", charted in the lower regions of the ARIA top 50 charts.

One of his out-takes from the Spin sessions, "When You Say You Love Me", was recorded by Clay Aiken in 2003 for his Measure of a Man album. It was later covered by Human Nature, resulting in an Australian top 20 single in April 2004 off their Walk The Tightrope album, and was then re-recorded in 2008 featuring Hayes himself.

2005–2006: Truly Madly Completely and parting ways with Columbia
In 2005, Hayes recorded a track he wrote with Robert Conley called "So Beautiful", which was included on the Savage Garden greatest hits compilation, Truly Madly Completely: The Best of Savage Garden. The compilation also includes a second track by Hayes called "California". Both of these tracks hark back to Hayes's early sound, although still retaining some of the electronic flourishes from The Tension and the Spark.

On 9 July 2006, Hayes announced that he had parted ways with Columbia Records after ten years and 24 million album sales together.

The tour following this release saw Hayes play the iconic Sydney Opera House. The performance was recorded and released on a DVD titled A Big Night in with Darren Hayes.

2007–2010: This Delicate Thing We've Made and We Are Smug
Hayes finished recording his third solo album, This Delicate Thing We've Made, in 2007. The album was a double-disc, with 25 tracks. Many of the tracks were co-written with Robert Conley, and a great deal of the album was written with and produced by Justin Shave, who played keyboards for part of Hayes's Time Machine tour. The album was released on 20 August 2007 on Hayes's own independent record label, Powdered Sugar, while the first single, "On the Verge of Something Wonderful", was released in Australia on 28 July 2007, and in the UK and online on 6 August 2007.

On 9 April 2007, Hayes released the album track "Who Would Have Thought" from This Delicate Thing We've Made as a teaser track on his official website, as well as his MySpace profile. This was accompanied by an animation for the song created by his partner, animator and director, Richard Cullen. Around April 2007, remixes of the album track "Step into the Light" were being played in clubs around the world. The album version of "Step into the Light" was released as a teaser on Hayes's official website and MySpace on 30 April 2007.

During the first half of 2007, Hayes performed selected songs from the album in The Time Machine World Tour small, exclusive gigs around the world. Tickets for several of these much sought after shows sold out in under ten minutes. In June 2007, Hayes embarked on a small tour of USA and Canada, stopping in New York, Toronto, Chicago, San Francisco and Los Angeles, along with the band Temposhark. The shows were well received with very positive reviews.

On 30 June 2007, Hayes headlined the London Gay Pride at Trafalgar Square. He performed "I Want You" and "On the Verge of Something Wonderful", as well as a medley that included "Pop!ular".

In July 2007, Hayes announced The Time Machine Tour that would start out in the UK, and then move on to Hayes's home country Australia. On 29 July 2007, "On the Verge of Something Wonderful" was the most selected music video on The Box in the UK. On 20 August 2007, This Delicate Thing We've Made was released in the UK, America and Australia. 'The Time Machine Tour' included venues such as The Royal Albert Hall and the State Theatre in Sydney. His stage was again designed by Willie Williams and included a large bridge that could extend over the first few rows of seats. On the final night, at the Queensland Performing Arts Centre in Hayes's hometown of Brisbane, the performance was recorded in HD for a DVD release. The Time Machine Tour DVD came out in two editions: the special edition which was limited to 2000 copies and contained a four-panel, fold-out, gleaming white box, a thirty-two-page colour booklet with 300 photos and notes from the artist, and the regular edition. The special edition DVD, which was only available from Hayes' website, was shipped to purchasers on 1 July, and the regular edition, which was available in shops, was released on 22 July. Hayes did a mini tour in the US in November and December 2007, making appearances at Borders stores and performing two shows in New York City and Philadelphia.

On 18 December 2007, Hayes announced "The Side Two Tour". The show toured the UK in February 2008 and featured Hayes performing songs from This Delicate Thing We've Made that were not featured on "The Time Machine Tour", in a more intimate setting. In late 2008, the DVD This Delicate Film We've Made was announced. The DVD featured selected songs from the album, arranged in a new sequence, and set to visuals that told a loose, abstract animated narrative. The DVD entered the UK music DVD charts at Number 1.

On 19 April 2009, Hayes teased via Twitter that he was preparing another album. On 8 May, Hayes announced, via his MySpace page, that he and Robert Conley had produced an album together titled We Are Smug. The ten-track album, with a fair amount of experimentation with both lyrics and music, was made available via a link from his MySpace page, and was made free to download to gauge acceptability of Hayes's shifting musical styles. The album is heavily electronic with some heavy beats. It also contains some explicit content. Both Hayes and Conley share vocal duties on this album.

Hayes signed to Sony ATV Music Publishing for a worldwide deal in August 2009. Emma Banks from CAA UK came on board October 2009 to represent Hayes for his touring plans around the new album.

Although the album was completed before the holidays in 2009, Hayes announced in early 2010 that he had more song ideas and he was going back into the studio, which delayed the album another year. Hayes completely finished his fourth solo album in mid-2010, working with top writer/producers from around the world and having the record mixed by Robert Orton.

Hayes also recorded a song for the Finn tribute album He Will Have His Way, a cover of "Not Even Close". It was released on Halloween 2010.

2011–2021: Secret Codes and Battleships and hiatus
On 17 April 2011, Hayes announced that he had signed a record deal with Mercury Records/Universal Music Australia and signed to EMI Services UK /Europe. He released his fourth studio album in October 2011. The first single titled "Talk Talk Talk" was announced in May and was released on 24 June. The single contains a cover version of Madonna's "Angel" as the B-side.

It was announced on 20 June, via Hayes's Facebook page, that his new album would be titled Secret Codes and Battleships.

Hayes announced on Twitter on 22 July that he was shooting a second music video from the album. On 14 August, he revealed in a radio interview that "Black Out the Sun" will be the second single from Secret Codes and Battleships. Since its release in the UK, BBC Radio 2 has selected the track to feature on their A list the week commencing 1 October 2011. He later confirmed, on Twitter, that this song will be the single for the UK and other international markets, while "Bloodstained Heart" would be the second single in Australia. Hayes played dates on "The Secret" Tour in the UK and Australia beginning on 15 October in Liverpool. Hayes tweeted, on 2 March 2012, that he would be shooting another music video the week after. He later confirmed the music video was being shot for "Stupid Mistake", which was released as the album's fourth single in May 2012.

Since 2013, Hayes stopped his music career and tried to build a stand-up comedy career. At the same time, he kept creating short singing videos in his social media accounts for his fans. In an 2022 interview with Queerty, Hayes said that he had actually planned to retire at that point. In 2018 Hayes briefly returned on stage with one-off performance of two songs, including "I Knew I Loved You". In 2019, Hayes featured on Cub Sport's single "I Never Cried So Much in My Whole Life". He did not appear in the official video. In 2020 he recorded a new version of "Truly Madly Deeply" with slightly modified lyrics. The video of his studio performance was released on YouTube on 24 April.

2022–present: Homosexual, tour and memoir
On 26 January 2022, Hayes released the single, "Let's Try Being in Love". A music video for the song was released the same day, starring Hayes and featuring actor Scott Evans. The video was directed by Andrew Putschoegl. Referred to as a "queer anthem" by NME, in promotional interviews, Hayes explained "I've been married to Richard [Cullen] for almost 17 years, [and] I'm in this really comfortable place in my life. But at the same time at mid-life I'm grieving the fact I never got to celebrate who I really was at the period of my life where I was most famous. I look at this world we live in now where someone like Lil Nas X can push forward his true self, full of pride and self-love and have the chance to be loved for who he truly is [...] A lot of the time I was my most famous, I was deeply sad." Less than 24 hours of release, "Let's Try Being in Love" debuted at number 96 on the Official UK Singles Download Chart Top 100 and at number 98 on the Official UK Singles Sales Chart Top 100. The single also peaked at number 9 on the Australian Independent singles chart. "I wanted to show I love the feminine in me, be proud of the gay me. There's a dance scene that is so passionate, everything's alive and thriving and blooming. That's how I feel in general about music. And that's a hugely sharp contrast to how I felt 10 years ago."

On 27 January 2022, Hayes announced he would be headlining the 2022 Sydney Gay and Lesbian Mardi Gras Parade and would be performing on 5 March 2022. Hayes performed "The Animal Song", "I Want You", "Affirmation" plus, live for the very first time, "Let's Try Being in Love".

On 2 March 2022, Hayes announced the Do You Remember? Tour that would be performed in six Australian cities between January and February 2023 and would feature songs from his musical career as part of Savage Garden and as a solo artist. On 10 March 2022, Hayes released the single "Do You Remember?",  following with the official video on 16 March 2022. In June 2022, Hayes released "Poison Blood",  which details his life living with depression, and others affected by it. Hayes released the official "Poison Blood" music video on 26 June 2022, announcing UK Tour dates on the same day. A remix of "Let's Try Being in Love" was released on 15 July 2022, with production helmed by Louis La Roche. This was followed on 29 July by Roche's remix to "Do You Remember?". On 18 August 2022, Hayes announced that Homosexual, his fifth studio album, would be released that October. A fourth single, "All You Pretty Things", was released on 19 August 2022. When the album was released on 7 October 2022, Hayes said "My new album was born from a desire to rid myself of the grief I developed over the years I lost to shame growing up in a world where being gay was met with rejection and condemnation. I wanted to revisit my teenage years with the wisdom of a proud 50-year-old gay man and revisit my youthful memories and view them through this new peach-tinted lens of joy. I imagined an adolescence where I could be loved for who I truly am today. Through this music, my goal was to reclaim my happiness and reclaim my identity. That confidence gave me the courage to explore deep wounds in my life and explore old trauma from the perspective of an effervescent endless summer." Homosexual debuted at number 6 on the Australian Digital Albums and number 16 on the Australian Artist Albums Chart. The album debuted at number 82 on the UK Albums Chart, also placing on the UK Download and Album Sales charts, placing at numbers 3 and 13, respectively.

In April 2023, Hayes graced the cover of Washington, DC's Metro Weekly. The magazine featured a 13-page pictorial and Q&A about Hayes' past career and recently-concluded Do You Remember? tour. On 10 February 2023, Peking Duk released a version of "I Want You" featuring re-recorded vocals by Hayes. On 1 May 2023, Hayes released an official music video for "Feels Like It's Over", directed by Andrew Huebscher. An edited version of the song was released as the fifth single from Homosexual on 12 May 2023. In June 2023, it was announced that Hayes' memoir would be published in 2024. In November 2023, Hayes competed as Grim Reaper on the fifth season of The Masked Singer Australia. After eight performances, he ended up in second place on the season, behind Dami Im.

Other media
In December 2014, Hayes announced a comedy podcast "The He Said, He Said Show". The podcast debuted on 10 February 2015. Rosie O'Donnell has appeared as a guest. The podcast ended its run at the end of the year. Hayes has co-hosted a comedic movie review podcast with writer and comedian Anthony Armentano called "We Paid to See This". Some of Hayes' sketch comedy can be found on his YouTube page including a Star Wars spoof documentary and several of his sketches he wrote and performed during his time studying at The Groundlings Theatre and School. On 13 March 2016, Hayes announced he had been writing an original musical with writer and comedian Johnny Menke. As of March 2022, the musical has yet to be publicly performed or recorded.

Personal life
Hayes married his childhood sweetheart, makeup artist Colby Taylor, in 1994. They were still married when Savage Garden "skyrocketed to fame around the globe in the late 1990s." They separated in 1998 and were divorced in 2000. Much of the lyrics for the band's second album, Affirmation, dealt with his divorce. He recorded Affirmation in San Francisco mid-1999 and eventually bought a house there. He also maintained a base in London since 2004. In 2013, Hayes moved to Los Angeles.

Hayes started coming out as gay to friends and the head of his label, Sony, in the early 2000s. He entered into a private marriage ceremony with his boyfriend of two years, Richard Cullen, on 23 July 2005 in London. On 19 June 2006, also in London, they entered into a formal civil partnership. Hayes and Cullen applied for a marriage licence in California, and were married on 15 July 2013, to show their support for those fighting for same-sex marriage. Though public speculation about his sexual orientation had been present throughout his career, he kept his personal life private. He announced the event the day prior on his official website. Before the announcement, Cullen's name had appeared on the website as the designer of the cover for Hayes's single "So Beautiful". In a 2017 interview with Attitude, Hayes commented, "I don't regret [publicly coming out] for a second. It wasn't that I was blacklisted, but it was that I became a 'niche' artist purely based on my sexuality. There was a kind of unintentionally patronizing view of me. No longer a sexual object, but more of someone you might take home to Mom [...] I was suddenly your gay uncle. That was frustrating. My sexuality was used as a descriptor, and if you think about it, that's nuts. No one says 'Openly heterosexual singer Adele.' "

In May 2023, Hayes shared a statement confirming his separation from Cullen, in which he said: "After 17 years of marriage to the best person I ever met, Richard and I have chosen to accept that our union has gently and beautifully come to rest. In honour of this realisation, we separated earlier this year and have been supporting each other emotionally throughout this massive change in our lives. Because people will ask, let me answer the ugly questions to get them out of the way forever – no, there's no scandal to report, no infidelity, guilty or third party. It's just life. We adore each other and always will. We view our marriage as our greatest collaboration. Nobody can ever take away what we achieved together. We are still best friends. We always will be."

Hayes has often been open about his mental health struggles, namely with depression, that go back to his childhood, and his depression with hiding his sexuality whilst in Savage Garden. "I was deeply unhappy, barely containing secrets that would soon devastate me emotionally and send me to the brink of suicide at the height of my fame." Whilst promoting his 2022 single "Poison Blood", Hayes told Retro Pop Magazine: "I describe my depression as a blessing, a gift and a curse all at once. I wouldn't wish it upon my worst enemy and yet I'm aware I am a deeply sensitive person, and that my unique brain allows me to feel depths of emotions that many people don't experience [...] I have learned to use those moments to channel melodies and stories that I hope are so real and so relatable they might reach someone else who is in pain, like me, and remind them to stay, like I choose to, every single day." In 2023, Hayes elaborated, "I think we always have to remember that each one of us is essential and that we change and improve everybody's lives. Everybody is affected positively by our place on this earth. Every time that I've had a thought about wishing that I wasn't here, when the mood passes, the next day, something trivial will happen, and I think, "I'm so glad I was here to witness that." And that trivial moment can be as simple as having the best mac and cheese ever, or as brilliant as Madonna releasing a new song."

Hayes is a Star Wars fan, and has been since childhood. He also collects Star Wars memorabilia, and he even auditioned for a role in Star Wars: Episode III – Revenge of the Sith. After JoJo's Bizarre Adventure licensed the Savage Garden song "I Want You" to be used in the television adaptation of Diamond Is Unbreakable, Hayes expressed his gratitude and also revealed that he is a fan of the series.

Discography
Studio albums
 * Spin (2002)
 * The Tension and the Spark (2004)
 * This Delicate Thing We've Made (2007)
 * Secret Codes and Battleships (2011)
 * Homosexual (2022)

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

title: Darren Hayes


text:
Edward Mulhare

Edward Mulhare (8 April 1923 – 24 May 1997) was an Irish actor whose career spanned five decades. He is best known for his starring roles in two television series, The Ghost & Mrs. Muir and Knight Rider.

Early life and career
Mulhare, one of three brothers, was born at 22 Quaker Road, Cork City, County Cork, Ireland, to John and Catherine (née Keane) Mulhare. As a child, he received his education at St. Nessan's Christian Brothers School, and later North Monastery. Mulhare, as a young adult, began schooling at the National University of Ireland in medicine, but eventually decided upon a career in theatre. After acting in various Irish venues including the Gate Theatre in Dublin, he moved to London, where he worked with Orson Welles and John Gielgud. He co-starred with Orson Welles in a 1951 production of Othello directed by Welles and produced by Laurence Olivier, and played in Pygmalion before going to America.

In 1955 Mulhare starred as James Finnegan in the first feature film produced in Israel, Hill 24 Doesn't Answer.

His best-known stage role was as Professor Higgins in the original Broadway production of My Fair Lady, having taken over the role from Rex Harrison in 1957. Mulhare was understudy to Harrison until that time, going on to play the part for three years in New York for 1,000 performances, then continuing the role on an international tour, which included an extensive tour of Russia. He continued to perform the role in summer theatres and for touring companies into the 1970s. A notable East Lansing, Michigan university campus performance of My Fair Lady was originally cancelled due to a blizzard, but played to a packed house of 4,000 when word was sent out that any student could get into the performance free, if they could get there. Many showed up on skis, as told by Mulhare and Anne Rogers on The Irv Kupcinet Show in a 1978 interview. Mulhare and Rogers continued their acting partnership, playing King Arthur and Guenevere in Camelot.

Television
His first television appearance was in 1956 in a production of The Adventures of Robin Hood (Episode "The Imposters"). He was a guest panelist in 1958, and again in 1963, on the CBS television game show What's My Line?

By 1965, he was back in Hollywood appearing in films and television shows for 20th Century Fox. He earned roles in the films Von Ryan's Express in 1965, Our Man Flint in 1966, and Caprice in 1967. He guest-starred in television programmes, including Daniel Boone and the Twelve O'Clock High episode "Siren Voices" as Luftwaffe Colonel Kurt Halland. In The Ghost & Mrs. Muir, a supernatural sitcom that ran from 1968 to 1970, he starred as Captain Daniel Gregg, and again was something of a successor to Rex Harrison, who had originated the role of Captain Gregg in the original 1947 film.

In 1969 Mulhare starred in Gidget Grows Up, an American made-for-television comedy film with Karen Valentine in the title role. He played Alex MacLaughlin, a love interest for Gidget. Harlan Carraher, who played Jonathan Muir in The Ghost and Mrs Muir with Mulhare, had a small part as well.

He also guest-starred in "Experiment In Terra", an episode of the original Battlestar Galactica.

Mulhare co-starred as Devon Miles, director of the Foundation for Law and Government, on Knight Rider (1982–1986) alongside David Hasselhoff's Michael Knight.

In the mid-1980s, Mulhare hosted the television series Secrets & Mysteries, also called Secrets of the Unknown, a magazine show that examined historical mysteries and the paranormal.

Later years
He starred in a number of films in his career including Megaforce and Out to Sea. His final role was on Baywatch Nights alongside former Knight Rider co-star David Hasselhoff in December 1996.

Death
A heavy smoker, he died of lung cancer on 24 May 1997, aged 74, at his home in Van Nuys, California. He had been battling the cancer for five months prior to his death. Team Knight Rider dedicated an episode titled "K.R.O.", to Mulhare's memory (broadcast 27 October 1997). According to the annual magazine Who's Who in TV, 1968-1969, Mulhare was "a real ladies' man"; however, he remained a lifelong bachelor. He is buried in St. Joseph's Cemetery, Tory Top Road, Cork City, Ireland.

Filmography

 * Captain Boycott (1947) .... Foster's Secretary (uncredited)
 * Giv'a 24 Eina Ona (1955) .... James Finnegan
 * The Adventures of Robin Hood .... (1956) .... Various
 * The Adventures of Aggie .... (1956-57)
 * The Outer Limits (ABC-TV): "The Sixth Finger" (1963) .... Professor of Genetics
 * Mr. Novak (NBC-TV, 1963): "He Who Can Does" .... Rand Hardy
 * Signpost to Murder (1964) .... Dr. Mark Fleming
 * Daniel Boone (1964 TV series) - Admiral Lord Clydesdale - S1/E23 "The Ben Franklin Encounter" (1965)
 * Von Ryan's Express (1965) .... Captain Costanzo
 * Daniel Boone (1964 TV series) - Col. Worthing - S2/E1 "Empire of the Lost" (1965)
 * Our Man Flint (1966) .... Malcolm Rodney
 * Eye of the Devil (1966) .... Jean-Claude Ibert
 * Caprice (1967) .... Sir Jason Fox
 * Daniel Boone (1964 TV series) - Col. Burton - S4/E13 "Secret Code" (1967)
 * The Ghost & Mrs. Muir (1968) TV Series .... Capt. Daniel Gregg
 * Gidget Grows Up (1969) (TV) .... Alex MacLaughlin
 * The Streets of San Francisco (ABC-TV series season 1 episode 5) Tower Beyond Tragedy (1972).... Amory Gilliam, (season 3 episode 6) One Chance To Live (1974).... Brian Downing
 * Cannon (1974) (TV) (Season 3, Episode 20 "Death of a Hunter")..... as Neal Ray Source: https://www.imdb.com/title/tt0535984/
 * Ellery Queen (1976) (TV) (Season 1, episode 19 "Adventure of the Two-Faced Woman").... Myles Prescott
 * Hunter (1977) (TV series)...Season 1, Episode 1 "Bluebird is Back"
 * Battlestar Galactica (1979) (TV) .... Season 1, Episode 22 "Experiment In Terra"
 * Hart to Hart (1979) (TV) .... Season 1, Episode 12 "The Man with Jade Eyes"
 * Megaforce (1982) .... General Edward Byrne-White
 * Knight Rider (1982) TV Series .... Devon Miles
 * Murder, She Wrote (1986) TV Series .... Season 2, Episode 17 "One Good Bid Deserves A Murder" ....Season 3, Episode 10 "Stage Struck"
 * MacGyver (1986) TV series, Season 2.... Guy Roberts
 * B-17: The Flying Fortress (1987) (voice) .... Narrator
 * Secrets & Mysteries (1988) TV series .... Host
 * Knight Rider 2000 (1991) .... Devon Miles
 * ''Spider-Man: The Animated Series" (1994) TV Series (Voice) .... Spencer Smythe Season 1 Episode 2 "The Spider Slayer"
 * Hart to Hart: Secrets of the Hart (1995) (TV)
 * Baywatch Nights (1997) .... Dr. Lancaster (1 episode)
 * Out to Sea (1997) .... Cullen Carswell (final film role)

title: Edward Mulhare


text:
Ludwig Yorck von Wartenburg

Johann David Ludwig Graf Yorck von Wartenburg (born von Yorck; 26 September 1759 – 4 October 1830) was a Prussian Generalfeldmarschall instrumental in the Kingdom of Prussia ending an alliance with France to one with Russia during the War of the Sixth Coalition. Ludwig van Beethoven's "Yorckscher Marsch" is named in his honor.

The Field Marshal's surname is Yorck; Wartenburg is a battle-honour appended to the surname as a title of distinction (cf. Britain's Montgomery of Alamein).

Background
Yorck's father, David Jonathan von Yorck, was born in Rowe in the Prussian Province of Pomerania (now Rowy, Poland), to Jan Jarka, a Lutheran pastor, whose family came from a small manor in Gross Gustkow (hence the name von Gostkowski) and traced its origins from Pomeranian Kashubians. David Jonathan von Yorck served as a captain (Hauptmann) in the Prussian Army under King Frederick the Great; Yorck's mother Maria Sophia Pflug was the daughter of a Potsdam artisan. Their son Ludwig was born in Potsdam in 1759; the couple married in 1763. Ludwig's father changed his name from Jark(a) to Yorck to make it more English (York) and dropped the von Gostkowski.

Career
Yorck entered the Prussian Army in 1772 and reached the rank of lieutenant in 1777. After seven years' service, however, he was cashiered for insubordination, having reproached his superior for plundering during the War of the Bavarian Succession when in 1779, during the Guard Parade, Yorck expressed his contempt for him. He spent one year's confinement in Fort Friedrichsburg, Königsberg, after which King Frederick the Great denied him re-employment.

Yorck left Prussia and joined the Swiss mercenaries in Dutch service in 1781. He took part in the operations of 1783-84 in the East Indies as a captain of the Regiment de Meuron. He also participated with the French army in a battle against the British in Cape Town. Returning to Potsdam in 1786 he was, on the death of Frederick the Great, reinstated in the army by Frederick William II, from 1792 with the rank of major. In 1794/95 he participated in the operations in Poland during the Kościuszko Uprising, distinguishing himself especially in the Szczekociny.

From 1799, Yorck began to make a name for himself as commander of a light infantry (Jäger) regiment, being one of the first to emphasize the training of skirmishers. In 1805, with the rank of Oberst, he was appointed to command an infantry brigade as a vanguard force of Duke Karl August of Saxe-Weimar during the War of the Fourth Coalition. In the disastrous Jena campaign, he was a conspicuous and successful rearguard commander, especially at Altenzaun. Having crossed the Elbe river and Harz mountains, he was taken prisoner, severely wounded, in the last stand of Blücher's corps at Lübeck.

In the reorganization of the Prussian army which followed the 1807 Treaty of Tilsit, Yorck was one of the leading figures. At first major-general commanding the West Prussian brigade, afterwards inspector-general of light infantry, he was finally appointed second in command to General Grawert, the leader of the auxiliary corps which Prussia was compelled to send in support of Napoleon's invasion of Russia. The two generals did not agree, Grawert being an open partisan of the French alliance, and Yorck an ardent Prussian patriot, but Grawert soon retired and Yorck assumed the command.

Opposed in his advance on Riga by the Russian General Steingell, Yorck displayed great skill in a series of battles which ended in the retreat of the enemy to Riga. Throughout the campaign he had been the object of many overtures from the enemy's generals, and though he had hitherto rejected them, it was soon clear to him that the French Grand Army was doomed. Marshal MacDonald, his immediate French superior, retreated before the corps of Diebitsch, and Yorck found himself isolated. As a soldier his duty was to break through, but as a Prussian patriot his position was more difficult. He had to judge whether the moment was favorable for the war of Prussia's liberation; and, whatever might be the enthusiasm of his junior staff officers, Yorck had no illusions as to the safety of his own head. On 20 December, the general made up his mind.

The Convention of Tauroggen armistice, signed by Diebitsch and Yorck without the consent of their king, declared the Prussian corps "neutral". The news was received with the wildest enthusiasm, but the Prussian Court dared not yet throw off the mask, and an order was despatched suspending Yorck from his command pending a court-martial. Diebitsch refused to let the bearer pass through his lines, and the general was finally absolved when the Treaty of Kalisz placed Prussia on the side of the Allies. Yorck's act was nothing less than the turning-point of Prussian history. His veterans formed the nucleus of the forces of East Prussia, and Yorck himself in public took the final step by declaring war on Napoleon as the commander of those forces.

On 17 March 1813, Yorck made his entry into Berlin in the midst of the wildest exuberance of patriotic joy. On the same day, the king declared war on France. During 1813-14, Yorck led his veterans with conspicuous success. He covered Blücher's retreat after Bautzen and took a decisive part in the battles on the Katzbach. In the advance on Leipzig, his corps won the action of Wartenburg (3 October) and took part in the crowning victory in the Battle of the Nations of 18 October. In the campaign in France, Yorck drew off the shattered remnants of Osten-Sacken's corps at Montmirail, and decided the day at Laon.

The storming of Paris was Yorck's last fight. In the campaign of 1815, none of the older men were employed in Blücher's army, in order that August von Gneisenau might be free to assume command in case of the old prince's death. Yorck was appointed to a reserve corps in Prussia, and, feeling that his services were no longer required, he retired from the army. His master would not accept his resignation for a considerable time, and in 1821 made him Generalfeldmarschall. He had been made Graf Yorck von Wartenburg in 1814. The remainder of his life was spent on his estate of Klein-Öls (today Oleśnica Mała, Poland) in Silesia, a gift of the king. A statue by Christian Daniel Rauch was erected in Yorck's honor in Berlin in 1855. The former football club Yorck Boyen Insterburg was also named in honor of Yorck.

A 1931 film Yorck was made about him with Werner Krauss playing the General.

Notable descendants
Yorck was the great-grandfather of the late-nineteenth-century philosopher Paul Yorck von Wartenburg and the great-great-great-grandfather of Peter Yorck von Wartenburg, a member of the German resistance during the Nazi regime.

title: Ludwig Yorck von Wartenburg


text:
User:Spellbinder

Hi,

I'm from the South of England and have over 20 years experience in the computing industry.

My interests include:
 * Computing (hmm, there's a surprise)
 * Mathematics
 * Linguistics
 * Genealogy

.. but if you want to see what I'm really interested in (as opposed to what I'd like you to think I'm interested in), then click on User Contributions to the left and have a good old nose around.

I'm probably best described as a pernickety pain in the arse :-) .... and make sure you use the British English definition of pernickety (particular about details or trifles; fastidious, punctilious). Still, I suppose being pernickety is as asset when it comes to editing Wikipedia.

title: User:Spellbinder


text:
User:Refdoc

Administrators' noticeboard

Pages initiated by myself:

 * International Fellowship of Evangelical Students
 * Medical Foundation for Care of Victims of Torture
 * Christians in Iran
 * Jama'at-e Rabbani
 * Religious minorities in Iran
 * Haik Hovsepian Mehr
 * Bandar-e Anzali
 * Abbas Kiarostami
 * Episcopal Church in Jerusalem and the Middle East
 * Ustad Mohammad Hashem Cheshti
 * Ahl-e Haqq
 * Bonn Agreement (Afghanistan)
 * Ethnic minorities in Iran
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Major Contributions:

 * Evangelicalism
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 * List of newspapers in the United Kingdom
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Minor Contribution:

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deletion of plenty vanity links by user:JBOC (now banned), 199.67.140.20 and others...

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text:
Christian Daniel Rauch

Christian Daniel Rauch (2 January 1777 – 3 December 1857) was a German sculptor. He founded the Berlin school of sculpture, and was the foremost German sculptor of the 19th century.

Life

Rauch was born at Arolsen in the Principality of Waldeck in the Holy Roman Empire. His father was employed at the court of Prince Frederick II of Hesse, and in 1790 the lad was apprenticed to the court sculptor of Arolsen, Friedrich Valentin. In 1795, he became assistant to Johann Christian Ruhl, the court sculptor of Kassel. After the death of his father in 1796 and his older brother in 1797, he moved to Berlin where he was appointed groom of the chamber in the king's household. He abandoned sculpture temporarily, but his new position provided a wider field for improvement, and he soon used the opportunity and practiced his art in his spare hours. He came under the influence of Johann Gottfried Schadow.

In 1802, he exhibited his "Sleeping Endymion." Queen Louisa of Prussia, surprising him one day in the act of modeling her features in wax, sent him to study at the Prussian Academy of Art. Not long afterward, in 1804, Count Sandrecky gave Rauch the means to complete his education at Rome, where Wilhelm von Humboldt, Antonio Canova and Bertel Thorvaldsen befriended him. He also executed his life-size bust of Queen Louise in marble, and among his other early works were busts of the poet Zacharias Werner, Count Wengersky and the painter Raphael Mengs, the latter executed on a commission from Ludwig I of Bavaria. Other works were bas-reliefs of "Hippolytus and Phaedra," "Mars and Venus wounded by Diomede," and a "Child praying." He remained in Rome for six years.

In 1811, Rauch was commissioned to execute a monument for Queen Louisa of Prussia. The statue, representing the queen in a sleeping posture, was placed in a mausoleum in the grounds of Charlottenburg and procured great fame and a European reputation for the artist. A similar statue of the Queen, even more successful, was placed in the Sanssouci Park at Potsdam. The erection of nearly all public statues came to be entrusted to him. There were, among others, Bülow, Yorck and Scharnhorst at Berlin, Blücher at Breslau, Maximilian at Munich, Francke at Halle, Dürer at Nuremberg, Luther at Wittenberg, and Grand Duke Paul Friedrich at Schwerin.

By 1824, he had executed 70 busts in marble of which 20 were of colossal size. His colossal bronze statues of Blücher are 13 feet in height, and he also executed the greater part of the 12 statues in iron which compose the National Monument for the Liberation Wars on the Kreuzberg, near Berlin. One of his finest works is the group "Faith, Hope and Charity," which he presented to his native town, Arolsen.

At length, in 1830, Rauch began, along with the architect Karl Friedrich Schinkel, the models for a colossal equestrian monument at Berlin to honor King Frederick II of Prussia (Frederick the Great). This work was inaugurated with great pomp in May 1851, and is regarded as one of the masterpieces of modern sculpture, the crowning achievement of Rauch's work as a portrait and historic sculptor. Princes decorated Rauch with honors and the academies of Europe enrolled him among their members. A statue of Immanuel Kant for Königsberg and a statue of Albrecht Thaer for Berlin occupied his attention during some of his last years; and he had just finished a model of Moses praying between Aaron and Hur when he was attacked by his last illness. In 1837 Rauch became associated member of the Royal Institute of the Netherlands. He died at Dresden, aged 80.

title: Christian Daniel Rauch


text:
Apache Nutch

Apache Nutch is a highly extensible and scalable open source web crawler software project.

Features
Nutch is coded entirely in the Java programming language, but data is written in language-independent formats. It has a highly modular architecture, allowing developers to create plug-ins for media-type parsing, data retrieval, querying and clustering.

The fetcher ("robot" or "web crawler") has been written from scratch specifically for this project.

History
Nutch originated with Doug Cutting, creator of both Lucene and Hadoop, and Mike Cafarella.

In June, 2003, a successful 100-million-page demonstration system was developed. To meet the multi-machine processing needs of the crawl and index tasks, the Nutch project has also implemented a MapReduce facility and a distributed file system. The two facilities have been spun out into their own subproject, called Hadoop.

In January, 2005, Nutch joined the Apache Incubator, from which it graduated to become a subproject of Lucene in June of that same year. Since April, 2010, Nutch has been considered an independent, top level project of the Apache Software Foundation.

In February 2014 the Common Crawl project adopted Nutch for its open, large-scale web crawl.

While it was once a goal for the Nutch project to release a global large-scale web search engine, that is no longer the case.

Scalability
IBM Research studied the performance of Nutch/Lucene as part of its Commercial Scale Out (CSO) project. Their findings were that a scale-out system, such as Nutch/Lucene, could achieve a performance level on a cluster of blades that was not achievable on any scale-up computer such as the POWER5.

The ClueWeb09 dataset (used in e.g. TREC) was gathered using Nutch, with an average speed of 755.31 documents per second.

Related projects

 * Hadoop – Java framework that supports distributed applications running on large clusters.

Search engines built with Nutch

 * Common Crawl – publicly available internet-wide crawls, started using Nutch in 2014.
 * Creative Commons Search – an implementation of Nutch, used in the period of 2004–2006.
 * DiscoverEd – Open educational resources search prototype developed by Creative Commons
 * Krugle uses Nutch to crawl web pages for code, archives and technically interesting content.
 * mozDex (inactive)
 * Wikia Search - launched 2008, closed down 2009

title: Apache Nutch


text:
Talk:TV3

I guess it's only a matter of time before somebody makes a disambiguation page. :) Mendalus 17:27, 12 Dec 2003 (UTC)

title: Talk:TV3


text:
Thomas Hope (designer)

Thomas Hope (30 August 1769 – 2 February 1831) was a Dutch-British interior and Regency designer, traveler, author, philosopher, art collector, and partner in the banking firm Hope & Co. He is best known as an early promoter of Greek Revival architecture, opening his house as a museum and his novel Anastasius, a work which many experts considered a rival to the writings of Lord Byron.

Born in Amsterdam, he fled to London after the French Revolution spread to the Netherlands, leaving a large part of his art collection behind.

Early life and family

The eldest son of Jan Hope, Thomas descended from a branch of an old Scottish family (Quakers) who for several generations were merchant bankers known as the Hopes of Amsterdam, or Hope & Co. He was baptized on 3 September in the English Reformed Church, Amsterdam. He had two brothers, Adrian Elias (1772-–834), an innovative gardener, and Henry Philip (1774-–839), a collector of gems and jewelry. Hope was possibly painted as a boy by Guy Head who visited Amsterdam cin 780. Thomas inherited a love of the arts from his parents. His father spent his final years turning his summer home ,Groenendaal Park in Heemstede into a grand park of sculpture which would be open to the public.

Grand tour
In 1784, when Thomas was fifteen, his father died unexpectedly in the Hague right after purchasing Bosbeek, the mansion that would later house his large art collection. He shared his art collection as part of the Hope & Co. partnership with his cousin Henry Hope.

At the age of eighteen, Thomas began to devote most of his time to the study of the arts, especially classical architecture. During his eight-year grand tour through Europe, Asia and Africa, Thomas became especially interested in architecture and sculpture, collecting a large collection of artifacts that attracted his attention (e.g. the Hope Dionysus).

Not long after his mother died in early January 1790, Thomas received the rights and liabilities of a person of full age and was admitted to the board of the Hope company. He owned almost a sixth of the shares, and instantly became a millionaire. Between 1792 and 1794 he and Henry Philip traveled in Italy, buying antiquities (Venus, restored by Antonio Canova).

Henry Hope was the executor of their mother's will in June 1794; Thomas received the largest and most expensive mansion on Herengracht. On 24 December 1794 he crashed in the Watergraafsmeer with another chaise. (On 27, the French general Pichegru crossed the Meuse on the ice and moved north.) Within a few weeks, he fled to London to avoid the Batavian Revolution and the French occupation of the Netherlands and never returned.

Escape to London
The Hope brothers, under the protection of their uncle, took 372 paintings with them. Among these were important works by Frans Hals, Peter Paul Rubens, Rembrandt and Sir Anthony van Dyck.

The Hopes left their mansions, full of wall decorations, furniture, and heavy statuary. Henry settled at the corner of Harley Street and Cavendish Square, Thomas at Hanover Square. Later in 1795, the brothers went to Rome.

In 1802, their younger brother, Adrian Elias, who had been declared insane, would return to live at Groenendaal Park and expand the gardens. The brothers sold the real estate at Keizersgracht and Prinsengracht to John Williams Hope. Henry also sold Villa Welgelegen to this fiduciary, who continued to hold that office until the establishment of the monarchy under Louis Bonaparte in 1806.

Career as an interior decorator
In 1799, the Hopes established a residence in London in Duchess Street, off Portland Place, designed by Robert Adam. Thomas remodeled it in an Egyptian style. Experienced from his extensive travel, Thomas Hope enjoyed the cosmopolitan atmosphere of London, while his younger brothers missed their home in the Netherlands. He decorated the mansion in a very elaborate style, from drawings made himself with each room taking on a different style influenced by the countries he had visited. In essence, the combined art collections of Hope & Co., his parents and Henry Hope gave him the opportunity to further research the various art he had studied during his travels. Thomas began to write books on decoration and furniture, the first of its kind.

In this eclectic wealthy residence of bachelors, younger brother Henry Philip oversaw the gem collection (acquiring the Hope Diamond and the Hope Pearl), while cousin Henry busied himself with the banking business and the Louisiana Purchase, together with Barings. Thomas Hope did not settle in London, however. He took up his grand tour where he left off, and in 1796 he began his extensive tours of the Ottoman Empire, which included visits to Turkey, Rhodes, Egypt, Syria, and Arabia. He stayed for about a year in Constantinople and produced some 350 drawings depicting the people and places he witnessed, a collection now to be found in the Benaki Museum, Athens.

In 1801, he bought a collection of Greek vases from William Hamilton. During these travels, he was given free rein by the Hope & Co. firm to collect many paintings, sculptures, antique objects and books, some of which were destined to be displayed for the public in Amsterdam in the branch offices on Keizersgracht 444, and some of which were destined for his London house in Duchess Street in 1804.

During the Treaty of Amiens he started to travel again. In 1803, he ordered Jason with the Golden Fleece, a sculpture by Thorvaldsen in Copenhagen City Hall, included in the semi-official Danish Culture Canon. Thomas Hope first opened his new galleries to the public, on 10 February 1804.

The Egyptian Gallery, a private room in the home of Thomas Hope to display his Egyptian antiquities, and illustrated in engravings from his meticulous line drawings in his book Household Furniture (1807), were a prime source for the Regency style of British furnishings.

Marriage and move to Deepdene

After his marriage to Louisa de la Poer Beresford (daughter of William Beresford, 1st Baron Decies) in 1806, Hope acquired a country seat at Deepdene, near Dorking in Surrey. Here, surrounded by his large collections of paintings, sculptures and antiques, Deepdene became a famous resort of men of letters as well as of people of fashion. Among the luxuries suggested by his fine taste, and provided to his guests, was a miniature library in several languages in each bedroom.

He also gave frequent employment to artists, sculptors and craftsmen. Bertel Thorvaldsen, the Danish sculptor, was indebted to him for the early recognition of his talents. He was also a patron to Francis Legatt Chantrey and John Flaxman; it was to his order that the latter illustrated the writings of Dante Alighieri. He developed the gardens in a particular version of picturesque style.

Hope was noted for his snobbery and ugliness, one contemporary describing him as "undoubtedly far from the most agreeable man in Europe. He is a little ill-looking man…with an effeminate face and manner." When the French painter Antoine Dubost exhibited a portrait of him titled "Beauty and the Beast", portraying him as a monster offering his wife jewels, it caused a public scandal: the painting was mutilated by Louisa's brother. A further scandal arose in 1810 when Hope took up with a beautiful young Greek sailor, Aide, and attempted to launch him into Society.

Hope was the father of Henry Thomas Hope, art patron and politician and Alexander James Beresford Beresford Hope, author and politician.

Writing

Hope was eager to advance public awareness of historical painting and design and to influence design in the grand houses of Regency London. In pursuit of his scholarly projects, he began sketching furniture, room interiors and costumes, and publishing books with his accompanying scholarly texts.

In 1807 Thomas Hope published sketches of his furniture, in a folio volume, titled Household Furniture and Interior Decoration, which had considerable influence and brought about a change in the upholstery and interior decoration of houses. Hope's furniture designs were in the pseudo-classical manner generally called "English Empire". It was sometimes extravagant, and often heavy, but was much more restrained than the wilder and later flights of Thomas Sheraton in this style.

In 1809 he published the Costumes of the Ancients, and in 1812 Designs of Modern Costumes, works which display a large amount of antiquarian research. A Historical Essay on Architecture, which featured illustrations based on early Hope drawings, was published posthumously by his family in 1835. Thus Hope became famous in London's aristocratic circles as 'the costume and furniture man'. The sobriquet was regarded as a compliment by his enthusiastic supporters, but for his critics, including Lord Byron, it was a term of ridicule.

 * 1807: Household Furniture and Interior Decoration. Faksimile-Neuausgabe 1937.
 * 1809: Costumes of the Ancients.
 * 1812: Designs of Modern Costumes.
 * 1819: Anastasius, or Memoirs of a Modern Greek. (Roman)
 * 1831: Origin and Prospect of Man.
 * 1835: Historical Essay on Architecture.

Anastasius

At age fifty, Hope began work on a novel at the suggestion of a few friends. The first edition of Anastasius was complete in 1819 and was published by London publisher John Murray. It received foreign translations into French, German and Flemish.

The novel lifted a curtain of ignorance about the East without being a mere retelling of Hope's own travels. The eponymous narrator-hero Anastasius was fearless, curious, cunning, ruthless, brave and, above all, sexy. As a newly converted Muslim mercenary soldier, Selim, his travels threw him among friends, lovers and enemies.

The novel described the lives of the inhabitants of the Ottoman Empire and the wars fought among the Turks, Russians and Wahabees. It also included many previously unfamiliar details of Islamic culture: music, language, cuisine, religion, laws and literature.

Because of his modesty, Hope originally chose not to declare his authorship of Anastasius in the first edition. Ironically, given Hope's mild reputation, the authorship of the dashing Anastasius was at first mistakenly attributed to Lord Byron, who, according to legend, confided to Marguerite, Countess of Blessington, that he wept bitterly on reading it. "To have been the author of Anastasius, I would have given the two poems which brought me the most glory." These events prompted Hope to reveal his identity as author in later editions, adding a map of Anastasius's travels and fine-tuning the text, although his authorship was initially greeted with incredulity by some journals.

Soon after Hope's death in 1831, his widow Louisa remarried her cousin William Carr Beresford, 1st Viscount Beresford. His family thereafter embraced conservative values, causing them to authorise the demolition of the writer's legendary London home, disperse his fabled art collection, and distance themselves from his Oriental masterpiece. No substantial collection of Hope's personal papers survived the family indifference and Anastasius, his magnum opus, became a victim of the sanctimonious morality of the Victorian age.

Nevertheless, it influenced the later works of William Thackeray, Mark Twain and Herman Melville. More recently, the noted Orientalist Robert Irwin wrote, "this book, one of the most important books of the nineteenth century, should be much more widely read."

In addition to his other accomplishments, Hope was the author of an important philosophical work published posthumously, The Origin and Prospect of Man (1831), in which his speculations diverged widely from the social and religious views of the Victorian age. This volume, which has been cited by the philosopher Roger Scruton, was a highly eclectic work and took a global view of the challenges facing humanity.

In his obituary published in The Mirror of Literature, Amusement, and Instruction Volume 17, No. 476, Saturday, 12 February 1831, it was written, "We remember the opinion of a writer in the Edinburgh Review, soon after the publication of Anastasius. With a degree of pleasantry and acumen peculiar to northern criticism, he asks, 'Where has Mr. Hope hidden all his eloquence and poetry up to this hour? How is it that he has, all of a sudden, burst out into descriptions which would not disgrace the pen of Tacitus, and displayed a depth of feeling and vigor of imagination which Lord Byron could not excel? We do not shrink from one syllable of this eulogy.'"

Still commonly known among literary circles as "Anastasius Hope", the combined artistic legacy of Thomas Hope is still of universal interest and importance.

Death and legacy

In early 1831, Hope fell ill. He died on 2 February at Duchess Street and was laid to rest on 12 February in the mausoleum at Deepdene.

The two mansions Hope created have been lost; that in Duchess Street was demolished by his son in 1851 and Deepdene in 1969. The only complete surviving structure built by Hope is the Deepdene mausoleum. Built in 1818, the structure was the first recorded work at Deepdene. It was permanently sealed in 1957 and buried in 1960. The Mausolea and Monuments Trust has been working with Mole Valley District Council to rescue the structure and is running a campaign to excavate and repair it.

The principal elevation was excavated in 2013, with further restoration in 2016.

title: Thomas Hope (designer)


text:
Talk:Carmen Basilio

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