text:
Talk:Rivers of Blood speech

Maybe
maybe i'm just a squemish liberal but i don't realy like having a national front link on this page. A text is a text, but the NF are not a good site for any information...
 * My initial reaction too but reflected that it's a free speech thing and people can make up their own minds. I couldn't find any libertarian sites hosting the speech.Cutler 20:24, 3 Mar 2004 (UTC)
 * I agree. It seems NPOV to me... I'll host it! (ricjl 10:29, 28 Jul 2004 (UTC))
 * It's available at Wikisource Spike iron 21:41, 4 March 2007 (UTC)

- Why is this separate from Enoch Powell? Surely these patagraphs don't make sense except as part of his career? Wetman 00:51, 12 Mar 2004 (UTC)

Unjustified removal of material
I'm afraid you can't really just go and cut out the balance of view because it doesn't fit with one's ideals - neutral doesn't mean subscribing to this ridiculous notion that any mention of racial tensions is taboo. Since you have the side of the argument that the speech should immediately be condemned (not exactly neutral), you have to then balance it out with the possibility that it contained elements of truth. Powell's speech can be interpreted in many different ways and I think a lot of people can appreciate the message that failing to integrate another culture into your own can cause problems - for example Pakistan's ambassador to the UN's recent comments.

You are invited to write such a topic. Make sure it is well sourced and written factually and I'm sure no reasonable man will object. Impartiality shall reign (talk) 00:21, 27 November 2010 (UTC)

Purpose of last paragraph of speech
The immediately preeding sentence an part of the paragraph is "For these dangerous and divisive elements the legislation proposed in the Race Relations Bill is the very pabulum they need to flourish." Rich  Farmbrough 19:56, 18 November 2005 (UTC)

This needs to be added!

 * The woman who never was? by the BBC.  "Enoch Powell's infamous 'rivers of blood' speech at a Conservative Party meeting in Birmingham in 1968 marked both the end of his chances of holding ministerial office and the birth of an enduring mystery. In that speech he quoted a letter which referred to the plight of an unnamed woman pensioner in his Wolverhampton constituency whose life had, he claimed, been ruined by immigration."  Robert C Prenic 23:09, 22 January 2007 (UTC)

Merge from Druscilla Cotterill
Please merge any relevant content from [ Druscilla Cotterill] per Articles for deletion/Druscilla Cotterill. (If there is nothing to merge, just leave it as a redirect.) Thanks. —Quarl (talk) 2007-02-17 22:13Z

"References to the speech" section
I can't help but notice that all the given references to the speech are supportive ones - "Enoch was right", and so forth. Can't we include some of the negative references, which I think far more people may have used? I've hardly ever heard the "Rivers of Blood" speech referred to in a positive light.

WikiReaderer 14:21, 2 November 2007 (UTC)
 * There are plenty of critics, but few references in popular culture that are not supportive, because critics tend not to use it in that way. Bob Pervert 14:28, 2 November 2007 (UTC)

Clarify opinion poll figures
I've requested clarification re the opinion poll:
 * The Gallup Organization took an opinion poll at the end of April and found that 74% agreed with what Powell had said in his speech; 15% disagreed. 69% felt Heath was wrong to sack Powell and 20% believed Heath was right. Before his speech Powell was favoured to replace Heath as Conservative leader by 1%, with Reginald Maudling favoured by 20%; after his speech 24% favoured Powell and 18% Maudling. 83% now felt immigration should be restricted (75% before the speech) and 65% favoured anti-discrimination legislation.

The last statistic goes against all the previous ones. Should it perhaps read "65% opposed anti-discrimination legislation"? Or "65% favoured discrimination legislation"? Or "65% favoured anti-anti-discrimination legislation"? If it means what it says, then the marked contrast needs to be highlighted better; perhaps:
 * The Gallup Organization took an opinion poll at the end of April and found that 74% agreed with what Powell had said in his speech; 15% disagreed. 69% felt Heath was wrong to sack Powell and 20% believed Heath was right. Before his speech Powell was favoured to replace Heath as Conservative leader by 1%, with Reginald Maudling favoured by 20%; after his speech 24% favoured Powell and 18% Maudling. 83% now felt immigration should be restricted (75% before the speech). Nevertheless, 65% favoured anti-discrimination legislation.

jnestorius(talk) 20:41, 5 November 2007 (UTC)

Shadow Cabinet
Apparently what angered many Shadow Cabinet members, not least Ian Macleod and Quintin Hogg, was that Powell was a relatively silent member of the Shadow Cabinet, and had given them no indication at all that he would be making this speech. Millbanks (talk) 22:54, 21 April 2008 (UTC)

East Indians
I removed the last sentence in the Reaction section because of gratuitous political correctness. Powell made the mildly favorable East Indian comments for political cover. There is no indication of any such real conviction. I am currently reading a collection of essays and correspondence of Enoch Powell wherein he refers to East Indians as "monkeys." Powell later said too that the conservative classic Camp of the Saints (which criticizes the East Indian "invasion" of Europe) is one of the best novels ever written.--Elizabeth66 (talk) 01:48, 22 April 2008 (UTC)
 * I reverted the deletion because the quote does not make sense without it. If Powell says he is "racialist in reverse" you can't leave it there, it doesn't make sense unless the explanation is quoted too. This is information relevant to the article from a verifiable source: you are removing it because you don't believe he was sincere. That is a POV, people should be left to judge for themselves whether he was sincere or not.--Johnbull (talk) 16:25, 22 April 2008 (UTC)
 * I suggest that someone add the fact of the "monkeys" references in his writings, immediately after noting his quote claiming that East Indians are "superior". That seems most NPOV from where I sit.  I'm not doing the action myself because I am completely new to learning of the speech, the man, or anything directly related, don't have firsthand knowledge of the "monkeys" quotes, and am not even a Brit.  —Preceding unsigned comment added by 69.17.65.50 (talk) 03:25, 22 April 2009 (UTC)

De Valera speech
I think some note should be made on this page in reference to the speeches made by Éamon de Valera, the Irish leader, during the Irish Civil War which were known as the "Wading through Blood", or "Rivers of Blood" speeches. A quotation from De Valera can be found here. TheLopper (talk) 14:18, 12 December 2008 (UTC)

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wrong info
It was written in the Rivers of Blood speech that Powell proposed anti-discrimination legislation when in fact it was the contrary. His speech was racist, and he advocated against anti-discrimination legislation to "protect" the country from minority immigrants. —Preceding unsigned comment added by 86.69.86.97 (talk) 22:20, 15 May 2010 (UTC)

Edit warring
The reasoning behind the protection of this article is discussed at Talk:Enoch_Powell. Please discuss the issues there. Regards, Woody (talk) 15:36, 22 September 2010 (UTC)

Socialist Worker Quotation
Shortly before the speech's 40th anniversary in 2008, the Socialist Worker newspaper condemned the speech as "the nastiest and most calculated piece of racism ever to be heard from the lips of a senior politician in postwar Britain" and blamed it for the rise of the then new founded National Front and the British National Party which was subsequently formed by some of the National Front's former members in 1982.[27

It is my opinion as stated in the removal of this quote that this paper is 1) Has a small readership rendering its views rather irrelevant 2) Largely biased and Socially divisive paper. Considering the status of this speech I don't feel such biased and under subscribed views should be included. Let's keep it to the mainstream papers and historians please. Alexandre8 (talk) 13:37, 27 November 2010 (UTC)

The Socialist Worker quote is properly sourced, so I am reverting your deletion. It was not me that originally added this passage (and I do not support the SWP) but theirs is a legitimate perspective and many people will at least agree with them on this issue. The article contains references to support Powell received from unsavoury far right groups (e.g. the white power rock band "Brutal Attack") and it is necessary that all sides of this debate are explained in order that the reader can see reaction to the speech in context. You say that the Socialist Worker is a "biased and socially divisive paper". Well that's exactly how some of us feel about Enoch Powell's speech. Your user page states that you are a "Conservative/Libertarian" who believes in "freedom of democracy". Do your libertarian and democratic values not include the right of anti racists to express their opinion? Multiculturalist (talk) 20:58, 27 November 2010 (UTC)

The Times newspaper declared it "an evil speech", stating "This is the first time that a serious British politician has appealed to racial hatred in this direct way in our postwar history."[16] The Times went on to record incidents of racial attacks in the immediate aftermath of Powell's speech. One such incident, reported under the headline "Coloured family attacked", took place on Tuesday 30 April in Wolverhampton itself: it involved a slashing incident with 14 white youths chanting "Powell" and "Why don't you go back to your own country" at patrons of a West Indian christening party. One of the West Indians who was cut, a Mr. Wade Crooks of Lower Villiers Street, was the child's grandfather. He had to have eight stitches over his left eye. He was reported as saying "I have been here since 1955 and nothing like this has happened before. I am shattered."[17] An opinion poll commissioned by the BBC television programme Panorama in December 1968 found that 8% of immigrants believed that they had been treated worse by white people since Powell's speech, 38% would like to return to their country of origin if offered financial help, 47% supported immigration control, with 30% opposed.[18]

Please read above. The overall view of the socialist worker is already highlighted and discussed in the article. Please refer to the previous comments I made about suitability of sources. Criticism is allowed but as you will see in the Wiki guidelines, it must be by a mainstream source or by a specialist historian. The only time minor sources are allowed on their own are generally with small articles on a specific topic, or with stubs. Seeing that this is a major part of the political history of this country, I do not class this article as either of those.

As for my own POV, if I had a political agenda or something to prove, I would have vandalised the article and removed the quote from the times, which essentially expressing the same view as the Socialist worker. It's a reliable source and a massively popular one. I understand your willingness to help, but I think you need to read a few more of the guidelines first.You don't have to be a socialist to be an anti fascist. And anyway, anti fascism is irrelevant her since Powell was not a fascist, just arguably racist. There is a huge difference. since Thank you for your understanding Alexandre8 (talk) 21:33, 27 November 2010 (UTC)

New round of edit warring
Once again I hae protected this article due to edit warring and once again there has been no discussion apart from in edit summaries. Discuss your issues here before you start edit wars please. Woody (talk) 07:46, 29 March 2011 (UTC)
 * Page abuse yet again from multiculturalism. I'm afraid your opinion has no place on here multi, just public consensus. The consensus is that you stop edit warring with this change. Thank you. Alexandre8 (talk) 12:23, 29 March 2011 (UTC)
 * Lets keep away from personal comments and keep discussion to the issues at hand. Why do you think your version of the article is the correct one? Please give your reasoning and hopefully those who oppose your version will offer their rebuttal. Woody (talk) 12:34, 29 March 2011 (UTC)
 * If you'd just check his history you'd see what I mean. But point taken. Alexandre8 (talk) 14:25, 29 March 2011 (UTC)
 * Woody - If you do check my history, please check previous versions of my TalkPage - because Alexandre8 has hidden some of the previous silly comments he made on this (including a grovelling apology he was forced to make to me on one occasion). Also, please check previous versions of his TalkPage - where he has hidden the numerous occasions on which he has been chastised for personal attacks etc. Turning to the issue of the edit warring on the Rivers of Blood article, I have simply added the word "claims" to clarify the fact that there was a dispute between Margaret Thatcher and Edward Heath as to whether she protested to Heath about the sacking of Enoch Powell. She says she did, Heath says she did not. As her claim to have objected is unsourced, I do not think it is right that we simply allow her supporters to make her version of events the standard factual one: surely at the very least they should be required to provide citation. There is a similar dispute on the Countryside Alliance article (Alexandre8 has been stalking me there, too) in that there is a series of blatantly pro-CA POV statements (e.g. "The Alliance champions rural businesses") with no citation provided. Alexandre8 has persistently reverted my editing of the pro-CA POV.Multiculturalist (talk) 14:37, 1 April 2011 (UTC)
 * Please remind yourself Multi that on the times you have been rebuked by me, you have been in the wrong with your edits as by public consenus as well. You're wrong here, you're wrong there. Alexandre8 (talk) 17:40, 1 April 2011 (UTC)
 * Not by public consensus, no. Your opinion does not equate to public consensus. Further more, I notice you have no answer to my assertion that the POV passage you wish to protect has no citation to back it up. Multiculturalist (talk) 19:53, 3 April 2011 (UTC)
 * Oh you're just talking drivel now. Almost all your edits result in edit wars. Take a hint. Alexandre8 (talk) 05:16, 5 April 2011 (UTC)
 * In fact, almost all of the edit wars I've been involved in also involve you (e.g. BNP, EDL, Rivers of Blood and now the Countryside Alliance). By the way, did you ever give Snowded an apology for accusing him of being a member of Unite Against Fascism?Multiculturalist (talk) 13:01, 5 April 2011 (UTC)
 * since when was your name snowed? shh already.Alexandre8 (talk) 18:29, 5 April 2011 (UTC)

David Starkey
Either the reference to David Starkey should be expanded on to make the context of his comments clear, or it should be removed. — Preceding unsigned comment added by 160.5.226.53 (talk) 20:30, 19 November 2011 (UTC)

"Rivers of Blood"?
I can't help but think that this page is not properly titled. As contributors know, the phrase "rivers of blood" does not appear in the text (nor could it have, as the phrase does not appear in the Aeneid.) In the various published collections of Powell's speeches (e.g., Reflections of a Statesman, Enoch at 100), the speech, which Powell gave on April 20, 1968, is simply referred to as an "Address to the General Meeting of the West Midlands Area Conservative Political Centre."

Perhaps "Rivers of Blood" could remain the page's title but the first paragraph could go something like this:

Enoch Powell's April 20, 1968 address to the General Meeting of the West Midlands Area Conservative Political Centre (commonly called the "Rivers of Blood" speech") was a speech. . .

Does this seem reasonable? Stealstrash (talk) 13:50, 26 September 2012 (UTC)

 * Yes, it's reasonable. The "Rivers of blood" can remain in bold, though, as the speech is known under that name and the long description sounds a bit bureaucratic. --Jonund (talk) 09:29, 28 September 2012 (UTC)

 * Reasonable and very astute: it should really have been changed like this a long time ago. SteveStrummer (talk) 14:51, 28 September 2012 (UTC)

 * What happened to our consensus here? I'm changing back…Stealstrash (talk) 06:42, 2 September 2014 (UTC)

 * I can t help but think that this page is not properly titled, too. Wikipedia prides itself on exactness.  Given that Powell didn t actually refer to rivers of blood, but  was quoting from classic Latin (a point which is probably lost on the modern general public, even if it was not then), surely we should refer to it accurately.  If the speech was commonly referred to as "The Rivers of Milk" speech, wouldn't we title the article correctly? Also, when WIkipedia is used as an authority by many search engines it perpetuates the error and misunderstanding of what he was saying, not "I genuinely believe rivers of blood will flow" but, rhetorically, "I have a great foreboding of blood shed→".  I propose Enoch Powell's April 20, 1968 address (commonly called the "Rivers of Blood" speech") altho I believe quotes are discouraged in article titles. At _least_ it should be in quotes.  Jabberwoch (talk) 00:10, 14 November 2015 (UTC)

Farage
I believe that Farage's position on the speech (as in, "the basic principle" was right) should be mentioned in the article, no? — Preceding unsigned comment added by 86.181.213.117 (talk) 23:36, 5 January 2014 (UTC)

Reference to 1930s in speech
He argued that journalists who urged the government to pass anti-discrimination laws were "of the same kidney and sometimes on the same newspapers which year after year in the 1930s tried to blind this country to the rising peril which confronted it".

It would be helpful, now that decade is so far back in time, if someone could clarify what the exact 'rising peril' was that Powell referred to. It may be easy to presume he was talking about communism, fascism, or German Nazism. Powell may have been putting the then desire for international appeasement on the same plane as the desire for the race relations laws he criticised.Cloptonson (talk) 21:58, 8 October 2016 (UTC)

 * It's clearly referring to the simplistic explanations of "appeasement" (of Nazi Germany, which after the event got lumped in with Mussolini & Franco even though it had been a lot less clear at the time) which were common ground in political discourse for a generation or two after the war. "If only we had rearmed more, if only we had "stood up to" Hitler when he [insert chosen act of aggression here - Churchill later earmarked the remilitarisation of the Rhineland but he hadn't been saying any such thing at the time!]". I had to listen to all this, seemingly endlessly, from my late Dad (born 1915) when I was growing up ... Paulturtle (talk) 01:19, 9 November 2017 (UTC)

Rivers of Blood speech predecessor
I have been reading an article, 'My father and Enoch Powell' (Shropshire Star, 8 October 2016), looking at Nicholas Jones' account of his father Clem Jones' friendship with Powell, which the former abruptly ended after the speech was made. It mentions Powell's first public airing of concerns for community relations in the Midlands came in a speech at Walsall in March 1968 (previous month), when Powell alleged an anonymous constituent's claim their child was the only white one in their school class, and was being bullied by non-white pupils. When Express & Star journalists could find nothing to confirm the story, Clem Jones challenged Powell, adding that Jones himself had been getting similar anonymous complaints which had all proved false and could be traced to local National Front members. Powell told Jones he did not accept the attribution to the NF and that this speech had drawn him 'bags of supporting mail'. I am looking at working this into the Background section - any thoughts?Cloptonson (talk) 19:31, 9 October 2016 (UTC)

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The article is poorly organized with the effect of making the speech look better/more popular
Why is "Support for the speech" different from the reaction? Support is a type of reaction.

If it's because the support section has more of a long-term view, why isn't that idea in the title i.e. legacy? Why then are actions/quotes from the 2010s in the reaction section?

How is "Support for the speech" meaningfully different from "Acknowledgement from politicians," such that they have to have two separate sections?

Why is there no section for continued criticism? Link #67 contains criticism from current politicians, so it's not like criticism is hard to find.

Why should retrospective discussion be broken up into support and criticism at a high level?

Wrong citation date: Heffer 1999 should be Heffer 1998 (?)
All the citations for Simon Heffer's biography, Like the Roman, say 1999 but this must be wrong as the book was published in 1998. I'll try to fix it... Hyuhanon (talk) 05:32, 15 April 2022 (UTC)

Actual Speech Text
Addition of a section with solely the speech text, and not divided up by “explanation(s)” of segments of the speech, would be helpful. 2601:408:600:400:B9DF:483C:FF22:912 (talk) 06:24, 31 October 2022 (UTC)

title: Talk:Rivers of Blood speech


text:
Concorde station

Concorde is a station on Lines 1, 8, and 12 of the Paris Métro. Serving the Place de la Concorde in central Paris, it is located in the 1st arrondissement.

The station is expected to be closed from 17 June to 21 September during the 2024 Summer Olympics.

History
The station opened on 13 August 1900, almost a month after trains began running on the initial section of line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900. The station was the site of the first accident on the métro. On 19 October 1900, a current capture fault between the contact shoe on the train and the third rail resulted in a short circuit that started a fire. It caused a collision with the following train, injuring 29 passengers and 1 driver.

Line 12's platforms opened on 5 November 1910 as part of the original section of the Nord-Sud Company's line A between Porte de Versailles and Notre-Dame-de-Lorette.

Ezra Pound wrote in 1914 that his famous Imagist poem, "In a Station of the Metro", was inspired by his impressions upon exiting a train at Concorde three years earlier.

Line 8's platforms opened on 12 March 1914 as part of the initial section of the line from Beaugrenelle (now Charles Michels on Line 10) to Opéra, seven months after the opening of the initial section of the line on 12 July 1913 as the platforms at Concorde and Invalides were not completed at the time.

On 27 March 1931, line A became line 12 when It was taken over by its competitor, the Compagnie du chemin de fer métropolitain de Paris (CMP), incorporating it into the Paris Métro. The original Nord-Sud decor of line 12's station was removed in 1991 when it was redecorated by a new artwork by the artist Françoise Schein. It consisted of blue letters set on a white square tile that form the text of the Declaration of the Rights of Man and of the Citizen. The name of the station was also inscribed using the same letters albeit on navy blue tiles. The platforms' vault are covered with horizontal and vertical bands of navy blue tiles and have a speckled-grey tiling on its floors. Numerous metro stations around the world have also been designed with the same theme in mind by the same artist such as: Luz in São Paulo, Parvis de Saint-Gilles in Brussels, Parque in Lisbon, and Westhafen in Berlin.

Up until 1997, line 8's station had a single dead-end track alongside the platform towards Pointe du Lac. It was removed to create offices.

Over the weekend of 13–14 June 2009, line 1's platforms were closed to raise its platform levels for the installation platform screen doors to improve passenger safety and for its eventual automation; it was installed in October 2010.

As part of the "Un métro + beau" programme by the RATP, between 11 April to 30 June 2016, line 8's platforms and lighting were renovated and modernised, requiring a closure of its platforms during that time.

In 2019, the station was used by 6,115,023 passengers, making it the 58th busiest of the Métro network out of 302 stations.

In 2020, the station was used by 2,617,251 passengers amidst the COVID-19 pandemic, making it the 75th busiest of the Métro network out of 304 stations.

In 2021, the station was used by 3,401,219 passengers, making it the 86th busiest of the Métro network out of 304 stations.

Access
The station has seven accesses:

 * Access 1: Jeu de Paume Jardin des Tuileries
 * Access 2: rue de Rivoli
 * Access 3: rue Saint-Florentin
 * Access 4: Musée de l'Orangerie Jardin des Tuileries
 * Access 5: rue Cambon
 * Access 6: rue Royale
 * Access 7: avenue Gabriel

Platforms
All three lines have a standard configuration with 2 tracks surrounded by 2 side platforms, although the lower portion of the side walls on line 12's platforms are vertical instead of elliptical, as with the other stations constructed by the Nord-Sud company (today on lines 12 and 13).

Other connections
The station is also served by lines 42, 45, 72, 73, 84, and 94 of the RATP bus network, and at night, by lines N11 and N24 of the Noctilien bus network.

Nearby

 * The Place de la Concorde is on the right bank of the Seine opposite the French National Assembly, which sits in the Palais Bourbon.
 * To the east of the Place is the western end of the Tuileries Gardens, including Galerie nationale du Jeu de Paume and the Musée de l'Orangerie.

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

title: Concorde station


text:
Arthur O'Shaughnessy

Arthur William Edgar O'Shaughnessy (14 March 1844 – 30 January 1881) was a British poet and herpetologist. Of Irish descent, he was born in London. He is most remembered for his poem "Ode", from his 1874 collection Music and Moonlight, which begins with the words "We are the music makers, / And we are the dreamers of dreams", and which has been set to music by several composers including Edward Elgar (as The Music Makers), Zoltán Kodály, Alfred Reed and, more recently, 808 State (ex:el: nephatiti) and Aphex Twin (Selected Ambient Works 85-92).

Early life and herpetology

In June 1861, at age 17, Arthur O'Shaughnessy received the post of transcriber in the library of the British Museum, reportedly through the influence of Sir Edward Bulwer Lytton. According to Sir Edmund Gosse, O'Shaughnessy was one of Bulwer Lytton's many children born out of wedlock. Two years later, he became a herpetologist in the museum's zoological department. From 1874 to his premature death, he described six new species of reptiles, and after his death, he was honoured in the specific name, oshaughnessyi, of four new species of lizards described by Albert Günther and George Albert Boulenger.

Poetry
However, O'Shaughnessy's true passion was for literature. He published his first collection of poetry, Epic of Women, in 1870, followed two years later by Lays of France in 1872, and then Music and Moonlight in 1874. He is now best remembered for the first poem in his collection Music and Moonlight, entitled "Ode", which begins with the words: "We are the music makers, / And we are the dreamers of dreams".

O'Shaughnessy's most quoted poem is his ode to the place of art, beginning

We are the music-makers. And we are the dreamers of dreams. Wandering by lone sea-breakers. And sitting by desolate streams; World-losers and world-forsakers. On whom the pale moon gleams Yet we are the movers and shakers Of the world for ever, it seems

When he was 30, he married and did not produce any more volumes of poetry for the last seven years of his life. His last volume, Songs of a Worker, was published posthumously in 1881. O'Shaughnessy was both formally and aesthetically cutting-edge. For example, he is one of the few Pre-Raphaelite poets to have needed a steady income, and his corpus often explores the relationship between art and work. Unlike other Pre-Raphaelites, O'Shaughnessy saw poetry as the result of toil rather than the consequence of a moment's frenetic inspiration.

In his influential 1957 essay, T. S. Eliot gives O'Shaughnessy as an example of "poets who have written just one, or only a few good poems," and says that, despite his uneven output, "We Are the Music Makers" belongs in any 19th century verse anthology.

Personal life
The artists Dante Gabriel Rossetti and Ford Madox Brown were among O'Shaughnessy's circle of friends, and in 1873, he married Eleanor Marston, the daughter of author John Westland Marston and the sister of the poet Philip Bourke Marston. Together, he and his wife wrote a book of children's stories, Toy-land (1875). They had two children together, both of whom died in infancy.

Eleanor died in 1879, and O'Shaughnessy himself died in London two years later at the age of 36 from the effects of a "chill" after walking home from the theatre on a rainy night. He is buried in Kensal Green Cemetery.

Legacy
The anthologist Francis Turner Palgrave, in his work, The Golden Treasury declared that of the modern poets, despite his limited output, O'Shaughnessy had a gift that in some ways was second only to Tennyson and "a haunting music all his own".

O'Shaughnessy's translations of Parnassian poetry, and the influence of French decadence on his own work, were crucial in setting the stage for English-language decadence in the 1890s. Jordan Kistler writes that he was "instrumental in bridging the gap between the Pre-Raphaelitism practised by poets such as D. G. Rossetti and William Morris in the 1870s and the aestheticism of the 1890s".

O'Shaughnessy is commemorated in the scientific names of four species of lizards: Calumma oshaughnessyi, Cercosaura oshaughnessyi, Enyalioides oshaughnessyi, and Pachydactylus oshaughnessyi.

Works

 * An Epic of Women (1870)
 * Lays of France (1872)
 * Music and Moonlight: Poems and Songs (1874)
 * Toy-land (with Eleanor W. O'Shaughnessy) (1875)
 * Songs of a Worker (1881) (published posthumously)

title: Arthur O'Shaughnessy


text:
Tuileries station

Tuileries is a station on Line 1 of the Paris Métro. Located in the 1st arrondissement, it serves the Jardin des Tuileries.

The station is expected to be closed from 17 June to 21 September during the 2024 Summer Olympics.

Location
The station is located underneath the Rue de Rivoli along the Jardin des Tuileries.

History
The station opened on 19 July 1900 with the entry into service of the first section of line 1 between Porte de Vincennes and Porte Maillot.

From the 1960s until the end of the 20th century, the station walls were clad in metal sheets with green horizontal posts and illuminated gold advertising frames, and the metal beams supporting the station ceiling were painted green, and the station was fitted with white Motte style seats. In 2000, to celebrate the métro's centenary, the station was redecorated with wooden benches and wall covered with photo panels showing major events from 11 decades of history. In May 2023, new wall decoration was installed, showing drawings of trees, leaves and flowers, produced by artist Cyprien Chabert, and the platform signs showing the station name were updated with a green background color (instead of the usual blue).

As part of the automation of line 1, the station platforms were upgraded on the weekend of 18 and 19 October 2008, then fitted with platform screen doors in November 2010.

In 2019, 2,614,837 travelers entered this station which placed it in 199th position among metro stations for its usage.

Access
The station has one entrance and one exit, located on the south sidewalk of the Rue de Rivoli at its intersection with the Rue du Vingt-Neuf-Juillet.

The two access points are situated on either side of an entrance gate to the Jardin des Tuileries. They are decorated with a Guimard entrance listed as a historical monument by a decree of 29 May 1978.

Platforms
Tuileries is a standard configuration station. It has two platforms separated by the metro tracks. The ceiling consists of a metal deck, the beams of which, silver in color, are supported by vertical walls. Since the introduction of the six-car train line in the 1960s, a 15-meter-long crypt, the ceiling of which rests on closely spaced pillars, extends the platform to its western end.

The decoration of the platforms, created for the centenary of the Metro and line 1, is "cultural" evoking the cultural history of the Metro in relation to that of the twentieth century thanks to thematic panels illustrated with iconic images by decades. The lighting is indirect, projected onto the walls and the vaults of the ceiling above the platforms. The beveled white ceramic tiles only cover the tunnel outlets, the outlets of the corridors and the walls under the crypt. The vault of the crypt is painted white, while its columns are covered with small flat white ceramic tiles laid vertically. The advertising frames are metallic and the name of the station is written in Parisine font on enamelled plates. The platforms are equipped with wooden slatted benches as well as platform screen doors.

Bus connections
The station is served by line 72 of the RATP Bus Network, and, at night, by lines N11 and N24 of the Noctilien network.

title: Tuileries station


text:
Palais Royal–Musée du Louvre station

Palais Royal–Musée du Louvre is a station on Line 1 and Line 7 of the Paris Métro. Situated in the heart of the 1st arrondissement, it most notably serves the Palais-Royal, Comédie-Française and Louvre.

Location
The station is located under the Place du Palais-Royal, between the Palais-Royal and the Louvre Museum, the platforms being established (almost parallel):
 * on Line 1, under the Rue de Rivoli;
 * on Line 7, under Rue Saint-Honoré.

History
It is one of the eight original stations opened as part of the first section of Line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900, under the name Palais Royal. The Line 7 platforms were opened on 1 July 1916 with the extension of the line from Opéra. It was the southern terminus of the line until it was extended to Pont Marie on 16 April 1926. From the 1970s until the 2010s, the station was modernized with the installation of orange ceramic tiles typical of the Mouton-Duvernet style, laid horizontally and aligned. The station was given its current name in 1989, soon after the opening of the new entrance to the Louvre Museum. It is named after the nearby Palais Royal and the Louvre.

The entrance on Place Colette was redesigned by Jean-Michel Othoniel, as the "Kiosque des noctambules" (Kiosk of the night-walkers), and completed in October 2000 for the centenary of the Métro. Two cupolas of the "Kiosque des noctambules" (one representing the day, the other the night) are made of colored glass beads that are threaded to structure of aluminum. They make an unexpected and original work in the very traditional environment of the Place Colette.

As part of the automation of line 1, its platforms were upgraded during the weekend of 7 and 8 February 2009, then fitted with platform screen doors in October 2010. The corridors of the station were renovated a second time on 31 December 2014, reviving the bevelled white tiling as part of the RATP un métro + beau program.

In 2018, the masonry benches on the platforms of line 7, fitted with flat brown tiles, part of the Andreu-Motte style of the station, were covered with smaller orange flat tiles, thus being consistent with the seats and the lighting fittings, but no longer with the outlets of the corridors, as the Andreu-Motte style originally wanted.

In 2019, 9,592,920 travelers entered this station, which placed it in 18th position for metro stations in terms of its usage.

Attractions accessible from this metro station include the Louvre, the Place du Carrousel, and the Carrousel du Louvre shopping mall.

Access
Since the renovation of the Louvre museum, each of the platforms of line 1 has been linked to an underground shopping mall, the Carrousel du Louvre, providing access to the museum's underground hall. This is exit number 1.

The Kiosque des Noctambules is a contemporary work of art covering one of the metro entrances (exit 5) leading to Place Colette. Built for the centenary of the Paris metro and produced under the direction of the artist Jean-Michel Othoniel in a controversial style, it was inaugurated in October 2000.

The station has the following five accesses: Exits 2 and 3 are adorned with Guimard entrances, which are listed as historical monuments by the decree of 29 May 1978.
 * Entrance 1: Louvre museum;
 * Entrance 2: Place du Palais-Royal;
 * Entrance 3: Rue de Rivoli;
 * Entrance 4: Rue de Valois;
 * Entrance 5: Place Colette, Kiosque des Noctambules.

In an access corridor, another work of art, La Pensée et l'Âme Huicholes was the subject of an exchange intended to celebrate the thirty years of cooperation between the metro companies of Mexico City and Paris. The Parisian station thus houses an indigenous fresco, La Pensée et l'Âme huicholes, developed by the shaman Santos de la Torre and composed of two million pearls of 2 mm in diameter. In exchange, the City of Mexico received on 14 November 1998 a Hector Guimard-style entrance, which it installed at the Bellas Artes metro station.

Platforms
The platforms of the two lines are of standard configuration. There are two per stopping point and are separated by the metro tracks located in the center.

Line 1 station platform is flush with the walls. The ceiling is made up of a metal deck, the beams of which are supported by vertical walls. A 15-meter-long crypt, the ceiling of which rests on closely spaced pillars, extends at western end for the introduction of the six-car train line in the 1960s. Furnished in the Andreu-Motte style, the station along with Opéra on line 3 and Concorde on line 8, they are only three stations decorated in this way, in purple, forming part of the lexicon of exceptional colors of this style. It is applied to light fittings, deck beams and seats. The benches, tunnel exits and platforms are fitted with large flat white tiles with a glazed appearance, while the outlets in the corridors are treated with classic beveled white tiles. The advertising frames are metallic and the name of the station is written in Parisine font on enamelled plates.

Line 7 station is curved and has an elliptical arch. However, it is distinguished by the lower part of the wall which are vertical and not curved, and its platforms are slightly offset from one another. Like those of line 1, they are furnished in the Andreu-Motte style with two orange light fittings, the corridor outlets in flat brown tiles and orange Motte seats. The latter are fixed on masonry benches covered with flat orange tiles of a smaller size than usual. This new tiling is therefore now consistent with the lighting strips and the seats they support; on the other hand, they are no longer in harmony with the tiles of the outlets of the corridors, neither by their size nor by their color, going against the original principles of the Andreu-Motte style. The bevelled white ceramic tiles cover the walls, the vault and the tunnel exits. The stair stringers and the walkway are treated in flat white tiles aligned horizontally. The advertising frames are metallic and the name of the station is written in Parisine font on enamel plates.

Bus connections
The station is served by lines 21, 27, 39, 67, 68, 69, 72 and 95 of the RATP Bus Network as well as by the tourist line OpenTour. At night, the station is served by lines N11 and N24 of the Noctilien bus network.

Nearby

 * Louvre Pyramid
 * Conseil d'État (France)
 * Constitutional Council (France)

title: Palais Royal–Musée du Louvre station


text:
Louvre–Rivoli station

Louvre–Rivoli is a station on the Line 1 of the Paris Metro. Located in the 1st arrondissement, it is near the Louvre and Rue de Rivoli.

Location
The station is located under Rue de Rivoli, west of its intersection with Rue du Louvre. Approximately oriented east–west, it is inserted between the Palais Royal–Musée du Louvre and Châtelet metro stations.

History
The station was opened on 13 August 1900, almost a month after trains began running on the original section of Line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900, under the name Louvre. It was given its current name in 1989, soon after the opening of the new entrance to the Louvre Museum at the simultaneously renamed Palais Royal–Musée du Louvre station.

Because of this proximity, a specific cultural decoration was put in place in September 1968, at the initiative of André Malraux, then Minister of Culture, in order to transform the station into an antechamber of the museum. On the platforms, copies of works of art from the Louvre museum are exhibited, while under the crypt were a historical plan of the Louvre castle and reproductions of old engravings from the palace. The platforms, devoid of advertising, are covered with Burgundy stone tiles, and the metal deck has a false ceiling above the platform. This layout is completed with backlit panels indicating the name of the station according to a specific typography, as well as glass benches available to travelers.

However, with the renovation of the museum carried out in 1989 and the relocation of its entrance in 1990 under the cour d'honneur via the Pyramid, led to the relocating the access by the metro to the Palais Royal station, renamed in 1989 Palais Royal–Louvre Museum. At the same time, the Louvre station became Louvre–Rivoli in order to highlight its service to the Rue de Rivoli, whose name commemorates a victory won by Napoleon Bonaparte over Austria in 1797.

On 1 May 1991, the station was vandalized in a spectacular manner by a group of taggers seeking thereby, to force the entry of their discipline into the institution represented by the Louvre. Unpublished media coverage ensued, making this action a famous stage in the development of graffiti in Paris.

As part of the automation of line 1, the station platforms were raised during the weekend of 21 and 22 February 2009 to accommodate platform doors, which were installed in 2010.

At the same time as the start of this full automation, the reproductions of works were withdrawn in 2011 with a view to renovating the station, operated by RATP as part of the Un métro + beau program. Only the luminous name panels remain. In May 2013, however, posters indicated that the decoration was still in progress; in March 2014, the wall tiles were destroyed, revealing the original flat white earthenware tiles which were part of the experimental decorations tested in 1900 before the bevelled white tiles were subsequently chosen.

The work aimed to improve reception, comfort and safety, as well as the museum scenography, designed in partnership with the Louvre museum. The modernization includes, among other things, the replacement of the wall tiles with facings that are easier to maintain, new seats replacing the glass seats in order to meet safety and accessibility standards, the elimination of the original false ceiling and the installation of a new lighting system. The station reopened its doors on 26 November 2015 after twelve weeks of redevelopment work that required its closure to the public.

On 24 March 2016, the cultural facilities including nine casts exhibited on the platforms were unveiled. The redevelopment of the station further includes a specific SIEL display device.

In 2019, according to RATP estimates, the station's annual attendance was 2,633,369, which placed it in 198th position among metro stations for its attendance out of 302.

Access
The station has a single entrance called Rue de l'Amiral-de-Coligny, leading to the right of no. 8 in the street via a fixed staircase at the intersection of Rue du Louvre and Rue de Rivoli. It is decorated with a Guimard entrance, which is listed as a historic monument by the decree of 12 February 2016.

Platform
Louvre–Rivoli is a standard configuration station. It has two platforms separated by the metro tracks. Established flush with the wall, it has a metal ceiling whose beams are supported by vertical piers. A 15-meter-long crypt, the ceiling of which rests on closely spaced pillars, extends it to its western end since the introduction of the six-car train line in the 1960s.

The decoration is cultural and designed as an antechamber to the Louvre. Developed in partnership with the latter, it showcases reproductions of statues from Antiquity or the Middle Ages, displayed directly on the platforms. Porcelain stoneware wall claddings cover the walls, devoid of advertising, while the floor and tunnel exits are tiled in anthracite gray, the crypt painted white. The backs of the display cases, the alcoves and the pedestals are covered with a dark material to simulate a case, and the ceiling is painted entirely in black. The lighting is provided by spotlights oriented towards the walls, and the name of the station appears on backlit panels, in white capital letters on a black background, in a specific serif typeface. The platforms are equipped with black Akiko seats and have platform screen doors.

Bus connections
The station is served by lines 21, 67, 69, 72, 74 and 85 of the RATP Bus Network. At night, it is served by lines N11, N15, N16 and N24 of the Noctilien network.

Nearby

 * Pont des Arts
 * Poste centrale du Louvre (post office)
 * Mairie du 1er arrondissement de Paris (town hall)
 * Saint-Germain l'Auxerrois Church

title: Louvre–Rivoli station


text:
Châtelet station

Châtelet station is a station of the Paris Métro and Île-de-France's RER commuter rail service, located in the centre of medieval Paris, on the border between the 1st and 4th arrondissements. It serves RER A, B and D, as well as lines 1, 4, 7, 11, and 14 of the Paris Métro; it is the southern terminus of Line 11. The station is made up of two parts connected by a long corridor: lines 7 and 11 under the Place du Châtelet and the Quai de Gesvre (site of the original medieval river port of Paris), next to the Seine; lines 1, 4 and 14 towards Rue Saint-Denis and the Rue de Rivoli.

Châtelet is connected by another long underground corridor to the southern end of the RER platforms at Châtelet–Les Halles, the northern end of which is again connected to the métro station Les Halles. The distance from Line 7 at Châtelet to the RER lines at Châtelet–Les Halles is approximately 750 m. It is the ninth-busiest station on the métro system.

Location
The station has two parts connected to each other by a long corridor equipped with two moving walkways.

They serve under the Place du Châtelet:
 * line 7 under the Quai de Gesvres (between Pont-Neuf and Pont Marie);
 * line 11 under Avenue Victoria (terminus preceding or following Hôtel de Ville station).

Further north, they serve:
 * line 1 under Rue de Rivoli (between Louvre - Rivoli and Hôtel de Ville);
 * line 4 under Rue des Halles (between Les Halles and Cité);
 * line 14 diagonally between these two previous streets, parallel to line 4 (between Pyramides and Gare de Lyon stations).

The station is connected, from the northern part, by another corridor comprising three moving walkways, to the Châtelet–Les Halles RER station and, through this, to the Les Halles metro station of line 4.

History
The station was opened on 6 August 1900, three weeks after trains began running on the original section of line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900. The line 4 platforms were opened on 21 April 1908 as part of the original section of the line from Porte de Clignancourt to Châtelet. It was the southern terminus of line 4 until the opening of the connecting section of the line under the Seine to Raspail on 9 January 1910.

It is named after the Place du Châtelet, which is named after the Grand Châtelet, a castle over the northern approach to the old Pont au Change over the Seine to the Île de la Cité, which was demolished by Napoléon in 1802. Châtelet is a medieval French term for barbican, a small castle that commands (overlooks) a bridge or defile.

The line 7 platforms were opened on 16 April 1926 as part of the line's extension from Palais Royal to Pont Marie with the name Pont Notre-Dame-Pont au Change. It had no direct connection with Châtelet. On 15 April 1934 a connecting corridor was opened to the platforms of lines 1 and 4 and the line 7 station was renamed. The line 11 platforms were opened near the line 7 platforms on 28 April 1935 as part of the original section of the line from Châtelet to Porte des Lilas.

From May 1963 to December 1964, like the majority of the stations of line 1, its platforms were lengthened to 90 meters to accommodate trainsets of six cars to cope with significant chronic overloads. On 21 October 1964, the station was the first to be equipped with moving walkways, 132 meters long, in the corridor connecting its northern and southern parts. Like most of the stations of line 4, between October 1966 and October 1967, the platforms of the latter were in turn extended to 90 meters, in order to accommodate trains of six pneumatically-driven carriages.

On 9 December 1977 the Châtelet – Les Halles RER station was opened with a connecting corridor with a moving walkway to Châtelet. The station was partially modernized with the installation of small fine flat ceramic tiles, yellow-orange and white, in the connecting corridors of its northern part. The same year, a fresco by the French artist Hervé Mathieu-Bachelot, entitled En rouge et en blanc, was installed on a pedestal not far from the main accesses to line 4.

In 1985, the corridor connecting the northern and southern parts of the station also receives two identical mosaics by the same artist: Obliques enrubannées (work produced with André Ropion).

Like a third of the stations in the network between 1974 and 1984, all the stopping points are fitted out in the Andreu-Motte style, in yellow accompanied by flat white tiles for line 1, in red with flat white tiles on line 4, in green with the conservation of the original bevelled tiles for line 7 and in blue with the maintenance of white bevelled ceramic tiles on line 11.

As part of the automation of line 1, its station was renovated in 2009, losing its yellow Motte decoration. From the 7 and 8 March 2009, the line 1 platforms were raised during the automation of line 1, including the installation of platform screen doors in November 2010.

The line 14 platforms were opened near the line 1 and 4 platforms on 15 October 1998 as part of the original section of the line from Madeleine to Bibliothèque François Mitterrand. On 7 and 8 March 2009 the line 1 platforms were restored during the automation of line 1, including the installation of platform screen doors.

From 16 April 2013 to 25 February 2016, the corridors ensuring the connection between lines 4 and 14, which have become too cramped and congested, were widened and doubled, each with an ascending escalator. The openings of the fixed staircase, that encroached on the platforms of line 4 were then eliminated in favor of a wide opening in each side wall.

From 2014 until 15 February 2016, all the connecting corridors, except those giving access to line 14, were modernized as part of the RATP Renouveau du métro program. The station has since been divided into two distinct sectors called Sector Rivoli and Sector Seine, each distinguished by a symbol represented in relief on the ceramic friezes above the bevelled white tiling: those of the former, of bronze color, have patterns suggesting the lines of buildings on rue de Rivoli, while those on the latter, sky blue in color, are adorned with waves reminiscent of the Seine. In addition, the RER station and the neighboring Les Halles station are also referred to as Sector Forum.

In certain corridors, the bevelled white ceramic tiles have for the first time dimensions measuring twice those of the classic format, similar to the tiles at Porte d'Orléans station on line 4, and which will subsequently be deployed at Maisons-Alfort - Les Juilliottes on line 8 (from 2016) and Basilique de Saint-Denis on line 13 (in 2018). Subsequently, the names of the two sectors will be gradually added to the left of the nominative panels of the platforms (starting with line 11 in 2018 then line 1 in 2019).

The renovation of the connecting corridor from the Rivoli Sector to the Seine Sector was completed later, at the beginning of 2017. It includes in particular, the replacement of the moving walkways, now shortened, as well as the installation of wall panels intended to receive event frescoes and decorations, a specific lighting fixture, the color of which juggles between cold white, warm white and amber. The double mosaic is no longer visible.

As part of the automation of Line 4, its stopping point has been modernized since the second half of 2016, losing its red Motte style. Its platforms were raised from 27 November 2017 to 30 March 2018.

As part of the extension of Line 11 to Rosny-Bois Perrier, its terminus underwent major works from 15 March to the end of December 2019, during which time the western terminus of the line was transferred to the neighboring Hôtel de City. The platforms were raised, consolidated and tiled, the tracks and signage renewed and the connecting staircase doubled. The reversing headshunt is extended to the right of the central track, under the cellar of the Terminus Châtelet restaurant, in order to be able to accommodate trainsets of five cars.

In the course of the first half of 2019, the platforms of line 7 will have their masonry-style Motte benches in green tiling removed, as will the characteristic coque seats, in favor of contemporary seats, which were installed during the summer.

Usage
In 2019, according to RATP estimates, 10.8 million travelers entered this station, which places it in 12th position among metro stations for its use out of 302.

Access
The station has several metro entrances:
 * Entrance 1: rue de Rivoli: 112, rue de Rivoli
 * Entrance 2: Porte Lescot Forum des Halles Center G. Pompidou
 * Entrance 4: avenue Victoria: 9, avenue Victoria
 * Entrance 5: place du Châtelet: a staircase, place du Châtelet
 * Entrance 6: place Sainte-Opportune: 8, place Sainte-Opportune
 * Entrance 7: rue des Lavandières: a staircase at 19, rue des Lavandières
 * Entrance 8: rue Saint-Denis: 5, rue Saint-Denis
 * Entrance 9: rue de la Lingerie: a staircase at the corner of rue des Halles and rue de la Lingerie
 * Entrance 10: rue de la Ferronnerie: an elevator facing 12 or 33, rue de la Ferronnerie
 * Entrance 11: rue Bertin-Poirée: 20, rue Bertin Poirée
 * Entrance 12: Châtelet theater: 17, avenue Victoria
 * Entrance 13: Théâtre de la Ville: 15, avenue Victoria
 * Entrance 15: rue Saint-Martin: 13, avenue Victoria
 * Entrance 16: avenue Victoria: 16, avenue Victoria

Platforms
All lines except line 11 have standard configuration stations, with two platforms framing two tracks under an elliptical arch.

The platforms of line 1 are decorated with white and flat ceramic tiles that cover the vault and the tunnel exits. The lighting is of the Gaudin type typical of the metro revival of the 2000s and the platforms are equipped with platform doors. The advertising frames are metallic and the walls are equipped with wooden panels crowned with the name of the station, back-lit and written in Parisine font.

The platforms of line 4 are decorated in the Andreu-Motte style in red, with flat tiles from the 1970s until 2018. As part of the automation of the line, these platforms were still under construction in 2019, the Andreu-Motte style having been entirely cast out.

The platforms of line 7 are decorated in the Andreu-Motte style in an apple green color, associated with the original decoration of the CMP, characterized by bevelled white tiles, advertising frames in honey-colored earthenware. The name of the station is supplemented by its old name, (Pont au Change), also written in earthenware. At the eastern end of the station, the unusually high vault gives way to a footbridge spanning the tracks. In 1642, Louis XIII ceded land to the Marquis de Gesvres and demanded that he establish, under the platform which today bears his name, a gallery made up of arcades overlooking the Seine. Nicknamed cagnards, these unsanitary vaults quickly became a den for the thugs of the capital. After being condemned in the 19th century, they were brought to light in 1921 during the construction of the metro. At the request of the Commission du Vieux Paris, the structure was preserved and integrated into the station, which explains this unusual configuration.

The line 11 station is special: it has two platforms flanking two tracks as well as a third track on the south side, due to its role as terminus. It is decorated in the Andreu-Motte style in blue color. The name of the station is indicated on enamel plaques. In 2018, these were renewed, from a font in capital letters, to the Parisine font, and losing the old subtitle Avenue Victoria.

Line 14 station has the amenities specific to this line with a sober and modern decoration combining wood and concrete. It has a monumental vault and the platforms are equipped with landing doors.

Bus connections
The station is served by lines 21, 38, 47, 58, 67, 69, 70, 72, 74, 75, 76, 85 and 96 of the RATP Bus Network and, at night, by lines N11, N12, N13, N14, N15, N16, N21, N22, N23, N24, N122, N144 and N145 of the Noctilien bus network.

title: Châtelet station


text:
List of chancellors and vice-chancellors of British universities

This following is a current list of the chancellors, vice-chancellors and visitors of universities in the United Kingdom. In most cases, the chancellor is a ceremonial head, while the vice-chancellor is chief academic officer and chief executive. Some universities have a vice-chancellor but no chancellor; e.g. the LSE has a "president and vice-chancellor", only.

In Scotland, the principal is the chief executive and is usually ex officio vice-chancellor, which is a purely titular position.

Long service
Since the development of the university sector in the UK there have been several hundred individuals appointed to the role of Vice-Chancellor (or Director, President, Principal). A small number of Vice-Chancellors have served in this capacity for 15 years or more, with some portion of this time in office as a Vice-Chancellor in the UK. They include:

47 Years: George Baird (Edinburgh 1793-1840);

43 Years: Sir Henry Reichel (Bangor 1884-1927);

36 Years: George Campbell (Aberdeen 1759-95);

35 Years: Duncan Macfarlan(Glasgow 1823-58), John Mackay (Dundee 1895-1930);

34 Years: Hector Boece (Aberdeen 1500-34), Sir Hector Hetherington GBE (Glasgow 1936-61 Liverpool 1927-36);

33 Years: Neil Campbell (Glasgow 1728-61);

31 Years: Sir James Irvine (St Andrews 1921-52), Sir Emrys Evans (Bangor 1927-58);

30 Years: Patrick Sharp (Glasgow 1585-1615), William Robertson (Edinburgh 1762-92);

29 Years: John Adamson (Edinburgh 1623-1652), Sir James Donaldson (St Andrews 1886-1915);

28 Years: Charles Thorp (Durham 1834-1862), Thomas Roberts (Aberystwyth 1891-1919), Arthur Lowie (Heriot-Watt 1900-28), Ellen Charlotte Higgins (RHC 1907-35);

27 Years: John Stirling (Glasgow 1701-28);

26 Years: George Smith (Aberdeen 1909-35), Sir Charles Evans (Bangor 1958-1984), Michael Driscoll (Taylor's 2015-ff Middlesex 1996-2015);

25 Years: John Strang (Glasgow 1626-51), William Lake (Durham 1844-69), John Caird (Glasgow 1873-98), John Murray (Exeter 1926-51), Sir Albert Sloman (Essex 1962-87), Sir Aubrey Trotman-Dickenson(Cardiff 1968-93);

24 Years: William Leechman Glasgow 1761-85), Sir William Halliday (KCL 1928-52);

22 Years: Edward Wright (Glasgow 1662-84), Sir David Brewster (St Andrews 1837-59), Dame Margaret Tuke (Bedford 1907-29), James Smail OBE (Heriot-Watt 1928-50), Baron Stopford (Manchester 1934-56);

21 Years: Henry Charteris (Edinburgh 1599-1620), Sir Edward Ross (SOAS 1916-37), Geraldine Jebb CBE (Bedford 1930-51), Bill Bevan CBE (Cardiff 1966-87), Tim Wheeler (Chester 1998-2019);

20 Years: William Taylor (Glasgow 1803-23), Sir John LeFevre (London 1842-62), Sir Donald MacAlister KCB (Glasgow 1909-29), Sir Frederick Rees (Cardiff 1929-49), Sir Alexander Carr-Saunders (London 1937-57), Sir Philip Morris (Bristol 1946-66), Sir Robert Aitken (Birmingham 1953-68 Otago 1948-53), Baron Butterworth (Warwick 1965-85), John Watson (St Andrews 1966-86), Sir Cyril Philips (SOAS 1956-76), Sir Graeme Davies (London 2003-10 Glasgow 1995-2003 Liverpool 1986-91), Sir Colin Campbell (Nottingham 1988-2008), Sir Timothy O'Shea (Edinburgh 2002-18 Birkbeck 1998-2002);

19 Years: John Lee (Edinburgh 1840-59), Thomas Edmonds (Aberwystwyth 1872-91), Sir Oliver Lodge (Birmingham 1900-19), Sir Ralph Turner (SOAS 1937-56), Frank Thistlethwaite CBE (East Anglia 1961-80), Sir Fraser Noble (Aberdeen 1976-81 Leicester 1962-76), Baron Chilver (Cranfield 1970-89), Raymond Rickett (Middlesex 1972-91), Anthony Kelly CBE (Surrey 1975-94), Sir Michael Stirling (Birmingham 201-09 Brunel 1990-2001), Alan Gilbert AO (Manchester 2004-10 Melbourne 1996-2004 Tasmania 1991-96), Paul Wellings CBE (Wollongong 2012-21 Lancaster 2002-12), Gerald Pillay OBE (Liverpool Hope 2003-22), David Green CBE (Worcester 2003-ff), David Latchman CBE (Birkbeck 2003-ff);

18 Years: William Wishart (secundus) (Edinburgh 1736-54), Archibald Davidson (Glasgow 1785-1803), John Jones (Cardiff 1883-1901), Sir William Muir KCSI (Edinburgh 1885-1903), William Beveridge (LSE 1919-37), Sir Raymond Priestley (Birmingham 1938-52 Melbourne 1934-38), Ifor Evans (Aberwystwyth 1934-52), Sir James Mountford (Liverpool 1945-63), Sir Steve Smith (Exeter 2002-20);

17 Years: Sir Alexander Grant (Edinburgh 1868-85), Ernest Griffiths (Cardiff 1901-18), Sir Franklin Sibly (Reading 1929-46), Edith Batho (RHC 1945-62), Bertrand Hallward (Nottingham 1948-65), Sir Edward Appleton GBIE KCB (Edinburgh 1948-65), Anthony Steel OBE (Cardiff 1949-66), Hugh Nisbet CBE (Heriot-Watt 1950-67), Sir Derman Christopherson (Durham 1961-78), Geoffrey Templeman CBE (Kent 1963-80), Sir Samuel Curran (Strathclyde 1964-81), Brian Flowers (London 1985-90 Imperial 1973-85), Geoffrey Sim OBE (Sheffield 1974-91), Baron Sutherland (Edinburgh 1994-2002, London 1990-94, KCL 1985-90), Sir Martin Harris (Manchester 1992-04, Essex 1987-92), Tessa Blackstone (Greenwich 2004-11 Birkbeck 1987-97), Frank Hartley (Cranfield 1989-2006), John Brooks (Manchester Met 2005-15 Wolverhampton 1998-2005), Dame Glynis Breakwell DBE (Bath 2001-18), Brian Cantor CBE (Bradford 2013-19 York 2002-13), Sir Michael Arthur (UCL 2013-21 Leeds 2004-13), Sir Peter Gregson (Cranfield 2013-21 Queens Belfast 2004-13), George Holmes (Bolton 2005-ff);

16 Years: Sir Alfred Dale (Liverpool 1903-1919), Sir Peter Noble (KCL 1952-68), Sir Charles Carter (Lancaster 1964-80), Frederick Crawford (Aston 1980-96), Sir Michael Thompson (Birmingham 1987-96 East Anglia 1980-86), Sir John Kingman (Bristol 1985-2001), John Craven CBE (Portsmouth 1997-2003), Sir Adrian Smith (London 2012-18 QMC 1998-2008), Sir Alan Langlands (Leeds 2013-20 Dundee 2000-09), Calie Pistorius (Hull 2009-17 Pretoria 2001-09), Sir David Eastwood (Birmingham 2009-21 East Anglia 2002-06), Richard Davies (Swansea 2003-19), Alice Gast (Imperial 2014-22 Lehigh 2006-14), Colin Riordan CBE (Cardiff 2012-23 Essex 2007-12), John Cater CBE (Edge Hill 2006-ff);

15 Years: Duncan Bunch (Glasgow 1460-75), Richard Jeff (KCL 1843-68), Elizabeth Reid (Bedford 1849-64), Thomas Barley (Glasgow 1858-73), Alfred Barry (KCL 1868-83), Thomas Hamilton (Queens Belfast 1908-23), Sir Charles Robertson (Birmingham 1923-38), Sir Thomas Holland KCSI KCIE (Edinburgh 1929-44), Sir Irvine Masson (Sheffield 1938-53), Baron Morris (Leeds 1948-63), Sir Sydney Caine KCMG (LSE 1957-67 Malaya 1952-57), Sir Robert Aiken (Birmingham 1953-68), Sir Charles Wilson (Glasgow 1961-76), Sir Alec Merrison (Bristol 1969-84), Sir David Harrison CBE (Exeter 1984-94 Keele 1979-84), Sir Howard Newby CBE (Liverpool 2008-14 West England 2006-08 Southampton 1994-2001), Brenda Gourley (Open 2002-09 Kwa-Zulu Natal 1994-2002), Dame Janet Finch DBE (Keele 1995-2010), Malcolm McVicar (UCLAN 1998-13), David VandeLinde (Warwick 2001-06 Bath 1992-2001), Steven Schwartz AM (Macquarie 2006-11 Brunel 2002-06 Murdoch 1996-2002), Frank Morgan OBE (Bath Spa 1997-2012), Sir Bob Burgess (Leicester 1999-2014), Paul O'Prey CBE (Roehampton 2004-19), Dame Janet Beer DBE (Liverpool 2015-22 Oxford Brooks 2007-15), Hugh Brady (Imperial 2022-ff Bristol 2015-22 UCD 2004-13),Michael Spence AC (UCL 2021-ff Sydney 2008-20) .

italics: Driscoll, Green, Latchman, Holmes, Cater and Brady are currently in office (as at January 2024).


text:
Les Halles station

Les Halles station is a station on Line 4 of the Paris Métro. Located in the 1st arrondissement, it takes its name from the market halls which were on the site for many years.

Location
Established underground, Les Halles station is located on Line 4 of the Paris Métro, under the westfield Forum des Halles shopping complex between Rue Rambuteau and Rue Berger.

Corridors and underground staircases connect it to Châtelet Métro station and to Châtelet–Les Halles RER station.

History
The original station on 21 April 1908 as part of the first section of the line from Châtelet to Porte de Clignancourt to serve Les Halles (old markets). The station was rebuilt and put into service on 3 October 1977 about ten metres further east to interchange with the new Châtelet–Les Halles RER station on RER A, RER B and RER D which opened on 9 December 1977. This RER station is connected by underground corridors to the Métro station Châtelet on Line 1, Line 4, Line 7, Line 11 and Line 14; Les Halles is therefore also connected with Châtelet. Line 4 is the only line that serves Les Halles; it also serves Châtelet station.

The walking distance from Line 4 at Les Halles to the far end of Châtelet (Line 7) is about 900 m. Les Halles serves the underground shopping centre Forum des Halles. One of the floors of the Forum des Halles contains the Métro station. As part of the automation of Line 4, its platforms were upgraded during the weekend of 10 and 11 June 2017, in order to receive landing doors. These are installed between the end of January and mid-February 2020.

In 2019, 16,069,170 users entered the station which placed it in ninth position among stations in the Paris metropolitan network (out of 302).

Access
The station is accessible by an entrance to no. 230 Rue Rambuteau and by connecting corridors with Châtelet–Les Halles. It has an information area with a members counter and is equipped with automatic ticketing machines.

Platforms
Les Halles is a standard configuration station. It has two platforms separated by metro tracks and an open load-bearing wall.

Other train connections
It allows connections with RER A, B and D of the commuter rail network via the platforms of Châtelet–Les Halles station, as well as to Line 1, Line 7, Line 11 and Line 14 of the Paris Métro at Châtelet accessed via the RER station, through pedestrian corridors.

The station, in the heart of a pedestrian area, is not served by any bus lines.

title: Les Halles station


text:
Hôtel de Ville station

Hôtel de Ville (, literally "City Hall") is a rapid transit station on lines 1 and 11 of the Paris Métro. It is named after the nearby Hôtel de Ville de Paris (City Hall) and is located within the fourth arrondissement of Paris.

History
Hôtel de Ville is one of the eight original stations opened as part of the first stage of line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900. The line 11 platforms opened as part of the original section of the line from Châtelet to Porte des Lilas on 28 April 1935. During the same decade, the platforms of line 1 were extended to 105 metres to cater for 7-car trains which ultimately did not materialise. A plaque near the platforms of line 1 marks the 50th anniversary of the strike organised by 3000 employees of the Compagnie du chemin de fer métropolitain de Paris (CMP), the operator of the métro then, on 16 August 1944 against the Nazis during the occupation of Paris and was triggered by the French Forces to liberate the capital. In 1974, the original Guimard entrance at rue de Lobau was moved to Abbesses, and is one of the only two remaining glass-covered "dragonfly" entrances, known as édicules (the other is at Porte Dauphine). It was listed as a historical monument on 25 July 1965.

As part of the "Un métro + beau" programme by the RATP, the platforms of line 11 were renovated and modernised on 2005.

During the automation of line 1, the platforms of line 1 had undergone a series of upgrades. Over the weekend of 21–22 March 2009, its platforms were closed to raise its platform levels for the installation platform edge doors to improve passenger safety and for automation which were done in April 2010. During the construction period, the platforms of line 11 remained open, allowing for westward travel to Châtelet, where a transfer to line 1 was possible. The line was fully automated in December 2012.

As part of modernization works for the extension of Line 11 to Rosny–Bois-Perrier in 2023 for the Grand Paris Express, the station was closed from 8 September 2018 to 12 October 2018 to raise its platform levels and its surface tiled to accommodate the new rolling stock that will be used (MP 14) to accommodate the expected increase in passengers and to improve the station's accessibility. From 18 March 2019 to 16 December 2019, the station acted as line 11's western terminus when its original terminus, Châtelet, was closed for 9 months to lengthen the platforms to cater for 5-car trains as it could only cater for 4 at the time. Hence, trains arrived and departed from the western platform, usually used for trains heading to Châtelet, with the other platform temporarily not in use. On 11 December 2020, an additional entrance was opened at rue du Temple.

In 2019, the station was used by 12 307 363 passengers, making it the 11th busiest of the Métro network out of 302 stations.

In 2020, the station was used by 5,673,100 passengers amidst the COVID-19 pandemic, making it the 13th busiest of the Métro network out of 305 stations.

Access
The station has 7 entrances:

 * Entrance 1: rue de Rivoli
 * Entrance 2: rue du Renard
 * Entrance 3: rue de la Coutellerie
 * Entrance 4: avenue Victoria
 * Entrance 5: Hôtel de Ville
 * Entrance 6: rue de Lobau
 * Entrance 7: rue du Temple

Platforms
Both have a standard configuration with 2 tracks surrounded by 2 side platforms. Line 1's station is built with its ceiling flush with the ground made of metal with its western end having a reinforced concrete ceiling to cater for the then planned 7-caseven trains while line 11's station consists of an elliptical vault.

Other connections
The station is also served by lines 38, 67, 69, 70, 72, 74, 76, and 96 of the RATP bus network, and at night, by lines N11and N16 Noctilien bus network.

Nearby

 * Bazar de l'Hôtel de Ville
 * Hôtel de ville de Paris
 * Mairie du 4e arrondissement

title: Hôtel de Ville station


text:
Saint-Paul station (Paris Métro)

Saint-Paul (Le Marais) is a station on Paris Métro Line 1, close to the Rue Saint-Paul. It serves the neighbourhood of Le Marais, known for its Jewish and gay communities, and fine town houses.

The Jewish quarter is called Pletzl and is located around the Rue des Rosiers. The Place des Vosges and the Lycée Charlemagne are nearby.

The station was opened on 6 August 1900, 18 days after trains began running on the original section of line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900.

title: Saint-Paul station (Paris Métro)


text:
Bastille station (Paris Métro)

Bastille is a station on Line 1, Line 5 and Line 8 of the Paris Métro. Located under the Place de la Bastille and near the former location of the Bastille, it is situated on the border of the 4th, 11th and 12th arrondissement.

Location
The station is located on Place de la Bastille, the platform being established:
 * Line 1, south of the square, outside the Canal Saint-Martin (between Saint-Paul and Gare de Lyon stations);
 * Line 5, west of the square between Boulevard Richard-Lenoir and Boulevard Bourdon (between Bréguet-Sabin and Quai de la Rapée stations, not including the Arsenal ghost station);
 * Line 8, north of the square between Boulevard Beaumarchais and Rue du Faubourg-Saint-Antoine (between Chemin Vert and Ledru-Rollin stations).

History
The Line 1 station opened as part of the first stage of the line between Porte de Vincennes and Porte Maillot on 19 July 1900.

It derives its name from the Place de la Bastille, symbolic place of the French Revolution, where the old fortress of the Bastille was destroyed between 14 July 1789 and 14 July 1790.

On 17 December 1906, the station of Line 5 was opened when the line was extended from Gare de Lyon to Lancry (now known as Jacques Bonsergent). The Line 8 platforms were opened on 5 May 1931 when the line was extended from Richelieu – Drouot to Porte de Charenton.

During the 1960s, the platform of Line 5 was renovated in the Mouton-Duvernet style with two-toned orange-tinted ceramic tiles, a white painted vault and characteristic lighting strips. Subsequently, they were equipped with seats Motte orange.

The platforms of Line 1 have been upgraded as part of its full automation. They are the last to be equipped with landing doors, in April 2011, because of the technical difficulty presented by the pronounced curve at their western end.

It saw 13,172,392 passengers enter in 2018, which places its attendance at the 10th position of all metro stations.

Access
The station has nine accesses from Place de la Bastille:
 * Boulevard Henri-IV;
 * Boulevard Bourdon;
 * Rue de Lyon;
 * Boulevard de la Bastille;
 * Opera Bastille;
 * Jardin du Port-de-l'Arsenal;
 * Hospital Quinze-Vingts;
 * Rue de la Roquette;
 * Rue du Faubourg-Saint-Antoine.

The access leading to the Rue de Lyon was decorated with a Hector Guimard designed entrance registered as a historic monument on 29 May 1978. However, it was later moved to a metro station Boulevard Beaumarchais.

Platforms
The stations of the lines meeting at Bastille all have side platforms.

The station belonging to Line 1 are very particular for several reasons; the station of this line is established on a very tight curve and counter curve, partly underground and part above ground. The western end of the line 1 platforms have the sharpest curve used by passenger trains on the Métro, with a radius of only 40 m. The line 1 platforms, at 123 m long, are significantly longer than the average Métro platform length. The latter part overlooks the Canal Saint-Martin that, at this point, passes from being underground to open air. The Line 1 station is also particular in that the remnants of a former narrow island platform are visible. The station is also noted for being the only station in the system for being partially underground and elevated. Finally, the tracks and platforms are partly sloped. The ceiling of the east end, which is underground, consists of a metal deck, the silver beams are supported by vertical walls. The decoration of these walls and spandrels is "cultural" evoking the French Revolution thanks to a unique ceramics created by Liliane Belembert and Odile Jacquot in May 1989. Part of this fresco was replaced by a plastic display on automation of the line on the occasion of this operation (in the platforms towards La Défense). The open-air part of the platform towards Château de Vincennes has floor-to-ceiling windows offering a view of the Saint-Martin canal opening onto the port of Arsenal. Bevelled white ceramic tiles cover only the outlets of the corridors. The name of the station is written in Parisine typeface on enamelled plates. The platforms, equipped with glass edge doors, are devoid of advertisements and seats.

The platforms of Line 5 are underground and have an elliptical vault. The decoration is the style used for the majority of metro stations. The lighting strips are white and rounded in the Gaudin style of l'Operation Espace Métro 2000, and the white ceramic tiles are covered the walls, the vault, the spandrels and the outlets of the corridors. The advertising frames are of white ceramics and the name of the station is written in Parisine typeface on enamelled plates. The seats, style Akiko, are burgundy. Foundations of one of the counterscarp walls of the old Bastille prison, discovered during the construction of the line in 1905, are visible on the platform in the direction of Bobigny-Pablo Picasso. Metal lines drawn on the ground mark the contours of the building on the two platforms. The station also exhibits various views of the ancient fortress.

The platforms of Line 8 are also underground under an elliptical vault. They are furnished in the Andreu-Motte style with two orange luminous ramps, benches and outlets in the corridors treated with flat brown tiles and Motte orange seats. These arrangements are married with the flat white ceramic tiles that cover the walls, vault and spandrels, making this station one of the few to have the Andreu-Motte preserved style. Advertising frames are metallic and the name of the station is Parisine typeface on enamelled plates. The station is distinguished however by the lower part of its walls which are vertical and not elliptical.

Bus connections
The station is served by lines 29, 69, 76, 86, 87 and 91 of the RATP Bus Network as well as the OpenTour tourist line. At night, it is served by lines N01, N02, N11, N16 and N144 of the Noctilien bus network.

Nearby

 * Place de la Bastille, the location of the Bastille, stormed on 14 July 1789
 * Opéra Bastille, opera house
 * Promenade Plantée, a 4.5 km elevated garden along the abandoned railway which led to the former Gare de La Bastille railway station.
 * Bassin de l'Arsenal, boat basin
 * July Column, a monument to the revolution of 1830
 * Temple du Marais, an historic Protestant church

title: Bastille station (Paris Métro)


text:
User talk:BenBreen2003

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Happy editing, Isomorphic

Nice graphic on the the radio patents 204.56.7.1 15:55, 13 April 2006 (UTC)

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title: User talk:BenBreen2003


text:
Talk:One World Trade Center

Actual height is 1792 feet.
Using the “counting the spire as part of the building” the height is 1792 feet.

There is (currently) nothing in the article (or in the link at [5]) to explain why the “tip” is 1792, but the cited height is 1776.

Note: The link at [5] says Height is measured from the level of the lowest, significant, open-air, pedestrian entrance to the highest point of the building…

… irrespective of material or function of the highest element (i.e., including antennae, flagpoles, signage and other functional-technical equipment).

 * Explanation at thetowerinfo.com
 * In the original design there’s a spire installed atop the roof, but was replaced by a bare antenna in 2012, confusingly CTBUH still maintains the height of 1776 feet for the tower even after the spire had been replaced by the plain antenna, which always doesn’t count in architectural height. The number 1776 of the height in feet represents the year of 1776 when United States Declaration of Independence was signed, in fact the total height of the tower is 546m or 1792 feet as there’s a little skinny component of the antenna beyond the point of 541m, as shown at []

MBG02 (talk) 06:31, 28 March 2023 (UTC)

The height of the windowless base is actually 186ft (56.7m). — Preceding unsigned comment added by 70.36.193.221 (talk) 05:54, 10 February 2024 (UTC)

Semi-protected edit request on 27 January 2024
as an addition to the line that says it is the tallest building in the western hemisphere, add that it is also the second highest freestanding structure of any kind in the western hemisphere, second only to the cn tower in toronto, canada 76.132.30.242 (talk) 19:19, 27 January 2024 (UTC)
 * Red information icon with gradient background.svg Not done: please provide reliable sources that support the change you want to be made. M.Bitton (talk) 21:49, 27 January 2024 (UTC)

Split proposal 16 February 2024
It is high time we opened a split proposal for this article into a separate one solely for the original North Tower. There is plenty of history and architectural merit that would warrant a separate article, the same as what was done for 7 World Trade Center (1987-2001), split from it's successor, the modern-day 7 World Trade Center. Similarly, the list of tenants would simply be transferred over to the article on the original North Tower. Previous consensus was in favor of a split as the 2 iterations of 7 WTC were independently notable. Excited to hear thoughts and suggestions. I will be suggesting the same be done for the South Tower. —  That Coptic Guy ping me! (talk) (contribs) 18:42, 16 February 2024 (UTC)
 * Support in principle, though I think we might be able to write a combined article on the original Twin Towers. If we do decide to split out each Twin Tower as separate articles, we should move List of tenants in 1 World Trade Center (1971–2001) to 1 World Trade Center (1971–2001) instead, then split out the content. – Epicgenius (talk) 22:43, 16 February 2024 (UTC)
 * Agreed, just as what was done for 7 World Trade Center (1987-2001)? The list of tenants would merely just be a section in each article as opposed to 2 separate list pages? And we can see if the two towers are different enough for each to deserve its own article. I anticipate that perhaps a section could be devoted to the antenna alone for the North Tower. Though if we do decide to go for the unified article, it'd necessarily have to be significantly different than World Trade Center (1973-2001). —  That Coptic Guy ping me! (talk) (contribs) 00:59, 17 February 2024 (UTC)
 * Regarding The list of tenants would merely just be a section in each article as opposed to 2 separate list pages?, yes, I anticipate that would be the case. The two towers share a lot of their history and architecture so that's why I suggested a combined article. Epicgenius (talk) 02:11, 17 February 2024 (UTC)
 * Strong support per nom and the fact that it doesn’t make sense to have one article about two different buildings.
 * MountainDew20 (talk) 22:06, 17 February 2024 (UTC)
 * Support because the original tower is significant on its own and deserves a separate article. We can move over the tenants lists, although they are both pretty long so it might be better to just leave them be. Readingpro256 talk to me contribs 15:46, 19 April 2024 (UTC)
 * Can you change One World Trade Center picture into June 2024 picture 73.15.71.115 (talk) 17:40, 29 June 2024 (UTC)
 * Can you One World Trade Center picture into a June 2024 One World Trade picture 73.15.71.115 (talk) 17:45, 29 June 2024 (UTC)
 * The reason why I want you to change it is because I hate the June 2021 picture so please change it 73.15.71.115 (talk) 17:48, 29 June 2024 (UTC)
 * I'm sorry, but we can't change pictures just because you 'hate them', there needs to be a concrete reason, or pages will become instable with people changing things that don't need changing. Readingpro256 talk to me contribs 03:11, 30 June 2024 (UTC)
 * I don’t hate all of them only the first one 73.15.71.115 (talk) 16:38, 30 June 2024 (UTC)
 * actually I don’t hate it but can you change it into 2024 One World Trade Center picture 73.15.71.115 (talk) 00:12, 1 July 2024 (UTC)
 * Actually I will leave 73.15.71.115 (talk) 00:15, 1 July 2024 (UTC)

105th floor?
The article currently says: Floors 91–99 and 103–104 are mechanical floors with a reference to SkyscraperPage. But the source actually says floors 103-105 are mechanical floors. So is this source wrong? Other reliable sources, like Skyscraper Center don't say. Mokadoshi (talk) 16:40, 5 May 2024 (UTC)

 * As @Epicgenius pointed out in their latest edit on the page, the official 1WTC website lists the 104th floor as the top floor. For this reason, and because SkyscraperPage appears to be WP:UGC (but I can't tell for sure), SkyscraperPage appears to be unreliable for this article and I'd suggest we replace it with better sources. Mokadoshi (talk) 17:04, 5 May 2024 (UTC)
 * Thanks for the ping, and good point. I've replaced SkyscraperPage with another source. – Epicgenius (talk) 17:19, 5 May 2024 (UTC)

This is not the tallest building in the western hemisphere, or the 7th tallest building in the world
It’s the 11th tallest building in the world. The tallest building in the western hemisphere is the CN tower. This is blatant misinformation. 2607:F2C0:E34C:3980:1C37:55A0:2A87:D96A (talk) 16:56, 3 July 2024 (UTC)

title: Talk:One World Trade Center


text:
Boreray

Boreray may refer to:

An island in the Outer Hebrides of Scotland:

 * Boreray, North Uist
 * Boreray, St Kilda

A domesticated animal:
 * Boreray sheep

title: Boreray


text:
Gare de Lyon

The Gare de Lyon, officially Paris Gare de Lyon, is one of the seven large mainline railway stations in Paris, France. It handles about 148.1 million passengers annually according to the estimates of the SNCF in 2018, with SNCF railways and the RER D accounting for around 110 million and the RER A accounting for 38 million, making it the second-busiest station of France after the Gare du Nord and one of the busiest in Europe.

The station is located in the 12th arrondissement, on the right bank of the river Seine, in the east of Paris. Opened in 1849, it is the northern terminus of the Paris–Marseille railway. It is named after the city of Lyon, a stop for many long-distance trains departing here, most en route to the South of France. The station is served by high-speed TGV trains to Southern and Eastern France, Switzerland, Germany, Italy and Spain. The station also hosts regional trains and the RER and also the Gare de Lyon Métro station.

Main line trains depart from 32 platforms in two distinct halls: Hall 1, which is the older train shed, contains tracks labelled with letters from A to N, while the modern addition of Hall 2 contains tracks which are numbered from 5 to 23. There are a further four platforms for the RER underneath the main lines.

History
Lyon railway station had been under construction since 1847. It was officially opened to the public on 12 August 1849 under the name "Railway station from Paris to Montereau" (fr. Embarcadère de chemin de fer de Paris à Montereau). It was a boardwalk building designed by architect François-Alexis Cendrier under the direction of Baron Haussmann, and at the time of its construction it was awaiting arbitration between the French state and the first Compagnie des chemins de fer de Paris à Lyon et à la Méditerranée (PLM) company over its management. PLM did not like the fact that Mazas prison was being built next to the station. The company hoped that it could extend the railroad branch line to Place de la Bastille. But instead of that, Lyon Street (fr. Rue de Lyon) was laid out between the station and Place de la Bastille. The station was expanded many times as the volume of rail traffic increased.

As the station became unsuitable for further expansion, a second Gare de Lyon building was constructed in 1855 by the design of the architect François-Alexis Cendrier. New building was operated by the newly established Paris à Lyon (PL) railway company. The station was built on a 6 to 8 m high embankment to protect it from the floods of the Seine. It had only five tracks, occupying a large hall 220 m long and 42 m wide. A portico to the right of the entrance to the arrival hall connected the station itself to the Bâtiment X, the central administration building on the side facing Boulevard Mazas. The station was partially destroyed by fire during the Paris Commune in 1871 and later rebuilt.

On 8 July 1887, General Georges Boulanger's departure from Paris triggered a demonstration: 8,000 people stormed the train station and covered the train with "Il reviendra" (He will return) posters and delayed its departure by an hour and a half.

By 1900, in time for the 1900 World's Fair, a new thirteen-track Gare de Lyon building was constructed, designed by the Toulon architect Marius Toudoire and decorated with a large fresco by the Marseille artist Jean-Baptiste Olive, depicting some of the cities to which one could take a train from this station. It was inaugurated on 6 April 1901 by Émile Loubet, president of the Third Republic.

On multiple levels, it is considered a classic example of the architecture of its time. Most notable is the large clock tower atop one corner of the station, similar in style to the clock tower of the Palace of Westminster, home to Big Ben. The station houses the Le Train Bleu restaurant, which has served drinks and meals to travellers and other guests since 1901 in an ornately decorated setting.

On 27 June 1988, in the Gare de Lyon rail accident, a runaway train crashed into a stationary rush-hour train, killing 56 people and injuring a further 55. A fire broke out on 28 February 2020, that was reportedly started by Congolese protesters. The station was completely evacuated.

On 18 December 2021, the station became the terminus of the newly-inaugurated Milan–Paris Frecciarossa.

On 3 February 2024, a stabbing at the station injured 3 people.

Train services
From Gare de Lyon train services depart to major French cities such as: Lyon, Marseille, Nice, Montpellier, Perpignan, Dijon, Besançon, Mulhouse, Grenoble and a number of destinations in the French Alps. International services operate to Italy: Turin and Milan; Switzerland: Geneva, Zürich, Basel and Lausanne; and Spain: Barcelona.

The following services currently call at Gare de Lyon:

 * High speed services (TGV)
 * Paris–Lyon
 * Paris–Avignon–Marseille
 * Paris–Avignon–Toulon–Cannes–Nice
 * Paris–Lyon–Montpellier–Béziers–Narbonne–Perpignan
 * Paris–Lyon–Montpellier–Perpignan–Girona–Barcelona
 * Paris–Grenoble
 * Paris–Bellegarde–Annemasse–Evian-les-Bains
 * Paris–Lyon–Chambéry–Turin–Milan
 * Paris–Chambéry–Aix-les-Bains–Annecy
 * Paris–Dijon–Besançon–Belfort–Mulhouse
 * Paris–Dijon–Besançon-Viotte
 * Paris–Dijon–Chalon-sur-Saône
 * Paris–Lyon–Saint-Étienne
 * Paris–Valence–Avignon–Miramas
 * Paris–Chambéry–Albertville–Bourg-Saint-Maurice (winter)
 * High speed services (Milan–Paris Frecciarossa)
 * Paris–Lyon–Chambéry–Modane–Turin–Milan
 * Paris–Lyon-Part-Dieu–Lyon-Perrache
 * High speed services (TGV Lyria)
 * Paris–Bellegarde–Geneva (–Lausanne)
 * Paris–Belfort–Mulhouse–Basel (–Zurich)
 * Paris–Dijon–Lausanne
 * Regional services Paris–Montereau–Sens–Laroche-Migennes
 * Regional services (Transilien) Paris–Melun–Moret–Nemours–Montargis
 * Paris RER services A
 * Saint-Germain-en-Laye–Nanterre-Universite–La Defense–Gare de Lyon–Vincennes–Boissy-Saint-Leger
 * Cergy le Haut–Conflans–Sartrouville–La Defense–Gare de Lyon–Vincennes–Val-de-Fontenay–Marne-la-Vallee (Disneyland)
 * Poissy–Sartrouville–La Defense–Gare de Lyon–Vincennes–Val-de-Fontenay–Marne-la-Vallee (Disneyland)
 * Paris RER services D
 * Creil–Orry-la-Ville–Goussainville–Saint Denis–Gare du Nord–Gare de Lyon–Combs-la-Ville–Melun
 * Goussainville–Saint Denis–Gare du Nord–Gare de Lyon–Juvisy–Ris–Corbeil
 * Châtelet–Gare de Lyon–Juvisy–Grigny–Corbeil–Malesherbes
 * Gare de Lyon–Juvisy–Grigny–Corbeil–Melun

In films
The station has appeared in the following films:
 * 1972: Travels with My Aunt, directed by George Cukor
 * 1998: L'étudiante, Starring Sophie Marceau
 * 2005: The Mystery of the Blue Train, an Hercule Poirot mystery novel by Agatha Christie (and its TV adaptation)
 * 2007: Mr. Bean's Holiday, directed by Steve Bendelack
 * 2010: The Tourist, directed by Florian Henckel von Donnersmarck

title: Gare de Lyon