text:
Marty McSorley

Martin James McSorley (born May 18, 1963) is a Canadian former professional hockey player, who played in the National Hockey League (NHL) from 1983 to 2000. A versatile player, he could play both the forward and defense positions. He was also head coach of the Springfield Falcons of the American Hockey League from 2002 to 2004. He was a valued teammate of Wayne Gretzky when they played together for the Edmonton Oilers and Los Angeles Kings, serving as an enforcer.

In 2000, his assault of Donald Brashear with his stick, in which Brashear suffered a severe concussion, led to McSorley's suspension, criminal conviction, and later his retirement from hockey.

Early life and hockey career
McSorley was born in Hamilton, Ontario and grew up near Cayuga, Ontario. He made his NHL debut in October 1983 with the Pittsburgh Penguins but rose to fame after a trade in September 1985 sent him to the Edmonton Oilers. His arrival and physical presence soon made Edmonton's incumbent enforcer Dave Semenko expendable, and McSorley became known as "Wayne Gretzky's bodyguard".

This title followed him to Los Angeles in 1988, when both he and Gretzky, along with Mike Krushelnyski, were obtained by the rival Los Angeles Kings. With the Kings, McSorley's bruising style made him a fan favorite; but he strove to improve his game beyond his work as an enforcer, earning great respect around the league for his hard work ethic, his fine team play, and his articulate intelligence off the ice.

In the 1992–93 NHL regular season, McSorley led all defensemen in shorthanded goals with three.

The Kings reached the 1993 Stanley Cup Finals against the Montreal Canadiens, but in Game 2 with the Kings up 2–1, McSorley was caught with an illegal stick, which led to the Canadiens tying the game and winning it in overtime. Montreal eventually took the series in five games. McSorley had ten points in the playoffs and was the only King to score during the final game. Some suggested that he was the second most dominant King after Gretzky in the playoffs.

McSorley was traded in August 1993 to the Pittsburgh Penguins in exchange for offensive forward Shawn McEachern. He had played only 47 games for Pittsburgh when the Kings re-acquired him on February 16, 1994. Back with the Kings, he assisted on Gretzky's goal which broke Gordie Howe's all-time goal-scoring record. On March 14, 1996, McSorley left the Kings' organization for good when he was traded to the New York Rangers in a multi-player deal.

After completing the 1995–96 season with the Rangers, McSorley returned to the West Coast upon being acquired by the San Jose Sharks in August 1996. He spent two injury-plagued seasons with the Sharks, then returned to Edmonton as a free agent in October 1998. Confined to a part-time role in his second stint in Edmonton, he left after one season and signed with the Boston Bruins in December 1999.

Assault conviction
In a game between the Bruins and the Vancouver Canucks in Vancouver on February 21, 2000, McSorley swung his stick and hit Donald Brashear in the head with 4.6 seconds left in the game. Brashear fell backward and hit his head hard on the ice, losing consciousness and suffering a Grade III concussion. McSorley was charged with assault and suspended by the NHL for the remainder of the 1999–2000 season and the playoffs, missing 23 games. On October 6, 2000, Judge William Kitchen of the Provincial Court of British Columbia found him guilty of assault with a weapon for his attack on Brashear. He was sentenced to 18 months probation. The trial was the first for an on-ice attack by an NHL player since Dino Ciccarelli's 1988 trial.

After his conviction, his NHL suspension was extended to one full year through February 21, 2001. It was the longest suspension for an on-ice incident in modern NHL history. McSorley's contract expired during the suspension, and he would never play in another NHL game.

United Kingdom
During his suspension, he attempted to continue playing hockey in the United Kingdom with the London Knights, where his elder brother Chris was coaching, but this move was blocked by the International Ice Hockey Federation, in deference to the NHL. A similar intention to play in Germany for the Munich Barons also failed. He joined the Grand Rapids Griffins of the International Hockey League and dressed for 14 games.

In the autumn of 2001, following the completion of his suspension, McSorley again looked towards the other side of the Atlantic. He considered purchasing the then struggling Cardiff Devils team with his brother, to become a player-coach and to help to develop interest in the sport in the UK. He appeared as a guest player for both the Devils and the British national ice hockey team during a series of games in November 2001, but the deal to purchase the Devils failed to come through.

Coaching career
McSorley coached the Springfield Falcons of the American Hockey League between 2002 and 2004.

Film and TV career
From 1995 to 1997, McSorley appeared in four movies in small roles: Bad Boys (1995), Forget Paris (1995), Con Air (1997) and Do Me A Favor (1997).

During the 2005–06 NHL season, McSorley worked for Fox Sports West in Los Angeles, providing in-studio analysis of games involving the Los Angeles Kings or the Mighty Ducks of Anaheim. He provided color commentary for the San Jose Sharks games on FSN Bay Area in 2006-07. His time in that role ended mysteriously midway through the Sharks' playoff series with Detroit when the Sharks announced McSorley would not return for the broadcast of Game 3 for personal reasons. No further explanation was given.

He appeared in one episode of CSI: Miami in 2005 as rink manager Andrew Greven. On July 30, 2007, McSorley guest starred on ABC Family's Greek as himself playing a hockey goaltender. In February 2008, McSorley was featured as one of the pros on Pros vs Joes on Spike TV.

Canadian singer-songwriter Kathleen Edwards referred to McSorley in her song "I Make the Dough, You Get the Glory", with the lyric, "You're the Great One, I'm Marty McSorley..., I make the dough, but you get the glory." McSorley appears in the song's music video.

McSorley is currently a TV analyst for Sportsnet and occasionally Hockey Night in Canada. He is a regular at Staples Center during Kings hockey games.

Personal life
McSorley currently resides in Arizona. He married beach volleyball player Leanne Schuster in August 2002. They have three children.

Awards and achievements

 * 1986–87 – NHL – Stanley Cup (Edmonton)
 * 1987–88 – NHL – Stanley Cup (Edmonton)
 * 1990–91 – NHL Plus-Minus Award

Career statistics
Bold indicates led league

Transactions

 * July 30, 1982 – Signed as a free agent with the Pittsburgh Penguins.
 * September 11, 1985 – Traded by the Pittsburgh Penguins, along with Tim Hrynewich and Craig Muni to the Edmonton Oilers in exchange for Gilles Meloche.
 * August 9, 1988 – Traded by the Edmonton Oilers, along with Wayne Gretzky and Mike Krushelnyski, to the Los Angeles Kings in exchange for Jimmy Carson, Martin Gelinas, Los Angeles' 1989 1st round draft choice, Los Angeles' 1991 1st round draft choice, Los Angeles' 1993 1st round draft choice and $15 million.
 * August 27, 1993 – Traded by the Los Angeles Kings to the Pittsburgh Penguins in exchange for Shawn McEachern.
 * February 16, 1994 – Traded by the Pittsburgh Penguins, along with Jim Paek, to the Los Angeles Kings in exchange for Shawn McEachern and Tomas Sandstrom.
 * March 14, 1996 – Traded by the Los Angeles Kings, along with Jari Kurri and Shane Churla, to the New York Rangers in exchange for Ray Ferraro, Ian Laperrière, Mattias Norström, Nathan LaFayette and New York's 1997 4th round choice.
 * August 20, 1996 – Traded by the New York Rangers to the San Jose Sharks in exchange for Jayson More, Brian Swanson and San Jose's 1997 4th round choice.
 * October 1, 1998 – Signed as a free agent with the Edmonton Oilers.
 * December 9, 1999 – Signed as a free agent with the Boston Bruins.

title: Marty McSorley


text:
Paint stripper

Paint stripper or paint remover is a chemical product designed to remove paint, finishes, and coatings, while also cleaning the underlying surface.

The product's material safety data sheet provides more safety information than its product labels.

Paint can also be removed using mechanical methods (scraping or sanding) or heat (hot air, radiant heat, or steam).

Types
Chemical paint removers work only on certain types of finishes, and when multiple types of finishes may have been used on any particular surface, trial-and-error testing is typical to determine the best stripper for each application. Two basic categories of chemical paint removers are caustic and solvent.

Caustics
Caustic paint removers, typically aqueous sodium hydroxide (also known as lye or caustic soda), work by breaking down the chemical bonds of the paint, usually by hydrolysis of the chain bonds of the polymers forming the paint. Caustic removers must be neutralized or the new finish will fail prematurely. In addition, as caustic paint strippers typically include corrosive active ingredients, several side effects and health risks must be taken into account in using. Caustic aqueous solutions are typically used by antique dealers who aim to restore old furniture by stripping off worn varnishes, for example. Some other examples of common active ingredients in caustic paint strippers include:
 * Ammonia (NH3)
 * Calcium oxide (CaO)
 * Calcium carbonate (CaCO3)
 * Sodium carbonate (Na2CO3)
 * Potassium carbonate (K2CO3)
 * Potassium silicate (K2SiO3, or related silicates)
 * Potassium hydroxide (KOH)

Solvents
Solvent paint strippers penetrate the layers of paint and break the bond between the paint and the object by swelling the paint.

The active ingredient in the most effective paint strippers is dichloromethane, also called methylene chloride. Dichloromethane has serious health risks including death, is likely a carcinogen, and is banned in some countries for consumer use. Despite this, deaths from dichloromethane are extremely rare at fewer than 2.4 cases per year and associated mostly with users applying large amounts in confined, poorly ventilated spaces. When applied in reasonable amounts and with typical levels of ventilation, or outdoors, it is generally safe to use.

Solvent strippers may also have formulations with limonene from orange peel (or other terpene solvents), n-methylpyrrolidone, esters such as dibasic esters (often dimethyl esters of shorter dicarboxylic acids, sometimes aminated, for example, adipic acid or glutamic acid), aromatic hydrocarbons, dimethylformamide, and other solvents are known as well. The formula differs according to the type of paint and the character of the underlying surface. Nitromethane is another commonly used solvent. Dimethyl sulfoxide is a less toxic alternative solvent used in some formulations. Unfortunately, these alternative stripping formulas are largely ineffective compared to those based on dichloromethane - removing only one layer at a time, or often no paint at all. When they do work they take hours, compared to minutes or seconds for dichloromethane-based strippers.

Paint strippers come in a liquid, or a gel ("thixotropic") form that clings even to vertical surfaces.

The principle of paint strippers is penetration of the paint film by the molecules of the active ingredient, causing it to swell; this volume increase causes internal strains, which, together with the weakening of the layer's adhesion to the underlying surface, leads to separation of the layer of the paint from the substrate.

Other components
Various co-solvents are added to the primary active ingredient. These assist with penetration into the paint and its removal and differ according to the target paint. Ethanol is suitable for shellac, methyl ethyl ketone is used for cellulose nitrate, and phenol and cresols are employed in some industrial formulas. Benzyl alcohol is used as well.

Activators increase the penetration rate; for dichloromethane water is suitable, other choices are amines, strong acids or strong alkalis. The activator's role is to disrupt the molecular and intermolecular bonds in the paint film and assist with weakening this. Its composition depends on the character of the paint to be removed. Mineral acids are used for epoxy resins to hydrolyze their ether bonds. Alkaline activators are usually based on sodium hydroxide. Some cosolvents double as activators. Amine activators, alkalines weaker than inorganic hydroxides, are favored when the substrate could be corroded by strong acids or bases.

Surfactants assist with wetting the surface, increasing the area of where the solvent can penetrate the paint layer. Anionic surfactants (e.g., dodecyl benzenesulfonate or sodium xylene sulfonate) are used for acidic formulas, cationic or non-ionic are suitable for alkaline formulas. Paint strippers containing surfactants are excellent brush cleaners.

Thickeners are used for thixotropic formulas to help the mixture form gel that adheres to vertical surfaces and to reduce the evaporation of the solvents, thus prolonging the time the solvent can penetrate the paint. Cellulose-based agents, e.g., hydroxypropyl cellulose, are commonly used for mixtures that are not extremely acidic or basic; under such conditions cellulose undergoes hydrolysis and loses effectiveness, so fumed silica is used for these instead. Another possibility is using waxes (usually paraffin wax or polyethylene or polypropylene derivatives), or polyacrylate gels.

Corrosion inhibitors are added to the formula to protect the underlying substrate and the paint stripper storage vessel (usually a steel can) from corrosion. Dichloromethane decomposes with time to hydrochloric acid, which readily reacts with propylene oxide or butylene oxide and therefore is removed from the solution. Chromate-based inhibitors give the mixture a characteristic yellow color. Other possibilities include polyphosphates, silicates, borates, and various antioxidants.

Sequestrants and chelating agents are used to "disarm" metal ions present in the solution, which could otherwise reduce the efficiency of other components, and assist with cleaning stains, which often contain metal compounds. The most common sequestrants used in paint strippers are EDTA, tributyl phosphate, and sodium phosphate.

Colorants may be added.

Alternatives
Heat guns are an alternative to chemical paint strippers. When heated, softened paint clumps and is easier to contain. High-temperature heat guns at 1,100 F or more create toxic lead fumes in lead-based paint, but low-temperature heat guns and 400 F infrared paint removers do not create lead fumes. Fire is a possible hazard of using heat guns.

Steam can be used on large surfaces or items to be stripped, such as window sash, can be placed inside a steam box.

Local laws
Lead-based paint is banned in the United States. Removing old lead-based paint can disperse lead and cause lead poisoning, leading several US workplace and environmental regulations address removal of old paint that could contain lead.

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

title: Paint stripper


text:
List of Canadian protected areas

This is a list of all provincial/territorial parks and other provincial/territorial protected areas in Canada.

Alberta
Alberta's provincial parks and protected areas are managed by Alberta Parks and Alberta Government's ministry of Alberta Environment and Parks whose mandate is to protect the province's natural landscapes in Alberta. As of December 2023, the province of Alberta manages 77 provincial parks and 34 wildland provincial parks. Alberta Parks manages a total of 474 areas in 8 different park classes.

British Columbia
Provincial parks and protected areas in British Columbia are under the jurisdiction of the British Columbia Ministry of Environment.

Manitoba
Provincial parks and protected areas in Manitoba are the responsibility of the Manitoba Ministry of Conservation.

New Brunswick
New Brunswick's provincial parks and protected areas are the responsibility of the Department of Tourism, Heritage and Culture.

Newfoundland and Labrador
Provincial parks and protected areas in Newfoundland and Labrador are the responsibility of the Newfoundland and Labrador Ministry of Environment and Conservation.

Northwest Territories
Northwest Territories territorial parks and protected areas are under the Northwest Territories Ministry of Industry, Tourism & Investment.

Nova Scotia
Nova Scotia's provincial parks and protected areas are the responsibility of the Nova Scotia Department of Natural Resources.

Nunavut
Nunavut's territorial parks and protected areas are under Nunavut Ministry of Environment.

Ontario
Ontario Parks is responsible for provincial parks and protected areas in Ontario.

Prince Edward Island
Provincial parks and protected areas in Prince Edward Island are the responsibility of the Prince Edward Island Ministry of Tourism and Culture.

Quebec
Provincial parks (referred to as national parks) and protected areas in Quebec are managed by the Société des établissements de plein air du Québec under the Ministry of Sustainable Development, Environment and Parks.

Saskatchewan
Provincial parks and protected areas in Saskatchewan are under the responsibility of Saskatchewan Parks under the Ministry of Tourism, Parks, Culture and Sport.

Yukon
Yukon's territorial parks and protected areas are maintained by the Parks Branch of the Yukon Territory Ministry of Environment

title: List of Canadian protected areas


text: User talk:207.69.140.36

title: User talk:207.69.140.36


text:
John Gibson (sculptor)

John Gibson (19 June 1790 – 27 January 1866) was a Welsh Neoclassical sculptor who studied in Rome under Canova. He excelled chiefly in bas-relief, notably the two life-size works The Hours Leading the Horses of the Sun and Phaethon Driving the Chariot of the Sun, but was also proficient in monumental and portrait statuary. He is famous for his statues of Sir Robert Peel (Westminster Abbey), William Huskisson (St George's Square) and Queen Victoria (Houses of Parliament). Gibson was elected a Royal Academician in 1836, and left the contents of his studio to the Royal Academy, where many of his marbles and casts are currently on display.

Early life
Gibson was born near Conwy, Wales, where his father was a market gardener. When he was nine years old the family were on the point of emigrating to America, but his mother put a stop to this plan on their arrival at Liverpool, where they settled, and where Gibson was sent to school. He became fascinated by the displays in the windows of the city's print shops. The painter and printseller John Turmeau lent him some drawings and plaster casts to copy.

Education
At the age of fourteen, Gibson was apprenticed to a firm of cabinet-makers. He soon took a violent dislike to this work, however, and eventually managed to have his articles bought out by the monumental masons Samuel and Thomas Franceys. It was while apprenticed to the Franceys brothers that Gibson came to the attention of the historian William Roscoe, for whom he executed a terracotta bas-relief now in the Liverpool museum. Roscoe gave Gibson access to his library at Allerton, by which means he became acquainted with the designs of the great Italian masters.

A cartoon (now also in the Liverpool museum) of The Fall of the Angels marked this period. He studied anatomy, his lessons provided gratuitously by a medical man, and gained introductions to families of refinement and culture in Liverpool. Roscoe was an excellent guide to his protégée, pointing to the Greeks as the only examples for a sculptor. Gibson here found his true vocation. A basso rilievo of Psyche Carried by the Zephyrs was the result. He sent it to the Royal Academy, where John Flaxman, recognizing its merits, gave it an excellent place. Again he became unsettled. He conceived a wish to further his artistic education in Rome, and the first step to this goal went to go to London; there he received conflicting advice from Flaxman and from Francis Legatt Chantrey, the former urging him go to Rome as the highest school of sculpture in the world, the latter maintaining that London could do as much for him.

Rome
Gibson arrived in Rome in October 1817, at a comparatively late age for a first visit. There he was generously received by Antonio Canova, to whom he had introductions, the Venetian sculptor putting not only his experience in art but his purse at the English student's service. Up to this time, though his designs show a fire and power of imagination in which no teaching is missed, Gibson had had no instruction, and had studied at no academy. In Rome he first became acquainted with the rules and technicalities of art. Canova introduced him into the academy supported by Austria, and the first sense of his deficiencies in common matters of practice was depressing to him. He saw Italian youths already excelling in the drawing of the figure. But the tables were soon turned. His first work in marble, Sleeping Shepherd Boy, was completed in 1824.

Gibson was soon launched, and distinguished patrons, initially sent by Canova, made their way to his studio in the Via Fontanella. His aim was always purity of character and beauty of form. He rarely declined into the prettiness of Canova, and if he did not often approach the masculine strength of Bertel Thorvaldsen, he more than once surpassed him even in that quality. He was essentially classic in feeling and aim, but here his habit of observation enabled him to achieve a grace beyond the reach of a mere imitator. His subjects were gleaned from the free actions of the Italian people noticed on his walks, and afterwards given such mythological names as best fitted them. Thus a girl kissing a child over her shoulder became a Nymph and Cupid; a woman helping her child with his foot on her hand on to her lap, a Bacchante and Faun; his Amazon Thrown from Her Horse, one of his most original productions, was taken from an accident he witnessed to a female rider in a circus; and Hunter and Dog was also the result of a street scene.

Personal life
Throughout most of his time in Rome Gibson had an alleged relationship with the Welsh artist Penry Williams.

Death
Gibson was elected R.A. in 1836, and bequeathed all his property and the contents of his studio to the Royal Academy, where his marbles and casts are open to the public. He died at Rome on 7 January 1866 and was buried in the Protestant Cemetery there.

Reception

In monumental and portrait statues for public places, necessarily represented in postures of dignity and repose, Gibson was very happy. His largest effort of this class was the group showing Queen Victoria Supported by Justice and Clemency, in the Houses of Parliament, his finest work in the round. Of noble character also in execution and expression of thought is the statue of William Huskisson with the bared arm; and no less, in effect of aristocratic ease and refinement, the seated figure of Dudley North. Gibson's chief excellence, however, lay in basso rilievo. His thorough knowledge of the horse, and his constant study of the Elgin Marbles, casts of which are in Rome, resulted in the two bassi rilievi, the size of life, which belonged to Lord Fitzwilliam: The Hours Leading the Horses of the Sun, and Phaethon Driving the Chariot of the Sun. Most of his memorial works are also in basso rilievo. Some of these are of a truly refined and pathetic character, such as the monument to the Countess of Leicester, wife of Thomas Coke, the 1st Earl, or that to his friend Mrs Huskisson in Chichester Cathedral, and that of the Bonomi children. Passion, either indulged or repressed, was the natural impulse of his art: repressed as in the Hours Leading the Horses of the Sun, and as in the Hunter and Dog; indulged as in the meeting of Hero and Leander, a drawing executed before he left England. Gibson was the first to introduce colour on his statues, first as a mere border to the drapery of a portrait statue of the queen, and by degrees extended to the entire flesh, as in his so-called Tinted Venus and in Love Tormenting the Soul, both now in the Walker Art Gallery in Liverpool.

In all worldly affairs and the business of daily life he was simple and guileless in the extreme; but was resolute in matters of principle. He was visited by William Dean Howells in Naples who described him as "dressed with extraordinary slovenliness and indifference to clothes, had no collar, I think, and evidently did not know what he had one. Everything about him bespoke the utmost unconsciousness and democratic plainness of life."

Biographies
The letters between Gibson and Margaret Sandbach, granddaughter of William Roscoe, and a sketch of his life that lady induced him to write, furnish the chief materials for his biography. See his Life, edited by Lady Eastlake.
 * John Gibson R.A. The World of the Master Sculptors is the first biography of Gibson in over a century. The book incorporates many illustrations and highlights Canova, Thorvaldsen, Spencer and Wyatt.  ISBN 978-1-906823-71-9.

Published works
Gibson provided almost all the illustrations for: Material by him is incorporated in:
 * Imitations of Drawings By Iohn Gibson R.A. Sculptor. Engraved By G. Wenzel And L. Prosseda Rome 1852	[London]: J. Hogarth 1852
 * Elizabeth Strutt The Story of Psyche: With a Classical Enquiry Into the Significance and Origin of the Fable; by Elizabeth Strutt with designs in outline By John Gibson Esq. R.A. [London: s.n. 1852].
 * Joseph Bonomi The Proportions of the Human Figure, As Handed Down to Us by Vitruvius, from the Writings of the Famous Sculptors and Painters of Antiquity: To Be Which is Added, the Admirable Method of Measuring the Figure, Invented by John Gibson, Sculptor; With Description and Illustrative Outlines Third edition. London: Charles Robertson 1872; Gibson is not credited in the 1st and 2nd editions, London: Henry Renshaw 1856 [1855] and London: Chapman & Hall; H. G. Bohn 1857

title: John Gibson (sculptor)


text:
Gaetano Milanesi

Gaetano Milanesi (1813-1895) was an Italian scholar and writer on the history of art.

Biography
Milanesi was born at Siena, where he studied law, and in 1838 he obtained an appointment in the public library.

In 1856 he was elected member of the Accademia della Crusca, in which capacity he took part in the compilation of its famous but still unfinished dictionary, and two years later was appointed assistant keeper of the Tuscan archives, in Florence; then he took charge of the famous Medici archives, whence he collected a vast body of material on the history of Italian art, not all of which is yet published. In 1889 he became director of the archives, but retired in 1892, and died three years later.

His most important publication is his edition of Vasari's works in nine volumes, with copious and valuable notes (Florence, 1878 1885). Of his other writings the following may be mentioned: He also edited a number of Italian classics.
 * Il diario inedito di Alessandro Sozzini (in the Archivio storico Italiano, 1842)
 * Documenti per la storia dell' arte senese, 3 vols. (Siena, 1854-1856)
 * Discorsi sulla storia civile et artistica di Siena (Siena, 1862)

title: Gaetano Milanesi


text:
Aryan Games

The Aryan Games (Arische Spiele ) were a proposed replacement for the Olympic Games in Nazi Germany. Proposed by Nazi sports organizer Carl Diem and subsequently adopted by Adolf Hitler, these multi-sport games were supposed to be housed permanently in Nuremberg at the planned "German Stadium", that had been designed by Nazi architect Albert Speer, but was never built.

The idea was originally entertained in 1939 by Carl Diem, chief organiser of the 1936 Summer Olympics in Berlin, who ahead of the 1936 Olympics was already noted for claiming that "Germanics may only be defeated by other Germanics," which turned out not to be the case. The idea was subsequently adopted by Hitler, who told Albert Speer that once the German Stadium was built, there would be no more Olympic Games, only the Aryan Games.

title: Aryan Games


text:
Pinturicchio

Pinturicchio, or Pintoricchio (, ; born Bernardino di Betto; 1454–1513), also known as Benetto di Biagio or Sordicchio, was an Italian Renaissance painter. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.

Early years
Pinturicchio was born the son of Benedetto or Betto di Biagio, in Perugia. In his career, he may have trained under lesser-known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was a paid assistant of Perugino.

The works of the Perugian Renaissance school are very similar and often paintings by Perugino, Pinturicchio, Lo Spagna, and a young Raphael may be mistaken, one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master's sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.

His assignment in Rome, to decorate the Sistine Chapel, was an experience fraught with learning from prominent artists of the time, including: Sandro Botticelli, Domenico Ghirlandaio, Pietro Vanucci, and Luca Signorelli. The Sistine Chapel was where it is believed that Pinturicchio was collaborating with Perugino to some extent. Pinturicchio's fresco, Assumption of Mary, executed in 1481 on the alter wall of the Sistine Chapel, was destroyed in 1535 to make way for Michelangelo's Last Judgement.

Work in Santa Maria del Popolo in Rome
After assisting Perugino in his frescoes in the Sistine Chapel, Pinturicchio was employed by various members of the Della Rovere family to decorate the Semi-Gods Ceiling of Palazzo dei Penitenzieri as well as a series of chapels in the church of Santa Maria del Popolo, where he appears to have worked from 1484, or earlier, until 1492.

Critic Evelyn March Phillipps sums up his work by saying that the basilica "[w]ould be if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy. A great deal remains, but much has been swept away".

The earliest known of his works is an altarpiece of the Adoration of the Shepherds, in the Della Rovere Chapel, the first chapel (from the west) on the south, built by Cardinal Domenico della Rovere. In the lunettes under the vault, Pinturicchio painted small scenes from the life of St. Jerome. The polychrome grotesque wall decoration on a yellow-gold background probably was inspired by the paintings of the Domus Aurea, and belongs the earliest and highest quality of their kind in Rome.

The frescos he painted in the Cybo Chapel, built by Cardinal Lorenzo Cybo de Mari in the beginning of the sixteenth century, were destroyed in 1682, when the chapel was rebuilt by Cardinal Alderano Cybo. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa.

The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains a fine altarpiece, Madonna enthroned between Four Saints, and on the eastern side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small paintings of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very gracefully and powerfully drawn figures of women in full length, in which the influence of Luca Signorelli may be traced.

In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel, Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands that separate these paintings have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below.

Works in the Vatican Library
In 1492, Pinturicchio was summoned to Orvieto Cathedral. However, he was also commissioned by Pope Alexander VI (Borgia) to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes. He worked in these rooms until around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and others.

Among other important frescoes by Pinturicchio that still exist in Rome and are in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484–1486. On the altar wall is a grand painting of St. Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St. Bernardino, which includes portraits of members of the sponsoring Bufalini family.

One group of three women, the central figure with a child at her breast, recalls the grace of Raphael's second manner. The composition of the main group around the saint's corpse appears to have been suggested by Giotto's painting of St. Francis on his bier that is found in Santa Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but as with the rest of the frescoes in this chapel, they are more probably by Pinturicchio. On the vault of the sacristy of Santa Cecilia in Trastevere, Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted in the choir of the Duomo two more figures of the Latin Doctors. For these he received fifty gold ducats. Now, like the rest of his work at Orvieto, these figures are almost destroyed. In Umbria, his masterpiece is the Baglioni Chapel in the church of S. Maria Maggiore in Spello.

Among his panel paintings the following are the most important: an altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city gallery, depicts a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St. Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino — the Madonna enthroned looks down toward the kneeling donor. In beauty of face and expression, the angels at the sides recall the manner of Lorenzo di Credi or Da Vinci.

The Vatican galleries have the largest of Pinturicchio's panels — the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.

In 1504, Pinturicchio designed a mosaic floor panel for the Cathedral of Siena: the Story of Fortuna, or the Hill of Virtue. This was executed by Paolo Mannucci in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to Socrates.

Among the public collections holding works by Pinturicchio are, the Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore, the Vatican Museums, and the Museum of Fine Arts (Budapest).

Works

 * Miracles of St Bernardino (1473), Galleria Nazionale dell'Umbria, Perugia
 * Saint Jerome in the Desert (1475–1480), Walters Art Museum, Baltimore, Maryland
 * The Crucifixion with Sts. Jerome and Christopher, c. 1475, oil on wood, 59 × 40 cm, Galleria Borghese, Rome
 * Della Rovere Chapel (late 1470s to 1482), Santa Maria del Popolo, Rome; including The Adoration of the Child with St. Jerome
 * Madonna with Writing Child and St. Jerome (c. 1481), 49.5 × 38 cm, Gemäldegalerie, Berlin
 * Assumption of Mary, fresco, Sistine Chapel (1481), later destroyed
 * Madonna with Blessing Child (c. 1480), National Gallery, London
 * Bufalini Chapel (c. 1484–1486), frescoes, Santa Maria in Ara Coeli, Rome
 * Basso Della Rovere Chapel (c. 1484–1492), frescoes, Santa Maria del Popolo, Rome
 * Cybo Chapel (c. 1489–1503) in Santa Maria del Popolo, Rome, Italy (destroyed); including The Virgin and the Child now in the Cathedral of Massa, Massa, Tuscany
 * Costa Chapel (c. 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
 * Madonna of Peace (c. 1490), oil on panel, 143 × 70 cm, Pinacoteca civica Tacchi-Venturi, San Severino Marche, Marche
 * Semi-Gods Ceiling (c. 1490), oil on paper on wood, Palazzo dei Penitenzieri, Rome
 * Nursing Madonna (1492), 29.2 × 21.6 cm, Sarah Campbell Blaffer Foundation, Houston, Texas
 * Borgia Apartments (c. 1492–1494), frescoes. Vatican City, Rome
 * Madonna col Bambino e paesaggio 59 x 44 cm, Palazzo Baldeschi, Perugia
 * Madonna with Reading Child (c. 1494–1498), 33.7 × 25.4 cm, North Carolina Museum of Art, Raleigh, North Carolina
 * Madonna with Writing Child (c. 1494–1498), 61 × 41.6 cm, Philadelphia Museum of Art, Philadelphia
 * Madonna with Writing Child and Bishop (c. 1495), 158 × 77.3 cm, Museu de Belles Arts, Valencia
 * Eroli Chapel (1497), frescoes, Cathedral of Spoleto, Spoleto
 * Santa Maria dei Fossi Altarpiece, oil on panel and canvas, 513 × 314 cm, Galleria Nazionale dell'Umbria, Perugia
 * Portrait of a Boy (c. 1500), Gemäldegalerie Alte Meister, Dresden
 * Baglioni Chapel (c. 1500–1501). Santa Maria Maggiore, Spello
 * Piccolomini Library (1502–1507), frescoes, Cathedral of Siena, Siena
 * Coronation of Pius II (c. 1503–1508), fresco, Cathedral of Siena, Siena
 * St. John the Baptist Chapel (1504), Cathedral of Siena, Siena
 * Madonna Enthroned with Saints (1506–1508), 318 × 257 cm, church of Sant'Andrea, Spello
 * Virgin and Child (51,4 × 40,6) tempera and gold on wood panel, Alicem institute, Luxembourg
 * Madonna Enthroned with Saints (1506–1508), 318 × 257 cm, church of Sant'Andrea, Spello
 * Virgin and Child (51,4 × 40,6) tempera and gold on wood panel, Alicem institute, Luxembourg

title: Pinturicchio


text:
Benedetto Bonfigli

Benedetto Bonfigli (c. 1420 – 8 July 1496) was an Italian Renaissance painter born in Perugia, and part of the Umbria school of painters including Raphael and Perugino. He is also known as Buonfiglio. Influenced by the style of Domenico Veneziano, Benozzo Gozzoli, and Fra Angelico, Bonfigli primarily painted frescos for the church and was at one point employed in the Vatican. His best-preserved work is the Annunciation, but his masterpiece is the decoration of the chapel of the Palazzo dei Priori. Bonfigli specialized in gonfaloni, a Perugian style using banners painted on canvas or linen. Little is known of his personal life, but he was an esteemed painter in Perugia before Perugino, who is said to be his pupil.

Style
Bonfigli as a painter was heavily influenced by Fra Angelico. His attention to detail in smaller areas of his paintings, as well as his use of gold to highlight both sacred and earthly elements, can be attributed to Fra Angelico. Bonfigli frequently used backdrops of forestry and cityscapes to provide an additional sense of depth to his pieces. His backgrounds are often said to have been influenced by Domenico Veneziano, who used rolling hills and trees as backdrops to make his paintings more realistic. These stylistic influences of Angelico and Veneziano's are particularly pertinent in Bonfigli's Annunciation and Adoration of the Child. Most of Bonfigli's frescos use softer colours in the fabrics on his figures, but typically highlights the Virgin Mary in blue, an expensive dye attributed with royalty and sanctity, with a gold halo. He often incorporates historical architecture from his home town Perugia in his works, sometimes meshing buildings of different eras. Bonfigli's method is also similar to his teacher, Benozzo Gozzoli, who had been Fra Angelico's assistant and had worked in Umbria from 1450 to 1456, in that he uses softer colours on the garments of his figures that brings additional depth to his paintings.

Early life and first works
Bonfigli trained in Perugia from 1430 to 1440, while the late-Gothic style was still dominant. Bonfigli's earliest surviving work is a dismembered polyptych, depicting Virgin and Child on the central panel, St Sebastian and a Bishop Saint on another wing, and what is believed to be St Bernardino of Siena and St Anthony Abbot on another.

The painter's first commissioned work is attributed to the Virgin and Child with Two Angels for a chapel near S. Pietro, Perugia on 7 March 1445. He was influenced by the works of Fra Angelico, particularly during his employment in the Vatican by Pope Nicholas V in 1450, where many of Angelico's frescoes were displayed in the Cappella Niccolina of the Palazzo Vaticano, the pope's private chapel.

We know Bonifgli was held in high regard by the pope due to his high salary at the time (seven ducats a month). Other works, such as Fra Angelico's Cortona Polyptych commissioned in 1437, and the works of Domenico Veneziano in Perugia also heavily influenced Bonfigli's style. A close interpretation of Bonfigli's style is evident in a fresco dated 1446 of SS Catherine and Clement I in S. Cristoforo, Passigano; this piece, likely not the work of Bonfigli, demonstrates the influence the painter had on the region.

Maturity
Bonfigli reached maturity as an artist after returning to Perugia from Rome between 1453 and 1470. During this period, he painted the Annunciation, a smaller piece but among his most well-known and preserved, held in the Thyssen-Bornemisza Museum in Madrid. Bonfigli was influenced by the style of Gozzoli, a Florentine Renaissance painter; his stylistic method is evident in Bonfigli's Annunciation with St. Luke and Virgin and the Four Saints, both held in the Galleria Nazionale dell'Umbria in Perugia, Italy. According to Giorgio Vasari, the Perugian artist painted the Adoration of the Magi coupled with a predella of Episodes from the Life of Christ and a Miracle of St Nicholas in 1466 for the chapel of San Vincenzo in San Domenico, collaborating with Bartolomeo Caporali.

One of his masterpieces is a series of frescoes in the chapel of the Palazzo dei Priori in Perugia, which represent the Lives of St Louis of Toulouse and St Herculanus; the frescoes were commenced in 1454 and not finished in 1496, in which year Bonfigli's will is dated. One gonfalone, or banner, was painted in 1465 for the brotherhood of San Bernardino, and represented the deeds of their patron saint. Another gonfalone was painted for the brotherhood of San Fiorenzo in 1476. He painted the Virgin of Mercy (1478) for the church of the Commenda di Santa Croce. All of these works comprised a collection of gonfaloni across Perugia.

The Palazzo dei Priori
Chaplain Bartolomeo da Siena commissioned Bonfigli in 1454 to decorate half of the Priori Chapel. The chaplain intended to have the chapel painted with the Crucifixion with the Virgin and SS John the Evangelist, Laurence and Herculanus on the altar wall; and four scenes from the life of St Louis of Toulouse. The commission was altered later, and the fresco of the Crucifixion on the altar wall was not painted. The other four scenes of St Louis of Toulouse were arranged counter-clockwise from the right of the altar wall. One scene shows St Louis professing the Franciscan Rule before Pope Boniface VIII; another shows St Louis posthumously reuniting a merchant, with the church of San Domenico in Perugia clearly visible in the background; the third, badly damaged, depicts a miracle performed by St Louis; and the fourth shows St Louis's burial in a church resembling the church of St Pietro in Perugia. This half of the Priori chapel was finished in 1461, and the artist Filippo Lippi adjudicated the work and priced it at 400 Florentine florins. The works are now held in the Galleria Nazionale dell'Umbria.

Totila's siege of Perugia
The second half of the chapel was also commissioned to Bonfigli to decorate. The frescoes in the second half depict the scenes from the life of St Herculanus. The original commission was for four frescoes, but Bonfigli only painted three. The right of the back wall was painted with the fresco Totila's siege of Perugia. This wildly active fresco is divided into two scenes, with the siege of Totila depicted on the left and the scene after the city has fallen on the right. The left side shows Totila's army camped out around the ruins of the amphitheatre outside Porta Marzia which effected the siege when it began in 542. The left scene takes place in 549, where the soldiers gather around an ox. This ox was thrown over the city walls by St. Herculanus to convince the army the city still had provisions, but the trick was ruined by a cleric who revealed the lie. The right side of the fresco shows a few citizens of Perugia laying a beheaded St Herculanus and a young boy into a grave after the city had fallen. The city in the background provides a depiction of the Colle Landone, a hill in Perugia occupied by the Etruscans in the 4th century B.C., before the building of the Roman wall Rocca Paolina in 1540. The fresco shows historical buildings of Perugia, including the Porta Marzia, the church of Sant' Ercolano, and the towers of Baglioni palaces.

Translation to San Pietro
Left of the altar wall in the Priori Chapel is the fresco Translation to San Pietro. The scene takes place after the fall of Perugia to Totila and the martyrdom of Herculanus. A procession carries the uncorrupt body of Herculanus, having passed Sant’ Ercolano and San Domenico and about to enter San Pietro. Herculanus is carried on a bier, and a small boy behind him to the left represents the boy who had been buried with him and brought back to life.

Translation to the Duomo
The whole of the left wall of the Chapel was covered with a scene that has been badly damaged. The frescos depict the translation of the relics of St. Herculanus in 936 from San Pietro to the Duomo. The surviving fragments show three different scenes; a group of Dominicans entering the Duomo, the Palazzo dei Priori with city magistrates passing along the side; and a group of women passing alongside the San Domenico Vecchio. These scenes are logically the last scenes of the story of St Herculanus, but Bonfigli placed them in clockwise sequence between the Translation to San Pietro and Totila's siege of Perugia, likely because of the expanse of the left wall.

The commission was supposed to be completed in two years, but the work took far longer because of a delay of payment by the Commune for the first commission. The contract was renegotiated in 1469 with a debt owed by one Bartolomeo di Gregorio to Bonfigli. The frescoes were not completed by Bonfigli's death in 1496, but the painter dedicated the outstanding debt to complete the rest of the chapel frescoes.

The Annunciation

One of Bonfigli's best-preserved works, the Annunciation depicts Mother Mary receiving two small flames into her heart from the Dove of the Holy Spirit, sent down by God surrounded by cherubs. The work is believed to have been executed between 1440 and 1445. The Virgin Mary appears to pray on the right next to the Archangel Gabriel with gold wings on the left. Gabriel is kneeling with a lily in his left hand, and his right hand raised in blessing while he pronounces the phrase on the marble-panelled parapet, "AVE MARIA GRATIA PLENA," or "Hail Mary full of grace."

Within the open terrace enclosed by the decorated parapet is Mary's lectern and wooden chair in the middle distance. An open prayer book rests on the lectern, which has an open cupboard containing various books. The background depicts a walled city on the shores of a lake, active with merchant vessels.

Bonfigli demonstrates his style by combining gold elements with gothic features, contrasting the divine halos and wings with the Gothic windows of the double loggia, presumed to be the Virgin's house, on the right. Bonfigli uses gold not only to accentuate the divine elements in the piece, but also in the greater, more earthly areas of the sky and textiles worn by Mary and the angel. This use of gold is often attributed to an earlier Gothic style, but does not detract from the sense of depth or reality in the scene. Bonfigli contrasts the Gothic details of the piece with classical ones, including the low wall separating the foreground and background which appears to be more modern in material and design.

The landscape in the Annunciation is also attributed to the influence of Domenico Veneziano, another Renaissance painter who worked in Perugia from 1438 to 1454. This piece is often compared with Veneziano's earliest dated work, Adoration of the Magi, held in the Gemäldegalerie in Berlin, where Bonfigli derived the sense of depth created by the pine trees in the middle of the painting. Fra Angelico's influence can also be noticed in the fine details of the work in the immediate foreground, such as the glass vase filled with roses.

The Annunciation belonged to the collection of Thomas Pelham Hood in Ulster during the 19th century, and was passed to another private collection in Rome before being sold on the Italian art market. In 1977, the first year the piece was on the market, it was purchased by Baron Hans Heinrich Thyssen-Bornemisza. The painting has suffered wear; the colours are rubbed and the modelling in the faces has suffered damage, and vertical cracks exist in the painted surface. The draperies and other colour losses have since been retouched.

Legacy
Benedetto Bonfigli is notable in that he is one of the Renaissance's earliest notable painters native to Perugia, granting the city artistic credibility before Raphael began his works. Bonfigli did not rank as high as other Renaissance artists of his time, including Niccolo da Foligno, his fellow pupil under Gozzoli. As Bernhard Berenson writes in his book, "far was it from [Bonfigli] to harbour a feeling... for what in painting is more essential than charming faces and pretty colour". Berenson describes the painter as "a much more dependent person", and more "imitative". Others argue that much of Bonfigli's work was critical in the birth of the Umbria school of art, that had lagged behind Florence and Northern Italy until the mid 15th century, but quickly rose as a first rank with Perugino, his student, and then Raphael.

Major works

 * Adoration of the Child (1450; Florence, I Tatti)
 * Adoration of the Kings, and Christ on the Cross (1465–75; London, N.G.)
 * Altarpiece Adoration of the Magi with the predella of Episodes from the Life of Christ and a Miracle of St Nicholas (Perugia, G.N. Umbria)
 * Annunciation (Madrid, Mus. Thyssen-Bornemisza)
 * Annunciation with St Luke (Perugia, G.N. Umbria)
 * Christ Hurling Thunderbolts on Perugia with the Virgin and Saints Interceding (1472; Perugia, S Maria Nuova)
 * Crucifixion with SS Francis and Herculanus (restored 1565; Perugia, G.N. Umbria)
 * Gonfalon of San Bernardino (1465; Perugia, G.N. Umbria)
 * Lives of St. Louis of Toulouse and St. Herculanus (1454- 61; Perugia, G.N. Umbria)
 * Madonna of Misericordia (Perugia, S Francesco al Prato)
 * Miracles of St Bernard (1473; Perugia, G.N. Umbria)
 * Sant Ercolano and San Ludovico (1454; Palazzo del Consiglio)
 * St Bernard Interceding for the Citizens of Perugia (1465; Perugia, G.N. Umbria)
 * Totila's siege of Perugia (Late 15th century; Perugia, G.N. Umbria)
 * Virgin and Child with Two Angels (El Paso, TX, Mus. A.)
 * Virgin and Four Saints (Perugia, G.N. Umbria)
 * Virgin and Saints Interceding for Perugia (1476; Perugia, S Fiorenzo)

title: Benedetto Bonfigli


text:
Talk:Matrix mechanics

Energy?
The explanation of energy not being locally conserved makes no sense. Especially bizarre is the link to "product recall", which is an economics term!

And since when does energy not commute with spatial position? 198.228.196.84 (talk) 07:06, 22 July 2011 (UTC) Collin237
 * ? July 1925? Cuzkatzimhut (talk) 16:36, 8 June 2013 (UTC)

Convoluted history
", and came very close to formulating the Schrödinger equationfact"

The discussion at http://books.google.com/books?id=fV_RrSYE0EQC&pg=PA67&lpg=PA67&dq=jordan+%22schrodinger+equation%22&source=bl&ots=cIhmCftaxy&sig=hTmTckiIGJbKwsxvvtuww00D0HQ&hl=en&ei=vQHdTuC_M-br0gHNrcDkBQ&sa=X&oi=book_result&ct=result&resnum=9&ved=0CGUQ6AEwCA#v=onepage&q=jordan%20%22schrodinger%20equation%22&f=false

shows that the interactions among the several people working on these problems at the time were very complex. It is not at all clear that Jordan got to a near-equivalent of Schrödinger's equation first. Pending citations to prove the assertion I've moved it here.P0M (talk) 20:05, 5 December 2011 (UTC)

Duplication from the Werner Heisenberg article
Certain parts of this article are copied from the Heisenberg article, or vice versa. This feels a bit unprofessional and disturbing if you came to this article having just read about Heisenberg. I really do not know enough about this sibject to dare to venture into a fix, but I do think the matter should be adressed in this otherwise good material. -- Egil (talk) 10:50, 6 January 2015 (UTC)

 * "Unprofessional"??? And you are "disturbed" to read verbatim repetition? And, induced to post at the top of the Talk page, instead of at the bottom, in express contravention to WP practice? It t behoves you to paraphrase these passages, without deleting information, before you solicit random volunteer help.  Let me turn your odd point around: If there were a hypothetical optimal presentation of the same material clearly needed in both articles, why should one of the two article have to stick to a suboptimal one, merely to avoid repetitiveness w.r.t. the other?Cuzkatzimhut (talk) 14:07, 6 January 2015 (UTC)

"describing how the quantum jumps occur"
The second sentence of the second paragraph of the lead currently reads

 * It extended the Bohr Model by describing how the quantum jumps occur.

This strikes me as nonsense. The offensive words are "extended" and "describing how". If it is not immediately evident to you that these words are thoroughly inappropriate here, then I doubt that I would be easily able, in short compass, to persuade you of it.

A further problem with the lead is the clause

 * and is the basis of Dirac's bra–ket notation for the wave function.

of the last sentence of that paragraph. Dirac's notation is for state vectors. It is by further mathematical operations that it refers to wave functions. Moreover, I don't find in the article a reason to believe that the word "basis" is a good description of the relation between matrix mechanics and Dirac's notation. That notation did not appear till 1939. It is for state vectors, which are naturally related to wave functions as well as to matrices for transformations.

I suppose that some editors have special interest in this article, and for the present I defer to them to remedy these defects.Chjoaygame (talk) 19:32, 16 November 2015 (UTC)

Thank you, Editor Cuzkatzimhut for your response, which you describe as 'partial'. Perhaps you are still not done in this?

I think your words "supplant" and "as manifest in" are good.

I have tried to think of a neat replacement for the former words 'describing how', but I have not yet found one that I like. My objection is that, in a certain sense, 'how quantum jumps occur' is utterly mysterious or beyond present knowledge. I think they occur, but how, I would find hard to say. With respect, therefore, I am not persuaded that 'detailing actually how' is a great improvement. I accept that the word 'how' can be read in many ways, and that in some of those ways it may seem fitting, but I think that others of them still could be too easily read into it, and that it would be better avoided or artfully modified. I repeat, I do not have a bright idea for this job. Perhaps you may reconsider it.

Also, it concerns me that Dirac's notation refers immediately to state vectors, but only mediately to wave functions. I think the immediate relatum would be better in the text.Chjoaygame (talk) 08:18, 17 November 2015 (UTC)

 * OK, I eliminated over-reaching promises. But it would be a bad idea to expand on the Schr/matrix equivalence in the lede.... the whys and hows... Why don't you try to improve the relevant section 2.4 if you had ideas for improvements...Cuzkatzimhut (talk) 11:06, 17 November 2015 (UTC)

 * Thank you for this. I am now happy with your version. I agree that it would be a bad idea to expand in the lead. I don't have ideas to improve that section.Chjoaygame (talk) 12:57, 17 November 2015 (UTC)

Unnecessary foreign language use
I replaced "inter alia" with English per MOS: This was reverted but I disagree. The Latin only makes the article harder to read. Johnjbarton (talk) 21:00, 25 May 2024 (UTC)
 * By default, English Wikipedia articles state explicitly to the browser that they are written wholly in English.

 * @ShadyNorthAmericanIPs Johnjbarton (talk) 21:04, 25 May 2024 (UTC)
 * It's in quotation marks, which to me says really clearly "this is the literal text"? 🤷 ShadyNorthAmericanIPs (talk) 21:19, 25 May 2024 (UTC)
 * @ShadyNorthAmericanIPs ok didn't see that thanks Johnjbarton (talk) 21:26, 25 May 2024 (UTC)

title: Talk:Matrix mechanics


text:
Cromford

Cromford is a village and civil parish in Derbyshire, England, in the valley of the River Derwent between Wirksworth and Matlock. It is 17 mi north of Derby, 2 mi south of Matlock and 1 mi south of Matlock Bath. It is first mentioned in the 11th-century Domesday Book as Crumforde, a berewick (supporting farm) of Wirksworth, and this remained the case throughout the Middle Ages. The population at the 2011 Census was 1,433. It is principally known for its historical connection with Richard Arkwright and the nearby Cromford Mill, which he built outside the village in 1771. Cromford is in the Derwent Valley Mills World Heritage Site.

The Cromford mill complex, owned and being restored by the Arkwright Society, was declared by Historic England as "one of the country’s 100 irreplaceable sites". It is also the centrepiece of the Derwent Valley Mills UNESCO World Heritage Site.

In 2018, the Cromford Mills Creative Cluster and World Heritage Site Gateway Project was listed as a finalist for the Best Major Regeneration of a Historic Building or Place in the Historic England Angel Awards.

Geography
The River Derwent, with its sources on Bleaklow in the Dark Peak, flows southward to Derby and then into the River Trent. The geology of this section in the Derbyshire Dales is that of limestone. The fast flowing river has cut a deep valley. The A6 trunk road, which was the main road between London and Manchester in former times, the Cromford Canal and the Derwent Valley Line, linking Derby and Matlock, were all built in the river valley. The Via Gellia valley joins the Derwent at Cromford; however, the stream which runs through that valley is actually the Ivonbrook and historically the valley was called the Ivonbrook Valley. The Via Gellia is simply the name of the road which runs along it, named after the Gell family who owned many mines in the area.

History
It is one of the significant sites in the development of the Industrial Revolution. Here, Richard Arkwright built his cotton mill to make use of the water frame.

More specifically, according to Peak District Online, "Cromford is also known as the 'cradle' or `birthplace` of the Industrial Revolution for this was where Richard Arkwright (1732-1792), perhaps Britain's first ever `industrial tycoon` and known as `The Father of the Factory System` chose to build the world's first water-powered cotton mill in 1771."

The Gell family, who were local Hopton landowners heavily involved in the nearby Wirksworth lead mining district, had the Via Gellia built to connect Cromford and Grangemill in the late 18th century.

Various cottages and farm buildings pre-date Arkwright's time, but a large part of the village was built to house the mill workers. One source states that these are now considered to be "the first factory housing development in the world". Employees were provided with shops, pubs, chapels and a school.

Willersley Castle, now a Grade II* listed building, was also built by Richard Arkwright in 1791; after a fire in 1792, it was rebuilt and occupied by his son Richard Arkwright junior starting in 1796.

In the early 1800s, Scarthin Nick was "blasted through with dynamite to make way for what later became the A6, thus annexing the Arkwright industrial mill complex on the east side of the main Derby road and the Market Place and village at the bottom of the hill which climbs steeply westward towards Wirksworth, on the other".

The 20th century saw the development of council and private housing. Dene quarry, currently operated by Tarmac Ltd for the production of aggregates and roadstone, was excavated to the south west of the village from 1942 onwards. In December 2001 a 15 mi corridor from Masson Mill in Matlock Bath to the Silk Mill in Derby and including the mills in Cromford, Milford, Belper and Darley Abbey was declared the Derwent Valley Mills World Heritage Site. Masson Mill was described by the Peak District Online in 2006 as "perhaps the most prominent of Arkwright’s constructions ... and still in use today as a heritage site museum and retailer outlet".

Cultural references
The 1931 novel Saturday Night at the Greyhound by John Hampson takes place over the course of one evening in the bar at the Greyhound Hotel, Cromford.

In late 2006, Anand Tucker used certain parts of Cromford, including its historic bookshop, for his film And When Did You Last See Your Father?, based on the autobiographical memoir by poet Blake Morrison. Colin Firth plays the adult Blake, with Jim Broadbent cast as his dying father.

An industrial site in the German town of Ratingen is named Textilfabrik Cromford after Cromford, as this is where the industrial pioneer Johann Gottfried Brügelmann in 1783 erected the first factory outside England, using Arkwright's factory as an archetype. The factory today forms part of the Rheinisches Industriemuseum.

Cromford railway station is located on the Matlock–Derby Derwent Valley Line and can be seen on the cover of the 1995 Oasis single "Some Might Say".

Governance
Historically, Cromford was part of the Wirksworth Wapentake or Hundred; this administrative area, also known as the Soke of Wirksworth (the "small county of Wirksworth"), soon became West Derbyshire Council and is now called Derbyshire Dales District Council. The village is run locally by the Cromford Parish Council.

Transport
The A6, which links Carlisle with Luton, passes just to the north of the village; it provides easy access to Manchester, Stockport, Bakewell, Matlock and Derby.

Cromford railway station is served by trains along the Derwent Valley line between Derby and Matlock. The route is operated by East Midlands Railway, with services stopping generally hourly in both directions.

Landmarks
The Cromford Mill (1771) buildings and accommodation for workers to staff the factories form part of the Derwent Valley Mills, which is recognised as a World Heritage Site for its importance. North Street, constructed by Arkwright, is important as a very early purpose-built industrial workers' housing, and was rescued from dereliction in the 1970s by the Ancient Monument Society who have since sold off the houses. One house in the street is now a Landmark Trust holiday cottage.

Masson Mill (1783) is on the northern fringe of the village.

Willersley Castle dominates the hill on the east side of the river, with commanding views of Masson Mill, the village, and the road from Derby. Commissioned by Richard Arkwright, building work began in 1790, but was delayed by a fire in 1791. Richard Arkwright died in 1792, and the building was occupied by his son Richard in 1796. The Arkwright family moved out in 1922, and the building was acquired by some Methodist businessmen, and opened to guests as a Methodist Guild hotel in 1928. During World War II, the building was used as a maternity hospital by the Salvation Army while evacuated from their hospital in the East End of London.

St Mary's Church, built between 1792 and 1797 by Richard Arkwright.

The Cromford Canal – built to service the mills – is now disused, but has been designated a Site of Special Scientific Interest (SSSI). The canal tow-path can be followed from Cromford Wharf to High Peak Junction, and on to Whatstandwell and Ambergate. The Cromford and High Peak Railway, completed in 1831, ran from High Peak Junction to the Peak Forest Canal at Whaley Bridge. Its trackbed now forms the High Peak Trail, a walk and cycle route which is joined by the Tissington Trail at Parsley Hay.

Notable residents

 * Francis Hurt (1803–1861), Tory politician and member of Parliament who represented a constituency in South Derbyshire
 * George Turner (1841–1910), landscape artist, was born here.
 * Alison Uttley, (1884–1976), writer, was born nearby at Castle Top Farm.

title: Cromford


text:
Lentibulariaceae

Lentibulariaceae is a family of carnivorous plants containing three genera: Genlisea, the corkscrew plants; Pinguicula, the butterworts; and Utricularia, the bladderworts.

The genera Polypompholyx (two species of pink petticoats or fairy aprons) and Biovularia used to be regarded as fourth and fifth members of this family. Biovularia has been subsumed into Utricularia, and Polypompholyx has been relegated to a subgenus of Utricularia. Placement of the family used to be in the Scrophulariales, which has been merged with Lamiales in the Angiosperm Phylogeny Group system.

Evolution
Carnivory in plants appears to have evolved independently in five major angiosperm lineages and six orders: Poales, Caryophyllales, Oxalidales, Ericales, Alismatales and Lamiales.

One common trait found in several Lamiales families that may have led to carnivory is the secretion of proteinase mucilage through leaf surfaces. This mucilage is generally used to prevent insect predation by trapping and degrading potentially harmful insects. Some research suggests these glands can quite easily shift their function from secretion to absorption. This shift may have first occurred in the most recent common ancestor (MRCA) of the Lentibulariaceae, introducing absorptive glands that provided additional macronutrients through trapped insects. The additional source of nutrients may have increased fitness of plants growing in low-nutrient habitats which eventually caused an embrace of carnivory. Further mapping of traits also suggests the MRCA was terrestrial and possessed a basal rosette composed of flat leaves and a primary root. Phylogenetics also confirmed that the Pinguicula are sister to the other two genera.

title: Lentibulariaceae


text:
Wikipedia:Articles for deletion/Aryan Games

Proposed replacement? To be held in a stadium that was designed, but never built? A completely non-notable, stunningly minor footnote to Nazi Germany. - Kenwarren 14:08, Aug 1, 2004 (UTC)
 * Delete: If it's true, then this fact could be put at the end of the article on the 1936 Olympics or some spot in Nazi.  However, if it's true, it's pretty darned minor.  It could also be in the Albert Speer article. Geogre 16:44, 1 Aug 2004 (UTC)
 * oddly enough I can't find any evidence of any "Aryan Games", proposed or otherwise, in English or German. The stadium mentioned is real enough, and was actually construction and might make a good article. Abstain pending futher investigation. --Ianb 17:29, 1 Aug 2004 (UTC)
 * The stadium that Speers proposed building was never constructed, though the foundations were excavated. See here and here for more. I can only find a couple of references to the "Aryan games" mentioned, according to which they were indeed intended to replace the Olympics. This was in part due to the victories by Jesse Owens at the 1936 Olympics, apparently. (If you can't beat them, exclude them, I guess.) - Kenwarren 18:38, Aug 1, 2004 (UTC)
 * Keep, put on cleanup list & ask for further substantiation. Minor footnotes about the Third Reich are encyclopedic. Appropriate policy for footnotes in general is to have a short blurb & links to bigger topics. Wile E. Heresiarch 19:34, 1 Aug 2004 (UTC)
 * Delete unless verified. -- Cyrius|✎ 21:43, 1 Aug 2004 (UTC)
 * Keep, redirect to Albert Speer. (And remove self-link.) --Benc 04:15, 2 Aug 2004 (UTC)
 * Keep, but I'd like confirmation of the facts. -- Error 01:51, 5 Aug 2004 (UTC)


text:
Power Big Meet

Power Big Meet (sometimes shortened "Power Meet") is a classic car show held in Lidköping, Sweden, for American cars (especially those from the 1950s and 1960s). It is held each summer during the first weekend of July and is a major event for people who hold an interest for old American cars from all over the world. While initially held Friday to Sunday, it has been changed to Thursday to Saturday.

Power Big Meet is one of the biggest car events in the world. Every year between 55 and 75 thousand people visit Power Big Meet to look at other and show their own cars at Västerås' Johannisberg airfield.

The Power Big Meet began in 1978, and celebrated its largest crowd on record ever in 2007 during its 30th gathering.

During the Power Big Meet 2004 the police reported that an estimated 12,000 cars had participated in the festivities, breaking all previous records. During 2014 17,000 cars participated and 200,000 visitors showed up.

The 2017 Power Big Meet in Lidköping drew approximately 22,000 automobiles. Despite this, the newly instated Västerås Summer Meet only saw a minor decrease of cars and visitors compared to the previous year.

Move to Lidköping and Västerås Summer Meet
The night of July 8, 2016, during Power Big Meet, Kjell "Kjelle Power" Gustafsson was robbed while carrying over 1 million SEK in cash that were supposed to be deposited at a nearby bank, something he had done the previous 30 years. According to Gustafsson, who owns the Power Big Meet trademark, there would be no more Power Big Meet, and the only ones who would be able to arrange it, besides himself, would be "Jesus and his buddies". A few days later Klas "Brinken" Brink, a local entrepreneur who had been a part of the Power Big Meet team for 15 years, hoping that Gustafsson would have a change of heart, booked the airfield for a 2017 car meet. After a week of silence from Gustafsson about Power Big Meet, Brink stated in the press that he was prepared to save PBM and hoped that Gustafsson would join him and make the 40th Power Big Meet something special. Gustafsson stated that the booking of the airfield was an act of treason, and that Brink would be unable to organize anything as big as Power Big Meet. He also claimed that Brink had used the Power Big Meet brand without permission, threatening him with a lawsuit. As of July 2017, no suit has been filed.

On July 19 Gustafsson apparently changed his mind, stating there would indeed be a Power Big Meet in Västerås 2017, on the condition that Brink, one of the contacts between PBM, its sponsors and the city of Västerås, would not be allowed to get involved in any way whatsoever.

On October 30, Gustafsson confirmed a recent rumor that Power Big Meet would move to Lidköping, stating that the event had outgrown the Johannisberg airfield. Brink then started working on bringing a car meet to Västerås, and following a public poll the name of this meet was decided November 2: Västerås Summer Meet.

title: Power Big Meet


text:
Pietro Perugino

Pietro Perugino (,  ; born Pietro Vannucci or Pietro Vanucci; c. 1446/1452 – 1523), an Italian Renaissance painter of the Umbrian school, developed some of the qualities that found classic expression in the High Renaissance. Raphael became his most famous pupil.

Early years
Pietro Vannucci was born in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.

Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466-1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.

Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced many cartoons for them also, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.

Rome
Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia (c. 1476). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli), the Baptism of Christ, and Delivery of the Keys. Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. These works were later destroyed to make a space for Michelangelo's Last Judgement.

Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety.

According to Vasari, Perugino was to return to Florence in September 1493 to marry Chiara, daughter of architect Luca Fancelli. The same year, Perugino made Florence his permanent home once again, though he continued to accept some work elsewhere.

Later career
In 1499, the guild of the cambio (money-changers or bankers) of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio. The humanist Francesco Maturanzio acted as his consultant. This extensive scheme, which may have been finished by 1500, comprised the painting of the vault, showing the seven planets and the signs of the zodiac (Perugino being responsible for the designs and his pupils most probably for the execution), and the representation on the walls of two sacred subjects: the Nativity and Transfiguration; in addition, the Eternal Father, the cardinal virtues of Justice, Prudence, Temperance, Fortitude, Cato as the emblem of wisdom, and numerous life-sized figures of classic worthies, prophets, and sibyls figured in the program. On the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, toward 1496, had been placed by his uncles under the tuition of Perugino, bore a hand in the work of the vaulting.

Perugino was made one of the priors of Perugia in 1501. On one occasion Michelangelo told Perugino to his face that he was a bungler in art (goffo nell arte): Vannucci brought an action for defamation of character, unsuccessfully. Put on his mettle by this mortifying transaction, he produced the masterpiece of the Madonna and Saints for the Certosa of Pavia, now disassembled and scattered among museums: the only portion in the Certosa is God the Father with cherubim. An Annunciation has disappeared; three panels, the Virgin adoring the infant Christ, St. Michael, and St. Raphael with Tobias are among the treasures of the National Gallery, London. This was succeeded in 1504–1507 by the Annunziata Altarpiece for the high altar of the Basilica dell'Annunziata in Florence, in which he replaced Filippino Lippi. The work was a failure, being accused of lack of innovation. Perugino lost his students; and toward 1506 he once more and finally, abandoned Florence, going to Perugia, and thence in a year or two to Rome.

Pope Julius II had summoned Perugino to paint the Stanza of the Incendio del Borgo in the Vatican City; but he soon preferred a younger competitor, Raphael, who had been trained by Perugino; and Vannucci, after painting the ceiling with figures of God the Father in different glories, in five medallion-subjects, retired from Rome to Perugia from 1512. Among his latest works, many of which decline into repetitious studio routine, one of the best is the extensive altarpiece (painted between 1512 and 1517) of the church of San Agostino in Perugia, also now dispersed.

Perugino's last frescoes were painted in the church of the Madonna delle Lacrime in Trevi (1521, signed and dated), the monastery of Sant'Agnese in Perugia, and in 1522 for the church of Castello di Fortignano. Both series have disappeared from their places, the second being now in the Victoria and Albert Museum. He was still at Fontignano in 1523 when he died of the plague. Like other plague victims, he was hastily buried in an unconsecrated field, the precise spot now unknown.

Vasari is the main source stating that Perugino had very little religion and openly doubted the soul's immortality. Perugino in 1494 painted his own portrait, now in the Uffizi Gallery, and into it, he introduced a scroll entitled Timete Deum (Fear God: Revelation 14:7). That an open disbeliever should inscribe himself with Timete Deum seems odd. The portrait in question shows a plump face, with small dark eyes, a short but well-cut nose, and sensuous lips; the neck is thick, the hair bushy and frizzled, and the general air imposing. The later portrait in the Cambio of Perugia shows the same face with traces of added years. Perugino died with considerable property, leaving three sons.

In 1495, he signed and dated a Deposition for the Florentine convent of Santa Chiara (Palazzo Pitti). Toward 1496 he frescoed a crucifixion, commissioned in 1493 for Maria Maddalena de' Pazzi, Florence (the Pazzi Crucifixion). The attribution to him of the painting of the marriage of Joseph and the Virgin Mary (the Sposalizio) now in the museum of Caen, which indisputably served as the original, to a great extent, of the still more famous Sposalizio painted by Raphael in 1504 (Brera, Milan), is now questioned, and it is assigned to Lo Spagna. A vastly finer work of Perugino's was the polyptych of the Ascension of Christ painted ca 1496–98 for the church of S. Pietro of Perugia, (Municipal Museum, Lyon); the other portions of the same altarpiece are dispersed in other galleries.

In the chapel of the Disciplinati of Città della Pieve is an Adoration of the Magi, a square of 6.5 m containing about thirty life-sized figures; this was executed, with scarcely credible celerity, from March 1 to 25 (or thereabouts) in 1505, and must no doubt be in great part the work of Vannucci's pupils. In 1507, when the master's work had for years been in a course of decline and his performances were generally weak, he produced, nevertheless, one of his best paintings, the Virgin between Saint Jerome and Saint Francis, now in the Palazzo Penna. In the church of S. Onofrio in Florence is a much lauded and much debated fresco of the Last Supper, a careful and blandly correct but uninspired work; it has been ascribed to Perugino by some connoisseurs, by others to Raphael; it may more probably be by some different pupil of the Umbrian master.

Among his pupils were Raphael, upon whose early work Perugino's influence is most noticeable, Pompeo Cocchi, Eusebio da San Giorgio,  Mariano di Eusterio,  and Giovanni di Pietro (lo Spagna).

Monuments
Perugia dedicated an important monument to Perugino built in 1923 by the sculptor Enrico Quattrini and today visible in the Carducci Gardens.

Major works

 * The Delivery of the Keys (1481–1482) — Fresco, 335 × 600 cm, Sistine Chapel, Vatican City
 * Crucifixion (the Galitzin triptych, 1480s) — painted for San Domenico at San Gimignano, National Gallery, Washington
 * Pietà (c. 1483–1493) -Oil on panel, 168x176 cm, Uffizi Gallery, Florence
 * Cathedral of Saint Romulus of Fiesole - altarpiece, Fiesole, Italy
 * Annunciation of Fano (c. 1488–1490) -Oil on panel, 212x172 cm, church of Santa Maria Nuova, Fano
 * Portrait of Lorenzo di Credi (1488) -Oil on panel transferred to canvas, National Gallery of Art, Washington, D.C.
 * St. Sebastian (c. 1490) — Oil on panel, 174 × 88 cm, Nationalmuseum, Stockholm
 * St. Sebastian (c. 1490–1500) — Panel, 176 × 116 cm, Louvre, Paris
 * St. Sebastian (after 1490) — Oil on wood, 110 × 62 cm, Galleria Borghese, Rome
 * The Virgin appearing to St. Bernard (c. 1490–1494) — Oil on wood, 173 × 170 cm, Alte Pinakothek, Munich
 * Albani Torlonia Altarpiece (1491) - Tempera on panel, 174 x 88 cm, Torlonia Collection, Rome
 * Madonna with Child Enthroned between Saints John the Baptist and Sebastian (1493) - Oil on panel, 178x164 cm, Uffizi Gallery, Florence
 * St Sebastian (Perugino, Hermitage) (1493–1494) — Oil and tempera on panel, 53.8 × 39.5 cm, The Hermitage, St. Petersburg
 * Portrait of Francesco delle Opere (1494) - Oil on panel, 52 x 44 cm, Uffizi Gallery, Florence
 * Certosa di Pavia Altarpiece (1496–1500) - Oil on panel, 52 x 44 cm, National Gallery, London
 * Decemviri Altarpiece (1497) -Oil on panel, 193x165 cm, Pinacoteca Vaticana, Rome
 * Fano Altarpiece (1497) -Oil on panel, 262x215 cm, church of Santa Maria Nuova, Fano
 * San Francesco al Prato Resurrection (c. 1499–1501) -Oil on panel, 233x165 cm, Pinacoteca Vaticana, Rome
 * Vallombrosa Altarpiece (1500) -Oil on panel, 415x246 cm, Galleria dell'Accademia, Florence
 * Tezi Altarpiece (c. 1500) -Oil on panel, 180x158 cm, Galleria Nazionale dell'Umbria, Perugia
 * Madonna in Glory with Saints (c. 1500–1501) -Oil on panel, 330x265 cm, Pinacoteca Nazionale di Bologna
 * Marriage of the Virgin (1500–1504) — Oil on wood, 234 × 185, Musée des Beaux-Arts, Caen
 * St. Sebastian Bound to a Column (c. 1500–1510) — Oil on canvas, 181 × 115 cm, São Paulo Museum of Art, São Paulo, Brazil
 * Combat of Love and Chastity (1503) — Tempera on canvas, 160 x 191 cm, painted for Isabella d'Este studiolo, Louvre, Paris
 * Annunziata Polyptych (1504–1507) – Oil on panel, 334 x 225 cm (the main panel), Gallerie dell'Accademia and Annunziata, Florence
 * The Nativity: the Virgin, St. Joseph, and the Shepherds adoring the Infant Christ (c. 1522) — Fresco transferred to canvas from S. Maria Assunta, at Fontignano, 254 x 594 cm, Victoria & Albert Museum, London
 * Ascension of Christ (Sansepolcro Altarpiece; c. 1510) - Oil on panel, 332.5 x 266 cm, Sansepolcro Cathedral
 * Saint Bartholomew (1512–1523) – Oil on Panel, 89 x 71 cm, Part of polyptych Birmingham Museum of Art

title: Pietro Perugino


text:
Talk:Forbidden knowledge

Is this page necessary?
This page doesn't really add much. The contents of this page would fit better the page about Censorship. — Preceding unsigned comment added by Januoaxe (talk • contribs) 09:05, 16 April 2019 (UTC)

 * @Januoaxe  The page primarily focuses on religious freedoms which ironically in the United States is not forbidden knowledge and is expressly permitted, only brief mention is given to the level of forbidden knowledge during the Eastern Bloc, Civil Rights era, or anything which our own or any culture would find even slightly controversial today even though it wasn't that long ago that TV, social media, and propaganda were just used to make us more informed and make us want to buy or have to rely on increasingly intensive & highly regulated medicines or supplements for example but you cant say that something might be useful to diagnose or treat any disease, like for example occult hernias are Hernias which are undectable on a CT or MRI but the radiologists will just tell you that they find it unlikely for the literature to have any bearing on the real-world image and medical records are private, the thing is called occult, and officially they do not exist and you might be treated for mental illness if you insist against medical advice that they can cause pain w/ no obvious or simple medical explanation. Usually my comments get deleted when people don't understand that what I'm talking about is real, or how it affects people, it is however a perfect example of knowledge which is not able to be activated and utilized, which is repressed or forbidden to be utilized without first consenting to and sometimes having reversed more conventional treatments for other hernias. But, if you just simply can't believe all that then I hope you never get a hernia or abdominal pain because there is no guarantee that you can speak and hear the truth and accurately tell others what is wrong with you if you just aren't allowed to talk about it outside the severely limited context of ones own life while being dependent on the whims & mercy of strangers who refute spoken wisdom while touring their own ability to see & think critically while treating the ailing, injured, & disabled. But why should I get to comment on forbidden knowledge if you don't feel it is relevant to your own mistakes & anxieties about restricted speech & knowledge? 172.56.12.252 (talk) 14:23, 4 February 2024 (UTC)

Deletion Debate
For and August 2004 deletion debate over this page see: Votes for deletion/Forbidden knowledge

Mein Kampf as an Example
i think Mein Kampf is a really poor example of forbidden knowledge, since most libaries carry it

 * Except possibly in Germany or such, where it was (still is) inaccessible by some Swiss (?) company claiming all the copyright of it. I think... Said: Rursus (☻) 10:25, 22 September 2008 (UTC)

Similarly, the following passage was misleading:

First, because as far as I know there is no banning on any kind of books or art or whatever because it is not "politically correct". Just because something is frowned upon by society it doesn't mean that censorship is taking place. Second, in Germany knowledge about Nazism is not "forbidden knowledge". Quite on the contrary, German schools are notorious for the emphasis they place on the story of the WW2. Glorification of Nazism is what's illegal there. One might argue whether that represents some form of censorship or not, but I don't think it qualifies as "forbidden knowledge". — Preceding unsigned comment added by Januoaxe (talk • contribs) 09:11, 16 April 2019 (UTC)

=NPOV check= The section I have flagged should be reviewed for point of view. It appears to only present the position of western, secular society and the consensus it claims. I believe NPOV requires that non-western and non-secular views also be presented.Holzman-Tweed (talk) 20:06, 15 February 2012 (UTC)
 * If we find documented instances of secular organizations banning the dissemination of religious propaganda, these could possibly indeed be added; perhaps that examples could be found in instances of a secular government persecuting a particular religious group. But in general, religious organizations banning propaganda from other religions, or against education of scientific knowledge have been more common, or at least better known throughout history... 76.10.128.192 (talk) 04:28, 19 November 2012 (UTC)

title: Talk:Forbidden knowledge


text:
Talk:Ashtoreth

The following is moved here because it seems quite speculative. Are there sources that could be referenced in the article, to back these claims up? Even king Solomon is told to move to Astarte worshipping in the end of his live. This is possibly the reason of why Astarte (as also Baal) is considered to be a very negative figure in Christian and Hebrew religions. Kenwarren 14:14, Aug 1, 2004 (UTC)

title: Talk:Ashtoreth


text:
Wikipedia:Articles for deletion/Shaher Sultan

I'm not exactly sure what this is meant to be, it's so nonsensical. There may be some factual history buried in it, but if so it's totally obscured. TPK 14:14, 1 Aug 2004 (UTC)
 * Delete unless an Indian/Pakhistani contributor can improve it. This is about a sultanate, a religious/political district that no longer exists in that form.  It's a valid topic, I think, but not like this.  We'd need a fluent English speaker with knowledge both of that area, area of history, and NPOV encyclopedic content.  I feel that delete is best because I despair of finding such a person on Clean Up. Geogre 16:48, 1 Aug 2004 (UTC)
 * This has to be a copyvio, with that attribution at the bottom: Site Developed & maintained by: Syed Fahad Bukhari, but I can't find where. RickK 20:04, Aug 1, 2004 (UTC)
 * I agree with RickK. This is a probable copyvio. -- Cyrius|✎ 22:03, 1 Aug 2004 (UTC)
 * Delete. No context; shameless cut-and-paste job. --Benc 04:20, 2 Aug 2004 (UTC)
 * No vote, just a comment. This appears to be a present-day city as well . Google, however, finds only 20 hits. Andris 10:11, Aug 2, 2004 (UTC)
 * Though POV, this looks like a potentially good article on a real city, if it's not a copyvio. Let's try emailing the guy at the bottom before deciding to delete it. Keep, for the moment. - Mustafaa 03:06, 3 Aug 2004 (UTC)
 * Conditional Delete. Unattributed quotes make me nervous.  The boxed text under definition of Shaher Sultan Culture is found on many websites, but the copyright for that text is found at .  One might make a "fair-use" argument for it, but taken with the already-seeming copyvio nature of the article, I'm leaning toward delete.  If it turns out the attributed author submitted his own work, send to cleanup.  Otherwise, delete.  SWAdair | Talk  06:35, 3 Aug 2004 (UTC)


text:
Rajkarnikar

Rajkarnikar (Devanagari: राजकर्णिकार) are a newar clan of confectioners and sweet makers situated in Kathmandu Valley, in Nepal.

Etymology and origin
The name "Rajkarnikar" means state official.

Rajkarnikars in Nepal are found mostly in Yen or Kathmandu Valley, over the regions of Kathmandu, Bhaktapur and Lalitpur (Patan in Nepali; Yela in Newari ); In 2011, their population was 83,000. Around 60,000 still reside in rural areas, and around 20,000 in urban areas. They speak Nepalbhasa. The ethologist and anthropologist, Brian Houghton Hodgson, during his posting in Nepal, Hodgson became proficient in Nepali and Newari. They are part of Newar clans and descendants of Kirat People.

Traditional Occupation
Halwais are sweet makers by tradition. They take on many responsibilities that are considered religiously important. Traditional sweets prepared include Jeri, Swari, and Haluwa.

Rajkarnikars are Newar and have their own caste system. The caste-system for Newars are based on profession.

They are in Kathmandu Valley also originates from their tradition and profession of confectionery. The Halwai people group, also known as the Palma Halwais or Rajkarnikar, are part of a Newar clan and were the original inhabitants of the Kathmandu Valley in Nepal. The traditional occupation of the Halwai people is making candy and sweets, known as "mithai."

Culture
Traditionally, in the caste system, they follow Newar Buddhism.

Their culture, traditions, religions, beliefs and rooted to Asia, Tibet, and Nepal.

The worshiping of Kumari, Taleju Bhawani, Ganesh, Harati Ajima, Aakash bhairav, and Bhin Dyo is one of major worshipping for Halwai people.

'They also believe in worshipping ancestors and believe in continued existence of life. They celebrate festivals, such as Yenya Puni, Yomari Punhi, Janbahadyah Salegu, Pahanchaare and perform pilgrimage during the month of Gunlaa.

Social status
Rajkarnikar is a highly respected caste. Their status as providers of food for their community also makes them responsible for making sweets and cakes. These are made for all festivals and celebrations, such as marriage or childbirth.

title: Rajkarnikar


text:
Joseph Archer Crowe

Sir Joseph Archer Crowe (25 October 1825, London – 6 September 1896, Gamburg an der Tauber, today Werbach, Germany ) was an English journalist,  consular official and art historian, whose volumes of the History of Painting in Italy, co-written with the Italian critic Giovanni Battista Cavalcaselle (1819–1897), stand at the beginning of disciplined modern art history writing in English, being based on chronologies of individual artists' development and the connoisseurship of identifying artist's individual manners or "hands".

Their multi-volume A New History of Painting in Italy continued to be revised and republished until 1909, after both were dead. Though now outdated, these are still often cited by modern art historians.

Early life
Crowe was born at 141 Sloane Street, London, the son of the journalist Eyre Evans Crowe and his wife Margaret Archer. Shortly after his birth the family moved to France, where Crowe's childhood was spent, mostly in Paris, where his father was based as the  correspondent of the London Morning Chronicle; his home was the centre of a liberal and artistic circle that mixed French and expatriates.

At an early age Crowe showed considerable aptitude for painting and entered the studio of Paul Delaroche in Paris,   with his brother  Eyre Crowe, who was to become a painter of historical genre subjects, and the friend and amanuensis of William Makepeace Thackeray.

Journalism
He returned to England with his father in 1843, following him into journalism as a correspondent for the Morning Chronicle and the Daily News. During the Crimean War he worked as a correspondent for the Illustrated London News. On his return from the Crimea he received an offer to direct an art school in India. He went there, but when the post did not materialise he turned to journalism again, acting as a correspondent for the Times during the Indian Mutiny. Illness cut his time in India short, and he returned to England. He was a correspondent for the Times during the Austro-Italian War in 1858, and was present at the battle of Solferino.

Diplomatic career
Through the influence of Lord John Russell, Crowe was appointed consul-general for Saxony in 1860, and in this capacity he represented French interests at Leipzig during the Franco-Prussian War in 1870. In 1872 he was appointed consul-general for Westphalia and the Rhenish Provinces in Düsseldorf and in 1880 commercial attaché to the embassies at Berlin and Vienna. In 1882 he was promoted to be commercial attaché for the whole of Europe, based in Paris. In 1883 he was secretary to the Danube Conference in London; in 1889 plenipotentiary at the Samoa Conference in Berlin and in 1890 British envoy at the Telegraph Congress in Paris. For these services he was created a C.B. on 14 March 1885, and K.C.M.G on 21 May 1890.

Art historical writing
In 1846, at the suggestion of his father, Crowe began to collect materials for a history of the early Flemish painters. The next year, while travelling between Berlin and Vienna, Crowe made a chance acquaintance with a young Italian art student, Giovanni Battista Cavalcaselle. This acquaintance was renewed later, and cemented into friendship in London, where Cavalcaselle had fled as a political refugee. They decided to collaborate on the work on Flemish painters, which Crowe had in hand. They visited collections and searched manuscripts together, and no detail was decided until it had been fully debated between them. The text itself was written by Crowe. They went on to collaborate on histories of Italian painting, and monographs on Titian and Raphael.

Family
Crowe married Asta von Barby (c.1841-1908), daughter of Baron Gustav von Barby and Eveline von Ribbentrop, in Gotha, Germany, 11 April 1861. They had three sons, including Sir Eyre Crowe and four daughters.

Death
He died at Schloss Gamburg in Franconia on 6 September 1896.

Publications
With Cavacaselle:
 * Titian: his Life and Times (in two volumes, 1877)
 * Raphael: his Life and Works (in two volumes 1883–5)
 * Titian: his Life and Times (in two volumes, 1877)
 * Raphael: his Life and Works (in two volumes 1883–5)
 * Titian: his Life and Times (in two volumes, 1877)
 * Raphael: his Life and Works (in two volumes 1883–5)

Crowe also edited Jakob Burckhardt's Cicerone, or Art Guide to Painting in Italy (1873-9), and Kugler's Handbook of Painting: the German, Flemish, and Dutch Schools (1874).

In 1865 he published an autobiography, Reminiscences of Thirty-five Years of my Life.

Crowe and Cavalcaselle's History of Painting was under revision by Crowe up to the time of his death, and then by Sandford Arthur Strong (died 1904) and Robert Langton Douglas, who brought out first and second volumes of Murray's new six-volume edition in 1903; the third volume, edited by Langton Douglas, appeared in 1909. A reprint of the original edition, brought up to date by annotations by Edward Hutton, was published by Dent in three volumes in 1909.

title: Joseph Archer Crowe