text:
FC Pyunik

Football Club Pyunik Yerevan (Ֆուտբոլային Ակումբ Փյունիկ Երևան), commonly known as Pyunik ("Phoenix"), is an Armenian professional sports club based in the Kentron neighbourhood of Yerevan. Pyunik is mostly known for its professional football team which, since its creation in 1992, has always played in the Armenian Premier League, becoming the most successful team of Armenia in number of official titles, with 31 won to date.

Internationally, Pyunik has yet to win an international title, with the closest result being a bronze place finish in the 2006 Commonwealth of Independent States Cup. Pyunik's domestic success usually qualifies the team for UEFA Champions League and UEFA Europa League qualifying rounds. Pyunik is also known to be one of the most popular football clubs in Armenia, along with Urartu, Shirak and Ararat.

Pyunik has always had a fierce rivalry with Ararat, as both clubs are considered to be the most successful clubs in Armenia, the latter due to its Soviet accomplishments. Both clubs are also the two most popular in the country and favorites within the Armenian Diaspora. Pyunik also shares a rivalry with Urartu which began when Urartu relocated from Abovyan to Yerevan in 2001, and became the third largest team in the city. The Pyunik-Urartu rivalry is seen as one of the biggest clashes in Armenian football.

Pyunik's home stadium is the Vazgen Sargsyan Republican Stadium, which is also home to the Armenia national football team. The youth academy has produced many Armenian internationals such as Henrikh Mkhitaryan, Robert Arzumanyan, Karlen Mkrtchyan, Edgar Manucharyan, Varazdat Haroyan and Gevorg Ghazaryan, many who have played or are playing for top European clubs.

History
Pyunik was founded in 1992 by Armenian football legend Khoren Oganesian and originally named Homenetmen Yerevan. The club won the first Armenian Premier League competition held in 1992 which it shared with Shirak since both teams were tied on points. In 1995, Homenetmen Yerevan was renamed FC Pyunik (Armenian for "Phoenix"). Following the change of name, Pyunik went on to win the 1995–96 Armenian Premier League and end the season with a 59-match unbeaten streak.

In 1996, Pyunik played its first international cup match, a UEFA Europa League qualifying match against Finnish club HJK Helsinki which Pyunik won 3–1. Pyunik also won the 1996-97 Armenian Premier League securing itself another chance at qualifying for an international cup playoffs the following year.

In 1997, Pyunik played its first UEFA Champions League qualifying match against Hungarian side MTK Budapest FC yet failed to qualify for the playoffs following a 6–3 defeat on aggregate.

1998 proved to be a crucial year for the club following the loss of its main source of funding and the subsequent departure of its main players. Pyunik finished 6th that season and withdrew from football altogether.

Pyunik secured a comeback to professional football following its absorption of FC Armenicum, a newly promoted team to the Armenian Premier League. The club's new management sought to bring more experience to the club and reinforced the squad with foreign players from Argentina, Cameroon, Mali and Romania. The reinforcements brought positive results and Pyunik went on to win the 2001 Armenian Premier League and 2002 Armenian Cup.

2002 saw Pyunik advance to the second round of the UEFA Champions League qualifying round after beating Finnish champions Tampere United 6–0 on aggregate. From 2002 forwards, Pyunik went on to win the Armenian Premier League a record of 10 times in a row, from 2001 to 2010.

On 8 January 2020, former Armenian international goalkeeper Roman Berezovsky was announced as the club's new manager. Just over 7-months later, 13 July 2020, Berezovsky left the club by mutual consent. On 20 July 2020, Artak Oseyan was announced as Pyunik's new manager, but left his role as head coach on 13 December 2020. On 7 January 2021, Yegishe Melikyan was announced as Pyunik's new manager.

In the 2022/23 season, after victories over Cluj and Dudelange, Pyunik became the first ever Armenian club to reach the third round of Champions League qualifying, where they played against former European Champions Crvena Zvezda, losing 7–0 on aggregate.

Subsequently, Pyunik dropped into the play-off round of the Europa League, where they played against the Moldovan side Sheriff Tiraspol. After two scoreless draws, Pyunik lost on penalties, thus dropping into the group stages of the Conference League, the first ever group stage appearance in a European competition for the club.

After a defeat away against Basel on the first matchday, Pyunik faced Slovan Bratislava in their first home match in Yerevan, which they won thanks to goals from Artak Dashyan and Yusuf Otubanjo. This result meant that they became the first ever Armenian team to win a game in UEFA group stage competitions.

Domestic history

 *  Due to the 1995 season being a transitional season, there was no official winner of championship.
 *  Championship was decided by a decision game.

Kit and badge
Throughout the seasons, Pyunik has predominantly worn blue and white jerseys, with a few exceptions including Pyunik's first jerseys which were orange and

Puma is the club's current kit supplier since 2019.

On 3 August 2020, Pyunik announced that Joma would be supplying the team's kit for the 2020–21 season.

Badge
The club has had five different designs for its badge during its history, with the first three designs being significantly different from each other. Following the club's reappearance in 2001, Pyunik introduced its iconic logo design which included a bold letter P placed on top of a football. The club kept this design for 13 years before introducing a double-headed golden phoenix crest in 2014. This change resulted unpopular among the fans and Pyunik introduced a new badge in 2019, this time returning to its original round shape with a predominantly blue logo and a red phoenix in the center.

Stadium
Pyunik used several locations throughout its history. Between 1992 and 1998, Pyunik played at Hrazdan Stadium, Armenia's largest stadium with a capacity for 54,208 spectators.

In 2001, following the renovations works done at the Republican Stadium two years before, Pyunik relocated and played all its home matches there until 2013, with a brief interruption in 2008, when the club was forced to play at Pyunik Stadium; its training ground, due to renovation works at the Republican Stadium.

Between 2013 and 2017, the Yerevan Football Academy served as a home venue for all domestic competitions, while still using the Republican Stadium for international fixtures. At the beginning of 2017–18 Armenian Premier League season, Pyunik used the Republican Stadium as a home venue during the first half of the season, and eventually returning to their own Pyunik Stadium during the second half.

The Republican Stadium is also the home of the Armenia national football team, and is sometimes used by other Armenian teams for their international cup fixtures.

The club is currently planning on building an all-seater 5,000 capacity stadium by 2022.

List of stadiums used by the club

 * Hrazdan Stadium: 1992–98
 * Vazgen Sargsyan Republican Stadium: 2001–08
 * Pyunik Stadium: 2008
 * Vazgen Sargsyan Republican Stadium: 2008–13
 * Yerevan Football Academy Stadium: 2013–17
 * Vazgen Sargsyan Republican Stadium/Pyunik Stadium: 2017–18
 * Vazgen Sargsyan Republican Stadium: 2018–present

Supporters

Pyunik's supporter base is traditionally regarded as part of Yerevan's higher class, in contrast with the supposedly more lower-class base of cross-town arch rival FC Urartu. Because of the club's history and recent success, the fanbase has grown not only in Yerevan, but in other provinces of Armenia and within the Armenian Diaspora as well.

Pyunik is considered to be one of the most popular clubs in Armenia, and has one of the biggest Ultras fanbases in Armenia, called Sector 18, named after the sector they occupy at the Vazgen Sargsyan Republican Stadium.

Rivalries
Pyunik's rivalry with Ararat originates with the creation of the club itself. Pyunik's founder Khoren Oganesian, is considered an Ararat club idol, due to his achievements at the club during the Soviet period, winning the 1975 Soviet Cup. Pyunik's success in recent history has led the club's image to surpass that of Ararat, which has led to arguments over which club has had a bigger impact on Armenian football.

The other rivalry, between Pyunik and Urartu is also known as the clash of Yerevan neighborhoods, since Pyunik is located in the wealthier Kentron neighborhood, whereas Urartu is located in the lower-class Malatia-Sebastia neighborhood. The rivalry between both teams originates from Urartu's relocation from Abovyan to Yerevan in 2001, competing with and eventually becoming one of the largest teams in the city. Both teams' youth academies also compete with each other as they are considered to be two of the best in the country.

Executive board
Arthur Soghomonyan is the current owner and President of Pyunik since 2017.

 * Vice-president: Robert Gasparyan
 * 2nd Vice-president: Aleksandr Tarkhanov
 * Executive Director: Tigran Martirosyan

Staff

 * Development: Aleksandr Tarkhanov
 * Youth Academy: Albert Sargsyan
 * Sporting director: Samvel Arustamyan
 * Chief scout: Robert Arzumanyan
 * Press Secretary: Shushanik Hakobyan
 * Marketing and Public Relations: Vera Martirosyan
 * Officer: Vardan Tsaturyan

Honours

 * Armenian Premier League
 * Champions (16): 1992, 1995–96, 1996–97, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2014–15, 2021–22, 2023–24 (record)
 * Runners-up (2): 2018–19, 2022–23
 * Armenian Cup
 * Winners (8): 1995–96, 2002, 2004, 2009, 2010, 2012–13, 2013–14, 2014–15 (record)
 * Runners-up (3): 1996–97 2006, 2016–17
 * Armenian Super Cup
 * Winners (10): 1998, 2002, 2004, 2005, 2007, 2008, 2010, 2011, 2015, 2022 (record)
 * Runners-up (6): 1996, 2003, 2006, 2009, 2013, 2014

Football reserves and academy
The reserve is currently coached by Yuri Tarkhanov and competes in the Armenian First League. The youth academy is managed by Albert Sargsyan.

Notable players from the youth academy include Henrikh Mkhitaryan, Robert Arzumanyan, Karlen Mkrtchyan, Edgar Manucharyan, Varazdat Haroyan and Gevorg Ghazaryan.

title: FC Pyunik


text:
FC Nistru Otaci

FC Nistru Otaci was a Moldovan football club based in Otaci, Moldova. The club was founded on 17 August 1953. It was dissolved in 2017.

History
During the 1999–2000 season, the club played as FC Nistru-Unisport Otaci due to Nistru being expelled in the summer of 1999. The club merged with Unisport Chişinău, which allowed Nistru to use Unisport's top flight position to play. However, this merger was canceled in 2000, sending Unisport back down to the Divizia A.

In June 2020, club president Vasile Traghira died.

League

 * Moldovan National Division
 * Runners-up (3): 2001–02, 2003–04, 2004–05
 * Moldovan "A" Division
 * Winners (1): 1992

Cup

 * Moldovan Cup
 * Winners (1): 2004–05
 * Runners-up (8): 1993–94, 1996–97, 2000–01, 2001–02, 2002–03, 2005–06, 2006–07, 2007–08
 * Moldovan Super Cup
 * Runners-up (1): 2005

Managers

 * 🇲🇩 Alexandru Spiridon (2002–2004)
 * 🇲🇩 Alexandru Mațiura (200? – May 2006)
 * 🇺🇦 Mykola Kopystyanskyi (200? – Jun 2007)
 * 🇷🇺 Valeri Zazdravnykh (Jun 2007 – Sep 2007)
 * 🇲🇩 Nicolae Bunea (Sep 2007 – May 2008)
 * 🇲🇩 Lilian Popescu (May 2008 – Oct 2012)
 * 🇺🇦 Oleksandr Holokolosov (Jan 2013 – Feb 2013)
 * 🇺🇦 Yuriy Malyhin (Feb 2013 – Mar 2013)
 * 🇺🇦 Volodymyr Lyutyi (Mar 2013 – Apr 2013)
 * 🇲🇩 Vitali Mostovoi (Apr 2013 – ?)

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

title: FC Nistru Otaci


text:
FC Shakhtyor Soligorsk

FC Shakhtyor Soligorsk (ФК Шахцёр Салігорск, ФК Шахтёр Солигорск) is a Belarusian Premier League football club, playing in the city of Salihorsk (Soligorsk).

History
The club was founded in 1961. During Soviet era Shakhtyor Soligorsk played in the top or second division of the Belarusian SSR league, occasionally dropping to lower tiers (Minsk Oblast league) for a short time. In 1971, Shakhtyor absorbed two other local Soligorsk teams (Khimik and Gornyak). Their best results came toward the end of Soviet days, when the team finished as league runners-up twice (1988, 1990) and won the Belarusian SSR Cup three times (1985, 1986, 1988).

Since 1992, Shakhtyor has been playing in Belarusian Premier League. The team struggled through the 1990s, usually fighting against relegation. In 1997, they finished at the last place in the league, but were saved from relegation after two other Premier League clubs withdrew.

After a transitory 1998 season, since 1999, they have never finished below 6th place and became a staple European Cups participant. Shakhtyor Soligorsk became the champions of Belarus in 2005, 2020 and 2021, and were league runners-up six times (2010, 2011, 2012, 2013, 2016, 2018). They also won the Belarusian Cup three times (2004, 2014, and 2019).

On May 11, 2023, following a match-fixing scandal, the club was stripped of the 2022 league title and received a 30-point deduction for the following campaign, as well as an additional 20-point deduction the campaign afterwards.

Honours

 * Belarusian Premier League
 * Winners (3): 2005, 2020, 2021
 * Runners-up (6): 2010, 2011, 2012, 2013, 2016, 2018
 * Belarusian Cup
 * Winners (3): 2003–04, 2013–14, 2018–19
 * Runners-up (5): 2005–06, 2007–08, 2008–09, 2014–15, 2016–17
 * Belarusian Super Cup
 * Winners (2): 2021, 2023
 * Runners-up (4): 2015, 2016, 2020, 2022

League and Cup history

 * 1 Finished last but saved from relegation due to withdrawal of two higher-placed teams.

Managers

 * 🇧🇾 Ivan Schyokin (July 1, 1997 – Dec 31, 1999)
 * 🇧🇾 Yury Vyarheychyk (July 1, 2002 – May 11, 2009)
 * 🇧🇾 Aleksey Vergeyenko (June 26, 2009 – Nov 23, 2009)
 * 🇷🇺 Eduard Malofeyev (Nov 24, 2009 – May 13, 2010)
 * 🇧🇾 Uladzimir Zhuravel (May 14, 2010 – Dec 2, 2013)
 * 🇧🇾 Sergei Borovsky (Jan 9, 2014–)

title: FC Shakhtyor Soligorsk


text:
The Cartoon History of the Universe

The Cartoon History of the Universe is a book series about the history of the world. It is written and illustrated by American cartoonist, professor, and mathematician Larry Gonick, who started the project in 1978. Each book in the series explains a period of world history in a loosely chronological order. Though originally published as a comic book series, the series is now published in trade paperback volumes of several hundred pages each. The final two volumes, published in 2007 and 2009, bring the narrative up to 2008 and are named The Cartoon History of the Modern World, volumes one and two. The books have been translated into many languages, including Portuguese, Greek, Czech and Polish.

Publication history
San Francisco-based underground comix publisher Rip Off Press began publishing The Cartoon History of the Universe in 1978, with five volumes being published by 1980.

Rip Off Press published 9 issues from 1978 to 1992; the first collected edition was published by Doubleday in 1990.

While seeking a book publisher, Gonick received early support from Jacqueline Kennedy Onassis, who worked as an editor at Doubleday and championed The Cartoon History of the Universe's publication by the company.

Illustration style
The Cartoon History is illustrated in a black-and-white cartoon style, other than the coloured covers. Gonick occasionally uses crosshatching and other realistic drawing techniques, but he primarily draws with a lively brush-and-ink squiggle. His drawings resemble Bill Watterson's Calvin and Hobbes, Walt Kelly's Pogo, and René Goscinny and Albert Uderzo's Astérix. Occasionally, as in the sequences on India in the second book, he mimics Gilbert Shelton's style from The Fabulous Furry Freak Brothers.

His tribute to Asterix is explicit. When Gauls are depicted, not only do they often resemble Goscinny and Uderzo's characters Asterix and Obelix, but when Gonick treats the Gallic invasion of Italy (390 – 387 BCE), the characters, along with Vitalstatistix, appear unmistakably (Vitalstatistix is transported on a shield, Asterix pummels a Roman soldier, etc.); and as they trudge off into the sunset, the speech balloon reads "Come on, Asterix! Let's get our own comic book".

Narrative framework
Each volume or chapter begins with a one- or two-panel introduction. An Einstein-like Professor (representing Gonick's authorial voice) prepares to travel in his time machine to whatever place or era the chapter is about. The Professor reads a passage from a historical book, which activates the "time machine", a literary device. For example, the Professor reads a book about dinosaurs to introduce Volume 1 about prehistory, and Volume 4 draws from "part of the Old Testament".

He reads from Hans Zinsser's Rats, Lice and History before Volume 19 about the Black Death. This introduction provides a bridge to the action, the main narrative of each chapter.

Point of view
Any history book has a point of view, and Larry Gonick's might best be described as "humanist", but it is not written in the style of a didactic textbook. Instead, Gonick fleshes out history into a long yarn, injecting characterization into historical personages, continually reporting gory anecdotes, and focusing on quirky details—all backed up by research—to enliven his subject. He reports both the greatness of human achievement and acknowledges humanity's savagery. In addition to being a chronological history, The Cartoon History helps readers understand historical cause and effect—how the past relates to the present. It explains the motivations behind human beings' discoveries, inventions, explorations, wars, triumphs, and mistakes. Gonick's editorial aim seeks to do justice to every point of view.

Humor
Gonick consistently uses elements of satire to find the most humor in every situation. For example, one cartoon panel depicts the barbarism of a group of Huns who had elephants herded off a cliff for their sadistic enjoyment. One Hun exclaims with an oafish grin, "My emotions are valid!"—juxtaposing the Hun's brutal barbarism with an anachronistic, post-modern view of his own cruelty [3].

Also noteworthy is Gonick's use of caricature. For example, he depicts the weaselly Robert Guiscard, the 11th-century Norman adventurer, as an anthropomorphic weasel, an allusion to Guiscard's name and cunning nature, and depicts Babur, the 16th-century founder of the Mughal Empire with buckteeth (an allusion to the theory that the conqueror's name means "beaver").

Unorthodox citations
Consistently enthusiastic in tone, for the first five volumes Gonick uses the last page to recommend further reading, in prehistory, archaeology and history. But rather than relying upon an ordinary, typeset bibliography, Gonick sustains his unorthodox style and exuberant tone as the Professor takes the reader through a cartoon tour of his sources.

Because much of The Cartoon History covers evolutionary science, physics, astronomy, and ancient history, Gonick has referenced original writings on these subjects, rather than relying on secondary sources or anthologies. Some of these primary sources are national epics, cultural writings, or holy scriptures, such as Homer's Iliad, the Rig Veda of India, and the Bible. In this way he prompts his readers also to read the primary sources.

The series
Beginning with its original comic book Volume 1 in 1977, the complete series covers world history through 2008.

title: The Cartoon History of the Universe


text:
Talk:Han Fei

Title
Shouldn't this page be titled "Han Fei"? Han Feizi was the name of the book which Han Fei wrote, which contained the Legalist ideas. I might be wrong, though, I just learned this in school.

Yeah, this person is right. Why didn't you guys catch that? jettofabulo

actually, the ending "zi" in these names means master, like, master han fei, thats why confucius' real name is kongzi, master kong. all the philosophers names end that way.

I have moved Han Feizi into Han Fei. 'zi' (子) can mean master, but in this case it indicates that it is a book written by Han Fei.

Actually, Han Feizi correctly referrs to both the book and the thinker himself. However, it is often the case that in English, writers use Han Fei to refer to the author and Han Feizi to the book for the sake of clarity. Initially, of course, Han Feizi was referred to in the Chinese literature as Hanzi. The "Fei" was added to distinguish him from another author, who is known as "Hanzi".

 * I think the article should be moved back to Han Feizi, as that is the normal name of the thinker. The idea that Han Fei was his name and Han Feizi was his book is just a misconception. "Zi" (子) means master and it is the same case as Zhuangzi (Master Zhuang) or Xunzi (master Xun), who also wrote the books that are known by their names. --AngelRiesgo 15:42, 3 June 2006 (UTC)
 * Actually, I've just checked the article in Chinese Wikipedia, and they use the Han Fei form. I thought Han Feizi was the more common form. Anyway, maybe the article can stay as Han Fei if this form of the name is nowadays more common than the three-syllable Han Feizi, the one I'm more familiar with. In any case, there doesn't seem to be any reason to make a difference between the name of the man and the name of his book. --AngelRiesgo 16:21, 3 June 2006 (UTC)

"Han Fei was persecuted by Li Si and committed suicide in prison." -It is my understanding that Li Si murdered Han Fei. Please verify this information. ("A Brief History of Chinese and Japanese Civilizations." 3rd Edition. pg 46.)
 * 韓非到秦國後，受到秦王政的欣賞，準備重用他，但招李斯忌妒，對秦王進讒言，陷害韓非入獄，最後在獄中服毒自盡. (Translate)

Death
I happened to be reading this annotated translation of the Thousand Character Classic and it mentions that Han Fei "was wrongly accused by enemies and, ironically, died during harsh punishment under his own retributive code."

Is this generally believed, or a commonly-circulated story about him? If so, it should be mentioned here. --Saforrest (talk) 17:58, 27 January 2009 (UTC)

At least it is what the only relatively reliable source of the time says, so it should be in the article. --93.217.220.237 (talk) 12:32, 28 September 2009 (UTC)

External links modified
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Neutrality
A banner at the top of the page said that there is an issue with the neutrality of the page. I wrote this page less than other Legalist pages. But talk to me about this and I will try and fix it.FourLights (talk) 20:21, 26 May 2019 (UTC)

I think the issue was Tran Ngoc Vuong saying that Han Fei is superior to Machiavelli. This is held to be the case even among many westerners. It is fine to state his opinion.FourLights (talk) 20:23, 26 May 2019 (UTC)
 * Hi I believe what the IP editor was concerned about was actually WP:UNDUE rather than POV as such, and citing only a couple of relatively obscure 20th-century Vietnamese writers out of the entire 2,200-year history of Han Fei reception is pretty obviously giving them undue weight. There is no requirement that every statement someone has made on a topic needs to be listed on that topic's article, particularly when those statements are poorly sourced and/or don't appear to be particularly novel in the context of that history of interpretation. I've trimmed the section substantially anyway; it can probably be retained alongside more notable Chinese and other interpreters if and when those are added. —Nizolan (talk · c.) 20:25, 26 July 2019 (UTC)
 * In December 2022 I judged the content in question to be a better fit for the book page. The decision was corroborated by DanCherek.FourLights (talk) 00:17, 18 June 2023 (UTC)

the heck
Han Fei Zi is a million times better than Niccolò Machiavelli, who was just uttering gibberish. It's like comparing trash can with a can of gold. — Preceding unsigned comment added by 73.222.81.151 (talk) 21:40, 19 February 2020 (UTC)

Han Fei image
A while ago I noted that the current picture illustrating this article is not, as the uploader claims, from the Warring States, but likely from the late 20th or even early 21st centuries. I see that the picture is still here on wikipedia, despite it not likely to be an out-of-copyright work. My suggestion is that this picture should be removed unless proof that it's out of copyright can be obtained. Retinalsummer (talk) 23:27, 19 December 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 18:07, 23 August 2022 (UTC)
 * Portrait of Han Fei.jpg

Zhuge Liang in the lead
To avoid going back and forth in the edits, I thought it'd be better to clear this issue up here first. The lead currently says "Zhuge Liang is said to have attached great importance to the Han Feizi, as well as Shen Buhai." Firstly, "is said to" are weasel words. Is the claim accurate or not? If not, it should be removed from the lead. Secondly, the claim is poorly sourced. The (very good) Pines Stanford article only mentions that Zhuge Liang liked Legalism and says nothing about Zhuge Liang and Han Fei specifically. The other source (China in Search of a Harmonious Society) is a book about modern China and is not an appropriate source for a figure from nearly 2,000 years ago. I'd be happy to see something about Zhuge Liang and Han Fei in the lead, but this all needs to be cleaned up. Retinalsummer (talk) 20:33, 24 August 2022 (UTC)
 * With a quick google books search I am able to add at least one more reference, but it's an indirect reference to an 1904 work from the Dao Companion to Han Fei.FourLights (talk) 00:27, 18 June 2023 (UTC)
 * Thank you for adding the Dao Companion reference. However, both that and the China in Search of a Harmonious Society reference are chapters in edited volumes, so if you have time could you please change the citations to reflect this? I'm going to remove the Pines citation as its a ref fail for the claim being cited. Also, please remember to preface your replies in talk pages with a ":". I have reminded you to do this multiple times (the last time was two days before you made the above reply). Retinalsummer (talk) 12:47, 20 June 2023 (UTC)

Pronunciation

Removed per. I get that the impulse is to tell people that pronouncing the name like Han Solo is "wrong", but it isn't. It's just English in the same way that yin-yang sounds different in any actualAt Chinese dialect. If a pronunciation were included, it needs to include both common pronunciations per, , , &c. At that point, there's no reason to include it at all, since there's only those two ways any person able to read the English in the rest of the page would pronounce it. Listing them and going into why we prefer one ("more authentic") to the other would involve extensive discussion that would be in the.

Shorter version: It's fine to reinclude this but it would have to give the full name, it would have to include /hæn.fei/ as a perfectly common alt English pronunciation, and it's so extraneous at that point that it belongs in the #Name section and not the lead. Remember we have the infobox to link directly to extensive coverage of the correct Chinese forms for anyone who really wants it. — Llywelyn II   06:47, 17 December 2022 (UTC)

title: Talk:Han Fei


text:
ELN

ELN may refer to:

Paramilitary

 * National Liberation Army (Colombia) (Spanish: Ejército de Liberación Nacional), involved in the continuing Colombian armed conflict
 * Ñancahuazú Guerrilla, a guerilla group active in the Cordillera Province, Bolivia from 1966 to 1967
 * National Liberation Army (Peru) (Spanish: Ejército de Liberación Nacional), a guerilla group active in 1965

Science

 * ELN (gene), coding for Elastin
 * Electronic lab notebook

Other uses

 * Bowers Airport, serving Ellensburg, Washington, United States
 * East Lothian, historic county in Scotland, Chapman code
 * Élan, an Irish pharmaceutical company
 * Equity-linked note, a financial instrument
 * European Leadership Network, a European think-tank
 * Emerging Leaders Network, a program of Toronto-based CivicAction

title: ELN


text:
C. D. Broad

Charlie Dunbar Broad (30 December 1887 – 11 March 1971), usually cited as C. D. Broad, was an English epistemologist, historian of philosophy, philosopher of science, moral philosopher, and writer on the philosophical aspects of psychical research. He was known for his thorough and dispassionate examinations of arguments in such works as Scientific Thought (1923), The Mind and Its Place in Nature (1925), and Examination of McTaggart's Philosophy (2 vols., 1933–1938).

Broad's essay on "Determinism, Indeterminism, and Libertarianism" in Ethics and the History of Philosophy (1952) introduced the philosophical terms occurrent causation and non-occurrent causation, which became the basis for the contemporary distinction between "agent-causal" and "event-causal" in debates on libertarian free will.

Biography
Broad was born in Harlesden, in Middlesex, England.

He was educated at Dulwich College from 1900 until 1906. He gained a scholarship in 1906 to study at Trinity College, Cambridge, graduating in 1910 with First-Class Honours, with distinction. He became a Fellow of Trinity College the following year.

Career
As his fellowship at Trinity College was a non-residential position, he was also able to accept a position as an assistant lecturer that he had applied for at St Andrews University, where he remained until 1920. That year, he was appointed professor at Bristol University, working there until 1923, when he returned to Trinity as a lecturer. From 1926 until 1931, he was a lecturer in 'moral science' at Cambridge University's Faculty of Philosophy.

Later at Cambridge, he was appointed in 1931 as 'Sidgwick Lecturer', a role he would keep until 1933, when he was appointed Knightbridge Professor of Moral Philosophy at the university, a position he held for twenty years (until 1953). In 1927 he gave the British Academy's Master-Mind Lecture, entitled "Sir Isaac Newton."

In addition, Broad was President of the Aristotelian Society from 1927 to 1928, and again from 1954 to 1955. He was also President of the Society for Psychical Research in 1935 and 1958.

Personal life
Broad was openly homosexual at a time when homosexual acts were illegal. In March 1958, Broad along with fellow philosophers A.J. Ayer and Bertrand Russell, writer J.B. Priestley and 27 others sent a letter to The Times which urged the acceptance of the Wolfenden Report's recommendation that homosexual acts should "no longer be a criminal offence."

Psychical research
Broad argued that if research could demonstrate that psychic events occur, this would challenge philosophical theories of "basic limiting principles" in at least five ways:

 * 1) Backward causation (i.e., the future affecting the past) is rejected by many philosophers, but would be shown to occur if, for example, people could predict the future.
 * 2) One common argument against dualism (i.e., the belief that, while bodies are physical entities, minds are a different, non-physical sort of entity) is that physical and non-physical things cannot interact. However, this would be shown to be possible if people can move physical objects by thought (telekinesis).
 * 3) Similarly, philosophers tend to be skeptical about claims that non-physical 'stuff' could interact with anything. This would also be challenged if minds are shown to be able to communicate with each other, as would be the case if mind-reading is possible.
 * 4) Philosophers generally accept that we can only learn about the world through reason and perception. This belief would be challenged if people were able to psychically perceive events in other places.
 * 5) Physicalist philosophers believe that there cannot be persons without bodies. If ghosts were shown to exist, this view would be challenged.

Free will
In his essay "Determinism, Indeterminism, and Libertarianism", Broad argued for non-occurrent causation as "literally determined by the agent or self." The agent could be considered as a substance or continuant, and not by a total cause which contains as factors events in and dispositions of the agent. Thus, our efforts would be completely determined, but their causes would not be prior events. New series of events would then originate, which he called "continuants", which are essentially causa sui.

Peter van Inwagen says that Broad formulated an excellent version of what van Inwagen has called the "Consequence Argument" in defence of incompatibilism.

Metaphilosophy and science
Broad distinguished between critical philosophy and speculative philosophy. He described critical philosophy as analysing "unanalysed concepts in daily life and in science" and then "expos[ing] them to every objection that we can think of". While speculative philosophy's role is to "take over all aspects of human experience, to reflect upon them, and to try to think out a view of Reality as a whole which shall do justice to all of them".

One aspect of critical philosophy was the Principle of Exceptional Cases, whereby everyday concepts are considered in highly abnormal cases, so as to "clear up the meaning" of a concept.

Broad saw philosophy and science as supplemental to one another. Scientists who ignore philosophy expose themselves to a "danger to which the natural scientist is peculiarly liable. The extraordinary success of physics and chemistry within their own sphere tempts men to think that the world is simply a physico-chemical system". Whereas philosophers who ignore science are ignoring properties which are "very pervasive" and can shed light on things.

In terms of empirical propositions Broad distinguished between inspective empirical propositions which he defined "one which asserts of some particular existent with which the mind is acquainted at the time some property which the mind can notice by inspection to belong to it" and inferred empirical propositions which are "derived from a number of perceptual propositions either directly by pure inductive generalization, or indirectly by deduction from one or more inductive generalizations".

Works

 * 1914. Perception, physics and reality. An Enquiry into the Information that Physical Science can Supply about the Real. London: Cambridge University Press.
 * 1923. Scientific thought. New York: Harcourt, Brace and Co.
 * 1925. The Mind and Its Place in Nature. London: Kegan.
 * 1926. The Philosophy of Francis Bacon. Cambridge: Cambridge University Press.
 * 1930. Five types of ethical theory. New York: Harcourt, Brace and Co.
 * 1931. War Thoughts in Peace Time. London: Humphrey Milford.
 * 1933. Examination of McTaggart's philosophy. Vol. 1. Cambridge University Press.
 * 1934. Determinism, Indeterminism, and Libertarianism. Cambridge: Cambridge University Press.
 * 1938. Examination of McTaggart's philosophy. Vol. 2. Cambridge University Press.
 * 1943. Berkeley's Argument about Material Substance. Annual Philosophical Lecture, Henriette Hertz Trust, British Academy
 * 1952/2000. Ethics and the History of Philosophy. Routledge. ISBN 0-415-22530-2.
 * 1953/2000. Religion, Philosophy and Psychic Research. Routledge. ISBN 0-415-22558-2.
 * 1955. Human Personality and the Possibility of Its Survival. University of California Press.
 * 1958. Personal Identity and Survival. London: Society for Psychical Research.
 * 1962. Lectures on Psychical Research. Incorporating the Perrott Lectures given in Cambridge University in 1959 and 1960. New York: Humanities Press.
 * contains Saltmarsh's Investigation of Mrs Warren Elliott's Mediumship". Lectures on Psychical Research. Incorporating the Perrott Lectures given in Cambridge University in 1959 and 1960. New York: Humanities Press.
 * 1968. Induction, Probability, and Causation. Selected Papers of C. D. Broad. Dordrecht: Reidel.
 * 1971. Broad's Critical Essays in Moral Philosophy, New York: Humanities Press.
 * 1975. Leibniz: An Introduction. Cambridge: Cambridge University Press. ISBN 0-521-20691-X
 * 1976. Berkeley's Argument.. Haskell House Pub Ltd.
 * 1978. Kant: An Introduction. (ed.) C. Lewy, Cambridge: Cambridge University Press. ISBN 0-521-21755-5
 * 1985. Ethics. (ed.) C. Lewy, Dordrecht: Nijhoff.
 * 2023. C. D. Broad: Key Unpublished Writings, (ed.) Joel Walmsley

title: C. D. Broad


text:
Budapest Honvéd FC

Budapest Honvéd Football Club, commonly known as Budapest Honvéd or simply Honvéd, is a Hungarian sports club based in Kispest, Budapest, with the colours of red and black. The club is best known for its football team. Honvéd means the Homeland Defence. Originally formed as Kispest AC, they became Kispest FC in 1926 before reverting to their original name in 1944.

The team enjoyed a golden age during the 1950s when it was renamed Budapesti Honvéd SE and became the Hungarian Army team. The club's top players from this era, Ferenc Puskás, Sándor Kocsis, József Bozsik, Zoltán Czibor, and Gyula Grosics helped the club win the Hungarian League four times during the 1950s and also formed the nucleus of the legendary Hungary national team popularly known as the Mighty Magyars.

During the 1980s and early 1990s, the club enjoyed another successful period, winning a further eight Hungarian League titles. They also won league and cup doubles in 1985 and 1989. In 1991, the club was renamed Kispest Honvéd FC and adopted its current name in 2003.

When the club was originally formed in 1909, it also organised teams that competed in fencing, cycling, gymnastics, wrestling, athletics, boxing, and tennis. Later, the Honvéd family was extended to include a water polo team, now known as Groupama Honvéd, a 33-times basketball-champion team and a handball team that were European Champions in 1982.

History
Budapest Honvéd FC were founded in 1909 as Kispesti AC. At domestic level they first entered the Nemzeti Bajnokság I in the 1916–17 season. Their first success came in the 1926 Magyar Kupa season when they beat Budapesti EAC in the final. The club played in the first division since 1916, when the club got relegated to the second division in 2003.

Stadium
Budapest Honvéd's first stadium was opened in 1913. On 5 August 2018, the last match was played at the stadium. The match was won by Honvéd against Paksi FC on the 3rd match day of the 2018–19 Nemzeti Bajnokság I. The only goal was scored by Danilo in the 48th minute. The referee was Viktor Kassai. The stadium was demolished in 2019.

The new stadium of the club was opened in 2021. The first match was played between Budapest Honvéd FC II and Szekszárdi UFC in the 2020–21 Nemzeti Bajnokság III season. The stadium was selected to host the 2021 UEFA European Under-21 Championship.

Manufacturers and shirt sponsors
The following table shows in detail Budapest Honvéd FC kit manufacturers and shirt sponsors by year:

Honours

 * Nemzeti Bajnokság I
 * Winners (14): 1949–50, 1950, 1952, 1954, 1955, 1979–80, 1983–84, 1984–85, 1985–86, 1987–88, 1988–89, 1990–91, 1992–93, 2016–17
 * Nemzeti Bajnokság II
 * Winners (1): 2003–04
 * Magyar Kupa
 * Winners (8): 1925–26, 1964, 1984–85, 1988–89, 1995–96, 2006–07, 2008–09, 2019–20
 * UEFA Cup
 * Quarter final (1): 1978/79
 * Mitropa Cup
 * Winners (1): 1959

Friendly

 * Tournoi de Pâques du Red Star
 * Winners (1): 1932
 * Trofeo Ciudad de Vigo
 * Winners (1): 1974

Youth teams

 * Puskás Cup:
 * Winners (5): 2010, 2011, 2012, 2015, 2016

Players with multiple nationalities

 * 🇭🇺 Ivan Lovrić

Retired numbers
10 – 🇭🇺 Ferenc Puskás, Forward (1949–56). Number retired in July 2000.

Notable former players
Had senior international cap(s) for their respective countries. Players whose name is listed in bold represented their countries while playing for Budapest Honvéd FC.

 * 🇨🇮 Abraham
 * 🇭🇺 József Andrusch
 * 🇨🇮 Benjamin Angoua
 * 🇭🇺 Zsolt Bárányos
 * 🇭🇺 Balázs Bérczy
 * 🇭🇺 Bertalan Bicskei
 * 🇭🇺 János Biri
 * Igor Bogdanović
 * 🇭🇺 József Bozsik
 * 🇳🇿 Kris Bright
 * 🇭🇺 István Brockhauser
 * 🇭🇺 László Budai
 * 🇭🇺 Gábor Bukrán
 * 🇸🇱 Alfi Conteh-Lacalle
 * 🇭🇺 Aurél Csertői
 * 🇭🇺 Zoltán Czibor
 * 🇭🇺 László Dajka
 * 🇭🇺 András Debreceni
 * 🇭🇺 Lajos Détári
 * 🇲🇱 Mamadou Diakité
 * 🇭🇺 László Disztl
 * 🇭🇺 Péter Disztl
 * 🇷🇴 Cristian Dulca
 * 🇭🇺 József Duró
 * 🇭🇺 József Eisenhoffer
 * 🇭🇺 Gábor Egressy
 * 🇭🇺 Márton Esterházy
 * 🇳🇬 Emeka Ezeugo
 * 🇭🇺 László Farkasházy
 * 🇭🇺 Pál Fischer
 * 🇭🇺 Imre Garaba
 * 🇲🇿 Genito
 * 🇧🇬 Ivo Georgiev
 * 🇭🇺 Gyula Grosics
 * 🇭🇺 Sándor Gujdár
 * 🇧🇦 Emir Hadžić
 * 🇭🇺 Gábor Halmai
 * 🇭🇺 István Hamar
 * 🇭🇺 Zoltán Hercegfalvi
 * 🇭🇺 Ádám Hrepka
 * 🇭🇺 János Hrutka
 * 🇳🇬 Harmony Ikande
 * 🇭🇺 Béla Illés
 * 🇭🇺 Péter Kabát
 * 🇭🇺 Mihály Kincses
 * 🇭🇺 István Kocsis
 * 🇭🇺 Lajos Kocsis
 * 🇭🇺 Sándor Kocsis
 * 🇭🇺 Imre Komora
 * 🇭🇺 Antal Kotász
 * 🇭🇺 Béla Kovács
 * 🇭🇺 Ervin Kovács
 * 🇭🇺 Kálmán Kovács
 * 🇭🇺 Mihály Kozma
 * 🇭🇺 László Kuti
 * 🇮🇹 Davide Lanzafame
 * 🇲🇿 Almiro Lobo
 * 🇭🇺 Gyula Lóránt
 * Misheck Lungu
 * 🇭🇺 Ferenc Machos
 * 🇭🇺 János Marozsán
 * 🇭🇺 Gábor Márton
 * 🇭🇺 János Mátyus
 * 🇭🇺 József Mészáros
 * 🇭🇺 Vasile Miriuță
 * 🇲🇿 Hélder Muianga
 * 🇭🇺 Antal Nagy (1944)
 * 🇭🇺 Antal Nagy (1956)
 * 🇭🇺 Norbert Németh
 * 🇭🇺 István Nyers
 * 🇭🇺 Sándor Pintér
 * 🇭🇺 István Pisont
 * 🇭🇺 Attila Plókai
 * 🇭🇺 Ferenc Puskás
 * 🇭🇺 László Pusztai
 * 🇭🇺 István Sallói
 * 🇭🇺 Ferenc Sipos
 * 🇭🇺 Lajos Szűcs
 * 🇭🇺 Ákos Takács
 * 🇭🇺 Zoltán Takács
 * 🇭🇺 Lajos Tichy
 * 🇭🇺 Sándor Torghelle
 * 🇭🇺 Mihály Tóth
 * 🇭🇺 József Varga
 * 🇭🇺 Gábor Vincze
 * 🇭🇺 István Vincze
 * 🇵🇪 Paulo Albarracín
 * 🇵🇪 Bruno Enríquez
 * 🇵🇪 César Mayuri
 * 🇷🇸 Dragan Vukmir
 * 🇨🇿 Lukáš Zelenka
 * 🇭🇺 Zalán Zombori
 * 🇱🇷 Philip Tarlue

Management
As of 6 July 2023

First team staff
As of 6 July 2023

Ownership
In 2022, Chris Docherty was appointed as the new sport director of the club.

Chris Docherty said in an interview that the club cannot sign any new players for financial problems in the middle of the 2022-23 Nemzeti Bajnokság I season.

On 22 May 2023, Chris Docherty resigned as sports director. In an article published by Nemzeti Sport, George F. Hemingway, former owner of the club, heavily criticized the management of the club for their relegation to the Nemzeti Bajnokság II after finishing 11th in the 2022–23 Nemzeti Bajnokság I season. Hemingway said that the solid financial background is not enough if there is no expertise.

On 27 April 2024, it was revealed that a Tamás Lisztinger-led business showed interest in purchasing the club.

Owners

 * 2006–2019: 🇺🇸 Quinex America LLC (George F. Hemingway)
 * 2019–present: 🇭🇺 Reditus Equity (Zoltán Bozó)

title: Budapest Honvéd FC


text:
User:LiveNude

Fellow citizens of mother earth throw off your rages of capativety and walk into the world of tomorrow free and naked. Live as you were ment to be naked. There is no shame in it so live it. We are all the same siblings of our mother earth. We should not hide in shame for fear of "naughty" parts what is wrong with the human body? only clothes. Let form a new world order where we love one another in anyway we want to be with ourselves, other people or other species. There is nothing wrong with any form of love all is equal. We are no better than a mouse or a bird or a fish. They all belong with us to our mother earth.

Let it all hang out.

title: User:LiveNude


text: User:MakeRocketGoNow

title: User:MakeRocketGoNow


text: User talk:68.125.26.53

title: User talk:68.125.26.53


text:
Wikipedia:Articles for deletion/The Parable of the Water-Tank

The Parable of the Water-Tank was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was transwiki to Wikisource. As of 17:00, 21 Nov 2004 (UTC), the article is still in the queue to be moved. Rossami (talk) 17:00, 21 Nov 2004 (UTC)

This should be up at Wikisource. Someone else listed it, but I stumbled on it earlier today and the user had been asked rather politely not to post such a thing. - Lucky 6.9 22:46, 16 Jul 2004 (UTC)

 * Move to Wikisource. It's lovely that we keep getting these wonderful submissions, but they need to go to the right place.  --Ardonik 23:19, Jul 16, 2004 (UTC)
 * Move to Wikisource: This one has an agenda, too.  Nevermind.  Wikisource, in case it's relevant to research. Geogre 00:26, 17 Jul 2004 (UTC)
 * Said user has already contacted me and indicated he has no objections to moving to Wikisource. The next step is...? [[User:Meelar|Meelar (talk)]] 03:46, 17 Jul 2004 (UTC)
 * I already have a login on Wikisource, and after reading your comments, I was going transwikify the article...until I realized that I don't even know how to create a page there. (There's no link to do it from the search!)  --Ardonik 07:44, Jul 17, 2004 (UTC)
 * I think that moving my page to Wikisourse will just create another problem. Wikisource has author pages, shouldn't all authors pages be moved to Wikisource? If you use a local author link at Wikisourse, then you have to use a back arrow to return to Wikipedia! Rather than force people to use a back arrow on their browser, I think my article should remain at Wikipedia until there is a policy for both texts and authors. I believe they both need to be moved to make everything work seamlessly. Stewjack 22:17, Jul 17, 2004 (UTC)
 * The whole purpose of Wikisource to be a public repository for primary sources, sort of in the spirit of Project Gutenberg (and there is an active discussion taking place right now as to what degree the two projects should work together.) Primary sources do not belong on the Wikipedia; encyclopedia articles do.  --Ardonik 04:47, Jul 19, 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: Template:Roman religion

title: Template:Roman religion


text:
Talk:Bas-relief

joke
Bass-Relief: A feeling produced after listening to loud Jungle music inside a car with many subwoofers. seriously, oo carve a shallow design onto the surface of a fish. See also: Trout-relief, herring-relief.
 * rimshot*

Hyphenation
I have always seen this term hyphenated, but am not 100% certain I want to move the page right away. The linking in wikipedia is split about 50-50 between hyphenation and not, and Google is no help, making no distinction between "bas-relief" and "bas relief". All the same, I will probably move the page soon unless there is an objection. --Yath 22:05, 23 Dec 2004 (UTC)
 * "Bas-relief" is a French word. I looked it up in my Le Petit Robert French dictionary and seems like it should indeed be hyphenated. Therefore, I think the page should be moved. --Audrey 03:22, 25 Apr 2005 (UTC)

Added images
The best way to explain Bas relief is to do it with pictorial examples. I have added a number of examples from different historical periods and regions. The "compatible" 3D is ideally suited to showing it better for serious scholars, while having a fairly good image for those who don't have the anaglyph glasses. (there are alway several millions of people who do have them from Disney movies or comic books.3dnatureguy 00:14, 23 January 2006 (UTC)

Some images here are high relief
I have moved some of the images that were here to the alto-relievo page because the sculpture was clearly high relief, not low relief. Sculpture with undercutting of figures is almost always considered alto-relievo rather than bas-relief. --EncycloPetey 08:55, 30 December 2006 (UTC)
 * Correct, but the very confused lead needs to be sorted on this issue too! Johnbod (talk) 05:20, 22 March 2008 (UTC)

the word is french!! (like 3/4 of your dictionary)
i suppose the French etymology comes from the Latin expression not Italian. Cliché Online 15:07, 16 June 2007 (UTC)

title: Talk:Bas-relief


text:
Talk:Pr0n

I think the leet article is more comprehensive. Redirecting there. --Ardonik 22:48, Jul 16, 2004 (UTC)
 * Looked through the edit history and saw that someone redirected this to pornography in the past. Hopefully, the community will like this redirect better.  --Ardonik 22:52, Jul 16, 2004 (UTC)

humorous side
although pr0n or pron can directly just refer to pornography when used as such a bit more humorous angle is often taken

This makes no sense!
"This deliberately inaccurate spelling/pronunciation for "porn" is sometimes used...to prevent search engines from associating them with pornography - which might result in unwelcome traffic"

Unwelcome traffic? What would you achieve through searching for "pr0n" which couldn't also be achieved through searching "porn" due to unwelcome traffic?
 * What they meant is if someone had a directory/file called porn, they would call it pr0n to stop people grepping 'porn' and revealing the stash. If you were at university, for example, and the place where you stashed your jazz was somehow public (or subsequently made public), then it's very possible a search engine would crawl over it and start doling out the URL to its userbase.  You'd then get the network admin noticing an increase in bandwidth usage and he'd investigate, make a sly copy for himself no doubt, and subsequently drop a dead otter on your head from atop the clock-tower for serving up porn to the masses despite the fact it's possible it was largely his incompetance that allowed it to happen in the first place. Newsmare 04:59, 3 February 2006 (UTC)
 * Words of a bitter, bitter man.

title: Talk:Pr0n


text:
National Galleries of Scotland

The National Galleries of Scotland (Gailearaidhean Nàiseanta na h-Alba, sometimes also known as National Galleries Scotland) is the executive non-departmental public body that controls the three national galleries of Scotland and two partner galleries, forming one of the National Collections of Scotland.

The purpose of National Galleries Scotland (NGS) was set out by an Act of Parliament in the National Galleries of Scotland Act 1906, amended by the National Heritage (Scotland) Act 1985. Its role is to manage the National Galleries of Scotland, care for, preserve and add to the objects in its collections, exhibit artworks to the public and to promote education and public enjoyment and understanding of the Fine Arts. It is governed by a board of trustees who are appointed by ministers of the Scottish Government.

History
The National Gallery of Scotland (now called the National) was opened to the public in 1859. Located on The Mound in the centre of Scotland's capital city, Edinburgh, the building was originally shared between the National Gallery and the collection of the Royal Scottish Academy (RSA). The gallery was a success, and in response to increasing public demand for the celebration of Scottish history and culture, the Scottish National Portrait Gallery (SNPG) was opened in 1889 to display portraits of noted Scots. The National Gallery collection was nevertheless constrained by lack of space in the premises on The Mound, and the National Galleries of Scotland Act 1906 granted to the RSA perpetual tenancy of the Royal Institution building in front of the National Gallery, allowing the National Galleries collection to take over the entire National Gallery of Scotland building. Since then, the Royal Institution building became known as the Royal Scottish Academy.

In 1959, National Galleries of Scotland expanded further with the establishment of the Scottish National Gallery of Modern Art (SNGMA), housed in Inverleith House in the Royal Botanic Garden Edinburgh. Twentieth-century artworks in the National Galleries collection were relocated to the new gallery, and the gallery began to acquire many more objects after 1960. By 1984, the modern art gallery had outgrown its first home, and the SNGMA relocated to the vacant John Watson's Institution building, a former school. In 1999, the SNGMA expanded with the opening of The Dean Gallery (now called Modern Two) in a former orphanage opposite the Gallery of Modern Art.

In 2012, National Galleries of Scotland underwent a rebranding exercise, and the National Gallery of Scotland building on The Mound was renamed the Scottish National Gallery to distinguish it from the organisation that manages it.

A further rebranding was undertaken in 2023, when the organisation's name was changed to National Galleries Scotland. A new visual identity was introduced, including a three-dimensional logo consisting of a pair coloured rectangles placed at an angle, said to "evoke the idea of discovery and different perspectives". The names of the individual gallery buildings were considered to be too long, and were given "snappier and more memorable" names within the branding family: National, Portrait and Modern.

Copyright
The NGS website's "Copyright & Image Licensing" page claims that "Images of works where copyright has expired ... are available for you to use under the terms of the CC-BY-NC 3.0 License", while the individual download pages of such images assert: "You may copy, print, display, and store this image for your personal, non-commercial use." and "The image must be attributed with the artist, title of the artwork, copyright holder, and 'National Galleries Scotland'. The image must also be linked back to this artwork page on the National Galleries Scotland website... if you require a commercial license please fill in an online application."

List of national galleries

 * The Scottish National Gallery
 * The Scottish National Portrait Gallery
 * The Scottish National Gallery of Modern Art

The Partner Galleries are:
 * Duff House in Banff, Aberdeenshire
 * Paxton House, Berwickshire

title: National Galleries of Scotland


text:
Eduardo Paolozzi

Sir Eduardo Luigi Paolozzi (,  ; 7 March 1924 – 22 April 2005) was a Scottish artist, known for his sculpture and graphic works. He is widely considered to be one of the pioneers of pop art.

Early years
Eduardo Paolozzi was born on 7 March 1924, in Leith in north Edinburgh, Scotland, and was the eldest son of Italian immigrants. His family was from Viticuso, in the Lazio region. Paolozzi's parents, Rodolfo and Carmela, ran an ice cream shop. Paolozzi used to spend all his summers at his grandparents place in Monte Cassino and grew up bilingual. In June 1940, when Italy declared war on the United Kingdom, Paolozzi was interned (along with most other Italian men in Britain). During his three-month internment at Saughton prison his father, grandfather and uncle, who had also been detained, were among the 446 Italians who drowned when the ship carrying them to Canada, the Arandora Star, was sunk by a German U-boat.

Paolozzi studied at the Edinburgh College of Art in 1943, briefly at Saint Martin's School of Art in 1944, and then at the Slade School of Fine Art at University College London from 1944 to 1947, after which he worked in Paris. While in Paris from 1947 to 1949, Paolozzi became acquainted with Alberto Giacometti, Jean Arp, Constantin Brâncuși, Georges Braque and Fernand Léger. This period became an important influence for his later work. For example, the influence of Giacometti and many of the original Surrealists he met in Paris can be felt in the group of lost-wax sculptures made by Paolozzi in the mid-1950s. Their surfaces, studded with found objects and machine parts, were to gain him recognition.

Career
After Paris, he moved back to London eventually establishing his studio in Chelsea. The studio was a workshop filled with hundreds of found objects, models, sculptures, materials, tools, toys and stacks of books. Paolozzi was interested in everything and would use a variety of objects and materials in his work, particularly his collages. In 1955 he moved with his family to the village of Thorpe-le-Soken in Essex. Together with Nigel Henderson he established Hammer Prints Limited, a design company producing wallpapers, textiles and ceramics that were initially manufactured at Landermere Wharf, and when his evening course in printed textile design at the Central School of Art and Design attracted the Trinidadian graphics student Althea McNish, he was instrumental in pointing her towards her future career as a textile designer. Paolozzi came to public attention in the 1950s by producing a range of striking screenprints and Art brut sculpture. He was a founder of the Independent Group in 1952, which is regarded as the precursor to the mid-1950s British and late 1950s American Pop Art movements. His seminal 1947 collage I was a Rich Man's Plaything is considered the earliest standard bearer representing Pop Art. He always described his work as surrealist art and, while working in a wide range of media though his career, became more closely associated with sculpture. Paolozzi is recognized for producing largely lifelike statuary works, but with rectilinear (often cubic) elements added or removed, or the human form deconstructed in a cubist manner. He taught sculpture and ceramics at several institutions, including the Hochschule für bildende Künste Hamburg (1960–62), University of California, Berkeley (in 1968) and at the Royal College of Art. Paolozzi had a long association with Germany, having worked in Berlin from 1974 as part of the Berlin Artist Programme of the German Academic Exchange Programme. He was a professor at the Fachhochschule in Cologne from 1977 to 1981, and later taught sculpture at the Akademie der Bildenden Künste in Munich. Paolozzi was fond of Munich and many of his works and concept plans were developed in a studio he kept there, including the mosaics of the Tottenham Court Road Station in London. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Paolozzi decorated for the German Rosenthal porcelain maker's Studio Linie.

Paolozzi's graphic work of the 1960s was highly innovative. In a series of works he explored and extended the possibilities and limits of the silkscreen medium. The resulting prints are characterised by Pop culture references and technological imagery. These series are: As Is When (12 prints on the theme of Paolozzi's interest in the philosopher Ludwig Wittgenstein; published as a limited edition of 65 by Editions Alecto, 1965); Moonstrips Empire News (100 prints, eight signed, in an acrylic box; published as a limited edition of 500 by Editions Alecto, 1967); Universal Electronic Vacuu (10 prints, poster and text; published by Paolozzi as a limited edition of 75, 1967); General Dynamic Fun. (part 2 of Moonstrips Empire News; 50 sheets plus title sheet; boxed in five versions; published as a limited edition of 350 by Editions Alecto, 1970).

In the 1960s and 1970s, Paolozzi artistically processed man-machine images from popular science books by German doctor and author Fritz Kahn (1888–1968), such as in his screenprint "Wittgenstein in New York" (1965), the print series Secrets of Life – The Human Machine and How it Works (1970), or the cover design for John Barth's novel Lost in the Funhouse (Penguin, 1972). As recently as 2009, the reference to Kahn was discovered by Uta and Thilo von Debschitz during their research of work and life of Fritz Kahn.

Later career
Paolozzi was appointed CBE in 1968 and in 1979 he was elected to the Royal Academy. During the late 1960s, he started contributing to literary magazine Ambit, which began a lifelong collaboration.

In 1980, the Institute of Chartered Accountants in England and Wales (ICAEW) commissioned a set of three tapestries from Paolozzi to represent 'present day and future societies in relation to the role played by ICAEW', as part of the institute's centenary celebrations. The three highly distinctive pieces - which Paolozzi wanted to "depict our world of today in a manner using the same bold pictorial style as the Bayeux tapestries in France" - currently hang in Chartered Accountants' Hall.

He was promoted to the office of Her Majesty's Sculptor in Ordinary for Scotland in 1986, which he held until his death. He also received an Honorary Doctorate from Heriot-Watt University in 1987.

Paolozzi was knighted by Queen Elizabeth II in 1989 as Knight Bachelor.

In 1994, Paolozzi gave the Scottish National Gallery of Modern Art a large body of his works, and much of the content of his studio. In 1999 the National Galleries of Scotland opened the Dean Gallery to display this collection. The gallery displays a recreation of Paolozzi's studio, with its contents evoking the original London and Munich locations and also houses Scottish-Italian a restaurant, Paolozzi's Kitchen, which was created by Heritage Portfolio in homage to the local artist.

In 2001, Paolozzi suffered a near-fatal stroke, causing an incorrect magazine report that he had died. The illness made him a wheelchair user, and he died in a hospital in London in April 2005.

In 2013, Pallant House Gallery in Chichester held a major retrospective Eduardo Paolozzi: Collaging Culture (6 July −13 October 2013), featuring more than 100 of the artist's works, including sculpture, drawings, textile, film, ceramics and paper collage. Pallant House Gallery has an extensive collection of Paolozzi's work given and loaned by the architect Colin St John Wilson, who commissioned Paolozzi's sculpture Newton After Blake for the British Library.

Notable public works

 * Mosaic murals for the platforms, passages and escalator entrances of Tottenham Court Road tube station, London, and Paolozzi's most extensive work. Escalator entrance murals were removed as part of redevelopment, and were donated to the University of Edinburgh though most mosaics remain in situ and were restored in 2017.
 * Cover artwork for Paul McCartney's album Red Rose Speedway
 * Ceiling panels and window tapestry at Cleish Castle
 * Piscator sculpture, Euston Station concourse, London, until 2019, present location unknown
 * Cast aluminium doors for the University of Glasgow's Hunterian Gallery, commissioned by William Whitfield
 * Bronze sculpture Newton after Blake, 1995, in the forecourt of the British Library
 * The Manuscript of Monte Cassino, an open palm, a section of limb and a human foot, located at Leith Walk, looking towards Paolozzi's birthplace Leith
 * Head of Invention sculpture in front of the Design Museum in Kensington
 * Sculpture A Maximis Ad Minima in Kew Gardens at the west end of the Princess of Wales Conservatory
 * Mosaics in Redditch Town Centre
 * Athena sculpture in the foyer of the John McIntosh Arts Centre at The London Oratory School
 * Faraday sculpture at the University of Birmingham
 * The Artist as Hephaestus, on High Holborn from 1987, removed 2012 present location unknown

Other work

 * Eduardo Paolozzi played a deaf-mute in Lorenza Mazzetti's 1956 Free Cinema film Together, alongside the painter Michael Andrews.
 * A photograph of Paolozzi's large, well-worn right hand was selected by Lord Snowdon as the cover image for his book Photographs by Snowdon: A Retrospective (August 2000).

Writings

 * Metafisikal Translations by Eduardo Paolozzi, Lelpra, London, 1962
 * Eduardo Paolozzi by Eduardo Paolozzi, Tate, London, 1971
 *  Junk and the New Arts and Crafts Movement by Eduardo Paolozzi, Talbot Rice Centre, Edinburgh, August 1979
 * Recurring themes by Eduardo Paolozzi, Rizzoli (1984), ISBN 978-0-8478-0573-0

title: Eduardo Paolozzi


text:
Wikipedia:Articles for deletion/Newsletterdirectory

Newsletterdirectory was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Ah, now this looks better. Did someone change the VfD template? Anyway, this is more of a Wikisource than anything else. Someone put the VfD notice on it, but didn't list it here. - Lucky 6.9 22:49, 16 Jul 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Personally, I don't think any of these web directories deserve their own article. If I had my way, I'd remove the List of web directories and all articles it pointed to, then move everything that was significant (i.e., not an advertisement) to the web directory article.  Let these competing web directories fight over external link space there instead of cluttering the article space.  Delete.  --Ardonik 23:26, Jul 16, 2004 (UTC)
 * This just in: although it was 80.136.154.137 who created the page, my home page was just vandalized by 80.136.147.72 (see his/her talk page), who then proceeded to add linkspam to List of web directories. It looks like someone affiliated with Newsletterdirectory is trying to get revenge on me.  I'm changing my vote from delete to destroy :-)  --Ardonik 08:05, Jul 17, 2004 (UTC)
 * Oddly enough, users under 80.136.*.* are now trying to remove the VfD notice from Newsletterdirectory. I invited the latest one to join us for a debate here.  (This is like a soap opera in slow motion.)  --Ardonik 09:56, Jul 17, 2004 (UTC)
 * Let's not let this one be ambiguous. Delete.  Geogre 00:59, 18 Jul 2004 (UTC)
 * Delete ad. -- Cyrius|✎ 20:18, 20 Jul 2004 (UTC)


text:
Monongalia County, Minnesota

Monongalia County is a former county in the U.S. state of Minnesota. It was identified in 1858, although the Dakota War of 1862 delayed its organization until 1861. It was named after Monongalia County, Virginia (now Monongalia County, West Virginia) after residents moved from Virginia to Minnesota. The county seat was at New London, after a brief stay at Columbia.

In 1870 the state legislature ordered it merged with Kandiyohi County, its southern neighbor. Neither county had been able up till then to raise enough money to build a courthouse. In February 1871, they finally agreed to make Willmar the new county seat, succeeding to Kandiyohi Station.

title: Monongalia County, Minnesota


text: Talk:American College, Madurai

title: Talk:American College, Madurai


text:
An Assassin's Diary

An Assassin's Diary (ISBN 0-06-120470-6) is a book written by Arthur Bremer and Harding Lemay and released in 1973. It was based on part of the diary of Bremer, the would-be assassin of Alabama governor George Wallace. Bremer shot Wallace on May 15, 1972, at the Laurel Shopping Center in Laurel, Maryland, while Wallace was in the midst of his third campaign for President.

In the book, Bremer says he was not particularly opposed to Wallace's political agenda, which many had branded as white supremacist; his primary motive was to become famous as he had also stalked President Richard Nixon.

Paul Schrader was partly inspired by Bremer's diary when he wrote the screenplay for the 1976 film Taxi Driver, which was directed by Martin Scorsese. Peter Gabriel's 1980 song "Family Snapshot," from Peter Gabriel (III) was inspired by An Assassin's Diary.

Reviews
In the essay "The Art and Arts of E. Howard Hunt", Gore Vidal assesses Bremer's writing style and notes the apparent contradiction between Bremer's lucid prose and his characterization as a person with a mediocre intellect. Vidal further speculates that CIA agent E. Howard Hunt may have authored parts of Bremer's supposed diary, arguing there are similarities between Bremer's writing style and the prose found in Hunt's adventure and espionage novels, and noting Bremer's supposed diary alternates between passages of clear writing and passages of extreme misspelling and poor grammar.

title: An Assassin's Diary


text:
Talk:Christian Morgenstern

Untitled
Could someone please provide more detail from which English nonsense poems Morgenstern was inspired? He mostly plays with German words, and I don't understand how playing with the mothertongue and new German nonsense word creations could be inspired by ENP? He doesn't copy a certain style, but rather creates his own unique way. It's almost like Dada in some way, without the political aspect.

So, I vote for removing the note on his "inspiration". Fabian Haidekker 22:59, 16 Jul 2004 (UTC)

Here´s the English version of one of the so-called "nonsense"-poems of CM, for reasons I did add the [German] online source, sincerely, Jack Migger, Aug. 3rd, 2006

"The Impossible Fact

[The Logics of Morgenstern]

Palmstroem, old, an aimless rover, walking in the wrong direction at a busy intersection is run over. "How," he says, his life restoring and with pluck his death ignoring, "can an accident like this ever happen? What's amiss? "Did the state administration fail in motor transportation? Did police ignore the need for reducing driving speed? "Isn't there a prohibition, barring motorized transmission of the living to the dead? Was the driver right who sped ... ?" Tightly swathed in dampened tissues he explores the legal issues, and it soon is clear as air: Cars were not permitted there! And he comes to the conclusion: His mishap was an illusion, for, he reasons pointedly, that which must not, can not be.

[English version Max Knight, from: Digitales Christian Morgenstern Archiv DCMA]

Morgenstern's Ancestry
Why did the article include a paragraph on CM's ancestry? Was it important for the survival of his publications in Europe? Did his publisher's defense (gentile origin) stop a Nazi regime from purging his works, in fact? Richard Leining, Aug. 11, 2006

Please correct his age at death...you can't be born in 1871 and die in 1914 at the age of 37. —Preceding unsigned comment added by 24.218.229.212 (talk) 05:24, 3 April 2008 (UTC)

Tranlation Sources
Can anyone source the english translation of Vice Versa? I can't find that specific one anywhere. Kirilcg (talk) 00:51, 12 January 2012 (UTC)
 * Done by yours truely, I hope that was okay! (Please edit or improve -- my own version of the next-to-last line now is as follows: "Yet him surveys again in turn," but I'm not sure which one I prefer.) hgwb (talk) 22:10, 30 May 2015 (UTC)

Assessment
The only reason this received a Start-class assessment is because of the amount of supporting material on this page. This requires more references and in-line citations to advance any further on the assessment scale. – Vami _IV✠  05:44, 8 May 2017 (UTC)

title: Talk:Christian Morgenstern


text:
Amilcar Italiana

Amilcar Italiana manufactured some French Amilcar automobile models in Italy from 1925 to 1928 under licence granted in 1925 to Compagnia Generale Automobili S.A., of Rome to build cyclecars and in 1927 to Societa Industriale Lombardo Veneta Automobili of Verona.

title: Amilcar Italiana


text:
List of counts of Albon and dauphins of Viennois

The counts of Albon (comtes d'Albon) were members of the medieval nobility in what is now south-eastern France.

Guigues IV, Count of Albon (d. 1142) was nicknamed le Dauphin or 'the Dolphin'. His nickname morphed into a title among his successors. By 1293, the lands ruled by the Counts Albon, the old comitatus Albionis, were known as the Dauphiné of Viennois (Dalphinatus Viennensis).

The titles and lands had been part of the Holy Roman Empire since 1032. They passed to Philip VI of France in 1349 on condition that the heir apparent to the French crown always be titled dauphin, and be personal holder of the lands and titles. By condition of the emperor, the Dauphiny could never be united to France. When the king of France had no son, he would personally rule the Dauphiny separately, as dauphin. Thus, the province technically remained in the Holy Roman Empire even after 1349, and it was administered separately from France well into the early modern period; it was incorporated into France only de facto with the rise of absolutism in the 17th century.

House of Albon

 * Guigues I of Albon the Old (c. 1000–1070), Count in Oisans, Grésivaudan and Briançonnais, Lord of Château d'Albon, ruled until 1070
 * Guigues II of Albon the Fat (c. 1020–1079), Count in Grésivaudan and Briançonnais, Lord of Château d'Albon, ruled 1070–1079

House of Albon

 * Guigues III of Albon the Count (c. 1050–1133), first Count of Albon (the southern part of the ancient County of Vienne; the northern part was granted to the first Count of Savoy), ruled 1079–1133
 * Guigues IV of Albon, le Dauphin (c. 1095–1142), Count of Albon, ruled 1133–1142

Counts of Albon and Dauphins of Viennois

 * Robert V, Count of Auvergne married Marquise d'Albon, a daughter of Guigues IV. Their descendants adopted the title of Dauphin of Auvergne, and it was used by some as the family name.

House of Albon

 * Guigues V of Albon (c. 1120–1162), Count of Albon and Grenoble, Dauphin of Viennois, ruled 1142–1162
 * Béatrice of Albon (1161–1228), Dauphine of Viennois, Countess of Albon, Grenoble, Oisans et Briançon, ruled 1162–1228, married Hugh III of Burgundy

House of Burgundy

 * Guigues VI of Viennois (1184–1237), Dauphin de Viennois, count of Albon, Grenoble, Oisans and Briançon, ruled 1228–1237
 * Guigues VII of Viennois (c. 1225–1269), Dauphin of Viennois, Count of Albon, Grenoble, Oisans, Briançon, Embrun and Gap, son of, ruled 1237–1269
 * John I of Viennois (1263–1282), Dauphin of Viennois, Count of Albon, Grenoble, Oisans, Briançon and Embrun, ruled 1269–1282
 * Anne of Viennois (1255–1298), Dauphine of Viennois, Countess of Albon, married Humbert, Baron of La Tour du Pin

House of La Tour du Pin

 * Humbert I of Viennois (c. 1240–1307), Baron of La Tour du Pin, Dauphin of Viennois and Count of Albon, ruled 1282–1307
 * John II of Viennois (1280–1318), Baron of La Tour du Pin, Dauphin of Viennois, ruled 1307–1318
 * Guigues VIII of Viennois (1309–1333), Dauphin of Viennois, ruled 1318–1333
 * Humbert II of Viennois (1312–1355), Dauphin of Viennois, ruled 1333–1349

Humbert II sold his lands and titles to Philip VI of France.

House of Valois

 * Charles I of Viennois (1338–1380), also king of France as Charles V, Dauphin of Viennois, Count of Diois and Valentinois, Duke of Normandy, ruled the dauphinate as the first Dauphin of France (1350–1364) and ruled the dauphinate as king of France (1364–1368)
 * Charles II of Viennois (1368–1422), also king of France as Charles VI, Dauphin of Viennois, Count of Diois and Valentinois, ruled the dauphinate as second Dauphin of France (1368–1380), ruled the dauphinate as king of France (1380–1386) and again during (1386–1392)
 * Charles III of Viennois (1386), Dauphin of Viennois, Count of Diois and Valentinois, ruled the dauphinate as third Dauphin of France (1386)
 * Charles IV of Viennois (1392-1401), Dauphin of Viennois, Count of Diois and Valentinois, Duke of Guyenne, ruled the dauphinate as fourth Dauphin of France (1392–1401)
 * Louis I of Viennois (1397–1415), Dauphin of Viennois, Count of Diois and Valentinois, Duke of Guyenne, ruled the dauphinate as fifth Dauphin of France (1401–1415)
 * John III of Viennois (1398–1417), Dauphin of Viennois, Count of Diois and Valentinois, Duke of Touraine, ruled the dauphinate as sixth Dauphin of France (1415–1417)
 * Charles V of Viennois (1403–1461), also king of France as Charles VII, Dauphin of Viennois, Count of Diois, Valentinois and Ponthieu, ruled the dauphinate as seventh Dauphin of France (1417–1422), ruled the dauphinate as king of France (1422–1423, de facto 1457-1461)
 * Louis II of Viennois (1423–1483), also king of France as Louis XI, Dauphin of Viennois, Count of Diois and Valentinois, ruled the dauphinate as eighth Dauphin of France (1423–1461), ruled the dauphinate as king of France (1461–1466)


text:
Talk:Caravaggio

name
The proper title for this entry is Caravaggio with a dab at top about Caravaggio, Italy and a note about Caravaggio (movie) below. That's the NCP (normal cultural perspective). Wetman 23:02, 16 Jul 2004 (UTC)

 * Agreed. I almost didn't find the page because of the odd naming. This should be the default page for "Caravaggio", with the disamb linked from it. Mpolo 10:26, Nov 13, 2004 (UTC)
 * Agreed. For now, I've moved the disambiguation page from Caravaggio to Caravaggio (disambiguation), and made Caravaggio in a redirect to Michelangelo Merisi. If noone complains about this, an administrator can move this page to Caravaggio later. Eugene van der Pijll 13:19, 13 Nov 2004 (UTC)
 * I object. I think that Caravaggio should certainly be a redirect here (with a note on this page saying caravaggio is also a town and movie. But that the main article should stay here at Michelangelo Merisi, since that was after all his name. The bellman 08:26, 2004 Dec 21 (UTC)
 * I think it's more than a little pretentious, to be frank. --Wetman 00:57, 4 Apr 2005 (UTC)

Lead
The WP:LEAD is a summary of the body; it should not contain content that is not discussed in the body; and it should highlight the most important features of the topic. The lead here focuses on Caravaggio's biography, in places containing more detail than the body, and giving undue weight to particular incidents. Discussion of his technique and impact is scant, and buried in the last paragraph. I am cutting back the bio narrative and moving some of the detail into the body, while expanding discussion of his technique. For the time being, I have moved chunks of the lead into appropriate sections as hidden text, and I will later blend those passages in. Laszlo Panaflex (talk) 02:53, 6 July 2017 (UTC)

St Rosario
By the painting of St Rosario do we meant the Madonna of the Rosary? Contaldo80 (talk) 10:49, 25 July 2017 (UTC)
 * Seems to refer to a lost work. The Madonna of the Rosary (Caravaggio) doesn't have that many figures, and none of them are turpiter ligati, which as I understand it means "in shameful bonds", "in wicked embrace". William Avery (talk) 11:28, 25 July 2017 (UTC)
 * I'm not sure though - there is no such hagiographical figure as St Rosario which really translates as the Holy Rosary. Agree there are not 30 figures or people in wicked embraces. We need Burton's original statement I think. Contaldo80 (talk) 12:37, 25 July 2017 (UTC)
 * Under Caravaggio this article says that work "is not known to have survived", but without a citation. The reference by Burton is just a footnote, see here William Avery (talk) 13:10, 25 July 2017 (UTC)
 * Thanks. I just think Burton has been misconstrued. There is no saint rosario - it must be that he was referring to the madonna of the rosary. I think the reference to Burton just confuses the paragraph and doesn't add much in any case - so suggest we take it out. Contaldo80 (talk) 11:05, 26 July 2017 (UTC)

External links modified
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A daughter?
An editor has added a controversial claim that Caravaggio "had at least one illegitimate daughter by Lavinia Giugioli, the wife or Ranuccio Tommasoni who Caravaggio killed in a duel over the affair". I have never seen a reference to this before. The source cited is a website in Italian. Before we can include this I think we need some robust academic sources that support this suggestion. Thanks Contaldo80 (talk) 09:42, 16 February 2018 (UTC)
 * A clear case of WP:IDONTLIKEIT.--Galassi (talk) 13:22, 16 February 2018 (UTC)
 * Notes from a CD? A clear case of not WP:RS. Laszlo Panaflex (talk) 15:37, 16 February 2018 (UTC)
 * Yeah, I don't like it because it's poor editing. Go figure. Contaldo80 (talk) 11:02, 19 February 2018 (UTC)
 * Andrew Graham-Dixon covered it nicely and reliably per WP:RS, even if it contradicts your POV.--Galassi (talk) 15:34, 19 February 2018 (UTC)

Simply yelling IDONTLIKEIT when someone raises good faith objections is highly inappropriate. The onus is on you to discuss and present your evidence here before going forward with further edits. And the cite to the CD notes remains NOTRS, even if the rest is kept. Please do not attack others for raising good faith concerns. Laszlo Panaflex (talk) 16:13, 19 February 2018 (UTC)
 * Andrew Graham-Dixon is RS. There is more info coming from his work.--Galassi (talk) 18:49, 19 February 2018 (UTC)
 * Andrew Graham Dixon is well respected. Maybe you could tell us what he actually said before suggesting (spuriously) that we have ignored any evidence presented. What does he actually say in the book - rather than just a newspaper article re-hashing it? Do other historians agree - what do they think? Then let's think carefully about how we put this into the text. There's no point asserting it as true - it remains speculative at most. Contaldo80 (talk) 10:04, 20 February 2018 (UTC)
 * "Andrew Graham-Dixon's biography of Caravaggio glosses over the artist's reputation for whoring and brawling." Don't leap to the conclusion that AGD is the last word on the subject. Given the amount of ink that's been devoted to the man it might be worth including a section on biographies and schiolarly interpretations.PiCo (talk) 06:56, 20 September 2018 (UTC)
 * PiCo you say the telegraph contradicts graham Dixon but haven't quoted the book in full? Contaldo80 (talk) 23:25, 27 September 2018 (UTC)
 * How can I quote what isn't there? Graham-Dixon talks about Ranuccio having a baby daughter, but doesn't say or even hint that the child was Caravaggio's. I suggest you get the book from the local library.PiCo (talk) 05:41, 29 September 2018 (UTC)
 * Actually thinking about this I have read the book and it didn't talk about a potential daughter. The Telegraph is inaccurate. Contaldo80 (talk) 23:45, 30 September 2018 (UTC)

Beheading of John the Baptist
Is it notable to include a statement that the beheading is one of the best paintings in the world according to a guardian columnist? Isn't there a risk that we start including lots of other peoples opinions on what's good and what's not and then it becomes a jumble. Why not leave this for the article on the painting itself. I also wonder if this isn't an attempt to play up the assets in Malta. Contaldo80 (talk) 12:13, 2 March 2018 (UTC)
 * I would lean exclude, with the statement on the painting's article being enough. I don't think it is a Malta-POV edit though. Hrodvarsson (talk) 12:57, 2 March 2018 (UTC)
 * Personally I rarely agree with Jonathan Jones (journalist), but he is a serious figure. The article is arguably rather short on quotes establishing C's modern status, and I think this should be reinstated - Contaldo has already been reverted once, and of course has immediately re-reverted. I will reinstate a properly attributed version. Contaldo, given that consensus tends to not to agree with your changes, it is especially inappropriate to just make them and then keep reverting to maintain them. Johnbod (talk) 15:26, 2 March 2018 (UTC)

 * I agree with Contaldo80 and Hrodvarsson. The cited article is the critic's "favourite artworks of all time," with no analysis, just brief synopses, and includes cave drawings. I'd leave this out. Laszlo Panaflex (talk) 15:40, 2 March 2018 (UTC)
 * I have just added some analysis - and what's wrong with cave paintings? Johnbod (talk) 15:44, 2 March 2018 (UTC)
 * Nothing is wrong with cave drawings, but would you add to the Chauvet Cave page that they are among the ten greatest art works of all time? The article is an eye-catching bit of fluff (part of a series with the ten sexiest artworks ever) and not a strong source. Laszlo Panaflex (talk) 15:56, 2 March 2018 (UTC)
 * Johnbod - immediately you kick off a talk discussion with insults and abuse. Can I also remind you that my user name is Contaldo80 and not contaldo - this attention to detail is an area where you consistently show yourself lacking. As you'll see form above the broad consensus is in favour of leaving this information out. My original question was whether if we include a statement about this painting being a favourite of someone then do we include references to all paintings being someone's favourite. I think you'll agree that will mean the article ends up unwieldy. But I am happy for such a reference to put into the main article for the painting itself. Jonathan Jones is ok for an audience based i England but I think we should try and avoid being parochial if we can. Address the discussion points please - without resorting to lazy personal abuse. Contaldo80 (talk) 10:45, 5 March 2018 (UTC)
 * I'm certainly not about to take lessons from you over accurate editing, or WP:NPA. Your lack of self-awareness is mind-boggling. Johnbod (talk) 13:17, 6 March 2018 (UTC)
 * Can I ask Johnbod whether you have a degree in history, or a degree in art history, or indeed a degree full-stop? Your self-confidence is extraordinarily strong, but I sense it may be founded on shallow ground. There's nothing wrong with being "self-taught" but an awareness of wider context can be valuable in instances such as this.Contaldo80 (talk) 14:55, 7 March 2018 (UTC)

I wish to add a third opinion that we should refrain from including opinions about "top paintings". In addition, I think we should extend this to argue deleting the sentence: According to Andrea Pomella, The Beheading of Saint John the Baptist is widely considered "one of the most important works in Western painting."[37]. How wide was the survey by Andrea Pomella? Also I think importance often is derived from accessibility, I can not imagine this work of Caravaggio was more accessible than say his works in Rome. If one measures importance by how influential a work is, I find it difficult to believe that a work in Malta could be that influential. Malta was not, and maybe is still not, on the itinerary for most painters. I mean there was a French Academy of Fine Arts established in Rome. A pilgrimage to Florence was commonly included in the Grand Tour of Europe, but not to Malta. I am not saying this is not a stunning work of art; but Wikipedia entries should Avoid peacock terms as elaborated in Wikipedia:Manual of Style/Words to watch. I think this statement of Pomella is a "peacock claim".Rococo1700 (talk) 21:38, 5 March 2018 (UTC)
 * Of course, if one doesn't measure importance by accessibility, or early influence, none of this applies. The claim by Pomella relates to importance, not influence. "Peacock claim" used to be appallingly misused in art articles to remove all and any statements of the quality or importance of artists and works. This has reduced in recent years, but we still suffer from the legacy of that period.  When something is generally agreed to be important, we are failing in our encyclopedic duties if this is not made clear to the reader.  Much of WP's coverage of art fails badly in this respect, content to just list facts. WP:PEACOCK refers to unreferenced text in Wikipedia's voice, and using good quotations is the best way to avoid that accusation: "Instead of making unprovable proclamations about a subject's importance, use facts and attribution to demonstrate that importance." - which is exactly what the Jones passage was doing.  So I am strongly in favour (generally) of including quotes from strong experts expressing (ideally with some explanation, such as the quote I added to the Jones bit) the importance and evoking the atmosphere of works.  This is essential for the appreciation of art, and indeed much professional writing on art includes little else, which can be excessive, but we need more of this than we usually have in our articles.  If this article were to be put up for WP:FAC, it would need a good deal more of this than it currently has - as I said at the start here "The article is arguably rather short on quotes establishing C's modern status". Johnbod (talk) 13:35, 6 March 2018 (UTC)
 * Absolutely agree with Rococo1700. Johnbod you sadly miss the point. This amendment was inserted by a Maltese editor. I have spent a lot of time on Malta. They are very proud of their island, but sometimes get a bit carried away by wanting the world to know that they have the best of this or that. But you don't really care about that - your motivation is just to pick a fight with me.Contaldo80 (talk) 14:55, 7 March 2018 (UTC)
 * Sigh! But the quote isn't by a Maltese. My real point is more general - good quotes are good. Johnbod (talk) 15:28, 7 March 2018 (UTC)

Birth day
28 or 29 September? The footnote in the info-box actually shows 29 Sept in the source. RDK also shows 29. The footnote in the main text shows 28 Sept. What should be reported here? Rwos (talk) 08:02, 12 April 2018 (UTC)

Michelangelo, the other one
As I know nothing of Renaissance art, when I first stumbled upon this page I thought it was regarding Michelangelo di Lodovico Buonarroti Simoni. A simple Google search will show that the world is generally similarly confused. Perhaps the disambiguation or the end of the first paragraph could have something to the effect of, "See Michelangelo for the high renaissance artist of that mononym, Michelangelo di Lodovico Buonarroti Simoni. " Jyg (talk) 21:23, 11 May 2021 (UTC)
 * Well I've changed it, but not like that. Johnbod (talk) 21:58, 11 May 2021 (UTC)
 * Not starting right out the gate with the name "Michelangelo" was a good idea. — Preceding unsigned comment added by Jyg (talk • contribs) 04:40, 15 May 2021 (UTC)

Persuasive Tone
I feel many parts if the article, especially the biography, has an argumentative tone, as if it is an essay being written to convince someone of something. The sixth paragraph under the heading "Beginnings in Rome" states that one of his paintings, "is even more psychologically complex, and perhaps Caravaggio's first true masterpiece." The job of an encyclopedia is not to tell the reader what to think of a painting, artist, politician, etc., it is to inform the reader. Overall, I think some major clean up is needed.

Blipslisle (talk) 14:12, 8 February 2022 (UTC)

I agree that this article requires serious re-editing. Caravaggio is an important artist and one would expect at least a B rated article. Too much opinion and not enough references. Research since 2011 by Graham-Dixon of the murder of Thomassoni is very convincing that it was a prearranged duel. The argument over a Tennis match was a smokescreen that held for three centuries. It was concocted because duelling was punishable by death. Dorkinglad (talk) 22:29, 12 February 2023 (UTC)

Help with missing article
I was asked to create a wikipedia article for Dr. Roberta Lapucci, who I work with, she is a renowned art historian, publish author, university professor, conservator etc. Clearly at the top of her field but somehow missing from here other than her materials being used as foundational reference for this page. What's the correct way to approach this? Should I recuse myself and ask someone here to take care of this omission or, given her clear academic merits, can I submit a draft and disclose my working relationship with dr Lapucci?

thanks in advance, Jacoboss~enwiki (talk) 14:33, 21 February 2023 (UTC)

title: Talk:Caravaggio


text:
User:1pezguy

I'll use this page to keep track of pages that I'd editted for the time being. This organization makes sense for me right now.

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title: User:1pezguy