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Royal Palace of Aranjuez

The Royal Palace of Aranjuez (Palacio Real de Aranjuez) is one of the official residences of the Spanish royal family. It is located in the town of Aranjuez (Madrid), Spain. Established in the 16th century as a royal hunting lodge, the palace was built by order of Philip II. Under his reign it became one of four seasonal seats of the court along Rascafría, El Escorial and the Royal Alcázar of Madrid. The royal estate comprises a set of landscaped and ornate gardens and woodlands that house an extensive botanical collection.

Several international treaties were signed there and several members of the royal family died in the palace, including: Elisabeth of Valois in 1568, Barbara of Portugal in 1758, Elisabeth Farnese in 1766, Maria Antonia of Naples in 1806, Maria Isabel of Braganza in 1818 and Maria Josepha Amalia of Saxony in 1828.

In 1931, during the Second Spanish Republic, the royal estate was declared an Artistic Historical Monument and opened to the public. From 1977 to 1983, the palace served as a state guest house. The palace, gardens and associated buildings are part of the Aranjuez Cultural Landscape, which was declared a UNESCO World Heritage Site in 2001. Currently it houses a museum on the ground floor, the royal rooms and gardens are open to the public and its management is entrusted to the public agency Patrimonio Nacional.

History
In the 12th century the Order of Santiago created an exclusive hunting reserve alongside the river Tagus near its junction with the river Jarama.

Its history as a royal site began in the 16th century, when the order's grandmaster Lorenzo I Suárez de Figueroa directed the construction of a grand hunting lodge designed for the recreation of members of the order and their royal and noble patrons, known as the Raso de Estrella (Star shaped Glade located between the present Royal Palace and Aranjuez railway station.) The site today is an open festival park.

In 1523 Charles I of Spain took possession of the area, which was designated Real Bosque y Casa de Aranjuez (Royal Woods and House of Aranjuez), in order to entertain his guests during the springtime hunting season.

In 1551, he established a botanical garden to catalog the newly catalogued species of plants brought from the Americas. Owing to distractions elsewhere, this mission was not entirely successful.

Philip II became aware of the fertile meadows of Aranjuez, and designated that a portion of land to the north of the river Tagus should be devoted to pottager and general agriculture in 1561.

In an adjacent plot to the south of the river, the King began construction of the first palace, on the same site as the existing building. Philip engaged the services of architect Juan Bautista de Toledo and later Juan de Herrera. They were also responsible for the palace of The Royal Monastery of San Lorenzo. The site also included exotic animals such as dromedaries (camellos in the period sources): about 10 in 1583 and about 40 in 1598.

After Philip's death in 1598, the works were still in progress with only the royal apartments, the chapel, the south tower and part of the western facade completed. An economic and political crisis, along with eventual extinction of The Spanish Hapsburg dynasty, resulted in the project being abandoned.

In 1700, the first Bourbon king of Spain, Philip V, decided to resume the work, intending to make Aranjuez a rival to the grand palace of Versailles. Subsequently, this imposing style would be applied to the Royal Palace of La Granja de San Ildefonso. Philip V added a new north tower, completed the west facade and defined the structure that would shape the current palace. The royal dromedaries were about 200, surviving even the occupation of the palace by the troops of the Archduke of Austria in 1710. They were not kept in a menagerie as in Versalles, but grazed around or were employed as beasts of burden. Bulls and exotic animals were also used in the royal pastimes, such as dumping them into the Ontígola reservoir to be shot by the royal musket. Little used, in the palace was almost destroyed by fire in 1748.

Ferdinand VI rebuilt the palace. Although still respecting the original foundations, the new structure was to reflect the prevailing late baroque style and 18th century aesthetic, of an imposing and ostentatious exterior accommodating a series of sumptuously furnished spaces within. Farinelli directed musical entertainment.

The building is mainly due to Charles III in his reforming work for the capital city (he is sometimes called The Mayor of Madrid) and modernization of the Spanish state.

The architect of the modern palace was the Italian Francesco Sabatini. He designed the two west wings, which provide the main building enclosing the courtyard, thus defining three sides of the cour d'honneur square that faces the original entrance. It is near the Raso de Estrella at the confluence of the two rivers. At one end of this complex was the chapel and opposite was designated as a theater, although it was never completed.

The decoration was enriched in the 18th and 19th centuries with paintings by various artists; in the halls hardwood furniture and several collections of tapestries, clocks, lamps and sculptures were installed. Many of these unique pieces adorn the halls, chambers and spaces. The Salón de Porcelana was the favorite retreat of Charles III.

Charles III took refuge there from Spanish politics for some time following the Esquilache Riots. He chose Aranjuez to be his spring and summer residence at a period of history when the Royal Court used to move from Madrid in the spring and did not return to the capital until October.

The King embraced physiocracy (an early form of economics in which the wealth of a nation supposedly lay in its soil and people rather than its treasury). Charles, who enjoyed the palace and its rural environment, established the Cortijo de San Isidro as an experimental farm and divided the palace gardens into the intimate Jardín del Parterre and the wider Jardín de la Isla. He held lavish parties and sometimes sailed along stretches of the Tagus in rich artistically decorated and golden painted falúas.

Charles' son, Charles IV and his wife Maria Luisa of Parma erected a pavilion known as the Casa del Labrador (farmhouse), which is today open to the public and an important example of European Neoclassical architecture.

In 1807, Manuel Godoy, favorite of Charles IV's and Spanish prime minister, tried to make peace with Napoleonic France but faced opposition of the rebellious heir to the throne Ferdinand (later called the "felon king"). Godoy claimed that the kingdom was safe from the impending Napoleonic French invasion because of the treaties he had facilitated. In 1808, while Godoy was a resident in Aranjuez (within the Palace of Osuna) the rumor of invasion spread, resulting in an angry mob led by the rebellious Ferdinand supporters finding him hiding in an attic. He was taken prisoner and later exiled. As a result of the successful Mutiny of Aranjuez in March of that year the palace Salón del Trono witnessed the abdication of King Charles IV in favor of his son Ferdinand VII, who himself abdicated in May.

In September 1808, in a formal ceremony held in the Chapel of the Royal Palace of Aranjuez before Monsignor Don Juan de la Vera, the Archbishop of Laodicea, the Supreme, central Napoleonic Junta was officially constituted.

After the Bourbon Restoration, Alfonso XII designated the Royal Palace of Aranjuez to be the residence of the noble household of the Dukes of Montpensier. His bride to be was the daughter of that family, Mercedes of Orléans. In 1878 the bride and her entourage arrived for the ceremony from Madrid at an imposing but temporary railway station constructed near the grand Plaza de Armas (western) entrance to the Palace of Aranjuez.

This was the last grand event to be held in Aranjuez, as Maria Christina of Austria the monarch's second wife, his son Alfonso XIII and his wife Victoria Eugenie of Battenberg all preferred the Royal Palace of La Granja de San Ildefonso for their royal holidays.

Design
The palace is the centerpiece set of a royal estate. To the north are former potager gardens, now agricultural land intersected by geometric tree-lined "royal rides" which are now open to the public and mostly pedestrian walkways. To the east are a trident of paved roads (Reina, Principe & Infantas) along which the nobility erected family residences. To the west are a matching trident of rural tracks, one of which was the royal access road lined by barracks (now ruined).

Furthest from the palace is an open area, the Raso de Estrella, the site of the original hunting lodge and now a festival ground. The original railway station was also here, before it was relocated further west of the current site. Some of the former railway sidings – now a car park for commuters – are also still discernible. Directly in front of the palace is the oval lawn surrounded by monumental stone benches. The tourist mini-train stop is near there. To the south is the Plaza de Parejas, an open sandy area surrounded by various palace dependencies described below.

Plaza de Parejas

The south of the palace is a large open square known as Plaza de las Parejas in reference to equestrian events formerly held there. (The nobility competed or paraded in pairs or parejas). It is defined on the east by a Renaissance-style two-story building, which was the auxiliary dependence of the palace (Casa de Caballeros y Oficios – now the local law courts and tax offices). To the west a warehouse area, servant halls and (after the fire) a separate kitchen-house (Casa de Fogones). In front – facing the palace (later a hotel) is the Casa del Principe de Paz, intended to be the residence of Manuel Godoy.

The palace consists of two floors. The ground level is lit by windows crowned by semicircular arches, while the upper floor opens onto balconies with iron railings. The central body of the palace rises to a third level surmounted by a pediment bearing the shield of Ferdinand VI. At the sides of the shield are engraved two inscriptions. The left one reads "Philippus II / Institvit / Philippus V / provexit" (initiated by Philip II and continued by Philip V). The right one reads " Ferdinandu / VI Pius Felix / Consummavit / An MDCCLII" (Completed in 1752 by the faithful and devout Ferdinand VI).

Structure
The entire structure is built in red brick with white limestone details from Colmenar de Oreja.

Entrance
Public access is to the east, via the M-305 road and boat-bridge. For royalty, the traditionally formal access to the Palace is to cross the river Tagus by the (now closed) road to the west near the confluence and then travel eastwards, entering via the Plaza de Armas and through the portico of the central body.

The central rise in the elevation of the building is to emphasise the main portico that is framed by five symmetrical exterior arches. On the ledge are statues carved by Pedro Martinengo portraying Philip II, Philip V and Ferdinand VI. On either side of the portico, the wings have three grand terminal arches to further emphasise the grandeur of this royal access. Above the portico is a large balcony with stone parapets overlooking the courtyard.

The portico provides access to the interior through a hall that in turn leads to a grand central staircase made by Giacomo Bonavía at the behest of Ferdinand VI. The balustrade is of black iron with gold trim and fits within the Rococo trend. From the ceiling hangs an Empire style large chandelier gilt bronze and crystal from La Granja.

Interior
Behind the palace's main body is an interior courtyard around which are distributed the various halls. In both corners can be seen two small towers surmounted by domes resting on shallow circular drums with small windows that illuminate the interior, in one of which is set a clock.

The lobby is decorated with sculptures and on the top floor are three marble busts inside alcoves representing Louis XIV of France, his wife Maria Theresa of Spain and their son Louis, the Grand Dauphin. These busts were made in 1683 by French sculptor Antoine Coysevox. The presence of these three French characters in the palace is explained by the connections to the Spanish Royal Bourbon family with the French monarchy and particularly The Grand Dauphin who was the father of Philip V and his parents, the grandparents of Philip.

In almost all halls of are clocks of all sizes and characteristics, as King Charles IV was a collector of clocks and an Horologer.

Salón de Guardias de la Reina (Space for the guards of the Queen)
This salon is decorated with three mural scenes from the life of King Solomon, painted by Italian Luca Giordano. The furniture is of olive wood from the time of King Charles IV, and the clocks are from the collection of Charles IV.

Salón de la Reina Isabel II (the room of Queen Isabel II)
This salon is decorated with mythological scenes painted by Luca Giordano: Jupiter and Leda, Aeolus (the god of wind) and Triptolemus (the threefold warrior). The furniture is of Empire style.

Antecámara de Música (Musical antechamber)
Popularly known as Salón del tranvía, it was nicknamed "the tram-station". This space was used for reception of important personalities. It is decorated with biblical scenes of the 17th-century Italian school and religious paintings by Francesco Solimena.

Sala de Música de la Reina (The music room of the Queen)
An olive wood piano made in England was a gift of Empress Eugénie de Montijo to Queen Isabel II. The rest of the furniture is Empire style mahogany. The bronze neo-Gothic lamp hanging from the ceiling is 19th-century.

Anteoratorio de la Reina (The ante-oratory of the Queen)
This room features a mosaic made from tessera produced in the Vatican workshop. It was a gift from Pope Leo XIII to King Alfonso XII on the occasion of his marriage to Maria Christina of Austria.

Oratorio de la Reina (Queen's oratory)
The windows overlook the central courtyard. Rebuilt in the time of King Charles IV by Juan de Villanueva. Decorated with stucco, in its walls are frescoes painted around 1791 by Francisco Bayeu y Subías, who was the brother in law of Francisco de Goya. The subjects represented are Adoration of the Magi, Adoration of the Shepherds, the Flight into Egypt, Visitation and Zechariah and St. Elizabeth with the Virgin Mary. In addition to the pillars that form the frame of the main altar are St. Matthew and St. Luke. In the center of the vault is depicted God the Father with a celestial host of angels. At top of the dome flies the dove of the Holy Spirit. The canvas of the Immaculate Mary occupying the central space is by Mariano Salvador Maella.

Salón del Trono (Throne Room)
The recessed dome is decorated with Pompeian style frescoes attributed to Vicente Camarón in 1851 and represent the Monarchy. The royal crown is supported by figures of Venus and Industry. To the right stands Arts and left Abundance and Prudence. Around the hall runs a stucco base that simulates marble with green serpentine tones. In this hall kings officiated during formal visits. The walls are lined with red velvet. The furniture is mostly from the period of Isabel II, except for the decorative French Louis XVI style royal thrones that were used by Alfonso XII and his wife.

Despacho de la Reina (Queen's office)
This room was used by Isabel II as an office, after it was a bedroom. Paintings decorate its walls, including the Vase by Jan Brueghel. A landscape by Martínez del Mazo, two paintings of small size with view of classical buildings, painted by Francisco Galli Bibiena, and three vases by Arellano are some other of most interesting. The vault is frescoed in Pompeian style by Mariano Salvador Maella with scenes from the Passion of Christ. Next to this hall is a small chapel or private oratory with a painting of the Virgin by Luca Giordano. The lamp hanging from ceiling is of La Granja de San Ildefonso' glass. The furniture is from the era of Charles IV, built at the Royal Workshop, highlighting in them fine marquetry work.

Gabinete de Porcelana (Porcelain room)
This room was commissioned by Charles III. It is a work by the Royal Porcelain Factory of the Buen Retiro in Madrid. A medium-sized hall, its walls and ceilings are completely lined by plaques of white porcelain and reliefs with Rococo decoration of chinoiserie motifs (garlands of flowers, fruits, monkeys, vases, mandarins, parrots, samurais, birds and dragons). The ceramic plaques are attached to timber walls by screws. They were made between 1760 and 1765 by Giuseppe Gricci. The floor is marble. Eight large mirrors against the walls multiply the effect of the decorations. Interspersed with the above-described decoration are human groups in everyday scenes. In the center of the ceiling arises a lamp taking the form of a palm, while a Chinese with a hand fan and a monkey on his shoulders climbs the trunk. The purpose of this room was as a games room and playground.

Dormitorio de la Reina (Queen's bedroom)
The dome is decorated with tempera frescoes by Zacarías González Velázquez with allegories of Science, Virtue, Art, Law and Monarchy. The centerpiece is the Isabel II style bed a gift of the city of Barcelona to Queen Isabel II during her marriage to Francis of Assisi of Bourbon. The consoles are works by French cabinetmaker Daumier's workshop.

Tocador de la Reina (Queen's boudoir)
The walls of this room are covered with silk curtains of Valencian factories. The boudoir is of palo santo wood, with mirrors on both sides and a chair with mother of pearl and gold inlay. The furniture is of Isabel II, while the vault is painted by Vicente Camarón with representations of the seasons.

Salón de Baile (Ballroom)
Serves as a dividing hall between the private rooms of King and Queen. The furniture is of late-19th century Isabel II style decoration, but is unrelated to the original furniture, which disappeared in a fire in late-19th century.

Comedor de gala (Formal dining room)
Formerly a debating chamber during the reign of Ferdinand VI, Charles III used it as a banquet hall for gala occasions, as the palace has several less formal dining rooms. It has a vaulted ceiling painted around 1750 by Jacopo Amigoni with a complicated moralizing symbology. The figure of Father Time is surrounded by women who are trying to clip his wings to prevent time flying away. Truth is portrayed as matron of angels while Wisdom pays her homage. The Monarchy is depicted by its positive attributes and virtues (Justice, Religion, Bounty, the Angel of Peace with an olive branch, Faith and Charity as a woman protecting children). There is a series of grisaille representing parts of the world where the Monarchy had its possessions. Occasionally this space was also used as a ballroom. The floor is Rococo style of very good quality, with stucco work by Carlos Antonio Bernasconi, representing military attributes, sheet music and musical instruments.

Dormitorio del Rey (King's bedroom)
The Empire style wooden bed is mahogany with bronze applications. The vault was frescoed by Jacopo Amigoni and Bartolomé Rusca, highlighting in them allegories of Peace, Justice and Abundance made by Bartolomé Rusca. On the bed is a canvas of christ Cristo en la Cruz by Anton Raphael Mengs of 1761. Also a canvas of 1825 the Madonna and Child by José de Madrazo Agudo. This room adjoins a small hall.

Salón de espejos (Mirrors's room)
The room is called Salón de espejos because its walls are decorated completely with mirrors from the La Granja de San Ildefonso's factory. The hall was used as a dressing room for King Charles IV. The ceiling is frescoed in Pompeian style, done by Juan de Mata Duque around 1803.

Salón árabe (Moorish room)
This hall was made for Queen Isabel II between 1847 and 1851, decorated with a Moorish fantasy (neo-Nasrid) based in mozarabs, similar to the Sala de Dos Hermanas of the Alhambra in Granada. Work by Rafael Contreras Muñoz, along with the Gabinete de Porcelana, are the two most admired sights. Its furniture consists of a porcelain central table and a bronze and crystal lamp. It was used as a smoking room mainly for men. The decoration of the walls is made of brightly colored plaster work.

Despacho del Rey (King's office)
This vault with frescoes of Pompeian style was by Juan de Mata Duque and offers allegories of the Liberal Arts. An olive desk decorated with bronze and marble. The Empire style furniture is made by Jacob Desmalter the Napoleon Bonaparte's cabinetmaker.

Sala de estudio del Rey (King's study room)
This Pompeian style vault was painted by Juan de Mata Duque and the furniture is of Carlos IV style.

Sala China (Chinese room)
Inside is a collection of two hundred and three small paintings that the Emperor of China gifted to Queen Isabel II. They are made with ink on rice paper and depict scenes from the court, parties, theater, animals etc. The vault was frescoed by Zacarías González Velázquez and represent mythological scenes in the roof's center and at both sides countryside scenes. From the ceiling hangs a globe lamp with chinoiserie motifs.

Sala de guardias del Rey (King's guardroom)
This hall is one of the oldest. It is built in the Philip II's time. It has six large paintings by Luca Giordano, three of biblical themes: The death of Absalom, David wearing the breastplate and Construction of Solomon's Temple and three other of military issues. The 18th-century chairs are in mahogany.

title: Royal Palace of Aranjuez


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User talk:William M. Connolley/Old Talk 4

Wikipedia:WikiProject_Climbing
Yes, interesting. I hope you hurry up and get lots and lots of UK routes up because I moving there later in the year ;) Stewart Adcock 03:29, 15 Jun 2004 (UTC)

 * Welcome aboard, wherever the ship may be going... As for lots of routes: sounds hopeful to me! But I intend to try.

Rv's
Why are you reverting the standard practice? It's common practice to put the title in the 1st sentence and hhighlight it. JDR

 * I'm reverting the electrodynamics.

Ecowhat?
Now we've been called called eco-terrorists! :( Dirtbiscuit

User:Caroline Thompson, User:DPFJr
Your statement about Caroline H. Thompson was exactly what I felt about Caroline at first.

But then I got to realize that she had some golden qualities after all.

But as us Irish know, these English and Scotts will never come up to our superior mental standards. --DPFJr 17:51, 4 Jul 2004

If that relative motion theory article was garbage, feel free to VFD it. I'm not awfully sciencey, so if it looks potentially legit like that, I just send it to Cleanup. Ambivalenthysteria 09:22, 6 Jul 2004 (UTC)

When the nutters start blanking your user page, that's when you know you're doing something right. Still annoying though. -- Cyrius|✎ 14:43, 6 Jul 2004 (UTC)

Categorization
I kickstarted those two categories. I'm sure more subcategories will occur to you. (SEWilco 01:57, 9 Jul 2004 (UTC))

Radiative Forcing
Perhaps there is a similarity between +1.8(0.8) and +1.9? (SEWilco 04:15, 10 Jul 2004 (UTC))

 * 1.8 and 1.9 are similar numbers. Dalys web page and peer-reviewed literature bear no similarity at all. You'll have to be a bit less cryptic I'm afraid.

Tedious ethnic arguments
While there is no problem with leaving van Helmont's national origin off of carbon dioxide, my edit there was not to start a "tedious ethnic argument" in which I am biased towards no side, but to correct a rather egregious anachronism: van Helmont lived 1577-1644, while it is silly to call anyone a Belgian until sometime in the period 1815-1830.

 * (William M. Connolley 08:46, 14 Jul 2004 (UTC)) OK.

Global warming
You have violated the three reverts rule with the Global warming article. Please stop this edit war immediately. David Newton 11:07, 16 Jul 2004 (UTC)

 * (William M. Connolley 20:16, 24 Jul 2004 (UTC)) Well, I did, but because I was on holiday. Looking at the history I have to admit to 4 rv's in 24h: sorry: my mistake. I wasn't counting and I was very annoyed.

 * Welcome back from holiday. (Insert silly comment with multiple meanings here) -- SEWilco 04:04, 21 Jul 2004 (UTC)

 * Thanks :-)

Cooperative editing
Dr. Connolley, thank you for your recent edits to Urban heat island, Global warming controversy, Scientific consensus and Ozone depletion. I'm sure that by working together we can ensure that all relevant facts and all significant interpretations of them, will get into the articles -- in a way readily comprehensible by laymen. (You have the advantage of superior scientific knowledge, so please be patient with me. :-) --Uncle Ed 12:14, 6 Aug 2004 (UTC)

 * (William M. Connolley 17:04, 6 Aug 2004 (UTC)) Ah, patience, yes... well I shall do my best.

wurble
wmc, I have no idea what wurble is and it's too delightful to ruin it by looking it up. I agree with your recent comment at Scientific Method (too much 'philosophical wirble'), but as noted before I've run out of ideas on getting to a better article. in fact, we both seem to have done. Anyway, thanks for lightening my day with a new Carrollian word. I might suggest in return the word cromulant (invented for use on The Simpsons TV show), but it has a Latinate tone that ruins something. Can't imagine it as a word in the Jabberwocky, whereas wurble on the other hand... Best wishes. ww 14:48, 6 Aug 2004 (UTC)

 * (William M. Connolley 17:02, 6 Aug 2004 (UTC)) Thanks... I thought wurble was generally known... maybe I invented it without knowing. As to sci meth, my feeling is there needs to be a new page on sci-method-from-sci-pov. I though AW was going to do that with sci enterprise but sadly no. At the moment, I haven't got the energy to do it myself, so I'm only going to watch (and very occaisionally comment).

 * Doc, is there anything on the distinction between the process by which scientists make their discoveries and the format in which these discoveries are written up? I mean, when you read journal articles the author doesn't say, I was getting into in my bathtub one day when I noticed the water level rising. I realized then that there wasn't really any more water in the tub; there was just more of me! So I ran through the streets to my lab, yelling Eureka! (forgetting to put on a robe, thank God the cops didn't stop me) and my grad students set up the following experiments... Rather, you get a dry ABSTRACT of 100 words or less, followed by tedious paragraphs of nearly incomprehensible but ever-so-precise prose which omit any mention of the sequence in which the ideas came.

 * I guess what I'm asking is whether the scientific method is more a way to justify a theory, i.e., prove that it's really true -- rather than a description of the process scientists habitubally go about to discover things. You're the only practicing scientist I know, William, so please enlighten us all! --Uncle Ed 15:01, 9 Aug 2004 (UTC)
 * wmc, I'm going to answer Uncle Ed (and apologize if that's the wrong use of this space). Ed, I think you have hold of both wrong ends of the stick here. And keep in mind that what I'm about to say is strongly deprecated amongst the science is a social activity set. Scientists discover things (ie, come up with General Relativity) in an essentially unknown way. Nobody undersands scientific creativity, probably for the same reasons no one understands artistic creativity. Which is why Archimedes bright idea that day evoked an excited Eureka.
 * However, having had an idea (eg, little green men cause all the beer to disappear down at the pub), one investigates it however one can (eg, hide in the pub all day, set up a mini-cam, weigh all the beer before and after a lgm comes in and leaves, weigh the lgm themselves before and after a visit throwing out datapoints from those who used the facilities, ...). If your investigations (which should be orderly (so you don't get confused) and repeatable by others (to help rule out fraud or mistake)) produce no evidence in favor of the lgm idea, your 'discovery' becomes somewhat less tenable. If they produce evidence incompatible with the lgm idea (ie, beer disappears even when there are no lgm visits), the idea needs some work -- such as tossing it out in this case. Some observation suggesting it was little blue men might set off a new observation cycle.
 * How scientific papers are written is a kludge and, in my view, no one should take seriously the account they offer. The descriptive conventions (and the prose style) involved are not only ingroup stuff, but may have been designed to confound the out crowd. They certainly have a soporiphic effect on most.
 * In short, there is no process used by scientists to make discoveries, only one which tests more or less plausible guesses about things, throwing out the inadequate. What's left is, collectively, our current best content for science. ww 15:52, 9 Aug 2004 (UTC)

 * (William M. Connolley 19:15, 9 Aug 2004 (UTC)) I mostly agree with Ww here (and yes you're welcome to comment). If you've read talk:sci-meth, you'll know I'm pretty sick of a lot of the philosophical stuff there, precisely because it doesn't say a lot about how-sci-is-done. Becauase (as Ww says) its so hard to pin down how sci is done, there is room for endless theories and endless rebutalls of those theories.

 * But to return to Ed's q: journal articles aren't there to help you learn how to do science, or to show you how anyone else discovered things. They are there to describe and explain the things that were found (except, they may well have an intro/lit-review that will provide hints about papers they read). So, say, the Peterson 2003 paper won't say "suddenly I realised that if you looked at A you could see that B..." it will say "We discriminated between urban and rural by using satellite sensing of street lights (I think thats what they did) and then removed bias from height-of-surrounding-stations, etc". This in theory allows you to replicate their study and that in theory is what the paper is for. Err, does that help?
 * Errk... Having reread my comments above, I realize that my dismissal of the published literature (papers on this and that in journals and elsewhere) can be misunderstood. Actually, given what is actually written, it should be misunderstood. I knew what I meant, even if no one else was likely to guess. In fact, what I intended to convey (next try) is that just about what wmc says above. Papers aren't intended to say much about Ed's concerns, eg how discoveries are made, why we did this or that, or how we worked it all out. They're supposed to be reports of what was done and found, not the context around it all. Since the context is the most interesting part to Ed (and most of the non in crowd), the lack of it causes sleep in the out crowd. That most scientists seem not to be able to write well is unfortunate in many ways, but contributes to the soporiphic effect. I hope that is closer to what I meant. Let's all agree that a third pass is not indicated. ww 16:14, 10 Aug 2004 (UTC)

Greetings, Ozone pages...
Just an FYI, I've merged the Ozone hole page into the Ozone depletion and made some small edits. What do you think? There is much still to be done I think, the article is still very ambling and needs organization. Also, I've just shoved all of the Fred Singer bilge from both pages together without much editing, which is still needed too. :o) cheers.--Deglr6328 03:25, 17 Aug 2004 (UTC)

 * (William M. Connolley 21:47, 17 Aug 2004 (UTC)) Thanks for the note. Ed Poor wanted them merged too so hopefully he will be happy. Except when you insult FS, because thats where he gets most of his info from. But to be less facetious, there *is* a distinction between ozone depletion (general) and ozone hole (over antarctica; could be called extreme ozone depletion perhaps) which is not made in the article at the moment.

 * incidentally this http://en.wikipedia.org/wiki/Image:Sea-ice.area.nh.sh.png graph has no labels. I think the blue is for the NH but I'm not an atmospheric scientist....--Deglr6328 02:35, 18 Aug 2004 (UTC)

 * True but it is easy to tell which is NH and which SH from the sea ice article. Its an initiative test: you don't want to spoon-feed people to much.

Tragedy of the commons
I've added a note to Talk:Tragedy of the commons questioning the inclusion of a paragraph you readded. anthony (see warning) 18:21, 22 Aug 2004 (UTC)

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


text: User talk:68.72.114.44

title: User talk:68.72.114.44


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User talk:ELISEcorinn

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
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Thanks for pointing out the vandalism on the poetry article.-gadfium 23:54, 8 Dec 2004 (UTC)

title: User talk:ELISEcorinn


text:
Cascade Pass

Cascade Pass (formerly also known as Skagit Pass ) is a 5392 ft mountain pass over the northern Cascade Range, east of Marblemount, Washington, U.S.

Although an important pass, providing the easiest connection from the Cascade River to the head of Lake Chelan, it is now inside North Cascades National Park, and crossed by only a hiking trail.

From the west, one reaches it by hiking an easy 3.5 mile trail from the end of the Cascade River Road (elev. 3600 ft). From the east, it is accessible via a trail from Stehekin up the Stehekin River valley.

The summit of the pass, being at the tree line, is known for its views in all directions. It is also a key departure point for mountaineering; to the north, the gentle ridge of the Sahale arm leads up Sahale Mountain to the summit, as well as to the meadows of Boston Basin and the summits above. To the south, Mixup Arm leads to Mixup Peak and Magic Mountain, as well as to Cache Col, making Cascade Pass the start of the high-level Ptarmigan Traverse.

The pass was originally a major route for Native Americans trading between the coast and the interior. Among the first white men to explore and map the Skagit Pass was New York newspaperman Frank Wilkeson. Alexander Ross probably crossed the Cascades via Cascade Pass in 1814. His writings are too vague to be certain about his precise route.

title: Cascade Pass


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User talk:Hattrem

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! -℘yrop (talk) 23:55, Dec 8, 2004 (UTC)
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List of Norwegian Wikipedians
You Wikipedian, you! :-) I took the liberty of adding you to the list of Norwegian Wikipedians. You better not mind. – Pladask 13:07, 10 Dec 2004 (UTC)

Cohen articles
Hi, and thanks for cleaning up some of my typos on the Cohen album articles. I'd like to ask you what you think of merging I'm Your Fan and Tower of Song into Leonard Cohen and the various albums that the tribute songs are from. WP:Album suggests that compilations don't usually deserve an article, and I think that everything that one can say about these two compilations can be fit into the primary articles (some of which are still rather bare-bones). Any thoughts? Jkelly 18:42, 9 October 2005 (UTC)

 * Hello, and thank you for your valuable contributions!
 * I don't really object to your proposition, as the information contained in these two articles could be split between the Cohen page and the original albums – but would like to point out that while I'm Your Fan and Tower of Song are indeed compilations, all the tracks were original recordings (as far as I know). – Hattrem 05:43, 10 October 2005 (UTC)

 * That's true, and there's no reason to be hasty about a merge. We can see what things look like once all the information is in other articles, which it isn't.  On a side note, I don't think it's typical to bold everything in the track list.  Is there some reason to do that?  Jkelly 13:59, 10 October 2005 (UTC)

 * No other reason than that the songs are what the albums are really about. But it's no important thing to me and I won't insist. About a merge, I guess we'll see. As there are over a thousand cover recordings of Cohen songs, we obviously can't list them all in the album articles. I'm Your Fan and Tower of Song may be the most obvious collections to mention, but I'm concerned it might open for all kinds of additions about other cover recordings. – Hattrem 16:12, 10 October 2005 (UTC)

 * Okay, I'm going to go ahead with the un-bolding, for the sake of standardization. I also think that Wp's back-end treats bolded text in a particular way, which may or may not be a good thing.  If it makes the article more prominent in the search list when someone searches for things, I think that there is a good argument for bolding, but that discussion should probably happen at WP:ALBUM.  As for the cover versions situation, as I have been slowly getting the information into the articles, it seems that those covers are now way too dominant for some of the albums.  I think that the thing to do here is for me to hold off on anymore merging, and instead start bulking up the articles with information about the album and the Cohen recordings, which really should be the focus.  In the (very) long-term, I'm thinking that Songs of Leonard Cohen, at least, might make a reasonable FA candidate, as it was a rather significant recording.  With that in mind, I'm going to make an effort to properly reference the expanding I hope to do over the next little while.  I hope that you'll continue to help out! Jkelly 17:18, 10 October 2005 (UTC)

 * I'll continue contributing to the Cohen articles and look forward to seeing them grow. – Hattrem 03:19, 11 October 2005 (UTC)

Greetings, fellow Leonard Cohen fan
I have fixed the page history problem involving Famous Blue Raincoat. The old revisions have been restored and moved to the correct title along with the new ones (see history). If you see any more cases where this has happened, please post them at the Cut and paste move repair holding pen or at my talk page. —  F REAK OF N URxTURE  ( [ TALK ] )  15:27, Dec. 20, 2005

Fair use rationale for Image:Edward_Rutherfurd.jpeg
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Interview with Åse Kleveland
The English Wikinews is going to be organizing an interview with the former Norwegian Culture Minister Åse Kleveland. She was also the head of the Swedish Film Institute and is now the chairwoman of the Norwegian Humanist Association. I am asking Wikipedians from all of the Scandinavian languages to contribute questions to her upcoming interview with Wikinews in Oslo. The page is here; please leave questions there and comments to me either on my en.wikinews talk page or my en.wikipedia talk page. Thank you very much! Mike H. Fierce! 02:06, 2 July 2008 (UTC)

Notification: changes to "Mark my edits as minor by default" preference
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Wiki-event Stiklestad, Norge 27 juli
Hello, I'm posting this to some norwegian wikipedians on en:wp. Please take a look at no: Wikipedia:Wikievent_Stiklestad_juli_2012.

Jeg tror det er første gangen vi i Norge prøver et wiki-event utenfor de store byene. Dette er ikke et kurs i wikipediaskriving, men en mulighet for allerede erfarne skribenter til å få kompetent informasjon om stedet og det de holder på med der. En slags «pressevisning», VIP-pleie eller 1-dags wikipedian-in-residence. Vi har lagt opp et program som jeg tror vil interesse de fleste som er opptatt av norsk historie, kirkehistorie og/eller kulturhistorie. Med vennlig hilsen, --Orland (talk) 09:48, 19 July 2012 (UTC)

Disambiguation link notification for November 5
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title: User talk:Hattrem


text:
File:Gimmelwald.jpg

Photo taken above Gimmelwald, Switzerland in August, 2004.

title: File:Gimmelwald.jpg


text:
Feast of the Immaculate Conception

The Feast of the Immaculate Conception celebrates the Immaculate Conception of the Blessed Virgin Mary on 8 December, nine months before the feast of the Nativity of Mary on 8 September. It is one of the most important Marian feasts in the liturgical calendar of the Roman Catholic Church.

By pontifical decree, it is the patronal feast day of Argentina, Brazil, Chile, Italy, Korea, Nicaragua, Paraguay, the Philippines, Spain, the United States, and Uruguay. By royal decree, it is designated as the day honoring the patroness of Portugal.

Since 1953, the Pope visits the Column of the Immaculate Conception in the Piazza di Spagna to offer expiatory prayers commemorating the solemn event.

The feast was solemnized as a holy day of obligation on 6 December 1708, by the papal bull Commissi Nobis Divinitus of Pope Clement XI. It is celebrated with Masses, parades, fireworks, processions, food and cultural festivities in honor of the Blessed Virgin Mary in Catholic countries.

History
The Eastern Church first celebrated a Feast of the Conception of the Most Holy and All Pure Mother of God on 9 December, perhaps as early as the 5th century in Syria. The original title of the feast focused more specifically on Saint Anne, being termed Sylepsis tes hagias kai theoprometoros Annas ("conception of Saint Anne, the ancestress of God"). By the 7th century, the feast was already widely known in the East. However, when the Eastern Church called Mary Achrantos ("spotless", "immaculate"), this was not defined doctrine.

Most Orthodox Christians reject the Scholastic definition of Mary's preservation from original sin, a concept later defined in the Western Church post the Great Schism of 1054. The feast associated with her immaculate conception, initially celebrated on 8 December, was translated to the Western Church in the 8th century. It then spread from the Byzantine Southern Italy to Normandy during the Norman dominance, eventually reaching England, France, Germany, and Rome.

In 1568, Pope Pius V revised the Roman Breviary, and though the Franciscans were allowed to retain the Office and Mass written by Bernardine dei Busti, this office was suppressed for the rest of the Church, and the office of the Nativity of the Blessed Virgin was substituted instead, the word "Conception" being substituted for "Nativity".

According to the papal bull Commissi Nobis Divinitus, dated 6 December 1708, Pope Clement XI mandated the feast as a holy day of oligation which is to be celebrated in future years by the faithful. Furthermore, the pontiff requested that the papal bull be notarized in the Holy See to be further copied and reproduced for dissemination.

Prior to Pope Pius IX's definition of the Immaculate Conception as a Roman Catholic dogma in 1854, most missals referred to it as the Feast of the Conception of the Blessed Virgin Mary. The festal texts of this period focused more on the action of her conception than on the theological question of her preservation from original sin. A missal published in England in 1806 indicates the same collect for the feast of the Nativity of the Blessed Virgin Mary was used for this feast as well.

The first move towards describing Mary's conception as "immaculate" came in the 11th century. In the 15th century, Pope Sixtus IV, while promoting the festival, explicitly tolerated both the views of those who promoted it as the Immaculate Conception and those who challenged such a description, a position later endorsed by the Council of Trent.

The proper for the feast of the Conception of the Blessed Virgin Mary in the medieval Sarum missal merely addresses the fact of her conception. The collect for the feast reads: "O God, mercifully hear the supplication of thy servants who are assembled together on the Conception of the Virgin Mother of God, may at her intercession be delivered by Thee from dangers which beset us."

Roman Catholic Church
Pope Pius IX on 8 December 1854 issued the apostolic constitution Ineffabilis Deus:

"'The most Blessed Virgin Mary, in the first instant of her conception, by a singular grace and privilege granted by almighty God, in view of the merits of Jesus Christ, the saviour of the human race, was preserved free from all stain of original sin.'"

According to the Universal Norms on the Liturgical Year and the Calendar, the solemnity of the Immaculate Conception cannot replace an Advent Sunday; if 8 December falls on a Sunday, the solemnity is transferred to the following Monday. (In some countries, including the United States, the obligation to attend Mass does not transfer.) The 1960 Code of Rubrics, still observed by some in accordance with Summorum Pontificum, gives the feast of the Immaculate Conception preference even over an Advent Sunday.

Anglican Communion
In the Church of England, the "Conception of the Blessed Virgin Mary" may be observed as a Lesser Festival on 8 December without the religious designation as "sinless", "most pure" or "immaculate".

The situation in other constituent churches of the Anglican Communion is similar, i.e., as a lesser commemoration.

Oriental Orthodoxy
The Ethiopian Orthodox Tewahedo Church celebrates the Feast of the Immaculate Conception on Nehasie 7 (August 13). The 96th chapter of the Kebra Nagast states: "He cleansed Eve's body and sanctified it and made for it a dwelling in her for Adam's salvation. Mary was born without blemish, for He made Her pure, without pollution".

Eastern Orthodoxy
The Eastern Orthodox Churches does not accept the Roman Catholic dogma of the Immaculate Conception. Accordingly, they celebrate 9 December called the “Feast of the Conception by Saint Anne of the Most Holy Theotokos”.

While the Orthodox believe that the Virgin Mary was, from her conception, filled with every grace of the Holy Spirit, in view of her calling as the Mother of God, they do not teach that she was conceived without original sin as their understanding and terminology of the doctrine of original sin differs from the Roman Catholic articulation. The Orthodox do, however, affirm that Mary is "all-holy" and never committed a personal sin during her lifetime.

The Orthodox feast is not a perfect nine months before the feast of the Nativity of the Theotokos (8 September) as it is in the West, but a day later. This feast is not ranked among the Great Feasts of the church year, but is a lesser-ranking feast (Polyeleos).

Designation as public holiday
The solemnity is a registered public holiday in the following sovereign countries and territories:
 * 🇦🇩 Andorra
 * 🇦🇷 Argentina
 * 🇦🇹 Austria
 * 🇨🇱 Chile
 * 🇨🇴 Colombia — its people cook food and delicacies honoring this day.
 * Equatorial Guinea
 * 🇬🇺 Guam (USA)
 * 🇮🇹 Italy — it has been a national holiday since 1953. The Pope, in his capacity as Bishop of Rome, visits the Column of the Immaculate Conception in Piazza di Spagna to offer expiatory prayers commemorating the solemn event. The day marks the start of the Christmas season in the country.
 * 🇱🇮 Liechtenstein
 * 🇲🇴 Macau, China — by Government Executive Order No. 60/2000, published on 29 September 2000 and enforced into legal effect since 1 January 2001.
 * 🇲🇹 Malta
 * Monaco — it is celebrated with food festivities, particularly honoring mothers and grandmothers.
 * 🇳🇮 Nicaragua – the solemnity is celebrated with local parades and religious processions.
 * 🇵🇦 Panama – it is celebrated throughout the country as Mother's Day.
 * Paraguay
 * 🇵🇪 Peru
 * 🇵🇭 Philippines – the day is designated as a non-working public holiday in honor of the Virgin Mary as Patroness of the country and was permanently signed into constitutional law as holiday on 28 December 2017 by the Government of the Philippines.
 * Portugal
 * 🇸🇲 San Marino
 * Seychelles
 * 🇪🇸 Spain — since 8 November 1760, the day is marked as a national holiday as designated by Pope Clement XIII.
 * Switzerland — at present, 13 out of 26 cantons have elected to make this is a registered public holiday in accordance with government laws.
 * East Timor
 * 🇻🇦 Vatican
 * 🇻🇪 Venezuela

title: Feast of the Immaculate Conception


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User talk:Goaway110

I don't like the The League of Distinguished Gentlemen article either, but what you're doing isn't helpful. If you have actual evidence that the league does not exist (e.g. it's a hoax and you know who perpetrated it) present same in the VfD discussion or on the Talk page for the article. Otherwise, what you're doing is basically vandalism, and makes it hard for VfD participants to know what, exactly, they are discussing. [[User:Dpbsmith|Dpbsmith (talk)]] 23:56, 8 Dec 2004 (UTC)

title: User talk:Goaway110


text:
The Credibility Gap

The Credibility Gap was an American satirical comedy team active from 1968 through 1979. They emerged in the late 1960s delivering comedic commentary on the news for the Los Angeles AM rock radio station KRLA 1110, and proceeded to develop more elaborate and ambitious satirical routines on the "underground" station KPPC-FM in Pasadena, California. Richard Beebe's wife Heidi came up with the name "The Credibility Gap" due to the news being published that seemed to have gaps.

Founded as a loose collective centered on KRLA staff members Lew Irwin, John Gilliland, Thom Beck, Richard Beebe, and folk singer Len Chandler, the group is chiefly remembered today for its 1971–79 lineup, comprising Beebe (though early 1975), Harry Shearer, David L. Lander and Michael McKean.

Lew Irwin and The Credibility Gap
The Credibility Gap grew out of a company formed by Lew Irwin and Cliff Vaughs. KRLA 1110 hired news director Irwin to form The Credibility Gap in 1968 with his radio colleagues John Gilliland, Thom Beck, Richard Beebe, and folk singer Len Chandler. They took their name from the Vietnam-era term "credibility gap" (a euphemism for political dishonesty), and broadcast their comedy along with the news on KRLA. They first aired on the date of the 1968 California Primary. In 1968 (billed as "Lew Irwin and The Credibility Gap") they released An Album Of Political Pornography for Blue Thumb, consisting of highlights from their radio sketches. Thom Beck left in late 1968, and was replaced by Harry Shearer. Lew Irwin left a few months later, replaced by David L. Lander in February, 1969.

The Credibility Gap
In 1969, The Credibility Gap performed on KRLA's Pop Chronicles music documentary. By this point, Gilliland and Chandler had left, to be replaced by Bob Goodwin. This left Beebe the only original professional news member remaining, a Pasadena Playhouse Theatre alumni Beebe's booming radio voice and quick improv helped The Credibility Gap make some of the most original comedy of their time. Goodwin stayed with the group for about a year, but by late 1970, the Credibility Gap consisted of Beebe, Shearer, McKean and Lander.

KRLA dropped The Credibility Gap's show in 1970, but Shearer found work as a disc jockey on freeform station KPPC and The Credibility Gap continued their on-air performances there. In 1971, the trio released the album Woodschtick, consisting of two long pieces that were somewhat in the style of The Firesign Theatre. Also writing and performing on the album was Michael McKean, who would be promoted to full membership after the album's release. Guest performers Christopher Ross, Morgan Upton and Albert Brooks would also work with the group during this era. Mark Deming writes of this transition:

[I]n late 1968, Thom Beck left the group, and Lew Irwin followed in early 1969 ... . Joining the Credibility Gap in their absence were Harry Shearer ... and David L. Lander... . By 1970, Len Chandler and John Gilliland had drifted away from the Credibility Gap, and ... Michael McKean, had joined the team, though the troupe's relationship with KRLA had soured and their show had been shrunk from 15 minutes to a mere 180 seconds. However, after Shearer landed a side gig as a disc jockey on an FM "free form" outlet, KPPC, the Credibility Gap found a new home on the station, and the group's satire gained both sharpness and depth.

KPPC-FM fired all of its airstaff, including the members of The Credibility Gap, as part of a mass format change in 1971. No longer radio regulars, the group started performing in various clubs and concert venues. They also returned to the studio in 1972 to record a promo-only single for Warner Brothers, a four-and-a-half minute mini mock-rock opera called Something for Mary.

The Credibility Gap followed up this recording with the 1974 album A Great Gift Idea, which mixed satirical sketches with musical parodies. McKean and Shearer played guitar and keyboards, respectively, on the album, augmented by members of the band Little Feat.

Beebe left the Gap in 1975 to join Los Angeles FM rock station KMET, remaining in radio news for over 40 years with 2 Golden Mic awards. The Credibility Gap continued as a trio (Lander, McKean and Shearer) through 1979, but after 1976 individual members tended to focus on other projects and the group itself made only sporadic, widely spaced appearances. McKean and Lander landed roles on the television series Laverne & Shirley that lasted from 1976 through 1983; Shearer worked as a consultant for the TV series Fernwood 2-Night, as well as co-writing comedy albums and the 1979 feature film Real Life with Albert Brooks. The Credibility Gap issued a single ("The Day the Lights Stayed on in Pittsburgh") in 1977, appeared as sketch performers (performing their own material) in the low-budget 1977 film Cracking Up, and continued their New Year's Day Rose Parade broadcasts (which started in the mid-1970s) annually through January 1, 1979. Highlights of the parade broadcasts were collected on the 1979 album Floats. As well, selections from their earlier radio material were compiled on 1977's The Bronze Age of Radio.

Shearer became a writer/performer on Saturday Night Live in September, 1979. This necessitated Shearer's move to New York and essentially brought The Credibility Gap's activities to a close.

After The Credibility Gap
The group disbanded in 1979, but the members have had occasion to work together since—notably the pairings of McKean and Lander as Lenny and Squiggy on the situation comedy Laverne & Shirley (recording an album in character as "Lenny and the Squigtones") and Shearer and McKean as members of the mock-rock band Spinal Tap. In 1998 sadly Richard Beebe passed.In 1999 the remaining Gap members in honor of Beebe, Shearer, McKean, and Lander held a reunion at the Museum of Television and Radio Beebe's family in Richards absence donated all original Gap recordings from 1968-1972 to the Paley Center for all to enjoy Los Angeles news mixed with comedy.

Lew Irwin and The Credibility Gap

 * An Album of Political Pornography (Blue Thumb, 1968)

The Credibility Gap

 * Woodshtick and More (1971)
 * A Great Gift Idea (Reprise, 1974)
 * The Bronze Age of Radio (Waterhouse, 1977)
 * Floats & A Great Gift Idea (Double LP) (Sierra, 1979)

title: The Credibility Gap


text:
Wikipedia:WikiProject Wikidemia/feedback to contributors

Central question: What is the effect of feedback?

Research outline:
 * Describe existing feedback mechanisms.
 * Develop ways of measuring characteristics (quantity, valence, detail, person-specific or work-specific) of feedback.
 * Develop ways of measuring contributor motivation (number and length of edits per unit of time).
 * Interventions to manipulate feedback:
 * Pick a sample of contributors.
 * Randomly divide into N groups.
 * One group is the pure control.

(The following are example interventions...)
 * In one group, we take one or more recently-edited articles by those contributors and place, on those articles' pages, notes of the form: "Jane Doe recently contributed feedback to this article. Please give her feedback on her talk page.
 * In one group, we take one or more recently-edited articles by those contributors and place, on those articles' pages, notes of the form: "Jane Doe recently contributed feedback to this article. If you think she made a positive contribution, please give her feedback on her talk page.
 * In one group, the researcher or confederates provide positive feedback (eg, "I liked your recent edits to the article on Bob Dylan.")
 * In one group, the researcher or confederates provide negative feedback (eg, "I didn't like your recent edits to the article on the Rolling Stones.")
 * These last two treatments are problematic because 1) they can't be organically replicated after the conclusion of the study, 2) the confederates might be detected by the contributors in these groups.

An alternative approach for implementing this type of treatment could potentially try to enlist the help of members of the welcoming committee to randomize the order in which they welcome new editors.


text: User:Gordon L

title: User:Gordon L


text: User talk:69.158.35.230

title: User talk:69.158.35.230


text:
VFA-37

Strike Fighter Squadron 37 (VFA-37), also known as the "Ragin' Bulls", is a United States Navy F/A-18E Super Hornet fighter squadron stationed at Naval Air Station Oceana. They are a part of Carrier Air Wing 8 (CVW-8) and are attached to USS George H. W. Bush (CVN-77). Their radio callsign is Ragin' and their tail code is AJ.

Squadron insignia and nickname
The squadron's initial insignia was approved by CNO on 26 March 1968. The design centered on a bull was selected to symbolize the spirit, pride and mission of the unit. The original insignia was designed and drawn in house after suggestions from VA-37's first Commanding Officer - Cdr Burnett. The design drawn by the squadrons Maintenance Office AZ3 L.A. Smith. Little was changed from submission to CNO approval. The Bulls current insignia was based on the Schlitz Malt Liquor logo. Over the years, the size of the testicles has been changed several times. After the Tailhook scandal, the testicles were removed completely from the logo for a time.

1960s
VA-37 was established as an A-7 Corsair II squadron on 1 July 1966. After training with VA-174 in the operation of the A-7 from July–November 1967, VA-37 became operational in 1967, deploying aboard USS Kitty Hawk (CV-63).

1970s
In September 1970, VA-37 was embarked on USS Saratoga (CV-60) when fighting erupted between Palestinian forces and the Jordanian Army, and was directed to operate in the eastern Mediterranean in response to this crisis. On 29 September 1970, VA-37 participated in an air power demonstration for President Richard Nixon during his two-day visit to USS Saratoga while she steamed in the Mediterranean. From June to October 1971, VA-37 participated in the test and evaluation of the new CV concept during USS Saratoga's deployment to the North Atlantic and the Mediterranean Sea. The CV concept involved combining the capabilities of the attack and antisubmarine carriers (CVA and CVS) into a single ship.

The squadron deployed twice to Yankee Station in support of combat operations during the Vietnam War. On 1 August 1972, a squadron A-7A was used to establish a sonobuoy field in an anchorage area near the island of Hon Nieu, off the coast of North Vietnam - the first time an A-7 had ever been used to drop sonobuoys.

In 1973, the squadron received their first A-7E, a more advanced version of the plane. They made seven cruises with this plane in the 1970s and early 1980s, including responding to regional crises in the Mediterranean Sea and Indian Ocean.

1980s
On 4 January USS John F. Kennedy (CV-67), with VA-37 embarked as part of Carrier Air Wing Three, deployed from Naval Station Norfolk, Virginia for a seven-month cruise that saw USS John F. Kennedy sail to the Arabian Sea via the Mediterranean Sea and Suez Canal. During this time port visits took place in St. Thomas, US Virgin Islands, and Malaga, Spain. During their time operating in the Arabian Sea, VA-37 and USS John F. Kennedy conducted port visits at Perth, Australia and Mombasa, Kenya, before, in June 1982, taking station off the coast of Lebanon after the Israeli invasion. After leaving the area another port visit took place in Toulon, France, before returning home on 14 July 1982.

From 1 October 1982 VA-37 became part of Carrier Air Wing Fifteen (CVW-15) and in January 1983 as part of CVW-15 they embarked on board the then newest Navy carrier, USS Carl Vinson (CVN-70).

VA-37 headed to Roosevelt Roads Naval Station in Puerto Rico in August 1942 for exercises with the destroyer USS Mahan (DDG-42), which was the test platform for the development of the CG/SM-2 (ER) missile program project.

On 1 March VA-37 sailed with CVW-15 and USS Carl Vinson on an eight-month would cruise that saw them operate in the Mediterranean Sea, Atlantic Ocean, Indian Ocean, Arabian Sea, South China Sea, and Pacific Ocean in a multitude of exercises and with port visits in Monte Carlo, Monaco, Casablanca, Morocco, Abidjan, Ivory Coast, Perth, Australia, Subic Bay, Philippines, Hong Kong, Sasebo, Japan, Pusan, Republic of Korea, and Pearl Harbor, Hawaii, before returning to NAS Cecil Field in Florida on 29 October 1983.

In June 1984, the squadron's primary mission was changed to close air support in preparation for its deployment to MCAS Iwakuni as part of the Marine Corps Unit Deployment Program. The deployment of the two Navy attack squadrons was designed to test the interoperability of the Marine Corps and Navy.

In December 1984, VA-37 deployed to MCAS Iwakuni and relieved VA-105. While deployed to Iwakuni, the squadron was detached to Yechon, Korea, to participate in exercise Team Spirit 85. This was the first time a Navy carrier-based squadron had deployed in field conditions since World War II.

In April 1988, VA-37 deployed with Carrier Air Wing Six (CVW-6) on board USS Forrestal (CV-59) to the North Arabian Sea via the Suez Canal in support of Operation Earnest Will. The squadron spent 108 consecutive days at sea before USS Forrestal anchored at its first liberty port, Naples, Italy.

1990s
During the 1990s, the squadron deployed aboard USS John F. Kennedy, USS Dwight D. Eisenhower (CVN-69), USS Theodore Roosevelt (CVN-71), and USS Enterprise (CVN-65).

Following the Iraqi invasion of Kuwait in August 1990, several squadron aircraft were deployed with VA-72 in support of Operation Desert Shield.

On 31 October 1990, the squadron flew their last official sortie in the A-7E Corsair II. This ended a 25-year association in which over 115,000 flight hours and 25,000 arrestments were flown. On 28 November 1990, VA-37 was redesignated Strike Fight Squadron Thirty Seven (VFA-37) and began flying the F/A-18 Hornet. From October 1992 to April 1993, VFA-37 deployed to the Mediterranean Sea and participated in Operation Provide Comfort in northern Iraq and Operation Provide Promise in the airspace near the former Yugoslavia.

In 1994 the squadron flew missions over Iraq in support of Operation Southern Watch (OSW) and later over Bosnia in support of Operation Deny Flight. The squadron also participated in major exercises with the Kuwaitis, Saudis, and Israelis, as well as with many NATO allies.

In November 1996, the squadron flew in support of Operation Southern Watch and Operation Deliberate Guard over Bosnia-Herzegovina.

VFA-37 deployed again in November 1998. After four weeks of participating in OSW, the order was issued for Operation Desert Fox in Iraq. They also flew missions over the former Yugoslavia in Operation Deliberate Force.

The squadron relocated from Naval Air Station Cecil Field, Florida, to NAS Oceana, Virginia in July 1999.

21st century
The next major deployment for VFA-37 was the maiden voyage of USS Harry S. Truman (CVN-75) in 2000. In December 2002 VFA-37 deployed for their second cruise aboard Harry S. Truman. On 19 March 2003, the squadron participated in combat operations in Operation Iraqi Freedom (OIF). While flying from the eastern Mediterranean Sea, the squadron participated in the "shock and awe" campaign in Southern Iraq before shifting focus to assisting U.S. Forces in Northern Iraq. By the end of a successful 30-day air campaign in OIF, the squadron had flown 252 combat sorties over Iraq. The squadron returned to NAS Oceana on Memorial Day 2003.

VFA-37 deployed to the Persian Gulf and flew combat missions in support of Iraqi Freedom again from October 2004 to April 2005 from USS Harry S. Truman. In the spring of 2006, VFA-37 transferred to Carrier Air Wing Eight (CVW-8) for seven months to cover for VFA-213 as they transitioned to the F/A-18F.

The squadron deployed on USS Harry S. Truman in November 2007 in support of Operation Iraqi Freedom, returning to MAS Oceana on 4 June 2008. While deployed, they dropped a total of 10 t (22,000 lb) of ordnance.

VFA-37 again deployed on board USS Harry S. Truman to the Mediterranean Sea and the Indian Ocean from 21 May to 20 December 2010 and from 22 July 2013 to 18 April 2014.

In 2016, VFA-37 was reassigned to CVW-8. The wing is assigned to USS George H. W. Bush (CVN-77) and deployed to the Mediterranean Sea and the Indian Ocean from 21 January to 21 August 2017.

In July 2018, VFA-37 retired the last F/A-18C Hornet and transitioned to the F/A-18E Super Hornet.

title: VFA-37


text:
USS Barb

Three submarines of the United States Navy have been named USS Barb, named after the fish, may refer to:

 * USS Barb (SS-220), a Gato-class submarine in commission from 1942 to 1947, from 1951 to February 1954, and from August to December 1954
 * USS Barb (SSN-596), a Permit-class submarine in commission from 1963 to 1989
 * USS Barb (SSN-804), a planned Virginia-class submarine

title: USS Barb


text: User talk:132.205.94.190

title: User talk:132.205.94.190


text:
Ludwig Michael Schwanthaler

Ludwig Michael Schwanthaler, later ennobled as Ritter von Schwanthaler (26 August 1802 – 14 November 1848), was a German sculptor who taught at the Academy of Fine Arts, Munich.

Biography
Schwanthaler was born in Munich.

His family had been sculptors in Tyrol and Innviertel for three centuries; young Ludwig received his earliest lessons from his father, Franz Schwanthaler (1762–1820), and the father had been instructed by the grandfather. The last to bear the name was Xaver, who worked in his cousin Ludwig's studio and survived till 1854. For successive generations the family lived by the carving of busts and sepulchral monuments, and from the condition of craftsmen rose to that of artists.

From the Munich Gymnasium Schwanthaler passed as a student to the Munich Academy; at first he purposed to be a painter, but afterwards reverted to the sculptural arts of his ancestors. His talents received timely encouragement by a commission for an elaborate silver service for the king's table. Peter von Cornelius also befriended him; the great painter was occupied on designs for the decoration in fresco of the newly erected Glyptothek, and at his suggestion Schwanthaler was employed on the sculpture within the halls.

Thus arose between painting, sculpture, and architecture that union and mutual support which characterized the revival of the arts in Bavaria. Schwanthaler in 1826 went as a pensioner of the king to Rome, where he carried out a number of commissions, and on a second visit in 1832 Bertel Thorvaldsen gave him kindly help. His skill was so developed that on his return he was able to meet the extraordinary demand for sculpture occasioned by King Ludwig's passion for building new palaces, churches, galleries, and museums, and he became the fellow-worker of the architects Leo von Klenze, Friedrich von Gartner and Joseph Daniel Ohlmüller, and of the painters Cornelius, Julius Schnorr von Karolsfeld and Karl Hess.

Owing to the magnitude and multitude of the sculptural commissions they turned out, over-pressure and haste in design and workmanship brought down the quality of the art. The works of Schwanthaler in Munich are so many and miscellaneous that they can only be briefly indicated. The Neues Palais is peopled with his statues: the throne-room has twelve imposing gilt bronze figures 10 feet high; the same palace is also enriched with a frieze and with sundry other decorations modelled and painted from his drawings. The sculptor, like his contemporary painters, received help from trained pupils, one of whom, Anton Dominik Fernkorn, went on to have a very successful career in Vienna. The same prolific artist also furnished Munich's Alte Pinakothek with twenty-five marbles commemorating great painters; likewise he supplied a composition for the pediment of the exhibition building facing the Glyptothek, and executed sundry figures for the public library and the hall of the marshals.

Sacred art lay outside his ordinary routine, yet in the churches of St Ludwig and St Mariahilf he gave proof of the widest versatility. The Ruhmeshalle afforded further gauge of unexampled power of production; here alone is work which, if adequately studied, might have occupied a lifetime; ninety-two metopes, and, conspicuously, the colossal but feeble figure of Bavaria, 60 ft. high, rank among the boldest experiments. A short life of forty-six years did not permit serious undertakings beyond the Bavarian capital, yet time was found for the groups within the north pediment of the Walhalla, Regensburg, and also for numerous portrait statues, including those of Mozart, Jean Paul, Goethe and Shakespeare.

Schwanthaler died in Munich in 1848, and willed to the Munich Academy all his models and studies, which formed the Schwanthaler Museum. He is buried in the Alter Südfriedhof in Munich.

title: Ludwig Michael Schwanthaler


text:
Category:Kings of the Lombards

This is the category of kings of the Lombards.

title: Category:Kings of the Lombards


text:
Talk:Radomir (town)

from VfD:
Incorrectly marked as a speedy. As suggested by Rossami, I am helping to move a few of these to VfD, so this is procedural. I presume the original editor felt this was either nonsense or nonnotable. Because it is a real place, I vote Keep.Dr Zen 00:05, 9 Dec 2004 (UTC)
 * Keep, also a Bulgarian prince born circa 1000 ce. Wyss 00:15, 9 Dec 2004 (UTC)
 * Keep. I've touched up the article a little but it could still certainly use some fleshing out. That's no reason to delete it though. It's a notable enough topic for an article. [[User:Livajo|力伟|☺]] 02:46, 9 Dec 2004 (UTC)
 * Abstain : It is a valid topic, but it wasn't a valid article.  I saw this when it was a CSD and didn't act on it, but it sure needs expansion.  People can cuss Rambot if they want, but he doesn't litter.  If it expands by the end of VfD I'll vote keep.  If it doesn't....  Geogre 04:40, 9 Dec 2004 (UTC)
 * Wow! Keep: Fantastic save, folks.  (Still, VfD isn't Clean Up, and, unfortunately, neither is Clean Up these days.)  Geogre 20:08, 9 Dec 2004 (UTC)
 * Keep it —[[en:RaD Man|RaD Man (talk)]] 04:45, 9 Dec 2004 (UTC)
 * Keep - valid topic and the article is in reasonable shape now. Capitalistroadster 17:28, 9 Dec 2004 (UTC)
 * Keep. A valid article for a valid topic.  [[User:GRider|GRider\talk]] 19:39, 9 Dec 2004 (UTC)
 * Keep. Article is a little bit stubby, but that's no reason to delete. P Ingerson 23:50, 9 Dec 2004 (UTC)
 * Keep great new article. For the record, the entire original content was:  Radomir is a city in Bulgaria.  Thank you, Captain Obvious.  :^) - Lucky 6.9 23:24, 10 Dec 2004 (UTC)

end moved discussion

title: Talk:Radomir (town)


text:
Category:Lombard people

This is the category of individuals of the Lombards, a Germanic people.

title: Category:Lombard people


text:
Gustav Peichl

Gustav Peichl (18 March 1928 – 17 November 2019) was an Austrian architect and caricaturist.

Life
He studied at the Academy of Fine Arts Vienna until 1953 and worked in the office of Roland Rainer. To pay for architectural school, he drew caricatures under a pseudonym to protect his identity from the Red Army, which occupied Austria at the time. He first used the name Pei initially and later by the name under which he was best known, Ironimus. He later drew cartoons for major newspapers such as Kurier, Express, Süddeutsche Zeitung and Die Presse.

He opened his own architectural firm in 1955. Peichl built the EFA Radio Satellite Station in Aflenz Austria. He was a member of the international jury that chose Carlos Ott as the architect for the in Opéra Bastille in Paris, in 1983.

He died 17 November 2019 at his home in Grinzing, Vienna, Austria.

Main works

 * 1969–82 ORF regional studios, in Dornbirn, Eisenstadt, Graz, Innsbruck, Linz, Salzburg
 * 1985–92 Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
 * 1987–91 Extension building to the Städel Museum, Frankfurt am Main
 * 1997–99 with Boris Podrecca and Rudolf F. Weber: Millennium Tower, Vienna
 * 2000–01 Caricature Museum, Krems

title: Gustav Peichl


text:
VA37

VA-37 has the following meanings:
 * Attack Squadron 37 (U.S. Navy)
 * State Route 37 (Virginia)

title: VA37


text:
Template:Serie B

it:Template:Serie B

title: Template:Serie B


text:
User:Dandybox

About

 * started here on dec 8th 2004
 * my personal five-year plan: contributing to the Architecture section (this being my profession)
 * other topics for future contributions include: Art, Music, Literature, South Africa, etc.
 * languages i might translate articles from: German, French, Dutch & Afrikaans

ToDo
Articles to write (stuff i couldn't find on wikipedia) Articles to expand
 * Rebecca Horn
 * Stelarc
 * Earth Opera
 * Ian Svenonius & The Make-Up
 * Mecanoo & Eric van Eggerat
 * Eric Owen Moss
 * Hans Scharoun
 * Morphosis / Thom Mayne
 * Asymptote (architects)
 * Future Systems
 * Pier Luigi Nervi

ToolBox

 * Manual of Style

title: User:Dandybox


text:
Wikipedia:Articles for deletion/Ripodb.tk

Ripodb.tk
Advert, non-notable (Alexa ranking of 550,000). Luigi30 00:10, 9 Dec 2004 (UTC)
 * Delete. Nothing more than spam. - Lucky 6.9 00:46, 9 Dec 2004 (UTC)
 * Delete advertising Cdc 00:47, 9 Dec 2004 (UTC)
 * Delete: Advertising, and we're neither a webguide nor a memorial site nor a guide to memorial sites. Geogre 00:48, 9 Dec 2004 (UTC)
 * Merge with ODB - Not worth a page, but maybe worth a line in the section on his death. Katefan0 01:14, Dec 9, 2004 (UTC)
 * Delete as not notable. Smells spammy to boot. - Hoary 05:28, 9 Dec 2004 (UTC)
 * Delete. Yet another website. P Ingerson 23:51, 9 Dec 2004 (UTC)
 * Del.Mikkalai 08:37, 11 Dec 2004 (UTC)


text:
Feteira (Angra do Heroísmo)

Feteira is a rural civil parish in the municipality of Angra do Heroísmo in the Portuguese archipelago of the Azores. The population in 2011 was 1,239, in an area of 5.25 km2.

History
During the settlement of the island (between the 15th and 16th century), the region of Feteiras was a frontier area, between various jurisdictions, including captaincies and municipalities. The first settlement was the ecclesiastical parish of Santa Ana da Porta Alegre, created by the first colonists to venture east of Pico da D. Joana, and later, when that settlement lost its influence, it was absorbed into the parish of Vila de São Sebastião. With the restructuring of parishes and municipalities, that resulted in a densification of settlements during the first half of the 16th century, the region was integrated into the parish of São Pedro da Ribeirinha, until it became an independent parish on 30 November 1906.

During the captaincy period, delimited in 1474 between Angra and Praia, the southern coast was fixed at the old geodesic mark, that followed the eastern edge of the volcanic tailings in Feteira. That way, the limit coincided with the parish of Ribeirinha (until 1906) and the territory was part of Angra. Many of the references to Marco refers to the diverse points in the parish, that marked and demarcated the captaincy's boundaries. This situation changed in 1565, when experienced geographers through a 1565 accord of the Tribunal da Relação da Corte (who had long opposed the Donatary-Captains Antão Martins and Manuel Corte-Real), advanced the boundary 1 km to the west, to follow the actual Canada do Marco. The final demarcation was concluded on 8 July 1565, and put an end to quarrels that had been raging since 1525, over the limits of Altares. By consequence, the eastern edge of the parish, between Canada dos Clérigos and Canada do Marco, that included the Ponta Nova bridge, became the responsibility of the Captaincy of Praia, while the eastern frontier, from Canada do Marco until Ladeira Grande, became part of the captaincy of Angra. Yet, this decision was not peaceful, and required the intervention of the Crown, who established a geodesic mark along Canada do Marco.

The parish of Ribeirinha was part of the city of Angra, and by extension, a curato of the parish of São Sebastião. By 1568, the parish of São Pedro da Ribeirinha was already created, and included the territory of Feteira. In this context, when they structured the municipalities of Terceira, the limit of Ribeirinha, which extended to the edge of the volcanic fields of Feteira, began to be the border between Angra and São Sebastião. The area east of the volcanic fields, between Canada do Marco and the parish limits, was part of the region of Porto Judeu (and by extension the municipality of Vila de São Sebastião). This explains the successive changes east of the parish, that occurred between 1911 and 1928.

Located on the peripheral area, with little potable water, the settlement was late in developing and, then, slow to grow. The original settlement developed from the small nuclei that sprang around the Hermitage of Nossa Senhora das Mercês, a small temple constructed at the top of Caminho das Vinhas. Yet, at the beginning of the 18th century, two centuries and a half after its settlement, only included six permanent residences. That hermitage, which maintained its architectural design, was constructed in 1590, through the initiative of Father Manuel Martins Coelho Baião, then vicar of the parish of Ribeirinha, whose territory included Feteira. The locality included few residents, and the priest constructed the hermitage at his own expense, to celebrated mass during the period of grape cultivation and winemaking, and included an improvised building so that the priest could overnight during the harvest. The selection of the invocation, to Our Lady of Mercy, originated in Spain, and was popularized by the monks of the Order of Our Lady of Mercy, founded by São Pedro Nolasco. The image was considered a protector of captive Christians in North Africa, and specifically to those captured by Saracen raiders. The invocation was also a patron of various brotherhoods, formed by slaves, who considered the image as vestige of liberation.

Without any consistent source of potable water, the area continued to be sparsely populated until the beginning of the 19th century, when the expansion of cistern construction, growth in the winemaking industry and the opening of the Royal Roadway facilities the settlement of families and the place began to take on a life of its own. At this time, the hermitage, which became the property of the Toste Parreira family, became the centre of village life and embryo for the parish of Feteira.

On 10 September 1863 Feteira was elevated to the status of suffrage of the parish of São Pedro da Ribeirinha, transforming the small hermitage into local cult. At the time there were 300 permanent inhabitants. It first cura was Father Domingos Correia de Ávila. The hermitage, which was owned by Inácio Toste Parreira, was too small install the Holy Sacrament, meaning the parish of Ribeirinha still retained its importance. As a consequence, after its elevation, there was an upswell of interest in constructing a new church of adequate dimensions, therein the intention to expand the hermitage. Yet, the property owner opposed the idea, and did not cede any land for its construction. Following his obstruction, the townsfolk decided to construct the new temple along the Royal Road linking Angra and Vila de São Sebastião, along the Caminho das Vinhas (today Canada das Mercês).

As a consequence of this decision, the new Church of Nossa Senhora da Consolação was inaugurated in 1868, and the hermitage began to be the responsibility of its property owners. The change in patron came from Inácio Toste Parreira, who did not permit the transference of the image of Our Lady of Mercy to the new church. At the time of its inauguration, therefore, Maria Luísa Guedes Sampaio (widow of Diogo Labatt) donated the image of Our Lady of Consolation. Consequently, the church obtain its patron, while the ecclesiastical parish retained the Nossa Senhora das Mercês, since the Vatican did not authorize the change. The Church of Nossa Senhora da Consolação was officially inaugurated on 20 May 1968, but had to be repaired after damage from the 1980 earthquake.

There were approximately 403 homes in 1991.

Geography
The rural parish is located 7 km from the municipal seat of Angra do Heroísmo. The geographic limits of the parish include the parish of Porto Judeu (to the east), Ribeirinha (to the north and west), while it fronts the Atlantic Ocean (to the south). It contains the localities Fajã da Lajinha, Feteira, Nossa Senhora da Esperança, Nossa Senhora dos Mercês, Outeiro and Serretinha.

Although the population has decreased, current statistics indicate a leveling of out-migration.

Architecture
The traditional architecture of Doze Ribeiras resembles much of the rural homes of the western Terceira region, generally constructed around a single floor, many white-washed homes, bordered by multi-coloured trim at the corners, doors and windows.
 * Hermitage of Nossa Senhora das Mercês (Capela de Nossa Senhora das Mercês/Ermida de Nossa Senhora das Mercês)
 * Church of Nossa Senhora das Mercês (Igreja Paroquial de Feteira/Igreja de Nossa Senhora das Mercês)
 * Império of the Holy Spirit of Ponta Nova do Parada Império do Espírito Santo da Ponta Nova do Parada)
 * Império of the Holy Spirit of Canada dos Vinhais Império do Espírito Santo das Mercês/Império da Canada das Vinhas

title: Feteira (Angra do Heroísmo)


text:
Alex Fernandes (footballer, born 1973)

Alexsandro Fernandes Xavier (born April 4, 1973 in Recife, Brazil), often known simply as Alex Fernandes, is a former Brazilian football striker.

Club career
Before coming to Mexico, Fernandes played for Brazilian clubs Sport Recife, Náutico, and Mogi Mirim.

Monarcas Morelia
He joined the Primera División for the 1999 Winter season, debuting for Monarcas Morelia. He would remain with Morelia through the 2002 Apertura, when he was transferred to Monterrey.

Fernandes made a strong debut in Mexico, scoring seven goals in 19 games in the 1999 Invierno, and another nine in the Verano. In total, he scored 72 goals for Morelia in his four years there, including 15 in the 2002 Apertura before his transfer to Monterrey.

Monterrey
Alex began promisingly with Monterrey as well, scoring 9 goals in 24 games in the 2003 Clausura, and another 11 goals in the Apertura. In that season CF Monterrey, managed by Daniel Passarella, won the Clausura 2003 Championship, and Alex, as well as his teammates, played a key role in the team through the whole season. However, his form dipped in 2004, as he only made nine appearances in the 2004 Clausura, scoring six goals, and only four in the 2004 Apertura, scoring none.

In the Clausura 2005, Alex participation again diminished because of several injuries, but by the Apertura 2005 he was ready to reappear and his goals along with Guillermo Franco's led the team to the Finals. Although he didn't play the Finale against Toluca, because of an injury during the Semifinals against archrival Tigres, Alex is widely recognized as being part of the team's success and effectiveness during that season.

This would be Alex's last tournament until the Apertura 2007 when, after a break from the soccer fields, he returned to CF Monterrey with renewed expectations and hoping to exceed the effectiveness he achieved along with former teammate Guillermo Franco. But once that season ended, in December 2007, Alex finally decided to retire from the soccer fields once and for all.

Alex leaves a decent history in football, including successful performances in severals clubs in Brazil and Mexico, but especially in Mexico where he was recognized as an excellent striker and for winning a championship with both of his teams, Monarcas Morelia in Winter 2000 and CF Monterrey in Clausura 2003.

Club

 * Morelia
 * Mexican Primera División: Invierno 2000

 * Monterrey
 * Mexican Primera División: Clausura 2003

title: Alex Fernandes (footballer, born 1973)


text:
Talk:The Third Policeman

Critical responses/interpretations
I mentioned briefly that the novel can be interpreted as a metafiction, though I didn't elaborate well on why this is so (the metafiction argument belongs to Keith Hopper, btw). I'm leaving this comment as a reminder to myself to work on it in the future. In general, it would be nice to see other critical responses or interpretations, since The Third Policeman is a fascinating pancake and a conundrum of great incontinence, a phenomenon of the first rarity. - Cobra libre 00:12, 9 Dec 2004 (UTC)

I'm doubtful that metafiction is the right word... it is a vague term and I'm wondering what you mean. The novel certainly is a robust fiction, a most tantilizing encumbrance of the cerebelum. However, O'Brien isn't letting the reader in on any fictional devices at all. The author remains in the world of the novel entirely, it is a great pancake of a metaphor, an allegory, but it isn't really metafiction in the traditional sense, in that it doesn't let the reader in on its devices, it just uses the devices. Therefore, it's fiction... and damn fine fiction at that. Aleakypen (talk) 20:43, 16 July 2008 (UTC)

 * The article is not a place for editors to argue that the novel is or isn't 'metafiction', as that would violate WP: Original Research. Instead we should be collating critical interpretations of the novel and summarising them here.  Right now this article needs a lot of work; it doesn't give any sources and the reference section is very poor.  The article is rated as mid-importance because it's a significant novel, and at the moment the article is not living up to the importance of the subject.  The bones are there, however, so let's start finding citations for the assertions that we are making. I have copies of the Hopper book and also Anne Clissman's 1970s study of O'Brien, and somewhere I have a collection of essays on him.  I will make a start on a 'critical interpretations' section. Lexo (talk) 11:32, 31 July 2008 (UTC)

Lost
Apparently a lot of people have been turned on to The Third Policeman by Lost. For me, it was the other way around. When I heard that one of my favourite books played a part in the TV series, I decided to check it out. Anyway, this forum post has a lot of information about the connections between the two. Cnwb 07:25, 19 March 2006 (UTC)

Reference in League of Extraordinary Gentlemen

 * Alan Moore and Kevin O'Neill's comic The League of Extraordinary Gentlemen mentions the police barracks from The Third Policeman as an example of a paranormal phenomenon in Ireland.

Does anybody have a more specific reference for this? I can't say I remember it from my reading of the comic. --Ryano 11:35, 17 May 2006 (UTC)

TLS
The original review in the Times Literary Supplement was by Anthony Burgess, author of A Clockwork Orange (and others).

 * Got a source for that? Please sign posts, btw. Lexo (talk) 12:17, 31 July 2008 (UTC)

 * I have evidence to the contrary (finally). According to the extensive bibliography in Clune and Hurson's Conjuring Complexities, Burgess's review of the book was in the Observer, not the TLS. cf. Clune & Hurson, p.222 Lexo (talk) 23:54, 3 August 2008 (UTC)

Major rewrite
The more I look at this article, the more it seems to me to need a major rewrite. It is full of unsubstantiated claims, or at any rate claims that the contributors could be bothered to provide sources for. It's reassuring that those who have been working on it are fans of the book, because presumably that means that they want the article to be good, but so far I've seen little evidence of contributors having any knowledge about the guidelines to good article writing. There are multiple things wrong at the moment and I invite would-be contributors to have a look at the guidelines before they start using the article to expound their personal interpretations of the book. It's okay to have your own idea of what it's about and who influenced it, but this is supposed to be a place where existing research is put together, not a place for your own critical musings. In the meantime, I am going to keep going through the article providing citations where possible and throwing out unsubstantiated claims where I can't find a source for them. I leave it to other people to submit the article for rating, as I can never be bothered to do that. Lexo (talk) 12:14, 31 July 2008 (UTC)

 * Okay, I've given the article a fairly serious overhaul and cut the most glaring bits of original research. More citations are needed on what's there, and more information is required about how the book is viewed.  In particular, the Lost association, which is one of the reasons the book is currently so famous, needs to be properly sourced by somebody.  Here's a source: .  The popular culture section is shoddy and such things are anyway disapproved of by wikipedia.  I will think about how some of it can be incorporated into the body of the article, but most of it will have to go, I'm afraid. Lexo (talk) 14:03, 31 July 2008 (UTC)

 * I did another overhaul, largely rewriting the plot summary (thanks to whoever wrote the earlier version, made the job a lot easier) and providing citations to the text of the novel. I forgot to log on before I did it, though, which is why it was done anonymously.  Right now I think the article needs more about the background and history of the book, and more space given to existing critical interpretations of it.  I concede that much of the existing literature on O'Brien isn't of very high quality.  The Cronin biog in particular is fairly amateurish. Nevertheless, it's all we have.  One potentially useful thing might be to look up adaptations of the book into other media.  I know of at least one dramatic adaptation of it. Lexo (talk) 12:13, 1 August 2008 (UTC)

I wrote a seminar paper on 'The Third Policeman' and would like to contribute some of its chapters dealing with shape, structures, narrative techniques, themes (TTP as a satire of science and scholarship, experiments with time and space and TTPs anti-empiricist approach) and characters of the novel. Although Keith Hopper is quoted, I do not agree with his major assumptions that TTP is a postmodern/ist novel, or, that Flann O'Brien was a postmodern/ist writer. TTP and the topics it deals with are too wide a subject as to identify it as 'postmodern', especially if you take O'Briens ideological background into account. Does anybody fancy to discuss these issues? Eismännchen (talk) 11:49, 18 November 2009 (UTC)

Quotes
Is it necessary for the article to contain so many quotes? I haven't seen many other articles with such a dense number of quotes. —Preceding unsigned comment added by 86.152.56.44 (talk) 10:52, 24 January 2009 (UTC)

 * The ones in place today strike me as interesting and helpful. --Hors-la-loi (talk) 15:44, 14 October 2013 (UTC)

Appearance by De Selby in Robert Anton Wilson's "The Historical Illuminatus Chronicles Part II: The Widow's Son"
Didn't this article at one point contain a reference to Wilson's use of De Selby and O'Brien's ideas in general in his work? Why was it removed? — Preceding unsigned comment added by 64.121.6.3 (talk) 18:58, 6 September 2011 (UTC)

Hemingway's "The Snows of Kilimanjaro"
Question: What information do we have on O'Nolan's basis for entitling this novel?

Here is a passage from Hemingway's famous short story The Snows of Kilimanjaro that may provide a clue. It was published in Esquire magazine four years before O'Nolan completed The Third Policeman:

Because, just as death had come and rested its head on the foot of his cot and he smell its breath.

"Never believe any of that about a scythe and a skull", he told her; "It can be two bicycle policemen as easily, or be a bird".

Any clues as to whether this influenced O'Nolan's title? Perhaps a tribute to Hemingway? Paula — Preceding unsigned comment added by Mysweetoldetc. (talk • contribs) 19:13, 17 December 2010 (UTC)

Omnium time
Disappointed to see an edit changing the date of the writing of this book from "between 1939 and 1940" to "1939 and 1940". Sarah777 (talk) 19:23, 10 September 2022 (UTC)

News from Nepal
I wonder if Pelevin's story News from Nepal was written with knowledge of this work (The Third Policeman). It carries a similar theme of repeated after-death re-living of prior experience. Cheers, ---CopperKettle (talk) 12:54, 2 January 2023 (UTC)

title: Talk:The Third Policeman