text:
Markey Robinson

David Marcus Robinson (February 7, 1918 – 28 January 1999) was an Irish painter and sculptor with a primitive representational style.

Early life
Robinson was born on February 7, 1918 in Belfast, Northern Ireland, the son of a house painter. Robinson began drawing at an early age and preferred it to playing outdoors with other children. His talents were first recognised whilst at Perth Street School were his teacher suggested he received artistic training. Unfortunately due to financial constraints this was not possible so Robinson held a succession of menial jobs such as dish-washer and pearl-diver until, the age of twenty when he began an apprenticeship in welding. As a child Robinson "read voraciously on art".

For a time Robinson was a successful amateur featherweight boxer, fighting under the name Boyo Marko. At the outbreak of World War II he joined the Casualty Service of the Civil Defence. Robinson trained for a short time at Belfast School of Art in the late 1930s and early 1940s, working for a time with Sidney Smith who held a studio on Howard Street. He was seen to be a mysterious character who frequently disappeared for long periods of time, only to re-appear with numerous completed paintings. It is assumed that in these periods of absence that he was working at sea. Robinson held a studio on the Crumlin Road for a number of years. In 1944 he married a local stitcher called May Clarke, living initially just a few doors away from his parents. The couple were to have two daughters, Bernice and Annie.

Artistic career
Throughout the 1940s Robinson showed with the Ulster Academy of Arts and at Heals Mansard Gallery in London. Robinson entered two works to the Civil Defence Art Exhibition in 1943. Bomb Crater in Eglington Street and Fire at the International were accepted from the 1,300 works submitted to the juried exhibition and went on display at Belfast Museum and Art Gallery. They were later amongst twelve works including Romeo Toogood's Gleno and James McCord's McAdam's Farm, forwarded to London for inclusion in the Civil Defence Exhibition on Bond Street that summer. The Council for the Encouragement of Music and the Arts sponsored a group exhibition in the textile business of William Ewart & Sons on Bedford Street in Belfast in 1944 when Robinson showed alongside Colin Middleton, George Campbell, Gerard Dillon and Sidney Smith.

Robinson travelled extensively in his time as a merchant seaman, visiting South America, Europe, Asia and Africa. His work shows the influence of native African and South American art. He spent time with Native Americans in Canada and travelled on the River Plate and on the Amazon. Robinson took his family across Europe and spent some time in Paris where he befriended Raoul Dufy and he lived in Spain on the same street as Joan Miró. Robinson was a great believer that you couldn't be called an artist until you had visited Paris. During the turmoil of the 1940s he would often take his daughter Annie to Paris were they stayed in refugee camps. The gallery owner and dealer Hugh Charlton who was amongst the earliest to recognise Robinson's worth commented on his internationalism a few days before the artist's death:"'He is very concerned about Chernobyl, Northern Ireland and any human rights issues. The Troubles in the North are a source of much hardship for him. He simply cannot understand terrorism. The violence drove him out of Belfast and into Dublin in the seventies, but he is back up in the Shankill Road again.'"Robinson showed one painting, simply entitled Painting in the inaugural Irish Exhibition of Living Art in the 1940s. In his early career Robinson would sell his paintings from the railings of St. Stephen's Green in Dublin and the Country Shop on St. Stephen's Green became his gallery. The Council for the Encouragement of Music and the Arts hosted a one-man exhibition of Robinson's work in 1947. The exhibition was visited by the cast of Sadlers Wells Opera Company, when the mezza-soprano singer Anna Pollak, who, like Robinson had no formal training, purchased one of his works. Robinson returned to the CEMA Gallery in the following year where he showed street scenes, portraits, and landscapes. The exhibition was opened by the actor and Head of CEMA in Northern Ireland, Jack Loudan. Robinson also arranged an exhibition of Ulster peasant art at Mills and Gray's Gallery on Wellington Street in Belfast in November 1948. The exhibition showcased craftwork from across Northern Ireland and consisted of pottery, basketwork, toys and painted linen.

By the end of the 1940s Robinson had become an established artist, lauded by the young regionalist poet and founding member of CEMA, John Hewitt, and he was an active figure on the Belfast Arts scene. Amongst his social group numbered local artists such as Alicia Boyle, Rowel Friers, John Luke, and Colin Middleton and writers such as Roy McFadden and W R Rodgers. One of his closest friends was his mentor, the Ukrainian artist Paul Nietsche who is credited with not only improving Robinson's technique but more importantly for introducing him to the influential art collector Zoltan Lewinter-Frankl. Frankl too became a close friend and patron, as did the writer F L Green. In Green's 1945 novel Odd Man Out the character of Lukey Mulquin, a young and eccentric portrait painter was inspired by the ebullience of Markey Robinson.

Robinson held an exhibition in the unconventional surrounds of Cottar's Kitchen, a cafe on Belfast's Donegall Square in 1950. In the following year Robinson held a small show in the foyer of the Arts Theatre. Throughout the 1950s Robinson turned his hand to toymaking, supplying leprechauns, fairies and goblins for sale by his friend Mrs Ann Stonley, a Scottish native living in Belfast. He showed at the McNiece Gallery, Belfast in 1955 and at Robinson and Cleaver's Gallery in 1956. He exhibited extensively throughout the sixties with solo exhibitions at the Piccolo Gallery in 1961, Furnishings Expert Limited, Belfast and at the Magee Gallery on Donegall Square, both in 1963. Upon his return from a period working in Spain in 1969, he found his studio had been razed in a fire, so he promptly returned to Spain. When Robinson returned to Belfast in the following year he found the civil disturbances too much to process so he relocated to Dublin.

Throughout the seventies he continued working and showing widely across Ireland at galleries such as the Oriel where he commanded five shows between 1973 and 1980, and at the Bell Gallery, Belfast in 1971 and the Sligo Art Gallery in 1977. Robinson also took his paintings across to the UK with exhibitions in the Attic Gallery, Cardiff and at the Redfern Gallery, London, and his work was also displayed in the Parisian Eleves Gallery.

Many dealers and critics did not take Robinson's talents and work seriously, and yet more dismissed his works as amateurish, unfinished and repetitive. The reality was that only a small cross-section of his works were ever shown, primarily landscapes, because there was no market for the others. For this reason Robinson often repainted the same scenes whilst lamenting the dealers who he felt prohibited him from painting the subjects in which he was most interested.

Susan Stairs critiqued his work as follows:"'The beauty of Markey's work is its spontaneity of line, its freshness of approach. His works do not have a contrived 'finished' appearance. Some galleries felt that this rawness was detrimental to the sale of his work and actually employed people to touch up certain areas in Markey's paintings which they felt was 'unfinished'.'"Robinson showed in Philadelphia with a one-man exhibition at Villanova University in 1990. Robinson returned to his Belfast roots in 1996, making his home at Tudor Place off the Crumlin Road where he was to die just three years later.

Death and legacy
Markey Robinson died at his home in Belfast on 28 January 1999, aged 80. He was survived by two daughters, an ex-wife, and three grandchildren. His ex-wife died in November of the same year. Robinson died intestate leaving at least eleven bank accounts where he had deposited large sums of cash, totalling in excess of £200,000.

Robinson's works were often subject to squabbles amongst gallery owners over who had the right to show his works. Robinson was a shy and gentle character, who had little if any interest in the business of art, the dealer system or indeed in the financial benefits of his work. He spurned publicity and rarely attended opening nights or allowed his photo to be taken. He painted for himself and for those who appreciated his work. Legal arguments over Robinson's work and his estate were to continue long after his death.

Robinson's work can be found in many private collections across the world and in public collections such as the Northern Ireland Civil Service, Ulster Museum and Queen's University, Belfast.

title: Markey Robinson


text:
Santi di Tito

Santi di Tito (5 December 1536 – 25 July 1603) was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.

Biography
He was born in Sansepolcro. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (Homage of the People) alongside Giovanni de' Vecchi and Niccolò Circignani. He acquired a classical trait, described as Raphaelesque by S. J. Freedberg. This style contrasted with the reigning ornate Roman painterliness of Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino.

After returning to Florence in 1564, he joined the Accademia del Disegno. He contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was partly overseen by Giorgio Vasari. These paintings – the Sisters of Fetonte (Phaeton) and Hercules and Iole – like many of those in the studiolo, are stylized and overcrowded.

Baldinucci recounts that Santi completely rejected the maniera of Bronzino, and embraced a classical Reformist and naturalistic style. Santi went on to contribute a Sacra Conversazione for the Ognissanti and painted two altarpieces for Santa Croce in Florence: a crowded but monumental Resurrection (1570–74), and a creatively inspired and decorous Supper at Emmaus (1574).

Santi also painted a Resurrection of Lazarus for Volterra Cathedral; a Madonna for San Salvatore al Vescovo; a Burial of Christ for S. Giuseppe; a Baptism of Christ by St John for the Corsini palace, Florence. Santi died in Florence on July 23, 1603.

Santi's mature style and likely his masterpiece is found in his masterpiece of the Vision of Saint Thomas Aquinas, also known as Saint Thomas dedicating his works to Christ located in the church of San Marco in Florence. It expresses a simple, pious gesture that appeared to have been lost from the courtly sensibility of Italian painting since the days of Raphael, while maintaining the brittle, demarcated colour that is classic of Tuscan works. The work has an earnest fervour lacking in his earlier mannerist works, which sometimes appear like a collection of posed statues over-painted with skin hues. This new contra-maniera style finds some echoes in the rising Bolognese Baroque style of the Carracci.

Among his pupils were Ludovico Cigoli, the leading painter of art Reform in late sixteenth and early seventeenth century Florence. Another pupil named Francesco Mochi became a prominent sculptor in the Baroque style and created, among other pieces, the colossal Saint Veronica, in the crossing of St. Peter's Basilica in Rome."

Works

 * Paintings
 * Resurrection of Lazarus (1576) - Santa Maria Novella, Florence
 * Sacred Conversation
 * Annunciation (1576) - Santa Maria Novella, Florence
 * Sisters of Phaeton (1572) - Studiolo of Francesco I, Palazzo Vecchio, Florence
 * Hercules and Iole (1572) - Studiolo of Francesco I, Palazzo Vecchio, Florence
 * Pietà with Saints and Military Officer - Galleria degli Uffizi, Florence
 * ''Holy Family with St. Elizabeth and John the Baptist'
 * Tobie and the Angel (circa 1575) - Saint-Eustache, Paris
 * Doubting Thomas (1583) - Duomo, Borgo San Sepolcro
 * Crucifixion (1588) - Santa Croce, Florence
 * Marriage at Cana (1593) - Villa I Collazzi, near Scandicci
 * Supper at Emmaus (1588) - Sant Croce
 * Annunciation (1602) - Santa Maria Novella
 * Four ages of Woman and the Written Law - Musee Fesch, Ajaccio
 * Christ - Mykolas Zilinskas Art Museum, Kaunas, Lithuania
 * Rebecca and Eliezer at the Well - Blanton Art Museum, Austin, Texas

 * Architecture
 * San Tommaso d'Aquino oratory, in Florence
 * Saint Micheal Rotunda, in Petrognano
 * Palazzo Nonfinito staircase, in Florence
 * Palazzo Dardinelli-Fenzi, in Florence
 * Palazzo Zanchini-Corbinelli, in Florence
 * Palazzo di Santi di Tito (own house), in Florence
 * San Michele Convent (Villa di Doccia), near Fiesole
 * Villa di Motrone, in Peretola (Florence)
 * Villa dei Collazzi, in Giogoli (Scandicci)
 * Villa Le Corti, in San Casciano

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

title: Santi di Tito


text:
Etruscan terracotta warriors

The Etruscan terracotta warriors are three statues that resemble the work of the ancient Etruscans, but are in fact art forgeries. The statues, created by Italian brothers Pio and Alfonso Riccardi and three of their six sons, were bought by The Metropolitan Museum of Art between 1915 and 1921.

Early fakes
The Riccardis began their career as art forgers when Roman art dealer Domenico Fuschini hired them to forge shards of ancient ceramics and eventually whole jars.

Their first sizeable work was a large bronze chariot. In 1908, Fuschini informed the British Museum that the chariot had been found in the old Etruscan fort near Orvieto, and that the Riccardis had been commissioned to clean it. The British Museum bought the chariot and published the find in 1912. Pio Riccardi died soon after the purchase.

Warriors
The Riccardis enlisted the aid of sculptor Alfredo Fioravanti and created a statue, later known as the Old Warrior. It was 202 cm tall and was naked from the waist down. It was also missing its left thumb and right arm. In 1915, they sold it to the Metropolitan Museum of Art that also bought their next work, the Colossal Head, in 1916. Experts decided it must have been part of a 7 m statue.

The next work was designed by Pio's eldest son Ricardo, who died in a riding accident before it was completed. When finished, the statue stood a little over 2 m tall. In 1918, the Metropolitan Museum of Art bought it for $40,000 and published the find as the Big Warrior in 1921. The forgers subsequently dispersed.

Discovery of forgery
The three warrior statues were first exhibited together in 1933. In the following years, various art historians, especially in Italy, presented their suspicions that on stylistic and artistic grounds alone, the statues might be forgeries, but there was no forensic proof to support the allegations. A later expert found that these exceptionally large pieces showed extraordinarily even firing characteristics, but he expressed this as cause for admiration, not suspicion. In 1960, chemical tests of the statue glazes showed the presence of manganese, an ingredient that Etruscans had never used. The museum was not convinced until experts deduced how they had been made. The statues had been sculpted, painted with glaze, then toppled while in an unfired, green state to produce fragments. Metropolitan director James Rorimer stated that studies by the museum's Operating Administrator Joseph V. Noble (an antiquities collector and self-trained ceramic archaeologist) "provided the first technical evidence of their having been made in modern times." This was confirmed by Alfredo Fioravanti, who on January 5, 1961, entered the US consulate in Rome and signed a confession. The forgers had lacked the skills – and the very large kiln – required to make such large pieces. The fragments had been fired, "discovered" and sold, or re-assembled ("restored") then sold. As proof, Fioravanti presented the Old Warrior's missing thumb, which he had kept as a memento. On February 15, the Metropolitan Museum announced that the statues were forgeries.

title: Etruscan terracotta warriors


text:
Gottfried Mind

Gottfried Mind (25 September 1768 – 17 November 1814) was a Swiss savant who specialized in drawing. He was called the Raphael of Cats because of the excellence with which he painted that animal.

Early life
Gottfried Mind was born at Bern in the year 1768. His father had come as a joiner and form-cutter to Switzerland from Lipsich, in Upper Hungary. Mind was mostly left to himself because of his weak constitution.

Herr Gruner was a lover of art. During the summer, he had a German artist named Legel in his house who often drew buildings and cattle from nature. This excited the attention of young Mind in some of his idle rambles: he followed Legel everywhere, and watched him while he worked. Legel would take him along with him in his walks, or amuse him in his own apartment with exhibitions of prints. In particular, he allowed the boy to turn over Ridinger's Animals, of which Herr Gruner had a collection; some of these Mind tried to imitate with the lead pencil, preferring above all lions. These attempts Legel from time to time corrected, and the youngster at length ventured to draw from nature, like his master, and to draw some sheep, goats, and cats.

His father, the joiner, however, thought that wood was the only material that was worthy of one's effort and he also considered drawing on paper to be unworthy. Whenever the boy asked paper for drawing, he threw him a bit of wood; Gottfried also tried cutting animals in wood, an art in which he speedily attained such dexterity, that his wooden sheep and goats came to ornament all the presses and mantel-pieces in the village. He also tried drawing likenesses of some peasant boys of Worblaufen, or carving them in wood; and these attempts were not unsuccessful.

Art education
Mind, in his eighth year, was placed at the academy for poor children, which Pestalozzi had previously instituted at Neuenhof, near Bern, Aargau. In the year 1778, in this authentic account of that institution, published by the Economic Society of Bern, the following short notice:—"Friedly Mynth of Bossi (Mind of Pizy), of the bailliwick of Aubonne, resident in Worblaufen, very weak, incapable of hard work, full of talent for drawing, a strange creature, full of artist-caprices, along with a certain roguishness: drawing is his whole employment: a year and a half here: ten years old."

It is not known how long he remained at this academy; somewhere between the years 1780 and 1785, he came to the painter Sigmund Hendenberger at Bern. With him, Mind learnt his art of drawing, and colouring with water-colours. Mind's education dealt mostly with art; he could with difficulty be made to write his name, and he had not the slightest idea of arithmetic.

Mind's special talent for representing cats was discovered and awakened by chance. At the time when Hendenberger was painting that since-published picture of the peasant cleaving wood before his cottage, with his wife sitting by, and feeding her child with pap out of a pot, round which a cat is prowling, Mind cast a broad stare on the sketch of this last figure, and said in his rugged, laconic way, "That is no cat!" Hendenberger asked, with a smile, whether Mind thought he could do it better. Mind offered to try; he went into a corner, and drew the cat, which Hendenberger liked so much that he made his new pupil finish it out, and the master copied the scholar's work.

Work
It was not till after Hendenberger's death that Mind fully developed his peculiar talent for drawing.

His pictures of peasant children, which, for the most part, are painted on small sheets, depict sports, banterings, quarrellings, sledge-parties of children, with their half-frozen but still merry faces, in their puffy yet picturesque costume.

In the course of his narrow, indoors life, he had worked himself into an almost paternal relation with domestic animals, especially with cats. While he sat painting, a cat might generally be seen sitting on his back or on his shoulder; many times he kept, for hours, the most awkward postures, that he might not disturb it. Frequently there was a second cat sitting by him on the table, watching how the work went on; sometimes a kitten or two lay in his lap under the table. Frogs (in bottle) floated beside his easel; and with all these creatures he kept up a most playful, loving style of conversation; though, often enough, any human beings about him, or such even as came to see him, were growled or grunted at in no social fashion.

His chief diligence and most careful elegance he brought to work in the painting of his beloved cats. He had both the art to seize the general nature of this animal and to reflect the specific character of each. The sycophantic look full of falseness, the dainty movements of the kittens, several of which are sometimes painted sporting round their dam—all this, in the most multifarious postures, turns, groups, sports, and quarrels, is depicted with a true observance to nature.

On Sundays and winter nights, Mind, by way of pastime, used, out of dried, wild chestnuts, to carve little cats, bears, and other beasts, and this with so much art that these little dainty toys were shortly in no less request than his drawings. It is a pity that insects, such as frequently exist in the interior of chestnuts, have already destroyed so many of these carvings.

At the Bärengraben (bear-yard) in Bern, where a few live bears are always to be seen, Mind passed many a happy hour. The moment he made his appearance, the bears hastened towards him with friendly grumbling, stationed themselves on their hind feet, and received, impartially, each a piece of bread or an apple out of his pocket. For this reason, bears, next to cats, were a favourite subject of his art; and he reckoned himself, not unjustly, better able to delineate these animals than even celebrated painters have been. Moreover, next to his intercourse with living cats and bears, Mind's greatest joy was in looking at objects of art, especially copper-plates, in which, too, animal figures gave him most satisfaction.

Herr Sigmund Wagner, of Bern, who possessed a choice collection of copper-plates, frequently invited Mind, on winter Sunday evenings to his house, and would then show him his volumes. While Herr Wagner might be writing, reading, or drawing, Mind, grumbled to himself half-aloud, made his remarks on each sheet, and frequently gave a true, stubborn, rugged judgment even on the most celebrated masters, especially on pictures of animals. Among these, nothing pleased him but the lions of Rubens, of Rembrandt, and Potter, and the stags of Kidinger; the other animals of the latter he declared to be falsely drawn. Even the most applauded cats of Cornelis Visscher and Wenzel Hollar could not obtain his approbation.

Mind seldom drew from Nature; at most he did it with a few strokes. His conception was so strong, that whatever he had once strictly observed, stamped itself so firmly in his memory that, on his return home, and often a considerable time afterwards, he could represent it with entire fidelity. On such occasions he would look now and then, as it were, into himself; and when at these moments, he lifted his head, his eyes had something dreamy in them.

Death
In late 1813, Mind began suffering from "an increasing disorder in the breast" which left him unable to exert himself. On 17 November 1814, he died of this illness, at the age of 46.

title: Gottfried Mind


text: Talk:Sehra (headdress)

title: Talk:Sehra (headdress)


text:
Trouton's rule

In thermodynamics, Trouton's rule states that the (molar) entropy of vaporization is almost the same value, about 85–88 J/(K·mol), for various kinds of liquids at their boiling points. The entropy of vaporization is defined as the ratio between the enthalpy of vaporization and the boiling temperature. It is named after Frederick Thomas Trouton.

It is expressed as a function of the gas constant $R$:

 * $$\Delta \bar S_\text{vap} \approx 10.5 R.$$

A similar way of stating this (Trouton's ratio) is that the latent heat is connected to boiling point roughly as

 * $$\frac{L_\text{vap}}{T_\text{boiling}} \approx 85{-}88\ \frac{\text{J}}{\text{K} \cdot \text{mol}}.$$

Trouton’s rule can be explained by using Boltzmann's definition of entropy to the relative change in free volume (that is, space available for movement) between the liquid and vapour phases. It is valid for many liquids; for instance, the entropy of vaporization of toluene is 87.30 J/(K·mol), that of benzene is 89.45 J/(K·mol), and that of chloroform is 87.92 J/(K·mol). Because of its convenience, the rule is used to estimate the enthalpy of vaporization of liquids whose boiling points are known.

The rule, however, has some exceptions. For example, the entropies of vaporization of water, ethanol, formic acid and hydrogen fluoride are far from the predicted values. The entropy of vaporization of XeF6 at its boiling point has the extraordinarily high value of 136.9 J/(K·mol). The characteristic of those liquids to which Trouton’s rule cannot be applied is their special interaction between molecules, such as hydrogen bonding. The entropy of vaporization of water and ethanol shows positive deviance from the rule; this is because the hydrogen bonding in the liquid phase lessens the entropy of the phase. In contrast, the entropy of vaporization of formic acid has negative deviance. This fact indicates the existence of an orderly structure in the gas phase; it is known that formic acid forms a dimer structure even in the gas phase. Negative deviance can also occur as a result of a small gas-phase entropy owing to a low population of excited rotational states in the gas phase, particularly in small molecules such as methane – a small moment of inertia $I$ giving rise to a large rotational constant $B$, with correspondingly widely separated rotational energy levels and, according to Maxwell–Boltzmann distribution, a small population of excited rotational states, and hence a low rotational entropy. The validity of Trouton's rule can be increased by considering

 * $$\Delta \bar S_\text{vap} \approx 4.5R + R \ln T.$$

Here, if $T = 400 K$, the right hand side of the equation equals $10.5R$, and we find the original formulation for Trouton's rule.

title: Trouton's rule


text:
Wikipedia:Featured picture candidates/Port wine

Port wine
PD image of port, makes me want get drunk, how about you? Too bad about the image name, if it gets enough support we could re-up.
 * Support. -- [[User:Solitude|Solitude\talk]] 10:50, Dec 10, 2004 (UTC)
 * I like it very much. Support. [[User:MacGyverMagic|Mgm|(talk)]] 13:29, Dec 10, 2004 (UTC)
 * Support. I re-uploaded it under the filename Image:Port wine.jpg. [[User:Neutrality|Neutrality/talk]] 02:32, Dec 11, 2004 (UTC)
 * Support. I've a slight reservation over the glass - the thick rim is indicative that its fairly cheap and it is possibly too squat, but at least it is clean. -- Solipsist 08:06, 11 Dec 2004 (UTC)
 * Support -- Chris 73 Talk 04:13, Dec 13, 2004 (UTC)
 * Oppose Okay pic, but not outstanding. --Elijah 19:47, 2004 Dec 13 (UTC)
 * Oppose. --ScottyBoy900Q ∞ 22:15, 15 Dec 2004 (UTC)
 * Support. [[User:Sam Spade|Sam Spade Wants you to vote!]] 16:44, 16 Dec 2004 (UTC)
 * Support. Superb shot. --Fir0002 04:32, 17 Dec 2004 (UTC)
 * Weak oppose. Nice but wouldn't add anything to an article. Enochlau 15:18, 17 Dec 2004 (UTC)
 * Oppose, the woodgrain as seen through the transparent wine makes the wine look artificially cloudy. - Bevo 15:20, 17 Dec 2004 (UTC)
 * Oppose - Ack Enochlau --Thomas G Graf 19:28, 22 Dec 2004 (UTC)
 * Not promoted. +7/-5. ed g2s  •  talk  18:08, 24 Dec 2004 (UTC)


text:
Fritz Bayerlein

Fritz Hermann Michael Bayerlein (14 January 1899 – 30 January 1970) was a "quarter-Jewish" German general in the Wehrmacht, during World War II. He initially served as a staff officer, including with Erwin Rommel in the Afrika Korps. He then commanded the 3rd Panzer Division, the Panzer Lehr Division and LIII Army Corps (Wehrmacht) in the European theatre. Bayerlein was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves and Swords. Prior to the second world war, Bayerlein served in the 9th Bavarian Reserve Division in 1917.

Wehrmacht military career
Bayerlein served as a staff officer of General Heinz Guderian for the invasion of Poland and the Battle of France. In Operation Barbarossa, the invasion of the Soviet Union, during June 1941, Bayerlein was assigned to Guderian's Panzer Group 2 staff. After the Battle of Kiev, Bayerlein was transferred to Generaloberst Erwin Rommel's staff. Bayerlein was moved to the Führerreserve in August 1942, then reassigned to the Afrika Korps as Chief of Staff.

He served as a staff officer under the command of Generalmajor Walter Nehring beginning in March 1942 upon Nehring's transfer to Africa. Later, he served under Erwin Rommel and Wilhelm von Thoma. When Rommel left Tunisia in March 1943 after the failed attack during the Battle of Medenine (Operation Capri), Bayerlein was appointed German liaison officer under the new commander, Italian Giovanni Messe. He was sent to Italy before the German troops in Tunisia surrendered on 12 May 1943. Bayerlein was sent to the Eastern Front in October 1943, to lead the 3rd Panzer Division, which was surrounded at Kirovograd. Bayerlein led a breakout through the Soviet encirclement.

He was reassigned to command the Panzer Lehr Division, which moved to Normandy on 7 June. During the Allied Operation Cobra, Allied bombing near Saint-Lô decimated the division. The remnants of the Panzer Lehr Division slipped out of the Falaise pocket and moved east toward Vire in August 1944. The division next took part in the Ardennes Offensive, in December 1944, as part of the XLVII Panzer Corps; Bayerlein was relieved of command following the failed offensive. He took command of the LIII Army Corps (Wehrmacht) in February 1945 and surrendered to the U.S. Army in the Ruhr Pocket on 19 April 1945.

After the war
Bayerlein was a prisoner of war from April 1945 through April 1947. During this time, he and many other generals in Allied captivity wrote the European battle histories for the U.S. Army Historical Division. Bayerlein was released in 1947. He wrote about military subjects and continued his work for the Historical Division. He died in 1970. Bayerlein is credited as a technical advisor for the 1961 film, The Guns of Navarone.

Awards

 * Iron Cross (1914) 2nd Class (30 August 1918) & 2nd Class (13 September 1939)
 * Iron Cross (1939) 1st Class (27 September 1939)
 * German Cross in Gold on 23 October 1942 as Oberst in the General Staff in the Deutsches Afrika-Korps
 * Knight's Cross of the Iron Cross with Oak Leaves and Swords
 * Knight's Cross on 26 December 1941 as Oberstleutnant in the General Staff and Chief of the General Staff of the DAK
 * 258th Oak Leaves on 6 July 1943 as Generalmajor and German Chief of Staff of the 1st Italian Army
 * 81st Swords on 20 July 1944 as Generalleutnant and commander of the Panzer-Lehr-Division

title: Fritz Bayerlein


text:
User talk:Charles Matthews/Archive 6

WikiProject Countering systemic bias
Good to see you have signed up at this project. I was wondering if you'd have the time and interest to run your eye over H.D. to suggest further improvements? Filiocht 13:03, Oct 19, 2004 (UTC)

I have a biography by Janice S. Robinson - do you know if this is reliable? I'm actually quite interested in expanding Bryher, to include projects such as her literary magazine. Also, in tracking down some of the minor Imagists. On the whole I don't think I can do much with criticism; just journalistic who/what/when etc.

Charles Matthews 14:06, 19 Oct 2004 (UTC)

The Robinson is fine, but a bit focused on lit crit rather than the life. Bryher certainly needs work, and I'll try to help out. Maybe a Category:Imagists would be a good idea. Again, I'd like to help on that. Filiocht 14:17, Oct 19, 2004 (UTC)
 * In fact, I've just created two stubs: Skipwith Cannell and F. S. Flint. More soon, I hope. Filiocht 14:56, Oct 19, 2004 (UTC)

Hilaire Belloc
I rather resent the wholesale deletion of my material on Belloc. Most of what was eliminated was pure factual content. Isn't the purpose of an encyclopaedia to cover comprehensively. My model is the older versions of the Britannica where scholars wrote comprehensively and provided a viewpoint on the subject. Your interventions are to surpress knowledge, not add to it.I took some time and did quite a bit of research to do these additions.Polycarp

Regarding your anit-semite addition to Hilaire Belloc. From a scan of biographies of the man, it would seem that his anti-semitism could be set in a greater context. From http://www.freedompartyuk.net/public/standardbearers/belloc.html
 * Any charge of anti-Semitism needs to be considered in the context of Belloc’s outspoken opposition to the excesses of Hitler’s regime. In 1936, Belloc produced a heavily revised second edition of The Jews, condemning the Nazi persecution of Germany’s Jews. So far did Belloc go in his opposition to Hitlerism that his friend GK Chesterton wrote at this time: “I am quite ready to believe now that Belloc and I will die defending the last Jew in Europe.”

Or is this just whitewashing? jericho4.0 16:49, 19 Oct 2004 (UTC)

He was, by all accounts, an anti-Semite of the French anti-Dreyfusard type; and from very young (Wilson's biography attributes it to his military service in the French Army). In any case he was quite rabidly anti-Semitic before the Hitler time, and there seems to be little dispute about this. The context, such as it is, is to do with Liberal anti-imperial politics, the Marconi scandal and so on.

Charles Matthews 16:56, 19 Oct 2004 (UTC)

Speedy on taut manifold, etc.
I'll be the first to admit I know nothing for nothing about Mathematics; but it's good that the typographical hash was just a garble requiring someone like me to come along and alert you to it! As for the other substubs, though, as things stood when I read them, they did read like definitions. You might want to write something a bit fuller right from the git-go; I'm not the only guy out there who reacts this way. Best, Bill 18:20, 20 Oct 2004 (UTC)

Well, we have clean-up for unclear articles. I think you should either stick closer to the speedy deletion guidelines, or back off from mathematics if you can't interpret what was at least one quite meaningful formula. A stub notice is appropriate for a technical term being defined.

Charles Matthews 18:24, 20 Oct 2004 (UTC)

Gromov-Hausdorff conergence
Could you remove this article? Tosha 20:05, 22 Oct 2004 (UTC)

Move(with delete) Logical programming
I've had a suggestion up for over a month to move logical programming (a close to unused term) back to logic programming (the term everyone in the field uses).

It was moved back in May 2002 by User:Boleslav Bobcik without stated reasons, but I would guess for the reason that it sounds nicer as a programming paradigm. I'm not sure what the right way to do this is: maybe a VFD for logical programming & then a move, or maybe just do without discussion (it breaks no links)? I'm asking you because you are the admin I know best/respect most; I know it's a little outside your field (though you have edited the page in the past). Charles Stewart 16:13, 26 Oct 2004 (UTC)

You're quite right - I've just moved it back and tidied up. Charles Matthews 16:46, 26 Oct 2004 (UTC)

 * Thanks Charles Stewart 17:14, 26 Oct 2004 (UTC)

Question you might be well suited to answer
Reference_desk, thanks it's way out of my league to even decide if it is a valid question. - Taxman 16:28, Oct 29, 2004 (UTC)

Done what I can. Charles Matthews 16:40, 29 Oct 2004 (UTC)

Sorry
Apologies for the mistake on Fundamental domain. I just found another similar case and realised it was deliberate, but you had already fixed the previous - thanks :) -- sannse (talk) 13:59, 30 Oct 2004 (UTC)

't's OK - you'd need to be a mathematician to know. Charles Matthews 14:21, 30 Oct 2004 (UTC)

Category recursion theory
I merged the Category recursion theory into the category computability. Could you please (as an admin) delete the old recursion theory category ? MathMartin 14:13, 7 Nov 2004 (UTC)

Ah - that might be a bit contentious, though? There seems to be a process, anyway. I'll find the page. Charles Matthews 14:15, 7 Nov 2004 (UTC)

Try Categories for deletion. Charles Matthews 14:17, 7 Nov 2004 (UTC)

Thanks, I moved my request there.MathMartin 16:50, 7 Nov 2004 (UTC)

Liouville's Theorem aka Liouville equation
We seem to have a lot of common material between these two entries, quite a bit of it 'rather beside the point', (at least from a physicist's point of view)

From a stat mechanics point of view I understood the key step to be that the total time derivative of the density of points in phase space (ie along a particle trajectory) was zero - this is not a self-evident statement (see say Goldstein, Classical Mechanics p268, or say http://astron.berkeley.edu/~jrg/ay202 for methods of proof - I have added a simpler indicative method, considering one p & q only, based on my college notes from'67!) and it needs Hamilton's relations between the p's & q's. (Otherwise, any old choice of variables could apparently be taken and they can't!).

The author of Liouville equation in particular (which I've only just found) takes a statement of the final Theorem (total d/dt=0) as the given starting point to derive another statement which may be mathematically correct and useful, but which carries little additional physical import I think.

I invite your comments on how we rationalise things whilst keeping all relevant information. Linuxlad 20:03, 7 Nov 2004 (UTC)

We've certainly had some problems with this in the past: see for example Talk:Liouville's theorem (Hamiltonian). I wonder if I can see my way through those. On the whole it would be best to have things consolidated, at Liouville's theorem (Hamiltonian); and statistical mechanics applications mentioned there (I guess) but with a dedicated main article, too.

The issues seem to be:

 * mathematicians will arrive from symplectic topology and expect a compatible treatment
 * there is a major difficulty with derivations that appear to be circular (the background case H = 1 can't be derived from the theorem if it is also a premise
 * relatively minor is tha fact that the probability measure/distribution idea is not always normalised to have total mass 1 - my guess is that this is not really key, more a matter of language
 * and there is interest in the quantum case, too, but that must be kept from being circular, too.

So, someone like you might be able to pick the bones of this. Judging by the Noether's theorem page, there is scope for a radical style clash on this, leaving an article that looks very badly dressed ...

Charles Matthews 20:20, 7 Nov 2004 (UTC)

Charles

Well I may try to rise to the challenge, though with considerable trepidation.

Splitting into theoretical physics and pure(r) mathematics sections, like the Hamiltonian mechanics article, would certainly be a help. But that section also shows some of the issues which plague unifying the two disciplines - the maths section there apparently relates the _total_ time derivative of &rho to the Poisson bracket, rather than the partial time derivative. (This may (??) be a nicety to workers in symplectic spaces, but the difference is of the essence of the trade to physicists and fluid mechanics!)

Bob aka Linuxlad 11:13, 8 Nov 2004 (UTC)

Go ahead - like they say, be bold! I've just been looking at the 'symplectomorphisms' section on symplectic topology, tidying it up and actually making the link (which wasn't in place before). It looks to me like the pure-mathematical proof is essentially one or two lines, given an exterior derivative formula that may not be properly written down here yet. So, this leaves great scope for a discursive treatment from the physical side. By the way, the point you raise about total derivatives may just be bypassed by the exterior derivative notion (which carries along its implied variable set); anyway that's my take on that one. Charles Matthews 11:56, 8 Nov 2004 (UTC)

Well I've hacked LT (Hamiltonian) as much as I want to for a bit - if you want to beef up the 'Mathematical expression' bit (or indeed any other) please feel free.

I have left a note on Liouville equation suggesting a redirect in due course. Bob aka Linuxlad 22:23, 9 Nov 2004 (UTC) ('There _are_ nails in that bridge I was sad to learn')

Ah, it turns out that Liouville equation will need disambiguation, since there is another kind of PDE that goes by that name (one of the back links has it). Charles Matthews 22:53, 9 Nov 2004 (UTC)

I've looked again at the Maths section of Hamiltonian mechanics, Goldstein's chapter 8 at the ready. If these expressions (relating partial and convective rates of change of general f (?) to the Poisson bracket with the Hamiltonian etc) mean what a physicist would take them to mean, then there are 3 disparities - see that section's discussion page for detail

Later - I've now edited these and also provided a classical Poisson bracket expression

Linuxlad 23:36, 10 Nov 2004 (UTC)

This article had been fairly stable (though not good) for over 3 months now - but recently Denevans has has added a substantial new section (ostensibly on phase space, which is really covered elsewhere; but also dragging in lots of exciting stuff which should really come later); and he has also edited substantially another one (physical interpretation) - so it is now more like half a proof, (but that is already given twice, later). I'd like to significantly amend some of his material (and indeed have started to do so) and would probably like to total move the major section he's added, but haven't yet managed to contact him.

In a way it reads like he's just dumped down the first 3 pages of his college notes (But then don't we all!!) without trying to integrate into the article as a whole.

I'm tempted to just revert, but feel that's a bit selfish, and in any case there is useful stuff there, just not where he's put it.

Could you offer an opinion, please. Linuxlad 21:31, 15 Feb 2005 (UTC)

Steve Morse
I don't understand your edit summary for your edit to Steve Morse:"second time of asking ... see 'Steve morse' " Is there some history I'm missing here? --Phil | Talk 08:36, Nov 8, 2004 (UTC)

I had copyedited it once as Steve morse when User:Rmhermen redirected it to Steve Morse, rather than moved it; meaning I had to do it again somehow.

Charles Matthews 09:10, 8 Nov 2004 (UTC)

Invite
Hi

I'm posting this to invite you to participate in WP:LCOTW, a project you may be interested in. Please consider nominating and/or voting for a suitable article there. Filiocht 12:43, Nov 8, 2004 (UTC)

WP:LCOTW
Filiocht 10:41, Nov 10, 2004 (UTC)

Exponential topics
Hi, I've replaced your List of exponential topics with the Category:Exponentials and listed it for deletion. --Smack 19:19, 11 Nov 2004 (UTC)

 * I'm going to contest this vigorously. It is dangerous nonsense to suggest that any category supersedes a list. This is a fallacy. Charles Matthews 19:23, 11 Nov 2004 (UTC)

Mr Quickdraw
Thanks for the lightning-fast cats to my recent computer science entries. --Minority Report 22:49, 12 Nov 2004 (UTC)

My username
I've taken the points that you (and others of the same opinion) made to heart, and decided that it is in my best interests to change my name.

Because my attachment to this name makes it so difficult for me to choose a new one, I decided to make it a community event. If you want, I hope that you'll participate in my Name the Admin Candidate Contest. Thanks!

ClockworkTroll 18:39, 13 Nov 2004 (UTC)

Good for you! Charles Matthews 20:28, 13 Nov 2004 (UTC)

Civil war in Côte d'Ivoire
Thanks! needs to be in current events. The fr folks did well .. Wizzy 23:18, Nov 15, 2004 (UTC)

Go Quotations Page
Hi Charles. I was browsing the List of Go topics page you maintain an interest in, and saw that Go famous quotations was not yet created, so I created it and put a single quote into. This was then speedily slotted for speedy deletion. If you are interested, perhaps you would like to add some and/or discuss it on the talk page. Thanks for looking. Hu 08:48, 2004 Nov 16 (UTC)

Arbitration Elections
You may remember that I coordinated the previous two elections, for the board, and for the arbitration committee. I am willing to coordinate this election as well, and have asked Elian to assist. However, we would like to have the support of the candidates to do this. Do you support us coordinating the election? My policy is to be entirely neutral, and to ensure this, I will not be voting myself (I didn't vote in previous elections either). All results will be announced following the final count. Please answer on my talk page. Danny 01:02, 18 Nov 2004 (UTC)

Bias
I'd like your opinion at Requests for arbitration. Thanks. Chameleon 12:24, 20 Nov 2004 (UTC)

title: User talk:Charles Matthews/Archive 6


text:
Penetangore River

The Penetangore River is a river in Kincardine, Bruce County in Southwestern Ontario, Canada. It is in the Great Lakes Basin and empties into Lake Huron. A boardwalk, a harbour, and the Kincardine lighthouse are located on the bank of this river near its mouth.

The name Penetangore is believed to come from an Ojibwa word meaning "river with sand on one side", referring to the sand bar at the river's mouth. Penetangore was also the original name of the settlement that became the town of Kincardine. The Saugeen Valley Conservation Authority has worked since the early 1970s to control erosion of steep banks within the town limit.

Every spring the river hosts an annual run of rainbow trout, as well as a few sucker species, lasting into May. In autumn, the river hosts a run of pacific salmon lasting well into October. Numbers of salmon travelling upriver, however, are particularly down from numbers anglers remember from the 1980s and 1990s, and thus anglers are strongly encouraged by the MNR to practice catch and release in an effort to increase natural reproduction.

Conservation efforts have been conducted since the early 2000s to restore the river. Important gravel spawning beds far upriver, enjoyed by the salmon and trout as recently as the 1990s, have become overgrown and many of the pools upriver once connected to prime gravel runs are now stagnant due to the reduced rapids connected to them. The Saugeen Valley Conservation Authority (SVCA) has reported that over 2002–06 the Penetangore River watershed had poor forest cover and wetland conditions and poor surface water quality. The report recommended allowing low-lying areas along the riverbanks to naturalize into wetlands and planting trees along the riverbanks and on property lines. The SVCA and the Lake Huron Fishing Club have been active in fencing off cattle and planting trees along the river, with the Penetangore Watershed Group also organizing tree-planting.

title: Penetangore River


text:
Asia Rocsta

The Asia Rocsta is a four-wheel drive off-road vehicle built by Asia Motors Corporation in South Korea. It was available as a Jeep or Pick-up Truck.

The Rocsta is derived from the K111 Jeep, also developed by Asia Motors. Because this model was cheaper than competing 4WD vehicles, it contributed to the increase in popularity of offroad racing in Korea.

Asia Motors launched the Rocsta in 1990, and retired it in 1997. From 1998, the Rocsta's replacement, the Asia Retona, was sold with Kia badging.

UK sales of the Rocsta ran from 1994–1997 and included both the 1.8-litre petrol and 2.2-litre diesel engines. Both could be purchased with either a hard- or a soft-top. Both models were distributed by Kia Motors and used Kia copies of standard Mazda engines, with five-speed manual transmission.

The Rocsta was also sold in Australia between 1993 and 2000.

Variants

 * Rocsta 1.8 DX Hard Top - Model# AM102 GS. Engine Number begins JF8 being for the Mazda F8 engine
 * Rocsta 1.8 DX Soft Top
 * Rocsta 2.2
 * Rocsta 2.2 4WD
 * Rocsta 2.2 D Soft Top
 * Rocsta 2.2 Diesel DX H/Top
 * Rocsta 2.2 Diesel DX S/Top
 * Rocsta 2.2 Diesel Soft Top
 * Rocsta R2 Wagon

title: Asia Rocsta


text:
Ralph Tubbs

Ralph Tubbs OBE FRIBA (9 January 1912 – 23 November 1996) was a British architect. Well known amongst the buildings he designed was the Dome of Discovery at the successful Festival of Britain on the South Bank in London in 1951.

Ralph was educated at the Architectural Association, which is highly regarded in Modern architecture and engineering, and then worked for Ernő Goldfinger from 1935 onward, participating in the design of Goldfinger's house on 2 Willow Road. In 1940 he designed the Living in Cities exhibition for the British Institute of Adult Education and the Council for Encouragement of Music and Arts, for which he made in 1942 a small book as well. During the World War II, Tubbs was not in services for medical reason, and worked as firewatcher.

Buildings designed by Tubbs include (dates shown for design to building)
 * 1935–1938 only working drawings for 2 Willow Road, Hampstead, London (designed by Erno Goldfinger)
 * 1948–1951 Dome of Discovery, South Bank, London
 * 1952–1953 YMCA Indian Student Hostel, Fitzrovia, London
 * 1956–1961 Baden-Powell House, Kensington, London
 * 1960 Granada House, Manchester
 * 1959-1973 Charing Cross Hospital, Hammersmith, London (constructed 1969–73)

Ralph and his wife Mary Tubbs lived in Wimbledon Village for most of their life. They had two sons and a daughter: Jonathan Tubbs, who is currently an architect in Wimbledon, James Tubbs, who is an engineer and Danielle who is a nurse. Ralph won many awards for his designs. His wife died in May 2007.

Ralph Tubbs's Dome of Discovery project was given tribute at the Millennium Dome. In 1951, The Dome of Discovery was not only the largest diameter dome in the world, 365 feet across, but was totally unsupported except around the perimeter.

title: Ralph Tubbs


text: User:Hemanshu/try

title: User:Hemanshu/try


text:
User:Sungyong

I am from Corea, and most of my edits probably reflect this.

title: User:Sungyong


text:
Talk:Giovanni Battista Piranesi

More pics
There are more pics in Giovanni Battista Piranesi.

 * The link doesnt work, I think the page doesnt exist, I cant understand the german so I dunno. Cfitzart 09:32, 28 September 2005 (UTC)
 * (Fixed link now. --Wetman 14:23, 28 September 2005 (UTC))
 * Nice, I added some to the article Cfitzart 22:35, 28 September 2005 (UTC)

The Carceri
I suggest the Carceri be moved to their own page; they're worthwhile studying in their own right [cf Eisenstein] and re-label the "gutted" Piranesi article a stub. Much more needs to be said about him and his contributions. Any thoughts? Disagreements? Blahm 22:48, 11 March 2006 (UTC)
 * I agree. --Ynysgrif 16:41, 27 December 2006 (UTC)

The program
Piranesi is a rendering program named after this person. There should be a link to the article of this new program, except there's no article for it. 66.41.66.213 13:26, 17 April 2006 (UTC)

Image copyright problem with Image:Fängelsestaden.jpg
The image Image:Fängelsestaden.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --21:53, 12 September 2008 (UTC)

CS
isn't there a popular counter-strike map named after him? —Preceding unsigned comment added by 67.176.160.47 (talk) 08:18, 21 January 2010 (UTC)

POE
Does anyone have a reference for this line: "Edgar Allan Poe's 'The Pit and the Pendulum' was inspired by elements of Piranesi's Prison series." —Preceding unsigned comment added by Skeptict (talk • contribs) 15:36, 26 October 2010 (UTC)

Carceri etching names - italics?
Should the names of the etchings listed in Giovanni Battista Piranesi be italicised? Or are they for whatever reason classed as minor works as opposed to major works? 81.141.58.213 (talk) 21:55, 3 May 2015 (UTC)
 * I probably won't check back here again, feel free to just go ahead and revise formatting if necessary. 81.141.58.213 (talk) 23:43, 9 May 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Giovanni Battista Piranesi. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20080214161308/http://www.picure.l.u-tokyo.ac.jp:8080/e_piranesi.html to http://www.picure.l.u-tokyo.ac.jp:8080/e_piranesi.html
 * Added archive https://web.archive.org/web/20051217224716/http://www7.nationalacademies.org/arts/Piranesi_Muniz_Images.html to http://www7.nationalacademies.org/arts/Piranesi_Muniz_Images.html

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 19:23, 17 October 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Giovanni Battista Piranesi. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20111007173448/http://apollo-magazine.co.uk/september-2007/121211/the-ultimate-act-of-fantasia.thtml to http://apollo-magazine.co.uk/september-2007/121211/the-ultimate-act-of-fantasia.thtml
 * Added archive https://archive.is/20130101230721/http://www.cca.qc.ca/en/collection/1355 to http://www.cca.qc.ca/en/collection/1355
 * Added archive https://web.archive.org/web/20070930155512/http://www.oldandsold.com/articles19/art-16.shtml to http://www.oldandsold.com/articles19/art-16.shtml

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 12:39, 28 November 2017 (UTC)

title: Talk:Giovanni Battista Piranesi


text:
Talk:Chiaroscuro

Old stuff

 * Augustine also talks about this concept in Confessions. It may be worth mentioning.

 * This cries for an example image.

 * Done.

 * What about the German use of the chiaroscuro technique in in films? Didn’t they take it to a new “level” incorporating it into many of their silent films? Ex: The Cabinet of Dr. Caligari (where we see a heavy use of hard lights creating enormous amounts of shadows for the unimportant elements of the scene to hide in)

Merge debate

 * I disagree that this concept should be mixed with Tenebrism. I disagree that Chiaroscuro is a "bold" contrast between light and dark.  While it can, of course be bold I think a better description would be "an effective" contrast between light and dark.  In this technique the contrast, either gradual or quick is used to create a sense of volume in the image.

 * As far as I can tell, tenebrism is a style, and chiaroscuro is more of a technique. That is, one can engage the use of chiaroscuro without engaging in tenebrism.  Thus, they are separate.

However, can one engage in tenebrism without engaging in chiaroscuro? This could pose a long-living argument. In my personal opinion, one can, and a number of tenebrous paintings I have seen do not engage in the technique of adding exposure to lighted darkness. In fact, many engage in adding shadows to the subject.

-Blutwulf

 * Both are realitive terms under value in the principals of design. However Tenebrism is also a style of painting where as chiaroscuro  is a fundamental of value in color theory.  So one could merge them under one category of color theory could they not.

-Quintin Addelbrook

 * (Fifth comment.)

I think they should not be merged. Tenebrism is an obscure, specialised term denoting a technique, school, manner or tendency—like, say, manierism. Chiaroscuro is a word from standard Italian that is merely descriptive, like, say mannerism.

It also has many other applications besides simply a value, fundamental or not, in what is here called "colour theory". Like impasto, it has entered the general language and is not merely a term of art.

Tantris 18:06, 8 October 2006 (UTC)

don't merge, for reasons given above. Plus Tenebrism is a rather old-fashioned term - more likely to be called Caravaggism or however its spelt nowadays. I need to do an article on the chiaroscuro woodcut, which is nothing to do with Tenebrism, predating it by 90 years or so. Johnbod 20:16, 6 November 2006 (UTC)

What does all this mean?:

The term chiaroscuro has been applied since the later 18th century to a printmaking technique which finds its best expressions in aquatint and in xylography, and in china (ink) drawing. The technique requires a skilled knowledge of the perspective, the physical effects of light on surfaces, the shadows. Chiaroscuro defines objects without a contouring line, but only by the contrast between the colours of the object and of the background.

Despite a frequent confusion, chiaroscuro technique in printmaking is different from German camaieu, in which the graphical effect is prevalent on the plastic effect (obtained with chiaroscuro to recall basrelief and painting "feeling"), and which more often uses coloured paper.

- I'm dubious about this, as the term in anything like this meaning is not mentioned in the 20 page glossary of print terms in A Griffiths "Prints and Printmaking", and I have never seen it so used about prints of this date & technique. What does it mean anyway? Johnbod 20:42, 6 November 2006 (UTC)

I simply googled "chiaroscuro woodblock print" and found these statements at the head of the finds (Wetman 00:54, 7 November 2006 (UTC)):
 * "Beccafumi's renowned chiaroscuro wood-block prints represented a specifically Sienese style." (Pamela O. Long's review of The Invention of the Italian Renaissance Printmaker in Technology and Culture 42 (July 2001) pp. 559-561.
 * Exhibition "A Matter of Tone: Chiaroscuro Woodblock Prints, 1520-1800", Rhode Island school of Design Museum of Art, 2004. ([ http://intranet.risd.edu/pdfs/Chiaroscuro.pdf pdf file)]
 * (Metropolitan Museum of Art) The printed Image in the West: Woodcut: see subsection "Chiaroscuro Woodcuts"

- exactly my point; these are chiaroscuro woodcuts of 1510 on (I had added something on these to the article), not the aquatint & drawings the passage quoted is about "since the late C18". Johnbod 17:17, 7 November 2006 (UTC)

- well i've cut it out now - just too confused Johnbod 18:50, 13 November 2006 (UTC)

Tenebrism and Chiaroscuro should not be merged, they are related but should be understood independantly.- says Dirtyboots

 * (sixth comment)

I am no color theory scholar by any stretch of the imagination, but I do not think that Chiaroscuro and Tenebrism should be merged.

From my understanding from a color theory class I took at the Art Institute of California - Orange County, Chiaroscuro is a pattern of slow gradations of value, which shift from light to dark and back again. This would suggest 3 key tones where as Tenebrism is a stark contrast between a light key and a dark key (only 2 key tones). This is a different definition for each technique. I would say that the definition used for Chiaroscuro is actually inaccurate and should be changed to Tenebrism while a new and improved entry should be made for Chiaroscuro.

The book that we used to define these words was "Dynasty of Light" by Alan, Shijo, McManus, Burner. The composition used to describe Chiaroscuro was "Dinard, Summer, 1922" by Pablo Picasso. The composition expressing \\ was "The Conversion of Saint Paul," by Michelangelo Merisi da Caracaggio.

-bebop_girl6

Merge tag removed
Since clear majority against. Tag in place for over a year Johnbod 17:46, 15 December 2006 (UTC)

Face

 * I just don't think "In a chiaroscuro face, one side of the face is lit while the other is in shadow." is either helpful or accurate. The lead definition, short as it is, and especially the picture, makes the point more clearly. Chiaroscuro is a noun not an adjective (COD, Collins etc), and by no means all such faces could be described as using chiaroscuro. Johnbod 13:08, 13 May 2007 (UTC)

Chiaroscuro Dragon
I posted a lovely picture of a Dragon courtesy www.homestarrunner.com, and somebody took it down. On one side, I realise that it isn't the most advanced image in the world, but at least it relates to something in semi-popular media. I wouldn't even know what the hell chiaroscuro is if I hadn't seen that flash film. I'm putting the dragon back. Snuggles KungfuJoe1110 05:08, 1 August 2007 (UTC)

 * But it doesn't really use chiaroscuro, or only a little shading. There are plenty of animation/manga etc images that illustrate the term much better. Johnbod 10:47, 1 August 2007 (UTC)

Rembrandt
There should be more about him + images. Gustav von Humpelschmumpel 22:28, 16 October 2007 (UTC)

Image copyright problem with Image:Barry12.jpg
The image Image:Barry12.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --07:35, 15 May 2008 (UTC)
 * Done. Johnbod (talk) 11:13, 15 May 2008 (UTC)

Accuracy
The Tate Glossary says: Chiaroscuro is generally only remarked upon when it is a particularly prominent feature of the work, usually when the artist is using extreme contrasts of light and shade.

This is also what I learned in art school. Notice the use of the words "only...when...prominent...extreme" -- Many of the images here don't seem to prominently use extreme contrasts of light and shade. I don't think a work contains Chiaroscuro just because an artist has included a shadow area. Aknicholas (talk) 12:30, 27 July 2010 (UTC) —Preceding unsigned comment added by Aknicholas (talk • contribs) 12:27, 27 July 2010 (UTC)
 * You, and they, are talking about what the article calls compositional chiaroscuro, as distinct from chiaroscuro modelling. But both need to be explained, as well as the other uses of the term. Notice their use of "generally only remarked upon"; they don't seem to agree with your last sentence. Johnbod (talk) 12:47, 27 July 2010 (UTC)

Architecture
In the article on Neo-classical architecture it is said that this was in part a reaction against the use of chiaroscuro in Roccoco architecture. Does anyone have any idea what chiaroscuro means in the context of architecture?

Dranghek (talk) 11:57, 6 December 2010 (UTC)
 * I've not seen it so used that I can remember, but I suppose effects of light and shade have a place in architecture, though I wouldn't think of Rococo architecture as using them much. Maybe a mistake? Johnbod (talk) 13:20, 6 December 2010 (UTC)

Definition
I really think that the definition is inaccurate. While the rest of the article explains what is meant by chiaroscuro in modelling and in composition, it is not enough. The definition of "chiaroscuro" should be clear from the start and it is not "strong contrasts between light and dark".Amadeus webern (talk) 15:36, 23 October 2011 (UTC)

According to the National Gallery, London, "chiaroscuro is an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted."

According to Britannica, chiaroscuro is a technique employed in the visual arts to represent light and shadow as they define three-dimensional objects".

While there is a clear connection between Tenebrism and chiaroscuro, they are not the same. The use of the term "chiaroscuro" does not always refer to strong and bold contrasts. This has to be very clear from the start.Amadeus webern (talk) —Preceding undated comment added 15:59, 23 October 2011 (UTC).

Etymology in the lead (and WP:MOS)
The lead is currently:
 * Chiaroscuro (, "light-dark") in art is "an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted",ref and this meaning has extended to other visual arts such as photography and cinema.
 * Further specialized uses include chiaroscuro woodcut, for coloured woodcuts printed with different blocks, each using a different coloured ink; and chiaroscuro drawing for drawings on coloured paper with drawing in a dark medium and white highlighting. Similar effects in the lighting of cinema and photography are also chiaroscuro.

There are a number of problems with this: Many of these problems could be solved by splitting the etymology stuff to a separate section - e.g..:
 * The lead contains a number of statements that don't appear in the rest of the article.
 * The lead repeats stuff (e.g. "light-dark" twice in the first paragraph).
 * The lead includes alternative meanings of the term (c. woodcut and c. drawing) (contrary to WP:NAD).
 * The lead doesn't say much about the actual subject of the article.
 * How the article title is pronounced in Italian isn't relevant to this article (which is about art, not about anglicisation of Italian words).
 * It blurs the distinction between usage of the term and usage of the artistic technique.
 * Chiaroscuro is a visual arts technique that uses clear tonal contrasts to suggest the volume and modelling of the subjects depicted.ref Chiaroscuro is also used in painting, photography and cinema.
 * Etymology of chiaroscuro
 * The term chiaroscuro is derived from the Italian for "light-dark".ref The terms chiaroscuro woodcut (a coloured woodcut printed with different blocks, each using a different coloured ink) and chiaroscuro drawing (a drawing on coloured paper with drawing in a dark medium and white highlighting) are also used.

The lead might also be improved/extended (e.g. see previous section of this talk page). Comments ? DexDor (talk) 22:01, 9 August 2012 (UTC) -
 * I support moving the etymology information into a sub-section. However, I think it should remain (somewhere) in the article and is very much relevant material (in fact, I first came across this article whilst searching for the etymology of the term after it was mentioned in a film). I also do not think WP:NAD applies here. --Thorwald (talk) 22:46, 9 August 2012 (UTC)
 * Part of the trouble is that people keep buggering about with it. I don't like the present one much, but you sound as if you want to make it worse. In the case of a strange sounding imported word the etymology is more immediately relevant than for most English words with obscure roots in the deep Germanic past. The Italian also directly helps explain the English meaning, and should remain in the lead. The woodcut and drawing senses are not "alternative meanings" at all. The lead is still short and more could be added about "the actual subject of the article" (whatever that means) without removing anything. Where does it say that stuff in the lead must be repeated lower down? Some things only need saying once. I don't know which "previous section of this talk page" you mean - if you mean the one just above, he is the guy who introduced the not very helpful National Gallery definition to the discussion, and maybe the article (yes, he did).  And so on. This was the lead 4 years ago, mostly written by me, which I think was better, and would be happy to go back to, and expand on:

Chiaroscuro (Italian for light-dark) is a term in art for a contrast between light and dark. The term is usually applied to bold contrasts affecting a whole composition, but is also more technically used by artists and art historians for the use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modeling three-dimensional objects such as the human body.

Further specialised uses of the term are "chiaroscuro woodcut", used for coloured woodcuts printed with different blocks, each using a different coloured ink, and "chiaroscuro drawing" used for drawings on coloured paper with drawing in a dark medium and white highlighting. The term is now also used in describing similar effects in the lighting of cinema and photography.

Johnbod (talk) 03:20, 10 August 2012 (UTC)

 * Why would WP:NAD not apply here? - there are a few words (e.g. "nigger") where the word itself is notable, but all other WP articles should be about the topic referred to by the article title.
 * WP:LEAD says "Significant information should not appear in the lead if it is not covered in the remainder of the article" (although it's not clear exactly what's significant). However, it's more important to clarify what the scope of this article is -
 * Woodcut says "Chiaroscuro woodcuts do not necessarily feature strong contrasts of light and dark". If that's correct (it's uncited) then it's a different topic to paintings/photos/movies using strong contrasts (even if there is an etymological link). Wiktionary (again, not itself a RS) also treats them as separate meanings of the term.
 * It's fundamental to WP that each article should start by defining its topic and that the body of the article stay on that topic. In the case of this article the topic could be either (1) the art technique that uses strong contrasts of light and dark, (2) any art technique which is/was referred to using the word chiaroscuro or (3) the word chiaroscuro itself. IMO this article should be the first of these options (the others being covered by the hatnote/disambiguation and the Wiktionary entry).  Some etymology of the article title could be included here as long as it doesn't obscure what the article topic is; technically, etymology is off-topic, but if it's of interest to readers and it saves them having to find the Wiktionary link then I'm OK with it. If we go with option 1 then the woodcut info should be removed from this article (except for a brief mention if the art is linked historically) and moved to the Woodcut article if appropriate. Also, the incoming redir/links should be changed and (for clarity) the hatnote changed to something like:
 * ''This article is about a visual arts technique using strong contrasts of light and dark. For chiaroscuro woodcuts see Woodcut. For other uses see Chiaroscuro (disambiguation).
 * DexDor (talk) 06:43, 11 August 2012 (UTC)

Chiaroscuro woodcuts
Article claims that (regarding chiaroscuro woodcuts) "According to one definition of the term, they were first invented by Lucas Cranach in Germany in 1507" without providing a citation to back up this claim. There is no such claim in the Lucas Cranach the Elder article.

If justification for it can't be found, surely this claim should be deleted? — so I added a citation needed thingy.

The Metropolitan Museum of Art citation shows an example of a chiaroscuro print by Ugo da Carpi, dated only "mid-1520s" and does not justify the claim "first made in Italy by Ugo da Carpi before 1516". It does however state "Ugo da Carpi was the first Italian artist to experiment with the multiblock colored woodcut."

I have therefore deleted the claim of "before 1516" since no citation justifying that claim has been provided.

Michael F 1967 (talk) 01:05, 12 March 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Chiaroscuro. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20130922082044/http://www.metmuseum.org/Works_of_Art/recent_acquisitions/1998/co_rec_eur_1998_15.asp to http://www.metmuseum.org/Works_of_Art/recent_acquisitions/1998/co_rec_eur_1998_15.asp

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 05:39, 30 August 2015 (UTC)

Photo removal
I do not believe the nude photographs at issue should be removed from the article, as they demonstrate the chiaroscuro technique. Quoting from WP:CENSORED: Some articles may include images, text, or links which are relevant to the topic but that some people find objectionable. Discussion of potentially objectionable content should usually focus not on its potential offensiveness but on whether it is an appropriate image, text, or link. Beyond that, "being objectionable" is generally not sufficient grounds for the removal or inclusion of content. Thus the mere fact that photos contain nudity should not be the focal point of the discussion, per WP:CENSORED. The discussion should instead centre around whether the image appropriately demonstrates the chiaroscuro technique. Thanks, /wia   /tlk  23:17, 1 December 2015 (UTC)

 * I restored two other images which had been removed from the article (without explanation) by 69.158.182.181 in two separate edits at 19:13 and 19:14 on 30 November 2015.  One of them was specifically used in the text to describe the technique; its removal rendered the explanation unintelligble.

 * Leaving aside the policy discussion about censorship, it seems to me that if an editor thinks that a different image would better illustrate a point already detailed by another editor's work in an article, then it is his or her responsibility to (a) find another image and substitute it, and (b) update the text to reflect the new illustration.  Laura1822 (talk) 11:46, 10 January 2016 (UTC)
 * Thanks - I'd missed these edits - usually it's the photos that get removed or re-added. Johnbod (talk) 14:14, 10 January 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Chiaroscuro. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070625130531/http://www.spencerart.ku.edu/collection/print/maps/zanmap.shtml to http://www.spencerart.ku.edu/collection/print/maps/zanmap.shtml

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 17:21, 4 August 2017 (UTC)

title: Talk:Chiaroscuro


text:
Teeswater River

The Teeswater River is a river in the municipalities of Arran–Elderslie, Brockton and South Bruce in Bruce County in Southwestern Ontario, Canada. It is in the Great Lakes Basin and empties into the Saugeen River at Paisley, Ontario.

The community of Teeswater is located on the river.

The river was named after the River Tees in England.

title: Teeswater River


text:
Paul Madeley

Paul Edward Madeley (20 September 1944 – 23 July 2018) was an English footballer, who played for Leeds United and the England national team. During his career with Leeds, Madeley played in a variety of different playing positions which led to him being described as a Utility player. Madeley made more than 500 appearances for Leeds in the Football League and appeared in 24 internationals for England between 1971 and 1977.

Leeds United
Born in the Beeston area of Leeds, West Riding of Yorkshire Madeley signed for Leeds from non-league Farsley Celtic in May 1962 and made his debut for Leeds in January 1964, following injuries to Freddie Goodwin and Jack Charlton, and became a regular in the team from 1966 onwards.

Madeley was arguably the most versatile of players – in his Leeds United career, he played in every position on the pitch except goalkeeper and wore every shirt from No. 2 to No. 11 (and occasionally No. 12) as a result. His natural ability to adapt to a different role on a frequent basis meant that he was often in the side chosen by manager Don Revie at the expense of a 'specialist' in that position, though the majority of the time there was a player either injured or suspended whom Madeley would replace – usually in defence.

However, Madeley was utilised in attacking positions when Leeds won their first major honours under Don Revie; in the 1968 Football League Cup Final, Madeley wore the No. 9 shirt (striker) in the 1–0 win over Arsenal, whilst in 1971 he scored the crucial away goal against Juventus which helped Leeds win the Fairs Cup – in the two legs he wore the No. 11 shirt (left wing/midfield). His versatility led to the nickname "The Eleven Pauls", which was used in the 1972 FA Cup Final song Leeds United.

Having deputised so well for Paul Reaney at club level, Madeley was asked by Alf Ramsey to take Reaney's place in the England squad for that summer's World Cup in Mexico, but Madeley politely refused, saying he wanted to rest and, as a stand-in, was unlikely to kick a ball.

In the 1971–72 season, Madeley again found himself moving round the side as injuries and suspensions to his teammates, and in the end he never missed a League match, though for a third year in a row Leeds failed to clinch the title on the last day of the season. In April 1972, left back Terry Cooper suffered a broken leg, so Madeley switched to the No. 3 shirt for the season's end and the FA Cup final, which Leeds finally won with a 1–0 win over Arsenal.

Revie signed Trevor Cherry as a replacement for Cooper in the summer of 1972, and Madeley moved across to the centre of defence for much of the next season as Jack Charlton's distinguished career at Leeds wound down. He wore the No. 5 shirt as Leeds lost the FA Cup final to Sunderland, and the European Cup Winners Cup final a few days later in Salonika, which Leeds lost to A.C. Milan in controversial circumstances.

Leeds won the League in 1974 – Madeley missing just three matches – and even after Revie's departure that summer to take over the England job, reached their first and only European Cup final a year later, with Madeley in the No. 5 shirt again.

In his autobiography, Right Back to the Beginning, Revie's successor Jimmy Armfield related a telling story about Madeley negotiating a new contract: "He once actually signed a new contract on what was virtually a blank piece of paper. I called him in to discuss terms and opened discussions by saying, 'OK, Paul, we'll give you so much'. He replied that he had no intention of leaving Leeds so he might as well sign the contract and let me fill in the details. I said, 'What do you want, then, two years or three years?' He answered, 'Either way, I'll leave it to you. I just want to play for Leeds,' and that was that."

Madeley was granted a testimonial season in 1977, and eventually retired from playing in 1980 with 724 appearances in all competitions to his name.

International career
Madeley made his England debut in 1971 against Northern Ireland in Belfast in the 1970–71 British Home Championship at right-back; a position he was to win the majority of his 24 caps in a six-year international career. The then England manager Alf Ramsey had previously approached Madeley to replace injured Leeds teammate Paul Reaney at the 1970 World Cup in Mexico, but Madeley politely declined, stating that he needed a rest and that as a stand-in he was unlikely to play a part. Madeley later partnered Bobby Moore at centre-back as the latter won his 100th cap against Scotland in 1973. His final cap came against the Netherlands in a friendly at Wembley in 1977.

Post-playing career
After retiring Madeley invested in a shop in Leeds selling sports goods and worked for his family's DIY business. He and his brothers sold this business for £27 million in 1987. In 1992, he had a benign brain tumour removed. He had a mild heart attack in 2002, and was diagnosed with Parkinson's disease in 2004. Madeley was portrayed by actor Chris Moore in the 2009 film The Damned United, an adaptation of David Peace's novel of the same name about Brian Clough's ill-fated tenure at Leeds.

Madeley died on 23 July 2018, aged 73.

Honours
Leeds United
 * Football League First Division: 1968–69, 1973–74
 * Football League Second Division: 1963–64
 * FA Cup: 1971–72; runner-up: 1969–70, 1972–73
 * Football League Cup: 1967–68
 * FA Charity Shield: 1969
 * Inter-Cities Fairs Cup: 1967–68, 1970–71

Individual
 * Rothmans Golden Boots Awards: 1972, 1973, 1974
 * PFA Team of the Year: 1973–74 First Division, 1974–75 First Division, 1975–76 First Division
 * Leeds United Player of the Year: 1975–76

title: Paul Madeley


text:
Canadian Bankers Association

The Canadian Bankers Association (CBA; Association des banquiers canadiens) is a trade association and lobby group representing Canadian banks. Its over 60 members include Canada's Big Five banks, smaller domestic banks, and Canadian subsidiaries of foreign banks.

Founded in Montreal in 1891, the CBA is one of Canada's oldest interest groups. The CBA is headquartered at Commerce Court West in Toronto's Financial District and maintains additional offices in Ottawa and Montreal.

Lobbying activities with the federal government (2012)
According to the Federal lobbyist registry, from January to September 2012, the Canadian Bankers Association had 131 contacts with federal officials to discuss issues such as mortgage insurance, identity theft laws, do-not-call list, corporate income tax, and accounting rules, making it the lobby group with the second most contacts that year.

title: Canadian Bankers Association


text:
List of Delta Air Lines destinations

Delta Air Lines is a major United States airline based in Atlanta, Georgia. As of December 31, 2021, Delta's mainline aircraft fly to 242 destinations, serving 52 countries across six continents. The airline operates nine domestic hubs.

Destinations
Delta Air Lines has flown to the cities below; the table does not show cities that have only seen Delta Connection flights.

title: List of Delta Air Lines destinations


text:
Inspection locomotive

An inspection locomotive was a special type of steam locomotive designed to carry railroad officials on inspection tours of the railroad property.

Background
These were fitted with passenger car-like bodywork and seating. Many railroads in the nineteenth century owned one, but their use dwindled in the twentieth century. They were replaced with converted passenger-car inspection cars, or HiRail trucks, automobiles fitted with steel flanged wheels.

Some were especially built for this service, while others were rebuilt from obsolete locomotives. Many were quite small; the locomotive pictured is in fact one of the largest and most modern inspection locomotives ever constructed. They were generally well cared for and highly decorated.

Brazil
In 1928, the Leopoldina Railway (de) purchased an inspection steam railcar by Sentinel Waggon Works.

China
In 1907, the South Manchuria Railway in Manchuria (today northeastern China) bought two inspection locomotives built by Baldwin Locomotive Works. An engine of the same class was delivered to Rochester & Pittsburg Coal & Iron Company in 1903.

Peru
The 3 ft narrow gauge Chimbote Railway (de) had an inspection locomotive built 1880 by Baldwin Locomotive Works. The special feature was that it was equipped with a sleeping compartment.

Russia
The Russian Railways still has two inspection locomotives A ChS2 540 & 549, which are converted electric locomotives of the ChS2 series. Since 2018, A ChS2 549 has been in the museum at the Moskovsky Rail Terminal.

United Kingdom
Railway companies in the United Kingdom rarely used inspection locomotives. Instead dedicated carriages (known as Inspection Saloons) were used. These were either rebuilt from obsolete coach stock or, occasionally, were newly built. However many companies maintained dedicated locomotives to haul Inspection Saloons. These were usually elderly engines that had been famous top-rank express locomotives when new but had since been surpassed. Examples of such engines include the Caledonian Railway Single, LNWR No.3020 'Cornwall' and NER No. 66 'Aerolite'.

Dugald Drummond, when Chief Mechanical Engineer of the London and South Western Railway had a small 4-2-4T tank locomotive classed F9 with a small saloon body mounted on its rear as his personal transport around the L&SWR system on inspections and visits.

The Edinburgh and Glasgow Railway (E&GR) also had an inspection locomotive built in 1856. On 1 August 1865 the North British Railway absorbed the E&GR. The engine got the No. 312, in 1895 No. 879, in 1901 No. 1079. It was withdrawn 1911.

In 1890, the London, Brighton and South Coast Railway built an inspection locomotive called Inspector. It was withdrawn in 1899.

United States
By 1900, many railroads in the United States had inspection locomotives. A few examples:

The only known surviving U.S. example is the Reading Railroad's "Black Diamond", a tiny 2-2-2 with fully enclosed bodywork, at the National Museum of Transportation in St. Louis, Missouri. It was used by the President of Philadelphia & Reading Coal and Iron Co. and other railroad executives on short business or inspection trips.

title: Inspection locomotive